The Mole Agent”), Agnieszka Holland (Czech Republic’s “Charlatan”), Maria Sødahl (Norway’s “Hope”) and Kaouther Ben Hania (Tunisia’s “The Man Who Sold His Skin”) — have little obviously in common, ranging as they do from long-lauded veterans to a rising talent enjoying her first major international breakout.
Their films run the gamut from hybrid documentary to semi-autobiographical fiction to wild, high-concept satire — bound by intense, often socially conscious empathy for the complicated subjects at hand, with little in the way of sentimentality.Sødahl’s film, her second feature and her first in a decade, is the most intimate and domestically focused of the five, though that approach still permits plenty of surprises.
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