Welcome to the Indie Spotlight, our weekly roundup of the limited-release films opening outside the multiplexes all over this great land of ours. There are quite a few indie films debuting today, and while it's especially good news for movie buffs in New York City, the rest of us can make a note of the ones that look good and keep an eye out for when they come to our neck of the woods (wherever that neck may be).

Today we have, in alphabetical order: Ashes of Time Redux, Billy: The Early Years, Breakfast with Scot, Choose Connor, Fraude: Mexico 2006, Good Dick, Happy-Go-Lucky, Nights and Weekends, and Talento de Barrio. Here's the scoop on each of them, from widest opening to smallest.

Billy: The Early Years
What it is: A friendly, faithful biopic about the Rev. Billy Graham.
What they're saying: Nothing so far. If I had to guess, I'd reckon fans of the good reverend will find it pleasant, while those unfamiliar with or uninterested in him will find it boring. That's if I had to guess.
Where it's playing: About 300 locations throughout the southeastern quadrant of the United States, below the Mason-Dixon line and east of Amarillo.
More info: Here's the official site.

Talento de Barrio
What it is: Puerto Rican drama starring Daddy Yankee as a drug dealer who falls in love and becomes a reggaeton singer. I guess it's like a Puerto Rican Hustle & Flow.
What they're saying: The only two reviews available so far are very, very negative.
Where it's playing: About 20 screens in the greater New York City and Los Angeles areas.
More info: The official site lists the theaters it's playing in.

Above: You Don't Mess with the Zohan, The Happening, Sleeping Beauty

You Don't Mess with the Zohan
Adam Sandler wandering into topical territory, actually making sense, and stll making the funny? I was surprised too! Don't worry, he still packs in plenty of juvenile gags about the outlandish size of his package and drags in every ancient ethnic stereotype possible, but as an Israeli intelligence operative who wants to become a hairdresser, he pulls off the neat trick of creating a completely silly character in a wish-fulfillment scenario that, well, nearly everyone wants to see. Rent it. Available rated (theatrical cut) on a single-disc DVD and unrated in single-disc and double-disc DVD editions. The Blu-ray includes both the rated and unrated versions.

The Happening
Maybe the inclusion of "over 1 hour of intense bonus footage not shown in theaters!" -- extended versions of "Lion Attack" and Survivalist Porch" among them -- will convert me. Maybe I'll watch M. Night Shyamalan's first R-rated horror flick again some day to see if it still makes me roll my eyes and laugh out loud at scenes that were evidently intended to make me shiver in my seat. Maybe one day pigs will fly. Skip it. Available on DVD and Blu-ray with deleted scenes and "making of" features.

Sleeping Beauty
Scott Weinberg has already written about the awesomeness of the new edition of Disney's animated treasure on Blu-ray. This is a classic no-brainer, a movie that both young and old can dip back into time and again. Buy it. Available on DVD and Blu-ray.

After the jump: Indies on DVD, Blu-ray, and Collector's Corner. Join us, won't you?

Iceland has a more robust film industry than you might expect from a small island nation of only 320,000 people, but still, it ain't exactly Hollywood. So when an Icelandic film gains worldwide attention, it's newsworthy.

Such is the case with Jar City, an excellent mystery thriller that Cinematical's Kim Voynar raved about last year at Telluride. It's the highest-grossing film in the country's history, from one of its most successful (and prolific directors), and it won a top prize at the 2007 Karlovy Vary International Film Festival.

And now it gets the ultimate honor: an American remake! (There may have been sarcasm in the word "honor.") According to The Hollywood Reporter, Overture Films has bought the remake rights and will employ the original writer/director, Baltasar Kormákur, as a producer. No word yet on who will direct the U.S. version, but a writer has been attached: Michael Ross, who wrote Turistas and who THR says is also penning the Near Dark remake.

The Icelandic setting will be changed, of course, to its logical American counterpart: Louisiana. No, really. I'm curious to see how the story transfers, since some of its details relate to the insularity of those small Icelandic communities. Also, I loved that the detective in the original was a total badass despite looking like a nerdy college professor. (That's him in the picture.) I hope they keep that element for the remake. William H. Macy would be perfect.

As far as I can determine, this is the first time an Icelandic film has officially gotten an American remake. If anyone knows differently, let me know. Otherwise, I'm marking this as a historic first for our friends in the North Atlantic.

Winners
Rachel Getting Married (Sony Pictures Classics)
The Duchess (Paramount Vantage)
Fireproof (Samuel Goldwyn)

Riding a wave of positive buzz and the rising stardom of Anne Hathaway, Jonathan Demme's Rachel Getting Married crushed all comers, earning $33,667 per screen at nine theaters in New York, Los Angeles, and Toronto, according to estimates compiled by Box Office Mojo. Hathaway appeared everywhere to promote it, even gamely spoofing herself as host on Saturday Night Live. (Loved her as Mary Poppins!)

Too much attention may be paid to Keira Knightley's ribs, but she was undoubtedly the reason that The Duchess made $7,047 per screen as it expanded to 127 locations in its third week. Keira and costume dramas seem to be the right fit; I wouldn't be surprised if this one drew an older audience that consistently attends British historical flicks.

Still ignored by the mainstream press (in contrast to Bill Maher's Religulous), faith-based Fireproof dropped just 40.5% (about the same as Eagle Eye) and took in $4,776 per screen at 852 theaters in its second week. So far the film has grossed more than $12 million. Was it ever advertised on TV? Or was the marketing done entirely through church groups? Whatever the case, with a reported budget of only half a million dollars, Fireproof appears to be a healthy success story.

Sex Still Sells
Elegy (Samuel Goldwyn)
Frozen River (Sony Pictures Classics)

Elegy, the 'old professor in love with a younger woman' adaptation of a Philip Roth novel starring Ben Kingsley and a sometimes naked Penelope Cruz, is in its ninth week of release and still playing in 70 theaters. The theater count is dropping, but the film has grossed more than $3.3 million.

Imagine Spider-Man murdering a young boy. The Rebel isn't a revisionist superhero movie, but it does star Johnny Nguyen, who was the masked stunt double for Spider-Man and Green Goblin in two of Sam Raimi's web-spinning adventures. Here Nguyen plays Cuong, an enforcer for the French exploiters in 1920s Vietnam. Anti-colonial protests have been gaining force and exerting pressure upon the ruling French, and Cuong is expected to help put them down. Caught up in his violent duties, Cuong kills a boy almost without realizing what he's done. He feels instant, piercing regret, as though the guilt for all his sins has come crashing down upon him. His remorse becomes a galvanizing force that pushes him to stop shedding the blood of his own people.

To begin, he tries to help a young rebel escape torture and certain death. The beautiful Thuy (Veronica Ngo, AKA Ngo Thanh Van) is important to both sides: her father is leader of the anti-government movement. She is understandably wary about Cuong's true intentions. Just as he's making headway in convincing her of his sincerity, his cynical, ambitious overlord Sy (Dustin Nguyen, of 21 Jump Street fame, who's never been better) appears. Sy is less interested in Cuong's allegiance than in the possibility that he can lead him to Thuy's father.

While the story is riddled with contrivances and genre conventions, the action sequences set the film apart. Johnny Nguyen is flat-out amazing in his grace and control, while Dustin Nguyen more than holds his own in close-quarters fighting. Floating like a butterfly but stinging like a bee, Veronica Ngo, a dancer/model/singer/actress, looks extremely convincing as she fiercely defends her friends and her honor. Oh, and she's a babe and a half.

Pencils down, foreigners! Wednesday was the deadline to submit a film to the Academy of Motion Picture Arts and Sciences for consideration in the Best Foreign-Language Film award at the Oscars, and 51 countries came up with something. Nations with particularly active film industries, such as Spain, France, and Italy, submit something pretty much every year; at the other end of the spectrum, there's the Middle Eastern nation of Jordan, which submitted a film (Captain Abu Raed) this year for the very first time.

If you're not familiar with the system, it works like this. (You can read the whole set of rules at the Academy's site.) Every country is allowed to submit only one film, and the Academy basically leaves it up to the individual nations to determine how that entry is chosen. The film need not have played in the U.S. yet (they usually have not, in fact), but it must have played theatrically for at least a week in its country of origin. It doesn't matter what language it's in, either, as long as it ain't English. Last year, Australia's submission was in Chinese. (For reals!)

The Academy's committee for this award sorts through the submissions and eventually narrows the field down to a nine-film shortlist. From that list, the five official Oscar nominees are chosen, and then of course there's one winner, which is usually about the Nazis.

Wikipedia has a complete list of this year's submissions, but I'll hit some of the highlights for you after the jump.

Was it the controversy over the title? Or the controversy over the bloody tampon scene? Either way, Alan Ball's Towelhead finished the weekend with the best per-screen average of all films, earning $13,250 at four engagements in New York and Los Angeles, according to estimates compiled by Box Office Mojo. Neither this flick, first unveiled at Toronto last year, nor Ball's recent return to HBO, Southern Gothic vampire drama True Blood, have drawn unanimous critical praise, but specialty audiences still seem interested in whatever the American Beauty scribe / Six Feet Under creator is doing.

Speaking of directors with a strong following, Takeshi Miike's Sukiyaki Western Django expanded to Los Angeles and maintained a healthy $4,200 per-screen average in its third week of release. Also in its third week, comedy I Served the King of England expanded into 37 locations but hasn't picked up much steam ($2,262 per screen), while steady earners Tell No One ($2,263 per screen; 11th week), Frozen River ($2,011 per screen; 7th week), Elegy ($1,948 per screen; 6th week), and Vicky Cristina Barcelona ($1,724; 5th week) all saw somewhat predictable declines in business. After all, sex and thrills only go so far among indie filmgoers.

Our criteria for inclusion in the Indie Weekend Box Office report hinges on the distributor, so here's another shout out to the #1 overall earner, Burn After Reading, from Focus Features. Likewise, soon-to-shutter Picturehouse released Diane English's The Women on the largest number of of screens they've ever handled -- 2,962 -- resulting in a per-screen average of $3,405. The picture earned more than $10 million total.

There are indie filmmakers who try to work in the realm of small character dramas and succeed only in making myopic films that feel inert and meaningless; there are those who attempt to stand out from the pack by writing scripts replete with quirky story lines and witty dialogue, only to end up with a mundane mess; and then there are a few who manage to achieve, through a combination of richly drawn, yet simple stories and excellent cinematography, a level of filmmaking that inspires without overwhelming, impresses without overreaching. Ramin Bahrani falls firmly in the latter camp, and with his latest film, Goodbye Solo, the director builds on the excellence of his previous work with a finely drawn tale of a cabdriver and the fare who changes his life.

Bahrani starts with an intriguing premise: Solo, a cab driver (Souléymane Sy Savané) picks up a routine fare, only to find his life turned upside down when the man he picks up asks him to take him to the remote mountaintop location of Blowing Rock in two weeks, where he plans to jump to his death. Solo's troubled by both the plans of his fare, William (Red West) to end his life, and the implications to himself of being a party to the man's suicide; he decides to befriend the older man in an attempt to persuade him to change his plans. This is the simple set-up for the film, and it's all Bahrani needs to make a thoughtful, compelling film that explores the relationship between these two vastly different men and the way they're changed by the friendship they form.

Today I leave Toronto to head home to Seattle, leaving James Rocchi behind to see the fest through to its exhausting end. It's been a decent fest overall, not great but good. I saw a several films I enjoyed here, including Burn After Reading, Goodbye Solo, and 35 Rhums, as well as a couple of fun midnight picks with JCVD and Detroit Metal City.

I missed being able to see a lot of films I really wanted to see, due to schedule conflicts and the lack of a cloning machine at our hotel that would allow me to be multiple places at once (or at least, the ability to see far enough into the future to foresee which of two films screening opposite each other will be wretched).

It seems that lots and lots of people who attend this fest (I'm talking normal people, not those of us crazy or masochistic enough to work in any aspect of the film business) want very, very much to attend the big parties, and seem to think if they can't get in, they're missing something fun or perhaps even life-altering. There's always a gaggle of scantily clad girls and hipsters hovering around the entrance of these events, hoping to finagle a way to crash the party.

Do I smell like Toronto? That's because I just got back from the film festival they have up there, and the scent of independent film still lingers. (It smells like Patricia Clarkson.) So I am very much in the mood for this week's edition of the Indie Spotlight, which is all about what's opening beyond the multiplexes this weekend!

Six flicks hit the big screen today: Flow: For Love of Water, Forgiveness, Greetings from the Shore, Moving Midway, Proud American, and Towelhead. Here's the scoop on each of them.
Towelhead
What it is: A dark comedy from Six Feet Under creator (and American Beauty writer) Alan Ball, based on Alicia Erian's novel about an adolescent Arab-American girl living in Texas during the first Gulf War.
What they're saying: Cinematical liked it when it premiered at Toronto last year under the title Nothing Is Private. At Rotten Tomatoes, the critics are split 50/50 as I write this, some applauding its audacity and wit, others calling it reprehensible. (Personally, I'm in the first camp.)
Where it's playing: New York City (Angelika Film Center, AMC Loews Lincoln Square), Los Angeles (ArcLight Hollywood, The Landmark), and Garland, Texas (Walnut Theaters). I assume the random Texas location is because the film was shot there? Maybe?
More info: The official site has a list of when the film opens in other cities. It's rolling out pretty heavily in the next few weeks, so people outside of New York, L.A., and Garland will be able to see it soon.