One reporter’s picks of best of the fest

I saw 29 film festival movies, including “The Ides of March,” which I saw at the Palme d’Or in October, and “Paradise Lost 3: Purgatory,” which I saw on HBO during the film fest.
I’ll probably see “Haywire” this weekend to give me an even 30. That’s always a good number to put at the end of a story.
I didn’t see the FIPRESCI selection for Best Foreign Language Film, Hungary’s Oscar submission, “The Turin Horse,” which I regret since its director, Béla Tarr, is one of the world’s most influential filmmakers. And I didn’t see the New Voices/New Visions Award winner, “The House,” which I heard absolutely no buzz about.
But here are the 10 best narrative films I viewed:

A Separation,” Iran, directed by Asghar Farhadi. Great ensemble cast. The FIPRESCI critics shouldn’t have just singled out the women
“Abu, Son of Adam,” India, by Salim Ahamed. A sensitive film that helped me understand a time when people accepted their “lot” in life because of their belief in God.
“Bullhead,” Belgium, by Michael Roskam. FIPRESCI Best Actor winner Matthias Schoenaerts could become a great action star in Hollywood. He’s Dwayne Johnson with acting chops.
“Flowers of War,” China. Brilliantly directed by Zhang Yimou. Great performance by Christian Bale. Probably my favorite film of the festival.
“Last Winter,” Belgium, by John Shank. Great cinematography and I empathized with the family farmer who was losing his way of life.
“Love in the Medina,” Morocco, by Abdelhai Laraki. A lesson that personal liberties are certainly not a birth right.
“Miss Bala,” Mexico, by Gerardo Naranjo. Great shot selection in telling a story so unbelievable, it’s hard to believe it was true.
“Rumble of the Stones,” Venezuela, by Alejandro Bellame Palacios. A great story, realistically told, that makes you believe the seeds you sew really can affect you like a curse.
“Salmon Fishing in the Yemen,” UK, by Lasse Hallström. The perfect opening night film, beautifully directed with a message about overcoming cultural differences.
“Starbuck,” Canada, by Ken Scott. A great new twist on the family film. The audience winner could be a popular English remake, but it’s hard to imagine it being better than in French. On the other hand, the runner-up for audience favorite, “Come As You Are,” could be better as a Hollywood remake with major young stars.

Here are the five best documentaries I saw:
“Bert Stern, Original Madman,” U.S., by Shannah Laumeister. A great story told with cinematography that was influenced by Stern’s own style. To repeat what Judith Crist said of Stern’s “Jazz On A Summer Day” every shot could be a great still photograph.
“Bitter Seeds,” U.S., by Micha X. Peled. An enlightening story of the repercussions of genetically modified seeds in a culture where failure is considered a suicidal offense.
“Carol Channing: Larger Than Life,” U.S., by Dori Berinstein. This was the only documentary to receive a standing ovation and half the audience didn’t even know Carol’s husband died on Dec. 26
“Shakespeare High,” U.S., by Alex Rotaru. Probably the most exciting documentary you’ll ever see about Shakespeare.
“Unfinished Spaces,” U.S., by Alysa Nahmias and Benjamin Murray. A true education about American interference in Cuba that you’ll never get in American textbooks.