Few films have emerged from the last half decade that I truly consider to be great films. There are a handful who have proven to rise above these rather prudent times. Sebastien Lifshitz's Wild Side is one of the most moving and impeccably constructed films I can recall seeing in a non-revival theater in ages. If the title comes new to you, it is probably because this near unmarketable film had such a harshly limited run that I nearly missed it. (I had seen it the prior year at a film festival and had been yearning to partake once more) The film tells the loose story of a romantic/familial partnership of three French societal outcasts. Stephanie, a pre-op transexual, Djamel an Arab prostitute and Mikhail an illegal Russian immigrant who emigrated to avoid the draft. When Staphanie's mother begins to die, Stephanie must return to her provincial home town where her lifestyle is not met with such acceptance as is found in Paris. Wild Side is a film presented as is. There are no heavy hands with which to morally evaluate characters or actions, neither are there firm hands to guide us through the narrative, as each sequence follows its predecessor more like pieces to a puzzle than a standard progressional flow. It may be difficult for some viewers, but the film's visual magnificence is enough to floor anyone. As a bonus perk, the titles