2003 Toronto International Film Festival - Contemporary World Cinema

Contemporary World Cinema

  • Abjad directed by Abolfazl Jalili
  • Alexandra's Project directed by Rolf de Heer
  • Antenna directed by Kazuyoshi Kumakiri
  • At Five in the Afternoon directed by Samira Makhmalbaf
  • B-Happy directed by Gonzalo Justiniano
  • Bright Young Things directed by Stephen Fry
  • Broken Wings directed by Nir Bergman
  • Crimson Gold directed by Jafar Panahi
  • Since Otar Left directed by Julie Bertuccelli
  • Drifters directed by Wang Xiaoshuai
  • Dummy directed by Greg Pritikin
  • Errance directed by Damien Odoul
  • The Event directed by Thom Fitzgerald
  • Evil directed by Mikael Håfström
  • Facing Windows directed by Ferzan Özpetek
  • Forest directed by Benedek Fliegauf
  • Böse Zellen directed by Barbara Albert
  • Fuse directed by Pjer Žalica
  • The Galíndez File directed by Gerardo Herrero
  • Golden Chicken directed by Samson Chiu
  • Good Bye, Lenin! directed by Wolfgang Becker
  • A Good Lawyer's Wife directed by Im Sang-soo
  • Grimm directed by Alex van Warmerdam
  • Gun-shy directed by Dito Tsintsadze
  • Incantato directed by Pupi Avati
  • The Hours of the Day directed by Jaime Rosales
  • I'm Not Scared directed by Gabriele Salvatores
  • Identity Kills directed by Sören Voigt
  • In the City directed by Cesc Gay
  • Intermission directed by John Crowley
  • Interview directed by Theo van Gogh
  • James' Journey to Jerusalem directed by Ra'anan Alexandrowicz
  • Japanese Story directed by Sue Brooks
  • Kamchatka directed by Marcelo Piñeyro
  • Kitchen Stories directed by Bent Hamer
  • Last Life in the Universe directed by Pen-ek Ratanaruang
  • The Last Virgin directed by Joel Lamangan
  • Loving Glances directed by Srđan Karanović
  • The Magic Gloves directed by Martín Rejtman
  • Where Is Madame Catherine? directed by Marc Recha
  • Memories of Murder directed by Bong Joon-ho
  • Milwaukee, Minnesota directed by Allan Mindel
  • The Mother directed by Roger Michell
  • My Life Without Me directed by Isabel Coixet
  • Noi the Albino directed by Dagur Kári
  • Nicotina directed by Hugo Rodríguez
  • Nos enfants chéris directed by Benoît Cohen
  • Osama directed by Siddiq Barmak
  • Pieces of April directed by Peter Hedges
  • Prey for Rock & Roll directed by Alex Steyermark
  • The Principles of Lust directed by Penny Woolcock
  • Prosti directed by Erik Matti
  • PTU directed by Johnnie To
  • Pupendo directed by Jan Hřebejk
  • Purple Butterfly directed by Lou Ye
  • Who Killed Bambi? directed by Gilles Marchand
  • Ramblers directed by Nobuhiro Yamashita
  • Remember Me, My Love directed by Gabriele Muccino
  • The Return directed by Andrey Zvyagintsev
  • Secret File directed by Paolo Benvenuti
  • Shara directed by Naomi Kawase
  • Silence Between Two Thoughts directed by Babak Payami
  • So Far Away directed by Juan Carlos Tabío
  • Al sur de Granada directed by Fernando Colomo
  • Spring, Summer, Fall, Winter... and Spring directed by Kim Ki-duk
  • Stander directed by Bronwen Hughes
  • Stormy Weather directed by Sólveig Anspach
  • Struggle directed by Ruth Mader
  • SuperTex directed by Jan Schütte
  • Testosterone directed by David Moreton
  • All the Fine Promises directed by Jean-Paul Civeyrac
  • Travellers and Magicians directed by Dzongsar Jamyang Khyentse Rinpoche
  • Vibrator directed by Ryūichi Hiroki
  • Vodka Lemon directed by Hiner Saleem
  • What the Eye Doesn't See directed by Francisco José Lombardi
  • Wilbur Wants to Kill Himself directed by Lone Scherfig
  • Wonderland directed by James Cox
  • Young Adam directed by David Mackenzie

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Famous quotes containing the words contemporary, world and/or cinema:

    Men are so charmed with valor that they have pleased themselves with being called lions, leopards, eagles and dragons, from the animals contemporary with us in the geologic formations.
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    It is change, continuing change, inevitable change, that is the dominant factor in society today. No sensible decision can be made any longer without taking into account not only the world as it is, but the world as it will be.... This, in turn, means that our statesmen, our businessmen, our everyman must take on a science fictional way of thinking.
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    The cinema is going to form the mind of England. The national conscience, the national ideals and tests of conduct, will be those of the film.
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