As cold winter nights make room for breezy spring days, the Cleveland International Film Festival (CIFF) once again returns with 11 glorious days of cinema. Between March 22 and April 1, the 36th annual festival will screen more than 300 flicks. Here are our 15 most-anticipated films of this year’s festivities. Alps (Greece) From the crazed mind of Yorgos Lanthimos, director of the totally bonkers “Dogtooth,” comes “Alps.” It’s about four people who, when a family member dies, decide to hire one another to take the place of the deceased in order to console for their loss. Sound strange? If this film even comes remotely close to the bizarre and surreal world of his previous film, viewers are in for one heck of a mind trip. Andrew Bird: Fever Years (U.S.) Acclaimed indie musician Andrew Bird’s touring year is captured in all its glory here through the thick and thin of his busy times on the road. Sit back and enjoy your journey on tour with this multi-instrumental talent as he performs across the nation. The Art of Love (France) Described as a French take on a Woody Allen picture, “The Art of Love” seems prime material for the film-festival circuit. The film intertwines numerous vignettes, tackling, among other things, love and sexual desire in modern-day Paris. Beauty Is Embarrassing (U.S.) As one of the mad geniuses behind the cherished “Pee-Wee’s Playhouse,” Wayne White is one of American’s most important artists. “Beauty Is Embarrassing” is described as a funny, irreverent, joyful and inspiring documentary chronicling the life and times of this talented soul, who shows us that we should all follow our passion. Best Intentions (Romania) This highly acclaimed Romanian film tells the story of an increasingly paranoid man, who becomes even more neurotic after his mother suddenly suffers an untimely stroke. Described as a dark-dramatic comedy, “Best Intentions” is essential for those looking for something a bit more peculiar. Daylight Savings CIFF favorite Dave Boyle, who was awarded the Someone To Watch award at last year’s festival, follows up 2011’s “Surrogate Valentine” with this sure-to-be-entertaining romp. Once again starring real-life musician Goh Nakamura, “Daylight Savings” chronicles the guitar-wielding San Franciscan after a tough breakup. I Am Not a Hipster (U.S.) Fresh from this year’s Sundance Film Festival comes this intriguing film based on San Diego’s indie rock and art scene. King Curling (Norway) Quite possibly this writer’s most-anticipated film in the festival, “King Curling” is a quirky Scandinavian take on the sport of curling. Imagine if Wes Anderson had directed “Kingpin,” and you get an idea of what this film has up its sleeve. Mourning (Iran) Real-life husband and wife Kiomars Giti and Sharareh Pasha star as a hearing-impaired couple who must suddenly care for their nephew after the death of his parents. No Room for Rockstars (U.S.) Those interested in what happens on tour during the famed Warped Tour should enjoy this documentary about the annual punk-rock road show. Salt (Chile/Argentina) A Spanish filmmaker in search of a great story for his screenplay gets mixed up in a real-life Western. Expect this film to be one wild ride. Tokyo Playboy Club (Japan) Set in the underworld of Japan’s best-known city, “Tokyo Playboy Club” is an offbeat, madcap film, which has already drawn comparisons to the work of Quentin Tarantino. Toll Booth (Turkey) Turkish director Tolga Karaçelik makes his feature-length debut with this intriguing film about a toll-booth attendant who begins to confuse reality with fantasy as his mind starts to unravel. Tomorrow Will Be Better (Poland) With a plot concerning three ragged homeless boys who escape Ukraine and hit the road for Poland, one would assume that this film would be rather depressing. Instead, it’s a powerfully effective picture that offers hope for a better world. Tyrannosaur (Britain) British actor Paddy Considine makes a giant leap with his directorial debut, which follows a self-destructive man and his relationship with a shop assistant. “Tyrannosaur” is said to be a bleak and uncompromisingly moving film.