by NEVIL GIBSON
The huge number of films produced around the world far exceeds the ability of cinemas in even the largest cities to screen them all.
Many films therefore remain in obscurity for all time because generous subsidy schemes support cultural and other objectives. Even major film-producing countries such as France turn out only a few commercial hits in their own domestic markets — let alone cover the costs of making them.
But the movie business is truly global, and this surfeit of films has a spin-off that has led to a well-established festival circuit that can afford to pick and choose the best.
Over 44 years, since the first New Zealand International Film Festival was held in Auckland, it has become an annual feast that few filmgoers would want to miss.
The problem is too much that looks worth watching and not enough time to see them. Some test even the most hardened viewer. Last year’s Mysteries of Lisbon was actually a TV mini-series turned into a four-and-half-hour feature.
The opportunity to see films from a wider variety than the usual sources — about 46 countries this year — also highlights the importance of universal themes, from the realities of family life through to escapist entertainment.
I have chosen examples that fit those two criteria. Other titles will follow as they go into general release after they complete their festival rounds.
I Wish (Kiseki), from Japan, is about the desire of two brothers to reunite their family after six months of separation.
The parents are living apart, each with one of the boys, in separate cities that are about to be linked by a new Shinkansen service, or bullet train.
One boy hears that a “miracle” — the Japanese title of Kiseki means miracle — can occur when two bullet trains pass by one another. The brothers then hatch a plan to achieve their dream of again living under one roof.

Director Kore-ada Hirokazu wastes more time than he should on a meandering story, but you cannot fault his naturalistic style, which is reminiscent of the formal Japanese films associated with Yasujirô Ozu, who made the masterpiece Tokyo Story (1953).
Kore-ada plays to the strengths of his young cast (brothers in real life), who bring tears to the eyes as you see the effects of a break-up on them and their belief that lives can be changed for the better.
French animator Jean-François heads a small but impressive group of features that stick to traditional fare rather than computer-generated fantasy.
Le Tableau (76 minutes) uses the art of painting to depict characters at different stages — fully coloured, partly coloured and sketches — in a parable about a fairytale kingdom with clearly defined classes and privileges.
The plot concerns two runaway lovers, an “Alldun,” who is prepared to give up his upper class life for a “Halfie,” while a “Sketchie” tags along as they search for the artist who painted them, and beg him to finish the job.
Anyone interested in the history of art is treated with references to a range of distinctive styles and vivid colours.