Matt Fagerholm

CHICAGO – Even if “Ain’t Them Bodies Saints” hadn’t premiered this year, snagging two Sundance awards in the process, 2013 would still be considered a landmark year for David Lowery.

CHICAGO – Like Sebastián Silva’s equally mesmerizing and maddening “Magic Magic,” Matteo Garrone’s “Reality” explores a psyche as it slowly unravels, obscuring the line between truth and fiction until it becomes hopelessly blurred. In fact, both filmmakers utilize a similar technique in portraying their heros’ delusions by occupying their peripheral vision with eerie apparitions.

CHICAGO – Boris Rodriguez’s “Eddie: The Sleepwalking Cannibal” tells a laughably inane story ripe for B-movie matinées, yet insists on taking itself (mostly) seriously. The director has made no secret of the fact that he envisions his film to be a meditation on the “darkness of creativity,” and the price that must be paid in order for an artist to find sufficient inspiration.

CHICAGO – Robert Redford has slowly become that grandfatherly figure who spends his time in the corner at family gatherings, lecturing nearby whippersnappers on the importance of challenging authority, while reminiscing about the war protests of generation’s past. He’s a well-meaning guy, but his crusty words of wisdom could use a shot of adrenaline.

CHICAGO – Hats off to Cohen Media Group for unearthing yet another indispensable piece of cinema. Andre Téchiné, the brilliant French director perhaps best known for 1994’s “Wild Reeds,” united three great actresses to star in his ambitious, painstakingly researched 1979 portrait of the Brontë sisters who authored literary classics under male pseudonyms.

CHICAGO – It takes a special sort of filmmaker to hit it big without compromising any artistic principles. This month marks a career high for Chicago’s own DIY trail-blazer, Joe Swanberg, whose microbudget gems have influenced everyone from Lynn Shelton (“Touchy Feely”) to Lena Dunham (“Girls”).

CHICAGO – “Hannah Arendt” comes to American cinemas packaged in the sort of prestige that elicits admiration rather than anticipation. Though Margarethe von Trotta is widely regarded as the leading female filmmaker in Germany, it’s doubtful that any audiences outside of her native country are all that familiar with her work. Her new film, “Hannah Arendt,” is so undistinguished that it’s hard to believe that it was made by a director often mentioned in the same breath as Fassbinder and Herzog.

CHICAGO – I suppose it was only a matter of time before Sebastián Silva delved into the brooding waters of psychodrama. There are countless moments in his previous pictures—from Catalina Saavedra’s piercing Bette Davis stare in “The Maid” to Michael Cera’s hallucinogenic agony in “Crystal Fairy”—that threaten to spiral into horrifying derangement.

CHICAGO – It’s a sad day in modern American distribution when a film as highly praised and perversely intriguing as Sebastián Silva’s “Magic Magic” fails to acquire a theatrical release. The very notion of a Sundance darling co-lensed by Christopher Doyle getting unceremoniously dumped on DVD is too maddening to contemplate. At a time when Disney labels a formulaic misfire like “The Lone Ranger” as a “risk,” it’s depressing to see a company like Sony Pictures follow suit.

CHICAGO – 12 years ago, Sebastián Silva went on a road trip with his friends. Their goal was to experience the hallucinogenic ecstasy of the San Pedro cactus. Along the way, he encountered a hippie named Crystal Fairy who ended up giving him a more transformative experience than any drug ever could. An evening of soul-bearing confessions caused Silva to have great compassion for the damaged women beneath the eccentric surface.