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Both are Spanish-language features shot in Mexico by first-time American directors, and both are ambitious hybrids: socially conscious films in the form of brash genre entertainments.
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Adding to the recent spate of restaurant movies is "Waiting," a video feature shot in South Philadelphia by Patrick Hasson.
The film, Demy's only feature shot in America, has nothing to do with the Rat Pack ethos implied by the packaging.
His early efforts as a director included "Corre Gitano" (1982), a feature shot in Madrid and Seville with the noted flamenco performer Mario Maya.
I thought the fashion spreads were generally strong - in particular, a feature shot in Brooklyn by Mert and Marcus, with right-on styling by Alex White, and Tim Walker's sweet images of eccentric young Londoners.
As coincidence or design would have it, he had been named for the actor Dustin Farnum, who starred in Cecil B. De Mille's "Squaw Man" in 1914, the first feature shot in Hollywood, which happened to be produced by Samuel Goldwyn.
His new film, "10" (the director's first fictional feature shot in digital video), follows a Tehran woman (Mania Akbari) through a series of conversations, all of which take place in her car.
The film was a milestone - the first full-length feature shot in Jamaica by a Jamaican director with a fully Jamaican cast, centring on the realities of Jamaican island life.
LOS ANGELES — "Journey to the Center of the Earth" — promoted as the first live-action feature shot in a new digital 3-D process — sold a modest $20.6 million in tickets at North American theaters over the weekend, placing third among the five highest-grossing films for the period.
They range from Charles Chauvel's Jedda (1955), the first Australian feature shot in colour, to Fred Schepisi's The Chant of Jimmie Blacksmith (1978), which played a part in shaping debate around racial relations, to Warwick Thornton's devastating reality check Samson and Delilah (2009).
Huber describes Partly Fiction as "a portrait of his face" and those expressive eyes and weathered features, shot close-up in black and white by McGarvey's luminous cinematography, do indeed speak volumes about how Stanton has made silence and stillness his most powerful means of onscreen communication.
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