Alex Gansa and Howard Gordon, TV Masterminds (and of course, with Claire Danes' Embodiement of the Bipolar Agent), that Turned an Espionage Show into an Addiction: "Homeland Season 2" Finishes Strong, with Brave Conclusions and Hooks for S3

Tony Gilroy Picks a New CIA Top Agent (Gone Rogue, for a Legitimate Reason) in the "Bourne Legacy" (2012)

Of course, there is only one Jason Bourne and he is Matt Damon. And Jason Bourne will forever be Matt Damon. And Matt Damon will be missed. But that doesn't mean we need to dwell on Damon and not enjoy the new thrills. It doesn't mean that another CIA-trained agent cannot become as captivating and credible as a hero on his own term. Jeremy Renner delivers this credibility and bravery from the opening Alaska chilling visuals to the Manila action-packed motorcycle chase scene to the...well...you know, the very last idyllic, like-a-breeze-for-my-action-packed-scene-eyes-escapism-feels-the-best-after-life-endangering-times shot. Rachel Weisz immerses you immediately into the world of a committed scientist, who was (too naively) caught in an intelligence chase. Edward Norton is also a treat to watch as a CIA chief/director from headquarters, making tough decisions and mobilizing teams to find the target (you know, the usual tasks of the CIA chiefs). The plot is simple and that's part of the beauty of the Legacy. It involves enhanced mental and physical abilities, breakthrough genetic science, breakdown shootings or planted shootings (a short but extremely memorable performance by Zeljko Ivanek), classified CIA programs, a dissident who was quick to assess his trainers have turned to his enemy, CIA spy gone rogue, an alliance between an operative and a scientist. All mixed with the usual espionage/action thriller ingredients - jet-setting the camera to at least a few distant locations (here we have Alaska, DC, NY, London, Manila - a small subset - I said the plot is simple), a potential love interest/male-female alliance, the every minute and intelligence detail counts, car and motorcycle chases, HQ-driven action and tough decisions, a few twists, cover-ups and you are more than half-way there. Perhaps it's because I watched it on a plane, with no expectations, no advance viewing of the plot, but the simplicity and back to basics style of the new Bourne gave me the right amount of adrenaline and spy cinema.

Affleck Strikes Again: CIA Exfiltration, Hollywood Style, in Tehran 1979/1980 in "Argo" (2012)

The Sound of Temptation and the Fleeting L.A. Air in Russo-Young's "Nobody Walks" (2012)

Shhhhhhhhhhhhhhhhh. L.A. winds and secrets travel through the family house walls. And through the body movements and eye glances. Surrendering is short-lived. Damage can be forever.

Rashida Jones' Suppressed Heartbreak Shines in Lee Krieger's "Celeste and Jesse Forever" (2012)

Holding on to your story. To block the real process of heartbreak. Holding on to the breakup to block the process of leaving it in the past. Holding on to the person that was once your best friend, closest confidante and bedtime whisperer.

TFF012: Shorts - "Status Update" Collection (2012)

Am usually hard to convince to pick shorts over features, but this collection was like a little bag of candy. Triggering reflections on the notion of time and flashing of questions (43,000 FEET), on the perils and speed of social media interactions (SCREENSHOT), on unconventional competition (RUNG), on the sexual expectations from a man's and woman's perspective (CAFE REGULAR CAIRO), on revisiting a place you left behind (GABI), on a surprising way to execute a breakup (DOUBLE OR NOTHING), on the stylized safecrackers (PITCH BLACK HEIST). For additional descriptions of these mini gems, I take the liberty of borrowing from the TFF program: "In Rung, after a cathedral bell ringer passes away, his spot on the bell-ringing choir is up for grabs and two women find themselves in an unlikely competition for the coveted position. A couple's relationship goes through its first big test in a crowded spot in Café Regular Cairo. GABI is a sassy, sexy, and strong Puerto Rican woman, but an unexpected family death forces her to return to her native homeland, confronting a place she thought she had left behind. When a man brings his eight-year-old son to a soccer game and the ticket price is higher than he expected, he is desperate not to disappoint the boy in Bad Gones. In Screenshot Kate meets an old friend through Facebook and discovers just how unfriendly a place the internet can be. On his way to a statistics conference, John Wilkins is the victim of a freak accident, sucked out of a plane when an emergency door fails mid-flight at 43,000 Feet. Clark and Becca leave a bar after a night out with friends, and when they pass a homeless man on the street Clark gets an idea in Double or Nothing. Liam and Michael are professional safecrackers who meet on a simple job to relieve an office safe of its contents, but there's a catch—a light-activated alarm system impels the men to embark on a Pitch Black Heist."

TFF012: Irrational Obsession in Andrew Semans' "Nancy, Please" (2011)

TFF012: Keanu Reeves Assesses the Digitization of Cinema in "Side by Side" (2011)

Keanu (not the most logical choice, but it kinda works) traces the impact of digital technology on 21st century filmmaking. The familiar argument (film vs. digital) and modern development quickly becomes repetitive. But, for film fans, not to worry. The cameos and opinions of director giants of our age will keep you watching. Scorsese, Boyle, Nolan, Fincher, Soderbergh, Linklater, Cameron...each reveals their techniques, preferences and either nostalgic or revolutionary forward approaches toward their art. Worth revisiting when choosing which camera to pick for your first or next endeavor.

TFF012: Sun-Kissed Unexpected Life-Changing Encounter in Coiro's "While We Were Here"(2012)

Elusive (Colorful and Triangular) Lust in Xavier Dolan's "Les Amours Imaginaires" (2010)

"Il n’y a de vrai au monde que de déraisonner d’amour." – Alfred De Musset

In Xavier Dolan's cinematic colorful candy, the lines of lust, love, imagination and reality are blurred. Sweetly and in slow motion. With such precise, yet flowing dialogue. The colorful bubble bursts towards the end, but the lust cycle will continue, the film clearly shows that, as life always does. Dolan's style is so explicitly reminiscent of the many film geniuses - Almodovar (the colors! the reverent spotlight on the woman, the well picked spanish version of "Bang Bang"), Truffaut (this is another "Jules et Jim" inspired theme of a menage a trois), Wong Kar-wai (graceful slow motion with nostalgic soundtracks), Godard....The Godard cinematic reference seduced me the instant the filtered color screen (bed) shot appeared, accompanied by symphonic music with the same melody as the "Le Mepris" theme instrumental. This homage to Godard (intentional or unintentional), like a coup de foudre, brought sentimentalism to the screen, even though the scenes characterized by this Godardienne feature portrayed relationships that were close in body contact, but far in minds and hearts. Despite all these very explicit borrowings, they are not plagiaristic. The Francis-Marie-Nicolas lust triangle strongest originality (when compared to other themes that treat these triangular subjects) is in portraying the impact an emotional infatuation can have on an individual's (in)dependence and on other bonds (the friendship between Francis and Marie). How lust can direct all our actions and behaviors (including bending the image to others, visibly demonstrated by Marie's striving to replicate Hepburn's look and era, just based on one sentence from Nicolas about his admiration for Hepburn; including the sweet contemplative pleasure both Marie and Francis take, separately, to pick the perfect birthday gift for Nicolas). How lust can make you more alive than ever.