Director Rama Burshtein’s Fill the Void is nothing short of a masterwork: gorgeously filmed, expertly paced, and, much like 2011’s Iranian classic A Separation, challenges its non-native audience to recognize familiar tensions, themes, and circumstances in an unfamiliar setting. Void, Israel’s official entry for 2012 Best Foreign Language Film short list consideration, also boasts compelling performances, namely that of its leading lady, Hadas Yaron, who snagged the Best Actress prize at the 2012 Venice Film Festival.

Children watching reruns of Ramona and Road to Avonlea probably have no idea that the wide eyed girl they’re seeing, would turn into one of the most fascinating contemporary actresses. Shying away from Hollywood productions - granted, she’s the greatest thing in the Dawn of the Dead remake - she is known partly as the woman who said no to being Penny Lane in Almost Famous (a part which eventually got Kate Hudson an Oscar nomination) to work on a small production in Canada.

In 2007 she adapted Alice Munro’s The Bear Came Over the Mountain and turned it into Away From Her, a wonderfully intimate drama about a woman’s battle with Alzheimers. The movie earned a bevy of awards for Julie Christie and scored Polley her first Oscar nomination for her layered screenplay. She would then direct Take This Waltz, a complex, tough romance starring Michelle Williams and Seth Rogen. Besides her film work, Polley is also known for her activism and political awareness. However she has also managed to maintain a low key profile and her personal life remains just that:  absolutely private. Perhaps this is why her newest movie feels like an even bolder move?

Although he’s unarguably one of the most versatile working filmmakers, Francois Ozon’s movies have always suffered from lackluster screenplays. He either lets his ideas get the best of him and delivers convoluted plots (like in Swimming Pool) or he allows the style of the picture to engulf it, often leading to nonsensical—but gorgeous—films (like Potiche). His latest film, an adaptation of a play by Spanish writer Juan Mayorga, might be his most mature work to date.

Kiss of the Damned tells the story of Djuna, a vampire who falls for a mortal named Paolo shortly before her less accepting sister shows up for a week’s stay. It’s the feature debut of Xan Cassavetes, a writer/director from a family of legendary artists that includes her father, maverick indie film director John (Faces, Husbands, The Killing of a Chinese Bookie), her mother, celebrated actress and her father’s muse Gena Rowlands (A Woman Under the Influence,Opening Night, Gloria) and siblings/fellow film directors Zoe (Broken English) and Nick (Unhook the Stars and The Notebook).

Your movies tend to be quite serious, would you say The Angel’s Share is the closest you’ve been to making a full on comedy?

Ken Loach: A number of the films that we’ve done have comedy in them because you can’t tell a story about people and not smile sometimes.  But first, the definition of comedy itself means that that there must be a happy ending as well as making you smile. So we always try to include two or three smiles in our movies.