Adam Resurrected, adapted by Noah Stollum Stollman from the book of the same name by Yoram Kaniuk and directed by Paul Schrader, is a darkly abstract and haunting film featuring Jeff Goldblum in his finest, most layered performance ever. Goldblum portrays Adam Steiner, a tragic clown shattered by the horrors of the Holocaust. A clown and ringleader of his own highly successful circus act in pre-War Berlin, Adam finds himself, his wife, and their two young daughters caught in the roundup of Jews. Ironically, his audience was once full of soldiers in Nazi uniforms; now the very people Adam spent his life making happy are just as happy to see him and his family exterminated.

Adam in the present is a prisoner of his memories of those terrible years, and now resident ringleader of a fictional asylum for Holocaust survivors in the Israeli desert. He's a man with a fractured soul, and as a result of his unrelenting anguish and guilt, he astounds the doctors in charge of the asylum by the ability of his mind to make his body bleed and even grow malignant tumors as he repeatedly dies and is reborn.

For the cinephile, discovering a new film by famed Swedish director Jan Troell (one of this year's Telluride tributees) is a lot like eating a perfectly made truffle after a lifetime of mass-produced candy bars. His latest effort, Everlasting Moments, was like that for me; it's that rare cinematic experience that you settle back, bite into, and then savor as the subtle richness of the film cleanses the palate and fills the soul.

Based on the real-life story of Troell's wife's grandmother, the film takes us through the life of Maria Larsson (Maria Heiskanen, in a remarkable performance), a belabored mother of a large brood in the early days of the 20th century who finds renewed passion and intellectual independence through a Contessa camera she wins in a lottery. The camera sits for many years unused until one day, Maria takes it into the shop of the local photographer, Sebastien Pederson (Jesper Christensen), to sell it to help pay the rent.

The kindly Pederson shows Maria how to use the camera, and once she starts using it, she begins to see the world through a whole new lens. Finding herself unable to resist continuing to learn and improve her eye as a photographer, Maria becomes obsessed with capturing the little moments of life around her through the miraculous ability to capture living moments in still images.

Happy-Go-Lucky, the newest film by director Mike Leigh, has been getting high praise at the Telluride Film Festival for Sally Hawkins' performance as Poppy, a primary school teacher with an optimistic nature. In this clip (see below), Poppy is taking a driving lesson from Scott (Eddie Marsan), a tightly wound driving instructor who's Poppy's polar opposite. The scenes between Poppy and Scott are some of the best and funniest in the film; this one will give you a little taste of it. Happy-Go-Lucky plays at the Toronto International Film Festival before opening in limited release October 10. You can read our full review of the film from Telluride right here.

With his latest effort, Happy-Go-Lucky, director Mike Leigh takes a departure from the dark mood evoked by most of his films with a charming little tale about an eternally optimistic school teacher, Poppy (Sally Hawkins, previously seen in smaller roles in Leigh's films Vera Drake and All or Nothing), who breezes through life, always seeing the glass half full. Poppy is one of those people who never seems to get down about anything. She smiles at surly strangers, strikes up conversations with people who'd clearly prefer to be left alone, and puts a positive spin on everything.

When her bike is stolen, Poppy shrugs it off and decides to take driving lessons; her driving instructor, Scott (Eddie Marsan, also a Leigh alum from Vera Drake) is Poppy's polar opposite. Some of the film's best moments are when she's interacting with Scott and we have the dramatic tension of his simmering anger to contrast with Poppy's perkiness. Scott is intensely uptight, seems to hate everyone and everything, and adheres firmly to the belief that if only everyone would follow a strict set of rules (his rules, of course), all would be well. Naturally, the two clash.

Fans of director Danny Boyle's work will find much to appreciate in his latest film, Slumdog Millionaire, a sweeping, hopeful story about a boy in the slums of India who becomes an instant celebrity after he wins millions on India's version of Who Wants to be a Millionaire?. Adapted by Simon Beaufoy (The Full Monty, Miss Pettigrew Lives for a Day) off the novel Q &A by Vikas Swarup, the tale is framed within an interesting narrative structure that revolves around the young man, Jamal, being interrogated for fraud by the police, who cannot believe that a "slumdog" orphan could possibly have known the answers to the questions on the show.

Boyle uses this conceit to take us back and forth from the police station, where Jamal (Dev Patel) is tortured to get him to confess how he cheated, to his appearance on the show, to the events throughout his youth that led to him knowing the answers to the game show questions. How did a boy growing up in the slums amid piles of garbage and filth know which US president is on the one hundred dollar bill, or who invented the revolver? Boyle takes us back through Jamal's life story to show us the mean-streets education that led to him knowing the answers, while managing to avoid making the set-up feel contrived.

One of my favorite things to do at Telluride is talk to people in line and on the gondola about what they've seen, what they've loved, and what they've hated. The folks who come to Telluride tend to be smart folks who love film, and I always have some fascinating conversations here.

I'm hearing strong positive buzz so far for I've Loved You So Long, Hunger, Flame & Citron, The Good, the Bad and the Weird, and Happy-Go-Lucky, all of which will play Toronto. Folks here are enamored of Sally Hawkins, who plays the lead in Happy-Go-Lucky; sadly, she broke her collarbone while shooting a stunt for her latest film, and isn't here in Telluride, but she will be at Toronto.

Hearing mixed response to American Violet (I haven't seen that one, but you can read Gene's review) and Adam Resurrected; the latter is the newest from film master Paul Schrader, and his films tend to be very heavy. I saw the film yesterday, but haven't yet written up my review for it; I need a bit more time to process what I saw. I will say this much, though: Jeff Goldblum's performance in the film is one of his strongest ever. I loved him in Fay Grim, but this is a very dark, very serious role, and he is great.

Saturday's big sneak screening was Danny Boyle's newest film, Slumdog Millionaire, which is going to be one of the biggest-buzzed films coming out of Telluride and heading to Toronto. Look for the energy around this film and positive response here to help it really pop at TIFF. My review of that film is coming shortly, but for now I'll just say that it's Boyle's best film to date by far. I had a conversation last night over drinks with a screenwriter friend who noted that Slumdog is very Dickensonian in its narrative, and we both agreed that filming over in India this time seems to have opened Boyle up in unexpected ways; this is his least solipsistic film, very accessible and with great mainstream potential -- audience response at last night's sneak, the first time the film has been seen publicly, was overwhelmingly positive.

Two more days of Telluride, look for more reviews to come ...

One of the best things about watching a lot of movies for a living is that occasional joyous thrill of sitting in a darkened theater being overwhelmed by a film, and knowing immediately that, without a doubt, you've just seen something that will absolutely end up on your top ten of the year. When that film is written and directed by a first-time director, it's even better, because you know you've just been witness to the start of a film career that promises to be something special. French novelist-turned-director Phillipe Claudel's much-talked about freshman effort, I've Loved You So Long, which has its North American premiere last night here at Telluride following an award-winning showing at Berlin and a hugely successful run in France, is one of those films.

The film, which stars Kristin Scott Thomas, opens with the reunion of two sisters who haven't seen each other in 15 years. The opening credit sequence goes back and forth between Juliette (Thomas), sitting alone at a table in an airport, looking as lost and desolate as a war refugee, and younger sister Lea (Elsa Zylberstein), coming to pick Juliette up, nervously dropping her keys as she walks in. Without a single word of dialogue to enlighten us as to what's wrong with Juliette, we know this much: this is a woman who has suffered some horrific trauma; she is lost to herself, locked away, not there.