Don't mistake this spellbinder from Canadian writer-director Jean-Claude Lauzon for a childhood lark The film opens with a dirty old man in Sicily jerking off into a stack of tomatoes, which are shipped to Montreal, where they spill from their crate. After a woman (Ginette Reno) trips and falls on them, a doctor removes a sperm-covered fruit from her vagina. Too late, she's pregnant. Anyway, that's how twelve-year-old Léolo (Maxime Collin) imagines he was born an Italian trapped in a dysfunctional family of French Canadians.

Mom and Dad are obsessed with bowel movements, Léolo's bodybuilder brother is a coward, his sisters are certifiable, and his sadistic grandfather, whom Léolo tries to kill, hires a young girl to sit in his tub and chew on his toenails. The boy escapes through fantasy and writing. For all its perversity and piercing wit, Léolo emerges as a lyrical film of surprising warmth. Lauzon is a talent to watch.

“All Along the Watchtower”

Jimi Hendrix got hold of Bob Dylan's early John Wesley Harding tapes and in late 1967 recorded a version of "All Along the Watchtower" with the Experience in London. Dissatisfied with that first development, Hendrix brought those tapes with him to New York in early 1968 when he began work on Electric Ladyland. Eddie Kramer, Hendrix's engineer at the time, told Rolling Stone that Hendrix "was still looked upon by his basically white audience as the mammoth black guitar hero. There was a constant fight within him to expand himself." Hendrix's successful take on Dylan's work has long been recognized by the songwriter. "I liked Jimi Hendrix's record of this and ever since he died I've been doing it that way," Dylan wrote in the liner notes to his Biograph box set. "Strange how when I sing it, I always feel it's a tribute to him in some kind of way."