After the Wedding | Susanne Bier

Acclaimed director Susanne Bier returns with her most powerful film yet, the Academy Award nominee for Best Foreign Language Film, ÊAFTER THE WEDDING. ÊFar from home, Jacob (Casino Royale villain, Mads Mikkelsen), runs a struggling orphanage in one IndiaÕs poorest regions. Desperate to save the orphanage from closure, he returns to Denmark to meet Jorgen (Rolf Lassgard) a wealthy businessman and potential benefactor. ÊJorgen offers Jacob a seemingly innocent invitation to attend his daughterÕs wedding. What appears to be nothing more than a friendly gesture sets in motion an increasingly devastating series of surprises, revelations, and confessions that will forever change their lives. ÊSweeping, yet entirely intimate, AFTER THE WEDDING is a shattering portrait of a family struggling with the fragility of life and the search for connection, healing, and forgiveness.

The Art of Crying | Peter Shonaug Fog

An 11-year-old boy who is desperate to maintain peace in his explosive homestead and prevent the family business from being stolen out from under his father's nose blithely commits a series of atrocious acts in director Peter Sch¿nau Fog's dark family drama. Allan's father is a psychotic milkman. When the intrusion of a rival family threatens to deepen Allan's already fathomless woes by plunging his family into financial destitution, the disturbed youngster resorts to morally reprehensible revenge tactics as he begins showing signs of inheriting his father's madness.

The Boss of it All | Lars von Trier

Lars von Trier's black comedy The Boss of It All (Direktoren for det Hele, 2006) concerns an IT company owner who - in need of a figurehead to "hide behind" when confronted with employee problems - invented the personage of a CEO during the startup period for his corporation. The scheme worked for a surprisingly long period, but when the time arrives to sell the business, massive problems arise - for the prospective buyers insist on only negotiating with the CEO, in person. Thus, the owner further extends the ruse, by hiring a down-and-out actor to impersonate the chief officer. With Direktoren for det Hele, von Trier uses a new means of filmmaking for this film: Automavision, whereby filming is done with an "automatic randomized camera" that selects the shots. It became a means for Von Trier to "clean up" his approach to directorial work and reconnect with his own love of filmmaking.

Offscreen | Chistoffer Boe

A struggling independent filmmaker desperate to salvage his failing marriage becomes dangerously obsessed with documenting his relationship in director Christoffer Boe's harrowing glimpse into one man's dark mental descent. Nicolas Bro (Nicolas Bro) is an actor who uses his handheld camera as a means of making the outside world a more tolerable place. When his best friend Christoffer (director Boe) suggests that Nicolas film every aspect of his life as a means of breaking his stifling inhibitions, Nicolas determines to capture a real life love story on camera as he attempts to win back his wife Lene. Though initially an amusing distraction, Nicolas growing penchant for filming the most intimate aspects of his personal life finds him becoming increasingly distanced from the real-world repercussions of his actions. Now, as Nicolas reverts ever deeper into the stories of his past and eschews the outside world in favor of documenting every minute detail of his life, his loose grip on reality begins to slip with frightening consequences.

We Shall Overcome | Niels Arden Oplev

We Shall Overcome tells the story of the song that became a Civil Rights anthem. In the 19th century, many African-Americans sang "I Shall Overcome," a spiritual that had been sung by slaves. By 1945, a group of striking tobacco workers began to sing "We Shall Overcome," marking the first time the song was used in a social protest. In the mid-'40s, workers at the integrated Highlander Folk School in New Market, TN, carried the song to dozens of strike sites. Folksinger Guy Carawan traveled throughout the South for several years, at great risk to himself, spreading the song. By the late '50s and early '60s, the song became a rallying call at sit-ins and marches. The Freedom Singers brought the song to Northern colleges and Joan Baez sang it during the March on Washington in 1963. Later, the song also became central to the women's and peace movements. Narrated by Harry Belafonte, We Shall Overcome includes interviews with Pete Seeger, Peter Yarrow, and Bishop Desmond Tutu.