Let me put in a word for: the Japanese MABOROSI, a film that is ineffably sad but wonderfully calm and visually creative; the Vietnamese CYCLO, violent but poetic and always surprising; the Italian L'AMERICA, about the Third-World-ization of two yuppies in Albania, filmed with great flair and sense of spaciousness as well as compassion; the Iranian TASTE OF CHERRIES, moving and mysterious in form; the Chinese FLOWERS OF SHANGHAI, coolly and imaginatively reducing sexual relationships to discussions of money; and the Japanese WELCOME BACK, MR MCDONALD, a rare farce that builds to hilarious heights and tweaks U.S. cultural influence. All of these are gathering cult status as the truly original and ultimately significant movies of our time, far different in style and content from the run-of-the-commercial-mill.