Nearly at an end

As we prepare to wave goodbye to MIFF for another year, there's just enough time for me to share with you these three recent posts of Gracia's about the many films we have seen:

Pepe and the finely dressed felines of Paris
Le Joli Mai (Director: Chris Marker); Wadja (Director: Haifaa Al-Mansour); Tower (Director: Kazik Radwanski); Coming Forth by Day (Director: Hala Lotfy); Blancanieves (Director: Pablo Berger); Viola (Director: Matías Piñeiro); The Best Offer (Director: Giuseppe Tornatore)

and

And lo! the homeward dash
The Villiage at the End of the World (Directors: Sarah Gavron/David Katznelson); Gebo and the Shadow (Director: Manoel de Oliveira); My Sweet Pepper Land (Director: Hiner Saleem); Vic+Flo Saw a Bear (Director:Denis Côté); Blackfish (Director:Gabriela Cowperthwaite)

and

Fables and poems
The Day of the Crows (Director: Jean-Christophe Dessaint); A Hijacking (Director: Tobias Lindholm); Shirley — Visions of Reality (Director: Gustav Deutsch); The Selfish Giant (Director: Clio Barnard); Rhino Season (Director: Bahman Ghobadi); The Major (Director: Yuri Bykov)

...and this sparrow too, in a moments pause between film screenings.

As my second coffee of the day brews, I find myself in complete admiration and awe of G's ability to string together such wonderful sentences about all the brilliant films we've seen at this year's fest.

(Image credit: The Wreckers of the Limited Express (Lubin, 1906), a hand-colored detail from the database of 35mm nitrate film frame clippings collected by Italian film historian Davide Turconi (1911–2005) from the Josef Joye Collection in Switzerland and from other unidentified sources. The collection consists of 23,491 clippings in total (usually two to three frames each). The vast majority of the frames cover the early years of cinema (from ca. 1897 to 1915).)