N.Y. Film Festival showcases stellar selections

The festival set a high standard with its opening-night selection, "The Class," winner of the Palme d'Or at the Cannes Film Festival. The movie eschews directorial pizzazz to capture life in a typical Parisian middle school using an understated cinema-verite style. The film uses non-professional actors and is so realistic it could be confused for a documentary. Though the idea of spending time back in seventh grade might seem tedious, the French film serves as a harsh indictment of a public school system severely ill-equipped to handle the pressures of an increasingly multicultural society. The issue of race relations is handled with beautiful subtlety and finesse. This must-see presents a devastating portrait of a diverse young generation struggling to assimilate into a latently prejudiced society.

Another winner from Cannes, "Hunger," showcases first-time filmmaker Steve McQueen's gorgeous direction. Set in Northern Ireland during the Troubles - the period of extended strife between Irish nationals and the British government - the film is based on the true story of protester Bobby Sands. It follows Sands as he goes on a fatal hunger strike to improve conditions for political prisoners. McQueen uncovers the beauty that lies in the filth of history; even a shot of feces spread across a cell wall becomes a shocking testament to man's need to express himself. The ravages of hunger are evoked through a series of inventive visual cues that undercut the glory of martyrdom and lend a surprising weight to McQueen's historical drama. "Hunger" painfully reveals the grotesque extremes to which one man takes his political beliefs. These two award-winning films, which could not be more different in style or scope, exemplify the range and overall quality of the movies at the film festival.

Besides already established films, the festival marked the debut of a host of flicks that seem poised to dominate the awards circuit. Want a sneak peek at this year's Best Actress category? "Happy-Go-Lucky" by the British auteur Michael Leigh features a charming performance by Sally Hawkins as Poppy, a joyful single woman living in London. Hawkins avoids being a British "Amelie" knockoff by delivering a full-bodied portrayal that slyly hints at the hidden cracks in her character's effusive personality. In a press conference, Leigh said he hoped to make a movie that "burst with energy ... with life." Thanks to Hawkins, Leigh succeeds beautifully.

Looking to see who's a shoo-in for best actor? Eighties superstar Mickey Rourke shines in Darren Aronofsky's "The Wrestler" as a has-been professional wrestler in the vein of Hulk Hogan. The grizzled actor delivers a charismatic, affecting portrait of a man who has lost himself in the grandiose world of wrestling. Rourke makes the potentially laughable Randy "The Ram" Robinson into a tragic figure whose larger-than-life charisma contrasts with very human aches and pains. Expect this faded star to re-emerge with an Oscar for his performance.

The centerpiece film of the festival, Clint Eastwood's "Changeling," will likely be a top candidate for many a prize in the Best Picture category. Eastwood seems to have woken up one day and vowed only to make excellent movies. Set in 1920s Los Angeles, the film tells the true story of a mother (Angelina Jolie) whose son goes missing. Once the authorities return her child, she discovers, to her horror, that the boy is an imposter. The single mother proceeds to fight the seedy police force that will go to any length to keep her quiet. For once, Jolie gets a chance to show off her acting chops, as she convincingly moves from utter despair to fury in her search for her son. Yet "Changeling" offers much more than an exploration of a mother's grief. Eastwood creates a noir tale that exposes how shattered the corrupted city bosses have left their citizens. After this taut masterpiece, one has to ask: Where will Dirty Harry go from here?

Beyond typical prestige films, the festival curators played movies that could not be seen anywhere else. The most notable of these is undoubtedly Stephen Soderbergh's long and controversial "Che," about the revolutionary leader Che Guevara (Benicio del Toro). Soderbergh directs a beautiful film that feels sterile and distant from its influential subject. Over the four hours running time, this objectivity illuminates an individual whose ideals slowly cut him off from reality. The first half portrays the Cuban revolution in a lush, monumental style that celebrates the upheaval of an oppressive regime. The second, however, strips away all the visual excesses to present the guerrilla's disastrous campaign in Bolivia. Del Toro gives Che a magnetism that helps explains how he remains beloved despite leading his followers down a road of death and despair. Though not necessarily emotionally riveting, this challenging film forces the viewer to see the man behind the icon.

Perhaps the most memorable of the offerings was "Waltz with Bashir," a cartoon about the 1982 Lebanon War. Some might balk at the use of animation for so serious a conflict, but director Ari Folman effectively uses the medium to transform the war into a surreal and disturbing experience. The film's numerous boldly colored dream sequences come off as violent visual poetry. Folman captures a war-torn world as if it is a waking nightmare. During a question-and-answer session, the director referred to the film as "a bad acid trip," which perfectly summarizes the whole "Bashir" experience. This film was definitely a highlight of my festival-going experience.

Admittedly, not everything was perfect at the festival. Many of the movies are fairly major releases that will likely pass through local art-house theaters soon. Having to pay extra for a ticket and a train ride to watch a movie that will soon be playing in Princeton makes a trip into New York seem less enticing. This is a minor gripe, though. Of the 11 films I viewed, at least five are among the best I've seen this year. I have attended the festivals for the past three years, and this selection far surpasses those in terms of the sheer quality. If there is such a thing as cinematic "magic," as the slogan professes, it could be found at this year's fantastic New York Film Festival.