Denzel Washington, Christopher McQuarrie Team for Original Thriller at Amazon MGM, United Artists

Denzel Washington was supposed to be in a big Netflix movie about a rebellious general named Hannibal, but the high cost made it impossible.

After a long time working with Tom Cruise on the Mission: Impossible films, Christopher McQuarrie is taking a break and focusing on new projects.

With both of their schedules free, the actor and director are now working together on a crime thriller set up at Amazon MGM Studios and Scott Stuber's United Artists.

Amazon has approved the movie and will release it in theaters on October 1, 2027.

The project has been working under the radar but will start filming in November in New Jersey.

Written by Scott Barkan and Gregg Zehentner (Into the Dark, Edge of Fear), the thriller follows a former police detective who is sentenced to life in prison and diagnosed with terminal brain cancer.

He is given compassionate release with six months to live and returns home to his estranged daughter and a grandson he never knew.Like most honorable ex-cons, he just wants to make amends and forget his past.But, as Amazon's logline states, his past has not forgotten him.(Cue dramatic sound effect.)  

The list of producers is like a full prison yard.

McQuarrie will produce alongside Heather McQuarrie, as well as Stuber and Nick Nesbitt for United Artists.Joseph Restaino of Hungry Bull Productions and Reza Moheet and Norman Aladjem of Mainstay Entertainment are also producing, along with Katia Washington and Tommy Harper.

Tony Stopperan of Hungry Bull Productions, Tim Honigman of Mainstay Entertainment, and Joe Guest will serve as executive producers.

Washington’s last movie was Highest 2 Lowest, directed by Spike Lee and released on AppleTV.

His next project is Netflix’s The Take (formerly known as Here Comes the Flood), which stars Robert Pattinson and Daisy Edgar-Jones.It is planned for 2027.

Since 2012, McQuarrie has directed five movies, all starring Cruise.

The last was Mission: Impossible – The Final Reckoning from 2025.That doesn’t include the screenplays or producing work on Cruise's movies Top Gun: Maverick, The Mummy, and Edge of Tomorrow.He is currently setting up a feature based on the video game Battlefield at Sony, which he will direct and star in with Michael B.Jordan.

Washington is represented by WME.

McQuarrie is represented by CAA and Greenberg Glusker.

Why ‘You Can See Everything’ Could Win Best Picture at the Oscars

The word "disruptor" is a very descriptive term, and it's often used to describe a person.But it doesn't have to be.Take "You Can See Everything," a movie that in just one weekend shook up the movie world in a big way.This film is so unique that as you watch it, you start to wonder what kind of movie it actually is.It's a documentary made by a comedian who likes to be funny in a cringey way, about a notorious white-collar criminal.It feels like a casual movie you'd watch with friends, but then the actress who played the criminal in a TV show shows up.That's when the whole thing really starts to change and get wild.

Last weekend, "You Can See Everything" made $15 million on 800 screens, with 2,000 shows completely sold out.

That made it the biggest opening for a non-music documentary since Michael Moore's "Fahrenheit 9/11" 22 years ago.But even those numbers don't really show how much this film has started to change the way people think and feel about movies.It's making a big impact in culture and changing the movie world.People are going to see it almost like it's a mission.Audiences are really into it because it's full of new ideas and surprises.They often say it's better than they expected.In short, this is what a great movie should be: something completely new and exciting, something that pulls you in and makes you feel different once it's over.

The film's box office is likely to go up even more when it comes out on a bigger scale across the country.

And it's possible the numbers could keep rising for a few weeks, just like with "Obsession." The energy around "You Can See Everything" is similar to the buzz that surrounded "Obsession" and "Backrooms" this summer.This is a new group of people, a new way of thinking, and a sign that we might be on the edge of a new era in movies.That's an old term from the 1970s, which described a generation that really connected with movies as a big part of their identity, like rock 'n' roll — not just for fun or art, but as a way to express who they were.

When people watch "You Can See Everything," they see themselves in Nathan Fielder, a 42-year-old comedian known for his clever and honest way of messing with people.

He talks closely with Elizabeth Holmes, and while he’s clever and distant, he's also honest, asking tough questions about what Holmes did and why she might have lied.The movie, in a way, is thinking about lies and how people can be so convincing in their lies.Holmes behaves in a way that's very focused and hard to understand, like Donald Trump.The version of Elizabeth Holmes shown in the film is a perfect example of someone who acts like a corporate performer, putting on a serious face that's really convincing.Fielder struggles to see through her act, and the film becomes a strange battle between egos.

Nathan Fielder made a movie with his directing partner, Lance Oppenheim, and they didn't really know where they were going.This movie, called "You Can See Everything," is a documentary drama all about discovery.That's why it feels so good and meaningful, kind of like "Pulp Fiction." It's doing something new with movies, changing what they can be.People love it a lot, and they're buying tickets in big numbers.I think it's going to be the first documentary ever considered for the best picture Oscar.

Right now, the movie is still finding its way, but I think it has a good chance of being picked as best picture by some of the big critic groups like the New York Film Critics Circle or the Los Angeles Film Critics Association.

That would show it's a real work of art.The Oscar voters might not follow the critics exactly, but they often do.It's been a while since critics and Oscar voters really disagreed.Some critics think that the year-end lists actually help push the Oscars in a certain direction.

The movie is already going to be on many of the top 10 lists from critics, and by the time that happens, it's likely to have made over $100 million at the box office.

That would make it a major cultural hit of the year, and if it gets nominated for best picture, it will be a big deal.

But why do I think "You Can See Everything" could actually win?

This isn't about comparing odds with other movies like "La Bola Negra" or "Artificial." I'm not going to list all the possible Oscar contenders.Instead, I'll use "The Odyssey" as a main competition.

Many people think "The Odyssey" is going to win.

It's a big movie with lots of vision, and it did well with critics, at the box office, and as a must-see film.But I also think it's a risky front-runner, a bit like how "Oppenheimer" was for Christopher Nolan.There are a lot of people who don't really like it.

If "The Odyssey" wins, it won't be a surprise.

It will feel like a typical Oscar win, not a big change.But we're in a time of change.And this year, that change, whether from AI or something else, is not just a threat to the film industry—it might actually help save it.By Oscar time, "You Can See Everything" could be the best example of what a movie can be: something exciting, different, and unforgettable.It gets you thinking, makes you want to watch it again, and brings people together in a shared, strange experience.That's why I think "You Can See Everything" will win at the Oscars—because anyone who votes for it is voting for the future.

American Horror Story’ Scores Season 14 Renewal at FX

American Horror Story co-creator Ryan Murphy said at the start of the current season that he hopes he can keep making the show “forever.”  

FX might not have that kind of otherworldly power, but it can at least get Murphy a little closer to his goal: It has renewed American Horror Story, which Murphy created with Brad Falchuk, for a 14th season.

The pickup comes nine days before the season 13 finale, scheduled for Oct.

29.The renewal will likely push American Horror Story past the 150-episode mark in season 14 and extends the show’s record as FX’s longest-running hourlong series (by far).

The current season is something of an all-star run — Murphy compared it to The Avengers — featuring a host of actors (and characters) from previous editions of AHS.

Franchise regulars Sarah Paulson, Evan Peters, Angela Bassett, Kathy Bates, Emma Roberts, Billie Lourd, Gabourey Sidibe, Leslie Grossman and Jessica Lange star along with AHS newcomer Joey Pollari.The cast also features Avantika, Jamie Brewer, Elle Chapman, Berto Colon, Alex Consani, Frances Conroy, Mat Fraser, Seth Gabel, Orlando Jones, Paul Anthony Kelly, John Carroll Lynch, Tig Notaro, Madelaine Petsch, Fedor Steer, Mena Suvari, Zach Villa and John Waters.

The current season had the biggest launch ever for one of Murphy’s series on Hulu and Disney+ (based on four days of viewing).

American Horror Story also made Nielsen’s top 10 streaming charts for each of the first two weeks of season 13’s release.

As for the future, Murphy told The Hollywood Reporter at the AHS 13 premiere, “I love doing it.

I really want this show to go international.I’m interested in: what is an international version of Horror Story?That’s something I’m writing right now, maybe, but I don’t know — I just like branching out.”  

20th Television, where Murphy is based, produces American Horror Story.

Murphy and Falchuk executive produce with Ned Martel, Charlie Carver, Eric Kovtun, Nissa Diederich, Scott Robertson, Tanase Popa, Crystle Roberson Dorsey, Jennifer Salt and Tim Minear.

Elizabeth Holmes Mania: ‘You Can See Everything’ Drives 186% Viewership Spike for Amanda Seyfried’s ‘The Dropout’

 "The Dropout," Hulu's 2022 limited series in which Amanda Seyfried portrays Elizabeth Holmes, has experienced a significant rise in viewership due to the recent release of A24's new documentary titled "You Can See Everything."

Viewership of "The Dropout" increased by 186% in September compared to the previous month, largely due to the Sept.

6 announcement that "You Can See Everything" had been secretly produced.This interest continued to grow as the documentary's Oct.16 wide release approached, with viewership climbing by 92% during the week of Oct.12 compared to the prior week.

Looking at the specific numbers, in August, before the buzz around "You Can See Everything" began, "The Dropout" was watched for 420,000 hours, or roughly 62,000 views when divided by the series' nearly seven-hour runtime—already a strong figure for a four-year-old show.

By September, viewership surged to 1.2 million hours, or approximately 176,000 estimated views.The week of Oct.12 alone brought in another 422,000 hours watched, or 62,000 views—meaning "The Dropout" attracted as many viewers during that seven-day period as it did in the entire month of August.

Interest remains high now that the documentary is in theaters: "The Dropout" has reached 997,000 hours watched (or 148,000 views) to date this month, bringing the total since September to 2.2 million hours, or 296,000 estimated views.

JustWatch, a service that consolidates information about where various streaming programs are available, also noted a spike in interest for "The Dropout." The series climbed 200% in search points week-over-week following the documentary's release and currently ranks No.

10 on the site's streaming search rankings.

"The Dropout" isn't the only Holmes-related media benefiting from the success of "You Can See Everything": John Carreyrou, the journalist who exposed Holmes' fraudulent activities, returned to the New York Times bestseller list with his 2018 book "Bad Blood: Secrets and Lies in a Silicon Valley Startup."

Directed by Nathan Fielder and Lance Oppenheim, "You Can See Everything" premiered as a surprise screening during the Telluride Film Festival, with its existence not made public prior to the event.

"The Dropout" was created by Elizabeth Meriwether and received widespread acclaim upon its 2022 release, with Seyfried winning the Emmy for lead actress in a limited series.

In that year, Meriwether and Seyfried both told Variety that they were interested in making another project about Holmes—"I'm not kidding, a two-hour special!" Seyfried said—though Seyfried was more reserved in a recent interview.

Street Fighter’ Leads Box Office With $51 Million Global Opening as ‘Whalefall’ Gets Beached With $17.5 Million

Paramount/Legendary's "Street Fighter" has attracted a decent number of gamers to theaters this weekend, leading the box office with a $31 million domestic and $51 million global opening.

That's not a huge start for this $82 million movie made together by Legendary and Capcom, the company that owns the "Street Fighter" video game.

The film is now playing at Paramount under a new deal with Legendary.The main question is whether it will be able to get people who aren't already fans of fighting games to watch it, or if it will only do well right at the start like the previous "Mortal Kombat II" movie earlier this year.

There are some signs it might be the latter.

The film has a B rating on CinemaScore, the same as the 1994 "Street Fighter" movie with Jean-Claude Van Damme, and it has Rotten Tomatoes scores of 40% from critics and 80% from audiences.For comparison, "Mortal Kombat II" had a B rating and 86% from audiences.

That might not be enough for "Street Fighter" as it faces off next weekend against Warner Bros./DC's "Clayface," which is hoping to attract both comic book fans and general horror fans.

There's been strong buzz on social media from advance screenings, which gives hope for DC after their big-budget failure with "Supergirl."

At least "Street Fighter" had a solid opening.

The same can't be said for 20th Century Studios' survival thriller "Whalefall," which stars "Resident Evil" actor Austin Abrams as a scuba diver who gets swallowed by a whale.Although it was mostly well-received, it's opening to just $17.5 million worldwide with $8 million in the U.S.against a reported net budget of $60 million.

"Whalefall" has a B CinemaScore and Rotten Tomatoes scores of 71% from critics and 81% from audiences, so word-of-mouth might help it recover in the coming weeks.

But this movie might join Warner Bros.' "Digger" and Sony's "The Social Reckoning" on the list of box office flops this month, though Disney can afford any losses thanks to the success of Marvel's "Avengers: Doomsday" this December.

Instead of "Whalefall," the second movie on the charts this weekend is A24's "You Can See Everything," which has the highest opening for a documentary in at least 13 years with $15 million from just 855 screens.

With over 2,000 sellout screenings, Lance Oppenheim and Nathan Fielder's thought-provoking look into the life of convicted fraudster Elizabeth Holmes has broken through a tough market for documentaries and is set to be a major indie hit for A24 with a combined budget of less than $10 million.

In the third spot is Universal/Blumhouse-Atomic Monster's "Other Mommy," which made $8.3 million in its second weekend.

After it received poor reviews, "Other Mommy" dropped 70% from its $27 million opening.But it's still a moderate success with a $44.8 million domestic total over 10 days against a reported budget of $19 million.

Completing the top 5 is Focus Features' "Sense and Sensibility," Georgia Oakley's adaptation of Jane Austen's classic novel, which opened with $7.25 million from 2,545 locations.

The movie has received very positive feedback from a mainly female audience with an A- CinemaScore and a 90% audience score on Rotten Tomatoes.

Outside the top 5, Sony/TriStar's "Resident Evil" is close to hitting $150 million domestically after earning $5.5 million in its fifth weekend.

It now stands at $361 million globally, setting a new career high for director Zach Cregger.

The success of "Resident Evil" will help Sony's other movie in theaters, "The Social Reckoning," which is already dropping by 73% to just $1.5 million in its second weekend.

That leaves it with a total of $14.2 million worldwide after two weekends, which is far below its $30 million budget that was shared with Alcon.

Warner Bros.' "Digger" is quickly leaving theaters, having lost more screens than any other wide release in the 21st century.

It has lost 2,535 locations and earned only $920,000 from 786 locations in its third weekend.The $160 million comedy starring Tom Cruise has made just $17 million in the US so far.

Richard Riehle, Character Actor in ‘Office Space,’ ‘Star Trek,’ ‘Bridesmaids’ and More, Dies at 78

Richard Riehle, who played Tom Smykowski in "Office Space" and many other roles as a character actor, passed away due to natural causes on October 15 in Los Angeles, confirmed by Variety.He was 78 years old.

His representatives said in a statement, "Richard was a remarkable actor whose career in theater, film, and television lasted almost five decades and included more than 400 projects.

He leaves behind an amazing legacy.He was known for his kindness, generosity, and especially for helping new actors and filmmakers.Our industry has lost a special talent, and our community has lost a wonderful person."

Riehle was born in Menomonee Falls, Wisconsin, on May 12, 1948.

He went to the University of Notre Dame and later got a master's degree from the University of Minnesota.He started acting at the Meadow Brook Theatre in Rochester, Michigan, and did regional theater in the Pacific Northwest before appearing in the John Wayne movie "Rooster Cogburn."

In "Office Space," Riehle played Tom, the product manager who was laid off from Initech, survived a hit-and-run accident, and won a big settlement that allowed him to pursue his dream and create his "Jump to Conclusions" mat.

On TV, he played Walt Finnerty on "Grounded for Life." He had roles in several "Star Trek" episodes, including as Batai in "The Inner Light" from "The Next Generation." He also had guest roles on shows like "NCIS," "The Middle," and "The West Wing."

Riehle appeared in over 400 films, TV shows, and other projects.

Some of his other roles include the ranch hand Carlson in "Of Mice and Men," the guard who helped Harrison Ford escape custody in "The Fugitive," Principal Beasely in the comedy "Jury Duty," and parts in "Executive Decision," "Mercury Rising," "Deuce Bigalow: Male Gigolo," "Wedding Crashers," "Bridesmaids," and many more.Across his career, he played Santa Claus in eight different projects, including five films, two TV shows, and a TV movie.

He is survived by his wife, Jane Latham, and their four children.

Oscars International Race Shatters Record With 105 Entries

The Oscars Best International Feature Film category has set a new record for the number of films submitted.This year, 105 different films were given to voters who have chosen to participate in the first round of voting.This is the first time the number of submissions has reached over 100, breaking the previous record of 93 films from 2020.

In the past three years, the number of films submitted was usually between 85 and 88.

But this year’s list includes the first entries from Cyprus, El Salvador, and Rwanda.It also includes the first submission from the Democratic Republic of the Congo in 29 years and the first from Sri Lanka in 17 years.

This record was made possible by a change in the Academy rule that used to allow only one film per country.

This year, more films could qualify if they won the top prize at one of six major film festivals: Sundance, Berlin, Cannes, Venice, Toronto, and Busan.These festivals now allow their winning films to be considered for the category.

Out of the seven films that qualified through the film festivals, three were also submitted by their countries of origin.

La Bola Negra - Fatherland - Fjord

The list of films below is not the official final list, which will be shared before shortlist voting starts in December.

On Friday, the Academy sent emails to members who have chosen to vote in the category, assigning each member to one of nine different groups.TheWrap got all the lists, where each group was given 11 or 12 films that members must watch for their vote to count.

Although there's still a chance some of these 105 films might be found ineligible later, the assignment lists are mostly the same as the final list of acceptable films.

Each group’s list of required films is made to include a variety of languages, regions, and movie types, and to require similar time to watch.

The most famous films are spread out among the groups, but this year Group 5 has a special concentration.The 12 films in Group 5 include Cristian Mungiu’s Palme d’Or winner “Fjord,” Pawel Pawlikowski’s two-time nominee “Fatherland,” and Ryusuke Hamaguchi’s 2021 winner “All of a Sudden.” All these films are strong contenders for the 15-film shortlist and could make the final five.

Voters are encouraged to watch as many films as they can from all groups, but they can only vote if they have seen all the films in their assigned group.

All the films are available in the members-only Academy Screening Room dedicated to the international category, which currently has 45 of the eligible films.More films are added every Friday.

Members will vote for their top 15 favorites from December 7 to December 11, and the top vote-getters will move on to a shortlist announced on December 15.

For the first time, the Academy has listed and arranged the films alphabetically by title instead of by the country they were submitted from.

This aligns with the award officially going to the film itself instead of to the country, as it has in previous years.

Here is a list of the films that have been assigned, along with the director and the country that submitted them (or the qualifying film festival).

TheWrap has created a full list that includes descriptions of each film and links to their trailers.You can find that list here.

“Abel,” Elzat Eskendir (Kazakhstan) 

“Adult Supervision,” Alex Schulman (Sweden) 

“All of a Sudden,” Ryusuke Hamaguchi (Japan) 

“Angh,” Theja Rio (Toronto International Film Festival: Platform Prize) 

“Aontas,” Damian McCann (Ireland) 

“Becoming Human,” Poley Ly (Cambodia)

“Ben’Imana,” Marie Clementine Dusabejambo (Rwanda)

“Broken Vein,” Yannis Economides (Greece) 

“Child,” Cyrus Neshvad (Luxembourg) 

“Chichero,” Aaron Bromley andArturo Montenegro (Panama) 

“Citizen Osama,” Ahmed Hassouna (Palestine) 

“The Condor Daughter,” Alvaro Olmos Torrico (Bolivia) 

“Cordillera de Fuego,” Jayro Bustamante(Guatemala) 

“Coward,” Lukas Dhont (Belgium) 

“Death Has No Master,” Jorge Thielen Armand (Venezuela) 

“Dear Ajayi,” Damilola Orimogunje (Nigeria) 

“The Dreamed Adventure,” Valeska Grisebach (Bulgaria) 

“Dua,” Blerta Basholi (Kosovo) 

“Elephants in the Fog,” Abinash Bikram Shah (Nepal) 

“En el Camino,” David Pablos (Mexico) 

“Everytime,” Sandra Wollner (Germany) 

“Fantasy,” Kukla (Slovenia)

“Fatherland,” Pawel Pawlikowski (Poland) 

“Filipinana,” Rafael Manuel (Philippines) 

“First Light,” James J. Robinson (Australia) 

“Fjord,” Cristian Mungiu (Romania) 

“Flood,” Martin Gonda (Slovakia) 

“A Foggy Tale,”Chen Yu-hsun (Taiwan) 

“Four Seasons in Java,” Kamila Andini (Indonesia) 

“The Fox King,”Woo Ming Jin (Malaysia) 

“Furies,” Rami Kodeih (Lebanon) 

“God Will Not Help,” Hana Jusic (Croatia)

“Gondhal,” Santosh Davakhar (India) 

“The Ground Beneath Our Feet,” Yrsa Roca Fannberg (Iceland) 

“Growth of the Soil,” Hans Petter Moland (Norway) 

“Gugu’s World,” Allan Deberton (Brazil) 

“Guria,” Levan Koguashvili (Georgia) 

“Hanging by a Wire,” Mohammed Ali Naqvi (Pakistan) 

“Hiedra,” Ana Cristina Barragan (Ecuador) 

“Hold Onto Me,” Myrsini Aristidou (Cyprus)

“How to Divorce During the War,”Andrius Blazevicius (Lithuania) 

“If Pigeons Turned to Gold,” Pepa Lubokacki (Czech Republic)

“If We Don’t Burn, How Do We Light Up the Night,” Kim Torres (Costa Rica)

“In the Land of Arto,” Tamara Stepanyan (Armenia) 

“Independence: Keeper of theDecree,” Tamir Bat-Ulzii (Mongolia) 

“Kassandra,” Bekzat Pirmatov (Kyrgyzstan) 

“La Bola Negra,” Javier Calvo and Javier Ambrossi (Spain) 

“Land of Angels,” Babak Khajehpasha (Iran) 

“Like a Limbless Tree,” Tunc Davut (Turkey) 

“Liti Liti,” Mamadou Khouma Gueye (Senegal) 

“A Loose End,” Daniel Hendler (Uruguay) 

“Mabanda,” Kang Quintus (Cameroon)

“Malecon,” Carlos Larrazabal (Cuba)

“Mārama,” Taratoa Stappard (New Zealand) 

“A Matter of Life and Death,” Anas Ba-Tahaf (Saudi Arabia) 

“Melodrama,” Andres Farias (Dominican Republic) 

“The Meltdown,” Manuela Martelli (Chile)

“Midday Meal,” Majid Majidi (Busan International Film Festival: Best Film Award) 

“Minotaur,”Andrey Zvyagintsev (France) 

“Narciso,” Marcelo Martinessi (Paraguay) 

“Night Has Come,” Paolo Tizon (Peru) 

“Nina Roza,” Genevieve Dulude-de Celles (Canada)

“9 Temples to Heaven,” Sompot Chidgasornpongse (Thailand) 

“No Paradise If You Are Killed by a Woman,” Halkawt Mustafa (Iraq) 

“Once Upon a Time in the Middle East,” Wen Muye (China)

“One Woman One Bra,” Vincho Nchogu (Kenya) 

“The Other Side of the Sun,”Tawfik Sabouni (Syria) 

“Our Erika,” German Golub (Estonia) 

“Paikar,” Dawood Hilmandi (Netherlands) 

“Possible Love,” Lee Chang-dong (South Korea) 

“Rains Over Babel,” Gala del Sol (Colombia)

“Rehearsals for a Revolution,” Pegah Ahangarani (United Kingdom) 

“Riverstone,” Lalith Rathnayake (Sri Lanka)

“Roid,” Mejbaur Rahman Sumon (Bangladesh) 

“Roqia,” Yanis Koussim (Algeria) 

“Rose,” Markus Schleinzer (Austria)

“Rumba Royale,” Yohane Dean Lengol and Hamed Mobasser (Democratic Republic of the Congo)

“The Scent of Things Remembered,” Antonio Ferreira (Portugal) 

“17,” Kosara Mitic (North Macedonia) 

“Shame and Money,” Visar Morina (Sundance Film Festival: World Cinema Grand Jury Prize Dramatic) 

“Silent Friend,” Ildiko Enyedi (Hungary) 

“Sink,” Zain Duraie (Jordan) 

“Sons of the Neon Night,” Juno Mak (Hong Kong) 

“Soumsoum, the Night of the Stars,” Mahamat-Saleh Haroun (Chad)

“The Spiral,” Paolo Stippoli (Italy) 

“Spirit Guardians: The Last Secret of the First Emperor,” Nguyen Phan Quang Bihn (Vietnam)

“The Squirrel,” Markus Lehmusruusu (Finland)

“A State Film,” Roland Sejko (Albania) 

“Strawberries,” Laila Marrakchi (Morocco) 

“The Stories,” Abu Bakr Shawky (Egypt) 

“Taghiyev: School,” Zaur Gasimli (Azerbaijan) 

“Tell Me Everything,” Moshe Rosenthal (Israel) 

“To Hold a Mountain,” Biljana Tutorov and Petar Glomazic (Montenegro) 

“Traces,” Alisa Kovalenko (Ukraine) 

“Ulya,” Viesturs Kairiss (Latvia) 

“Variations on a Theme,” Devon Delmar and Jason Jacobs (South Africa) 

“Vertices,” Arturo Lopez Rodas (El Salvador) 

“The Virgin of the Quarry Lake,” Laura Casabe (Argentina) 

“Wanderlust,” Nenad Pavlovic (Serbia) 

“We Are All Strangers,” Anthony Chen (Singapore) 

“Who Is Still Alive,” Nicolas Wadimoff (Switzerland)

“The Widower,” Hari Secic (Bosnia and Hervegovina) 

“Woman Unknown,” May el-Toukhy (Denmark) 

“Yellow Letters,” Ilker Çatak (Berlin International Film Festival: Golden Bear) 

“Żejtune,” Alex Camilleri (Malta