Indie Roundup reviews the past week of news from the independent film community and provides a peek at what's coming soon.

Opening. Two films opened yesterday which couldn't have less in common: Agnès Varda's essay film The Beaches of Agnès and Nia Vardalos' I Hate Valentine's Day. Tomorrow comes Anne Fontaine's comedy The Girl From Monaco.

Deals. Xavier Dolan's family drama I Killed My Mother, Kenneth Branagh's The Magic Flute, and Asghar Farhadi's drama About Elly have all been acquired by Here Films, the company formerly known as Regent Releasing. All three are headed for theaters next year. [indieWIRE]

Online Viewing. The 4th of July weekend inevitably brings thoughts of America as a land of immigrants, and that's the topic of Home, which debuts on Amazon VOD this week, featuring interviews with Mike Myers, Alfred Molina, and Liam Neeson. Also somewhat topical: if Michael Jackson had an impact on race in pop music, what about African-American musicians playing rock 'n' roll exclusively? Raymond Gayle's Electric Purgatory examines the issue (at iTunes). If you're looking for love, you have something in common with two women in the comedy/drama Arranged (also at iTunes.)

Box Office. Kathryn Bigelow's lacerating bomb squad thriller The Hurt Locker earned a per-screen average ($36,338) that bested even the giant robots, albeit on only four screens. Woody Allen's Whatever Works expanded to 35 screens and grossed $10,280 per outing. The combination of star Michelle Pfeiffer and director Stephen Frears could stir up only a tepid $5,338 per-screen at 76 locations for Cheri, which is less than the average for Duncan Jones' Moon in its third week on 21 screens. [Box Office Mojo.]

After the jump: David Hudson's The Daily takes a permanent (?) vacation, portending the end of the world as we know it.

"Slim pickings" is the best way to describe this week's releases. Isn't anyone planning to stay home and watch DVDs?

Two Lovers
Joaquin Phoenix can't decide between Gwyneth Paltrow and Vinessa Shaw. Directed by James Gray, this suffocating drama is dark, thoughtful, and "more true to real human existence than most of the dreck that comes out of Hollywood studios," wrote Kim Voynar. I wasn't quite as impressed by it as she was, but it's still my top pick in a slow week. Also on Blu-ray. Rent it.

12 Rounds
Wrestler John Cena stars in Renny Harlin's latest train wreck (as I described it in my review), a sober drama that resolutely refuses to embrace its loonier plot elements (fire engine smashing through New Orleans, an out-of-control street car). Aidan Gillen (The Wire) provides one of the few pleasures as an exceptionally-nasty master criminal. Also on Blu-ray. The "Extreme Cut" adds less than three minutes of footage. Skip it.

Street Fighter: The Legend of Chun Li
I was hoping against hope that this might provide some cheesy fun, but Nick Schager slammed that door shut: "Fighting sequences are dreadfully lethargic ... their choreography is of a dull, unimaginative sort." Not even Kristin Kreuk can save this one. Also on Blu-ray. Skip it.

Also out: Jonas Brothers: The 3-D Concert Experience.

After the jump: "Indies on DVD" provides several good rental choices, a landmark film by Spike Lee hits Blu-ray, and a long-dismissed effort by director Hal Ashby gets dusted off.

In the U.S., movie ratings are sometimes "baffling, illogical or just plain outrageous," as Eric D. Snider wrote last year. Greater leniency is granted to blockbuster action movies, as long as the beheadings and other violent acts are not too bloody or explicit, while more peaceful-minded feature narratives and documentaries find themselves saddled with a rating that restricts their audiences because they have one too many 'f-bombs.'

In the U.K., the British Board of Film Classification has issued its latest set of guidelines "following consultation with about 9,000 people aged 16 and older," according to Reuters (via The Independent). "The clear message was that [explicit sex scenes in movies such as Michael Winterbottom's 9 Songs] were acceptable at 18." The article notes that "films with an '18' tag are restricted to patrons 18 years of age and older." Greater concern was expressed about on-screen solvent abuse, such as glue-sniffing. Rules have now been stiffened in response, and more restrictive ratings may be issued in the future.

Of those surveyed, the report claimed agreement with ratings given "in 99 per cent of all cases" for films they had watched. Are film rating systems better or worse in other countries? I've never lived outside the U.S., so I'd be interested in hearing from our international readers about their impressions, positive or negative. For those inside the U.S., do you agree with the ratings given to movies you've seen? Or does the MPAA get it wrong more often than right?

Indie Roundup reviews the past week of news from the independent film community and provides a peek at what's coming soon.

Openings. This weekend will finally see the release of Kathryn Bigelow's The Hurt Locker, an extraordinary, ticking time bomb of a movie. Michelle Pfeiffer returns to the screen in Stephen Frears' "scandalous romp" Cheri. The very timely Iranian tale The Stoning of Soraya M., which just played the Los Angeles Film Festival, should ignite further discussion. Afghan Star features four women who (literally) risk everything in a televised singing contest.

Box Office. Woody Allen's Whatever Works performed just fine, pulling in $29,574 per-screen at nine locations. The re-issue of 1947's Brighton Rock (a very good film starring Richard Attenborough as a small-time hood) drew $10,626 at one theater; Nazi zombie flick Dead Snow scared up $5,363 in business. Several films expanded: Duncan Jones' Moon to 21 theaters ($8,541 per screen), Francis Ford Coppola's Tetro to eight locations ($7,176 per screen), and Sam Mendes' Away We Go to 132 theaters ($6,600 per screen).

Deals. Our friends at indieWIRE provided details on the acquisition of Stanley Tucci's Blind Date (due in theaters late this summer or early fall) and West of Pluto, directed by Henry Bernadet and Myriam Verreault. Pluto screens tonight at the Los Angeles Film Festival (LAFF).

Trailer. Also screening at LAFF this week is Bob Byington's Harmony and Me, which revolves around a 20-something musician (Justin Rice) who still pines for his dearly departed girlfriend. The film has been showing up at festivals all over the place, and the trailer has a good, bouncy vibe.

After the jump: Watch the trailer for Harmony and Me! Plus, more on LAFF.

Hot chicks! Cool nicknames! Broken bones! Director Bob Ray spent five years documenting a fledgling, all-female roller derby league in Austin, Texas, and the result is Hell on Wheels, an energetic, snappy flick that's both entertaining and informative. Our friends at SnagFilms have made it available for free online viewing.

Dan Policarpo (AKA Roller Derby Dan) birthed the idea of a 21st Century version of roller derby, whose initial popularity peaked decades ago. Women readily responded, and Policarpo picked four that he felt would be good team captains: Heather, Anya, Nancy, and April. After he exited, the four decided to forge ahead with plans for a league, forming Bad Girl Good Woman Productions, even though they had no business experience. After two years of struggle, the first bout is held in front of 350 fans. Soon after that, the four decide to incorporate, which provokes a heated response from the players, who felt that they should have a voice in the business. Eventually things come to a head, a new league is formed (Texas Rollergirls) and emotions become heated.

"You not only get to follow women struggling with the world of business, you get to watch some kickass roller derby," wrote Jette Kernion in her review when the film debuted at SXSW in 2007. "Hell on Wheels follows all sides of the league controversies and offers us glimpses into the lives of the women involved."

After the jump: Watch Hell on Wheels!

Indie Roundup looks back at the past seven (or, sometimes, eight) days of news in the indie film community, along with a peak ahead to what's coming soon.

Opening. The highest-profile "indie" is Woody Allen's Whatever Works, wiith Tatia Rosenthal's stop-motion animation feature $9.99, Francois Velle's NYC drama The Narrows, Andy Abrahams Wilson's Lyme disease doc Under Our Skin, and Tommy Wirkola's Nazi zombie flick Dead Snow vying for attention on a limited number of screens. On the festival circuit, CineVegas drew to a close on Monday (Eric D. Snider covered it for us), the same night that Silverdocs opened in Silver Spring, Maryland. The Los Angeles Film Festival starts tonight and the New York Asian Film Festival kicks off tomorrow.

Box Office. Last weekend saw several strong openings, with Robert Kenner's doc Food, Inc. leading the way ($20,171 per-screen), followed by Duncan Jones' sci-fi drama Moon ($17,006 per screen), and Francis Coppola's family drama Tetro ($15,252). The doc Youssou N'Dour: I Bring What I Love ($10,866) and Le combat dans l'ile ($10,217) also debuted nicely, while the expansion of Sam Mendes' Away We Go brought in good business ($12,463). Daryl Wein's very informative AIDS activist doc Sex Positive drew $3,408 at one theater.

Online Viewing. How about a doc about a doc? Keir Moreano's documentary As the Call So the Echo follows an American doctor who unexpectedly finds himself in Vetnam after he decides to donate unused medical equipment. The film is available for free streaming at Babelgum, courtesy of the good folks at Cinetic.

After the jump: How will AFI Dallas the Dallas International Film Festival fare without AFI?

In the wake of the disputed Presidential election in Iran, film fans might find it interesting to take a look at Iran: A Cinematographic Revolution. Directed by Nader T. Homayoung, the documentary provides an overview of Iranian cinema, spending most of its time on milestones -- both positive and negative -- from the past 40 years. SnagFilms has made it available for free online viewing.

Starting in 1997, Iranian cinema became "an international phenomenon," as Jeffrey M. Anderson wrote in his wonderful, extensive primer for GreenCine, "a New Wave on par with the French movement of the 1950s and 60s, the German movement of the 60s and 70s and the Hong Kong movement of the 80s and 90s." But Iran: A Cinematographic Revolution makes it clear that the country's cinema was flourishing in the late 60s and 70s, producing a flock of vital, progressive pictures that received little attention outside the local territory. Tantalizing glimpses of these films are featured, suggesting that further exploration would indeed be worthwhile. That all came crashing down with the ascendance of Ayatollah Khomeini in 1979.

Khomeini's rule led to the idea of "Islamically-correct cinema," or as filmmakers interviewed in the documentary described them, "films about people in absolute poverty," preferably without any women. Some filmmakers found a way to express themselves artistically within the limitations imposed, eventually gaining international recognition, while nearly everyone was frustrated with censorship issues. The doc is very straightforward -- talking head interviews, archival footage, narration -- but the subject carries the day.

We've embedded the film after the jump for your viewing convenience. More information is available at the official site and at SnagFilms.

With the economy hurting, what better time to start up a new film studio? DF Indie Studios officially announced itself to the world yesterday, though news broke first via our friends at indieWIRE the other night. The company "is uniting veteran producers with sales and distribution experts." DF Indie Studios says it will "fully finance as many as a dozen films per year, each at a budget of up to $10 million. Significantly, the movies will also have guaranteed U.S. theatrical distribution through the company."

Notable names such as veteran producer Ted Hope (Adventureland, In the Bedroom) and distribution ace Ira Deutchman are involved with the company, as well as Scott Free, the production company of Ridley Scott and his brother Tony Scott (The Taking of Pelham 1 2 3). Company executives told indieWIRE that "the first five films will go into production this fall and hit the festival circuit next year." They also expressed the rather incredible hope that they will create between 10,000 and 15,000 (!!!) film jobs over the next five years. DF Indie Studios is still raising money for their venture, and is about halfway to their $100 million goal, according to the Associated Press.

What type of films will the company be backing? The press release mentions "commercially viable" twice and says they are partnering with "established producers with successful box office track records." Film journalist / critic Anthony Kaufman points to the Variety story, "which reported the company's aims are to make films such as 'the Saw franchise, Juno, Good Night, and Good Luck and Little Miss Sunshine.'"

There will be crunch this fall. "Crunch" as in furiously intense action from Thailand. "Crunch" as in Tony Jaa, madder than ever. "Crunch" as in Ong Bak 2, directed by and starring Jaa, now set to enliven the autumn theatrical release schedule. And if you can't wait until October 23, well, you can sit at home and watch the movie on September 25, according to Wise Kwai's Thai Film Journal.

Magnolia Pictures acquired rights to the film for its genre label Magnet in February and it was showcased at South by Southwest the following month. As I wrote at the time, Ong Bak 2 "features numerous insanely awesome fight scenes. Jaa explodes in every direction, his arms and legs delivering lethal blows as he lays waste to a variety of opponents, employing all manner of martial arts, straight fighting skills, and amazing dexterity with a variety of bladed weapons." To be fair, the pace is sometimes lumbering, and narrative clarity is not a strong suit, but those fight scenes are something glorious to behold.

Wise Kwai points to the official U.S. web site, which is only a placeholder right now, and to Mark Pollard's comments at Kung Fu Cinema about Magnolia's plan to make the film available on cable VOD, Amazon, and Xbox Live one month before the theatrical release. That's in line with how Magnolia has marketed and released other recent releases, and, in view of the modest returns for the original Ong Bak: The Thai Warrior a few years ago, makes good business sense. Meanwhile, Ong Bak 3, which will hopefully clear up some of the loose threads from OB2, is scheduled for release in Thailand in December.

"Let me get this gay stuff out of my system." Richard Berkowitz (pictured above in both images) did not set to be an AIDS activist, or even to live openly as a gay man. He fully intended to meet and marry a woman, settle down, and raise a family, which would have pleased his liberal New Jersey Jewish Democratic family. Enrolling at Rutgers University in the early 1970s, however, changed his life.

Berkowitz's journey from college student to S&M hustler to safe sex advocate to gay community outcast is carefully chronicled in Sex Positive, a documentary by Daryl Wein that opens today in New York after a successful series of festival screenings. (Regent Releasing will open it in Los Angeles and Denver next week and in San Francisco on July 3.) Berkowitz is nearly forgotten today, despite co-writing two key texts that introduced the concept of "safe sex" and generated considerable controversy upon their publication.

Wein's film succeeds in reasserting credit to Berkowitz, virologist Dr. Joseph Sonnabend, and the late musician / activist Michael Callen for vigorously proclaiming that a promiscuous lifestyle increased the likelihood that gay men would contract AIDS. That message, initially delivered in 1982 and 1983 when the gay community was devastated by scores of deaths and little or nothing was being done by the government to research and try to cure or at least slow the spread of the "gay disease," got them branded as "anti-sex." Yet the three men asserted that a "sex positive" lifestyle could be enjoyed as long as certain safeguards were employed.