Despite dropping more than 50% in its second week of release, Kit Kittredge: An American Girl (Picturehouse) outdrew all other specialty releases over the weekend, earning $21,200 per screen at five theaters, according to estimates compiled by Box Office Mojo.

Directed by Canadian indie veteran Patricia Rozema (I've Heard the Mermaids Singing, When Night is Falling), Kit Kittredge has clearly benefited from a devoted fan base that convinced thousands of their parental units to fork over $20 per ticket -- which, to be fair, includes a limited-edition t-shirt -- to see the movie in advance of its wide release tomorrow. That's a very good performance when you consider its main competition was not, actually, a French-language flick that skewed very adult, but actually a heavily-advertised animated film.

Catherine Breillat's The Last Mistress (IFC Films), starring Asia Argento, took in $17,600 per screen at two locations, which probably owes as much, if not more, to the name recognition of Argento as that of the often-confounding Breillat.

Last week, indieWIRE ran a provocative piece by Anthony Kaufman about the financial woes of THINKfilm, one of my favorite indie distributors. Kaufman detailed the cash flow problems at THINKfilm, which were causing acrimony between the distrib and many of its filmmakers, who were alleging that the distributor hadn't paid what it owed to them, as well as to advertising companies charged with marketing films under THINKfilm's banner.

Now indieWIRE has a follow-up piece up by Eugene Hernandez, which says that director/producer Alex Gibney, whose film Taxi to the Darkside won the best documentary Oscar this year and was supposed to receive a major theatrical push by THINKfilm following its win, is seeking more than $1 million in damages from the ailing distributor.

While THINKfilm did pay the film's producers the minimums guaranteed by their contract on May 5, Gibney's complaint alleges that THINKfilm failed to disclose that it did not have the financial resources to support the film's theatrical push following its Oscar win, and "jeopardized the success of the film by failing to abide by the terms of contracts it entered into with public relations firms and advisers and failed to pay such firms for work done and expenses incurred."

An epic tale of a famed warrior edged out the modern explorations of a Bavarian filmmaker. Sergei Bodrov's Mongol (Picturehouse) earned $21,400 per screen in its second week of release at five theaters, according to estimates compiled by Box Office Mojo. Does this prove that indie film lovers like their blockbuster-style movies, too? If nothing else, I think it shows that people like a wide variety of movies, no matter if they're heading to the arthouse or the multiplex.

Unlikely as it seems, Werner Herzog has made a G-rated film, suitable for the entire film. Encounters at the End of the World (ThinkFilm) moved Jeffrey M. Anderson to write: "Herzog's film is something closer to art; it has a direct line to its creator's soul. If you see a lot of documentaries and that tired, old PBS format with the talking heads, narrator and clips has started to wear thin, Herzog's open, honest film is as refreshing as an icy breeze." The film grossed $17,500 at one theater in Manhattan.

Opening at two theaters in Austin, rather than the tired old Manhattan and Hollywood, Baghead (Sony Pictures Classics) did very nicely, thank you, earning $4,450 per screen. Jette Kernion commented recently on the unusual release pattern. At Sundance, Eric D. Snider reviewed it ("a blast of fresh air"). James Rocchi interviewed filmmakers Jay and Mark Duplass. We even premiered the poster. All I'm saying is: Go Baghead!

Early in Werner Herzog's unique, striking new documentary Encounters at the End of the World, the great German filmmaker reminds us that this will not be another movie about penguins. Spoken in Herzog's familiar rich, ironic drone, the line gets a big laugh, but it also brings up a good point. Does the inclusion of Herzog's personal interests make this a better movie than March of the Penguins? And, ultimately, what do we really expect from a documentary?

Let's look at these questions a little later, and get back to Herzog's film, which starts in Antarctica. Actually, it started a couple of years ago when Herzog incorporated some astonishing, underwater footage into his all-but-unreleased film The Wild Blue Yonder (2005). A photographer friend dove under the Antarctic ice to shoot images of the unbelievable creatures, shapes and displays of light that could only be seen there, and Herzog used the footage in his film to represent life on another planet (!). But the pictures apparently continued to fascinate him, and so he journeyed to the earth's southernmost point to learn more.

It's hard to say which event in midtown Manhattan on Thursday night was cooler: New German Cinema legend Werner Herzog in conversation with director Jonathan Demme at the Times Center, or the two crazed climbers who attempted to scale the New York Times building right next door just a few hours earlier. In some ways, the two occurrences worked together: It was later announced that one of the climbers did it in order to raise awareness about global warming, a relevant issue for anyone interested in Herzog's latest film, the remarkable Antarctica odyssey Encounters at the End of the World. Like most of Herzog's documentary work, it's a brilliant amalgam of gorgeous imagery and Herzog's personal philosophies. Not a scientist himself, he spends time in their company down south, seeking to understand their behavior ("Is this a big moment?" he asks when they nonchalantly announce the discovery of a new bacterium).

Demme, admitting that he and Herzog had just met earlier in the evening, opened the conversation by reading an effusive letter to Herzog written by Roger Ebert after the critic discovered that the director dedicated Encounters to him. Herzog seemed displeased that Ebert printed the letter ("Those things should stay between two men") but had only praise for his friend. "I salute him, a good soldier of cinema," he said. "We have very few left."

Growing up in suburban Los Angeles, I knew Roman Polanski as a celebrity long before I knew his work as a film director. The murder of his wife by the Manson Family in 1969 and his controversial rape case in 1977 were well covered in the media, and I formed strong negative opinions about him, especially after he fled the US in 1978.

Still, I'd heard such interesting things about Marina Zenovich's doc Roman Polanski: Wanted and Desired -- including Erik Davis' excellent, measured review from Sundance -- that I made sure to tune in when it premiered on HBO on Monday night after an extremely-limited theatrical qualifying run in New York and Los Angeles.

Before the broadcast, Slate reported that HBO changed the ending after Los Angeles Superior Courts officials complained. The Los Angeles Times published a similar story on Tuesday. Erik described what he saw at Sundance: "Perhaps the most fascinating fact (and this was something I did not know) came in the reveal that, when a new judge was assigned to the case in 1997, he agreed to throw out the charges if Polanski were to return to the States -- on one condition: that the hearing be televised. Because of that, Polanski decided against coming back."

Most critics didn't love it, but for the second week in a row, viewers streamed in anyway. Still playing at just two theaters, Joshua Seftel's comedy-drama War, Inc. (First Look), starring John Cusack, averaged $12,100 per screen to continue its reign at the top of the indie weekend box office chart, according to estimates compiled by Box Office Mojo. That gives it a two-week total of $78,700.

Among new specialty releases, Leonard Klady at Movie City News reports that Tom Kalin's drama Savage Grace (IFC Films) made $11,150 per screen at the two theaters in New York where it opened. Julianne Moore stars in a suffocating period piece about a twisted mother/son relationship. You can read more about it in the reviews by Nick Schager and Kim Voynar.

Jody Hill's comedy The Foot Fist Way (Paramount Vantage) opened in four theaters and earned $8,550 per engagement, according to Mr. Klady. Patrick Walsh offered up a mostly positive review on this "character study about a character you'd never want to meet," a children's Tae Kwon Do instructor who goes off the rails when his wife cheats on him.

Jeffrey M. Anderson described Giuseppe Tornatore's The Unknown Woman (Outsider Films) as "a restless, panicked, devastating emotional roller coaster, meticulously planned and executed like a razor." The film follows the travails of a woman who leaves the Ukraine to look for work in Italy. It made $6,000 at one theater in Manhattan.

It's been clear for several weeks now that the independent distribution company THINKfilm has been suffering from some money troubles. Around the time the Cannes Film Festival kicked off this month, blogger AJ Schnack assembled reports from various sources that the company owed a lot of money to many different places. Now, Nikkie Finke reports that Allied Advertising Ltd. filed a lawsuit in Los Angeles Superior Court today against THINKfilm owner David Bergstein, claiming that THINKfilm failed to pay for Allied's advertising services in a timely manner, while the distributor pretended that wasn't the case. A serious problem indeed.

It's a little unfair, however, for Allied to complain about THINKfilm's decision to continue doing what they do best -- buying films. The lawsuit says that the company embarked on a "lavish film licensing buying spree at various film festivals around the world," rather than exclusively focusing on paying off debt. It's worth noting that THINKfilm remained fairly withdrawn at Cannes this year, and while they did pick up theatrical rights for Marina Zenovich's Roman Polanski: Wanted and Desired at Sundance, the film already had a television deal in place with HBO. Meanwhile, the company has dropped Battle in Seattle, which it originally purchased at the Toronto Film Festival. The "buying spree" sounds like needless exaggeration on Allied's part. Whatever the case, given THINKfilm's track record (they did guide Ryan Gosling to his Half Nelson Oscar nod), one hopes they'll survive this nasty legal snafu.

Adapting real life stories for the big screen is a dangerous proposition. Play too fast and loose with the truth and you stand accused of insensitivity and arrogance; remain too slavish to the facts and you might end up with a deadly dull drama. Inspired by a hit and run automobile accident with a bizarre twist, director Stuart Gordon and screenwriter John Strysik walk this tightrope with finesse, concocting an original, deadly serious, blackly-comic thriller.

Stuck begins by following the basic outline of what happened in Fort Worth, Texas, in the fall of 2001, which I've written about before. In short: a nurse, high on drugs, smashes into a homeless man, who lodges in her car's windshield. She drives home, parks in her garage, and goes to bed, leaving the man bleeding -- and stuck. The film quickly veers away from the facts of the case, though, transforming into a deeply-felt meditation on personal accountability in an age of irresponsibility. It grows more and more outrageous, nearly fishtailing out of control, before righting itself and delivering a walloping conclusion.

Mena Suvari stars as the out of control caregiver, here renamed Brandi, and Stephen Rea is her moral counterweight as the down on his luck Tom. For her part, Brandi isn't so much immoral or amoral as she is incredibly self-centered.

This week is overflowing with potentially interesting indie DVD releases. What Would Jesus Buy?, an entertaining documentary directed by Rob VanAlkemade and produced by Morgan Spurlock, asks a very serious question in comedic form. As I wrote in my review, the film follows Reverend Billy and his Church of Stop Shopping Choir on a trek across America as they deliver an anti-shopping, anti-materialism, pro-Christmas message, bolstered by the trappings of fundamentalist religion. The DVD from Arts Alliance America includes deleted scenes, an 8-minute public access show featuring Reverend Billy, the Choir and Morgan Spurlock, and printable lyrics of the Choir's customized Christmas carols.

Theodore Braun's doc Darfur Now "is solely about the power and the conviction" of six people who have made a difference in Sudan, according to our own Christopher Campbell. "If there's one flaw with the film, it's that it almost conclusively portrays the Darfur problem as no longer a problem." One of the film's producers is Don Cheadle, who also appears along with George Clooney. The DVD from Warner Independent includes additional scenes and an introduction and commentary with Braun.

Woody Allen may not be thought of nowadays as an "indie" auteur, but, really, how many directors enjoy his creative freedom? I admire his untiring work ethic, but many of his recent films feel half-chewed, and Cassandra's Dream is no exception.