The 36th Rotterdam International Film Festival gets underway today. Whilst the North Sea port in January might not prove the most hospitable host venue (although an array of coffee shops in the near vicinity of the festival screening rooms make a welcome refuge from the sleet, snow and occasional stinker), it offers a truly global window on the state of world cinema.
Unlike London, Berlin or Venice, the focus is on undiscovered directors, new countries and - refreshingly - on reaching a wide audience rather than laying on the red carpet for retread Hollywood or Brit B-listers.
This year, as the festival reaches a portly middle age, is no different. The Tiger award may be less prestigious than Berlin's Bear, but it is undoubtedly more adventurous. The eight world premieres up for consideration come from Argentina, Macedonia, Germany, the Netherlands, Spain, Denmark and Belgium. Not an English-language or "name" director among them - and that's the most high-profile segment of the two-week festival.
For instance, this year's special retrospective, film-makers in focus, is devoted to Abderrahmane Sissako (of whom I've heard - and even seen one of his films) and Johnnie To (of whom I haven't).
There is also a special focus on Israeli film, as well as Rotterdam's perennial focus on the far east, with movies from Malaysia, South Korea, China and Japan on show in the cinema of the future selection.
The festival usually spreads out into more experimental and electronic areas - video and installation art tend to occupy the Witte de With gallery and elsewhere around the city - on top of the splendid screening venues at the Venster, de Doelen and Cinerama.
This year, for the first time thanks to sponsor KPN, some of the films will be screened on a Dutch interactive TV service. I shall only be in Rotterdam for the opening weekend, but watch this space for a clutch of reviews of films you've never heard of which will never get a UK release...
