Already in theaters: Director Noah Baumbach reunites with his "Greenberg" star (and this time, co-writer) Greta Gerwig for the charming, understated story of a disorganized young woman trying to figure out how to become "a real person."
"Stories We Tell"
Canadian actor-turned-director Sarah Polley makes her documentary debut by looking at her own family history in an artful uncovering of old stories and buried secrets.
The third installment in director Richard Linklater's collaboration with actors Julie Delpy and Ethan Hawke finds the couple from "Before Sunrise" and "Before Sunset" meeting on vacation on a Greek isle. Many reviewers at Sundance and Tribeca called it the best of the three films.
"We Steal Secrets: The Story of WikiLeaks"
Oscar-winner Alex Gibney ("Taxi to the Dark Side") sets his sights on Julian Assange and WikiLeaks; Assange himself badmouthed the film before seeing it, but most of those who've actually seen it have been considerably more enthusiastic.
"Much Ado About Nothing"
In between "Avengers" movies and TV projects, Joss Whedon took 12 days off to film (at his house) a black-and-white version of the Shakespeare play with a cast that includes Amy Acker, Alexis Denisof and Nathan Fillion. "The first great contemporary Shakespeare since Baz Luhrmann's 'Romeo + Juliet,'" said the Guardian.
"The Bling Ring"
The high visibility of this teens-gone-wild tale on the recent MTV Movie Awards might jeopardize the film's indie status, but not among those who remember how "Lost in Translation" and "Somewhere" firmly established director Sofia Coppola is an uncompromising indie filmmaker at heart.
"Violet & Daisy"
With Alexis Bledel ("The Gilmore Girls") and Saoirse Ronan ("The Lovely Bones") as teenage assassins, and a style that mixes violence, comedy and surrealism, Oscar-winning screenwriter Geoffrey Fletcher ("Precious") has gone in a thoroughly unusual, occasionally baffling and consistently provocative direction with his debut as a director.
"I'm So Excited!"
Pedro Almodovar's twisted erotic comedy about an airliner in trouble isn't as substantial as some of his other films, but it's a grand, kinky hoot.
"The Way, Way Back"
Do the guys who won an Oscar for "The Descendants" have the goods on their own, without director and co-writer Alexander Payne? Reports from Sundance about this comedy with Sam Rockwell, Toni Collette, Steve Carell and teenager Liam James said that Nat Faxon and Jim Rash do.
"Only God Forgives"
Ryan Gosling called the script "the strangest thing I've ever read," but if his second collaboration with "Drive" director Nicolas Winding Refn is as taut and visceral as his first, the weirdness could be good. It comes with the cachet of a competition slot at this year's Cannes.
It could be a Woody Allen hit like "Midnight in Paris," or a footnote like "To Rome With Love." But "Blue Jasmine" is the first Allen film in years to be shot in the United States, and its cast is intriguing: Alec Baldwin, Cate Blanchett, Louis C.K., Andrew Dice Clay, Sally Hawkins, Peter Sarsgaard and Michael Stuhlbarg.
The rare movie to win both the Grand Jury Prize and the Audience Award at Sundance, Ryan Coogler's Oakland-set drama will make a stop at Cannes on its way to a release date similar to the one Sundance and Cannes sensation "Beasts of the Southern Wild" enjoyed last year.
"The Spectacular Now"
James Ponsoldt's high-school movie is funny and touching, thanks to understated performances from Miles Teller and Shailene Woodley that make teen travails feel like real life.
It threatens to be a "Scary Movie"-style spoof of period chick flicks, but Jerusha Hess' "Austenland" is as sly as it is silly, with Keri Russell and Jennifer Coolidge providing rom-com laughs as they go to a fantasy camp designed for women besotted with all things Jane Austen.
"Ain't Them Bodies Saints"
Ben Foster stars as an outlaw on the run and Rooney Mara plays his wife in the third feature from "Deadroom" and "St. Nick" director David Lowery. indieWIRE called it "spiritually indebted to both Cormac McCarthy and Terrence Malick."