Maverick U.S. helmer Harmony Korine, a fest regular, will receive a tribute and a career retro. Korine will attend Gijon and present his latest celebration of bad taste, “Trash Humpers.”

Gijon, which runs Nov. 19-28, closes with Cruz Angeles’ “Don’t Let Me Drown,” a “Romeo and Juliet”-like story about two high school teens in the Bronx after 9/11.

Well received at Berlin, “Welcome” revolves around a young Iraqi Kurd trapped in France but determined to swim the Channel to a new life in England.

“The Good Heart,” sold by Wild Bunch, is directed by Iceland’s Dagur Kari (“Noi Albinoi”). Centered on a bartender training his substitute, a young homeless man, it was picked up by Alta Films for Spain at Toronto.

A Directors’ Fortnight player, “La Pivellina” recounts a woman circus worker’s temporary adoption of a 2-year-old girl.

Elsewhere, Gijon’s competish selection nails two key trends in specialty filmmaking: dramatic minimalism and darkly humored, off-kilter fare.

Both Masahiro Kobayashi’s lonely teen tale “Where Are You?” and “Between Two Worlds,” a mood poem from Sri Lanka’s Vimukthi Jayasundara, belong to the minimalist school.

“Frontier Blues,” from the Iran-born Babak Jalali, is a black-humored portrait of life in the Golestan province of Iran.

Also competing is the wacky laffer “The Last Days of Emma Blank,” from Dutch auteur Alex van Warmerdam; Romanian Bobby Paunescu’s offbeat immigration story “Francesca”; and a quirky small-town 1960s noir that tips its hat to the Coen brothers, Uruguayan Alvaro Brechner’s “Bad Day to Go Fishing.”

Pics join a bevy of already announced competition contenders that should yield some of Gijon’s most popular titles: from the U.S., Lynn Shelton’s “Humpday” and Josh and Benny Safdie’s “Go Get Some Rosemary”; and from France, Riad Sattouf’s “French Kissers” and Alain Guiraudie’s “The King of Escape.”

Competish is rounded out by Portuguese helmer Joao Pedro Rodrigues’ drag-queen meller “To Die Like a Man.”