A few more PIFFs for your perusal, for it comes to an end this Saturday, March 1. On Sun, March 2, encore screenings will be held. As of press time, that day's schedule was TBA; call 221-1156 for info.

All the Real Girls

(dir. Green, USA)

All the Real Girls nearly reverses all the nonsense Hollywood has ever told us about love. Zooey Deschanel, as Noel, and Paul Schneider as Paul, seem less like actors and more like kids who are too old to still live at home, but young enough to fall in love for the first time. David Green's direction is carefully understated--melancholy shots of the land turn scenes into little vignettes of small town life. The film is reminiscent of 2000's You Can Count On Me. In real life, the deepest emotions tend to get left unsaid. Strangely, the big dramatic scene is actually the least effective, but otherwise the film is a quaint reminder of what romance felt like when all the world was young. STEVEN LANKENAU Fri Feb 28, 6:30 pm; Sat March 1, 4:30 pm, both at Broadway

Sweet Sixteen

(dir. Loach, Great Britain)

Ken Loach (Riff Raff) directs without blinders. What could easily have been a cliched rise-and-fall tale about a Glasgow teen's immersion into small-town thug life is transformed, under his deft hand, into honest, unforced tragedy. Sixteen covers some very downbeat territory, to say the least, but it isn't without its moments of comedy, and even the rare glimmer of hope. Well acted, brimming with compassion, and indisputably real, right down to the way a helplessly loving son's mix tape for his convict mom sounds like it was recorded on the cruddiest of boom boxes. Wincingly violent (yet never exploitively so), rich with subtitled profanity, and relevant in a way that doesn't chafe. ANDREW WRIGHT Thurs Feb 27, 6 pm, Guild Theater; Sat March 1, 7 pm, Broadway

Invisible Children

(dir. Duque, Columbia)

A coming-of-age fable that gets boring at times, this is the story of the boy Rafael, and what he'll do to get the attention of his love, an "airy," self-centered little girl called Martha Cecilia. He visits a local practitioner of the black arts and steals a book on becoming invisible, so he can sidle up to his love and sniff her flesh, like any good passionate 8-year-old boy would do. However, becoming invisible involves killing a hen, a cat, and committing a mortal sin with a scapulary, leading the town and all its characters into believing devil worshippers are on the loose. It's a slow film, and the story is charming, but ultimately unextraordinary. JULIANNE SHEPHERD Sat March 1, 2 pm, Broadway