The Amos Gitai Collection (Kino)—which comprises six films, Devarim (1995), Yom Yom (1998), Kadosh (1999), KippurKedma (2002) and Alila (2003)—makes for a superb introduction to the renowned Israeli filmmaker, whose works dovetail personal observations with a trenchant worldview; a 2005 Best Foreign Film nominee, As It Is in Heaven (Kino) is a gentle Swedish comedy about a famous conductor who returns to his hometown to find that things have greatly changed in some ways—but not in others; Atomic Jihad (MVD), a documentary about Iran’s president Mahmoud Ahmadinejad and how his views of Islamism contrast starkly with President Obama’s, is often shrill but also effective in its cautionary views; traditional and modern cultures co-exist uneasily in Bliss (First Run), a refreshingly candid take on how women are treated in Turkey—Abdullah Oguz’s film is visually splendid and dramatically powerful; the tension-filled drama Flame & Citron (IFC) concerns two Danish resistance fighters in Nazi-occupied Copenhagen; Import Export (Tartan), from Austrian provocateur Ulrich Siedl, looks at today’s out-of-control global economy through the unrelated stories of two people who travel the same path in reverse to what they hope is a better life (best extra: Siedl interview); never one of my favorite Max Ophuls films, 1955’s Lola Montes (Criterion) has never looked more ravishing thanks to its restoration, but it’s saddled with a wooden Martine Carol as the heroine (best extra: Marcel Ophuls’ Max by Marcel, a touching documentary portrait of his father); My Fuhrer (First Run), Dani Levy’s farcical blast at Hitler, is an hilarious vehicle for the sidesplitting Ulrich Mühe, who plays the Fuhrer’s acting teacher—don’t ask, just watch the movie! (best extra: Mühe interview); the twisty Italian thriller The Trial Begins (IFC) loses momentum about halfway through, but thanks to the glamorous presence of Fanny Ardant, remains watchable throughout; Norwegian director Erik Poppe is a talent to watch, if his absorbing drama Troubled Water (Film Movement), which follows a convicted child killer in his new life, is any indication (lone extra: Serbo-Croatian short film, The Kolaborator); Swedish deadpan master Roy Andersson is an acquired taste that I haven’t been to acquire—I appreciate the absurdism in every frame of the vignettes that make up You the Living (Tartan), but only the final frames of impending apocalypse are truly unforgettable (best extra: Andersson interview). (2000),