The Moveable Fest

David Kittredge had reason to believe there might not be much of an audience for “Boorman and the Devil” when the film that it would be about — “The Exorcist II: Heretic” — was known to clear out theaters upon its release in 1977, a notorious bomb despite the fact that it doubled its budget on name recognition alone.

When Lotta von Schedvin first met P.K. Mahanadia in Delhi in 1976, she did not see a confident young man.

An unusual thing happened as the credits began to roll on “American Doctor” when it played at the Sundance Film Festival.

Only a day after she brings up the prospect of separating from Vytas (Marius Repšys), her husband of 11 years, Marija (Žygimantė Elena Jakštaitė) starts to regret it in “How to Divorce During the War.” Not because she is any less frustrated with the state of her union, having success at work because of her strong motivation unlike the aimless writer she married who she thought would give her an adventurous life, and she is only slightly more concerned about the impact a separation will have...

“It’s the contest everyone wants to lose,” Dan Rather can be heard saying on the CBS Evening News circa 1982 in “To Use a Mountain,” referring to the 77,000 tons of waste produced by the U.S. that becomes a not-so-grand prize following the passage of the Nuclear Waste Act, setting off a search for a state that will accept it.

There’s a particular feeling that one could have waking up around 2 a.m., bleary-eyed and turning on the television while attempting to get back to sleep years ago, only to be strangely entranced by some B-movie from decades earlier that was on to fill time at the local TV station when it would cost next to nothing to license.

“It will be over soon,” Abu Awad, the patriarch in “Concrete Land” says as he’s watching news perched in Jordan where Itamar Ben Gvir, the Israeli minister of national security was recently empowered to clear the land of what’s left of the sovereign Bedouin communities in the area as it has been designated for commercial development as part of the Negev Desert.

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“I literally can’t keep going up and down each down,” a beleaguered elevator operator (Albert Birney) amusingly shrugs in “The Arrow at Rest at Every Instant of its Flight,” as a pair of former flames (Gus Birney and Daniel Zolghadri) seem to be in a similar spot separate from the fact that they’re literally suspended in the air.

A little encouragement can go a long way in “Sacred Creatures,” a strange and endearing rumination on faith that has mysterious charm similar to its lead Miriam (Olivia Luccardi), though it takes a bit of time for both to find their footing. For Miriam, who has come from abroad to the Italian countryside where her brother Ray (Jamie Cusati-Moyer) is working as an artist’s assistant for a sculptor named Renzo (Antonio de Matteo), the excursion isn’t exactly some leisurely getaway.