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“The heart is small and embraces the whole wide world.”

BOARD OF DIRECTORS President

SUSIE COLIVER Vice President

Di klainer hartz nemt arum di groisseh velt Traditional Yiddish proverb

SUSAN FREUNDLICH Secretary

LELA SARNAT Treasurer

DOUGLAS OKUN MICHAEL BERNSTEIN MICHAEL EHRENZWEIG SHELLEY FRIEDMAN DEBORAH HOFFMANN JULIE INY VALERIE JOSEPH LITAL LEVY ANDRA LICHTENSTEIN LENNY LIEBERMAN SARA NEWMAN SHANA PENN SHLOMI RAVID JOSH ROSEN SETH SAFIER MARIAN SOFAER PETER STEIN STEVEN ZIPPERSTEIN

PROGRAM ADVISORS

Welcome to the 23rd annual San Francisco Jewish Film Festival, the largest, longest-lived, and most provocative Jewish Film Festival anywhere! At every Festival, the little world of the movie screen embraces a wide universe of images, ideas, and personalities. This year, more than ever, we value the Festival’s ability to connect us and make sense of our conflicted world by the light of the silver screen. More than ever, we need the Festival’s commitment to free expression, diversity, and dialogue. We are committed to asking hard questions, delighting in our shared history and coming together to assert the possibility of healing, hope, and heartfelt connection—even in the darkest times. Film can be a metaphor, illuminating issues indirectly. This year’s Festival features remarkable films about families facing conflicts. As we watch these families find their way forward, we may glimpse fresh possibilities for the broken family of Isaac and Ishmael. Film can be intimate, unmasking the maker. This year’s Festival features powerful films exploring their makers’ relationships to the current situation in Israel. By probing the imperatives and limits of individual responsibility and endurance, they expose universal truths. Film can testify to persistence in the face of fear, reaching back to past challenges to suggest how it is possible to live even in times of distress. This year’s Festival features several films offering stories of remembrance to sustain hope for the future. Film can reveal the hidden realities behind the façade of ordinary assumptions. This year’s Festival features portraits of extraordinary people who are able to transcend the binds of their personal tribulations through communities of love and support.

JIM HOBERMAN ANNETTE INSDORF DEBORAH KAUFMAN GARY MEYER ELLA SHOHAT ALAN SNITOW

This year, the strongest tide in Jewish filmmaking has pulled toward Israel, in all its magnetic complexity, so we are thrilled to bring you a strong lineup of Israeli films. The strength of Israeli filmmaking this year can be attributed in part to the solid financial support of its film industry and in part to political events: it has been more than two years since the beginning of the second Intifada, and we are now seeing the first wave of productions created in response. These diverse narrative and nonfiction films offer a kaleidoscopic reflection of life in Israel, which we are delighted to share with you.

STAFF

Times are hard for non-profit organizations, which makes us especially grateful to the individuals, businesses, and foundations that have extended support to the 23rd Festival. Thanks to your largesse, this year we are inaugurating a new program: Film for Thought, free Saturday afternoon screenings and discussions that shed light on some of the questions that matter most (See the description on pages 6-7).

Director

DON ADAMS Program Advisor

NANCY FISHMAN New Jewish Filmmaker Project Director

SAMUEL BALL W W W . S F J F F. O R G / 9 2 5 . 2 7 5 . 9 4 9 0

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Film is immediate, provocative and sometimes pure pleasure. The poet Denise Levertov described going to the movies as a manifestation of heaven, “Paradise, an endless movie. You walk in, sit down in the dark, it draws you into itself.”

Administrative Director

ELIZABETH JOUAN GREENE IT Director

We look forward to seeing all of you at the movies. Please join us.

PETER J. JACOBSON Program Coordinator

ERIN STAMOS Administrative Associate

KARIN SHAW

Susie Coliver

Don Adams

Donor Development Consultant

President, Board of Directors

Executive Director

GAL ADAM Development Consultant

ELIZABETH SEJA MIN

1 4 5 N I N T H S T R E E T, S U I T E 2 0 0

SAN FRANCISCO, CA 94103

415.621.0556


JULY 17 - 24 CASTRO THEATRE SAN FRANCISCO JULY 26 - 31 WHEELER AUDITORIUM BERKELEY JULY 27 - 31 CINÉARTS PALO ALTO AUGUST 2 - 4 RAFAEL FILM CENTER SAN RAFAEL

SAN FRANCISCO 23

JEWISH FILM SFJFF FESTIVAL

DIRECTORS’ INTRODUCTION

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OPENING NIGHT

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CLOSING NIGHT & NJFP PREMIERE

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FILM FOR THOUGHT: FREE SCREENINGS ON SATURDAY AFTERNOONS

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MOVIES

8-20

CALENDAR

21-23 24

NEW JEWISH FILMMAKER PROJECT

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YERBA BUENA PROGRAM

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WEB SITE

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MORE INFO

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SPONSORS

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ACKNOWLEDGEMENTS

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CREDITS

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TICKET INFORMATION

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TICKET ORDER FORM

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DIRECTIONS, TRANSPORTATION & PARKING

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OPENING NIGHT

MANHOOD West Coast Premiere UNITED STATES, 2003, 35MM, 82 MIN., COLOR, ENGLISH DIRECTOR: BOBBY ROTH

Bobby Roth’s ode to the male condition, MANHOOD, is a darkly funny, compelling family drama that probes the depths of masculinity, specifically Jewish masculinity, in America. A sequel to Roth’s JACK THE DOG, the film asks: What does it mean to be a father? Jack (Nestor Carbonell) is a commercial photographer and reformed womanizer who is a single parent to his teenage son, Sam. When his sister Jill (Janeane Garofalo) turns up distraught, on the brink of separation from her schnorrer husband Eli (John Ritter), Jack agrees to take her son Charlie for a month. The formerly incorrigible Jack now must set a good example for two teenage boys. In accepting responsibility for his son and nephew, he discovers a depth of emotion that years of skirt chasing did not provide. The teenagers, Charlie and Sam, are initially wary of each other, but their shared interest in convertibles, electric guitars and girls leads to a family bond. Jill, for the first time in years, is stepping out of her timid self, but soon to be ex-husband Eli is not willing to let go. This stylish black comedy, peopled by oddball characters—a violent rug salesman, a dominatrix, and the flotsam and jetsam of Los Angeles posing for headshots—asks thorny questions. How do Jewish men rid themselves of the potent mixture of internalized anti-Semitism and patriarchal hegemony? How do Jewish boys develop a positive masculinity that is playful and not hurtful? How do Jewish men show love for their sons? MANHOOD is a brilliant look at the intersection of sex, love, and family, and how they shape a man’s life.

Please note: this film contains some violence and sexual situations. Filmmaker in Person, Actors Invited Opening night is sponsored by a generous grant from Wells Fargo

W W W . S F J F F. O R G / 9 2 5 . 2 7 5 . 9 4 9 0

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CASTRO THEATRE Opening Night Reception and Film CASTRO THEATRE Opening Night Film only WHEELER AUDITORIUM CINÉARTS RAFAEL FILM CENTER

THU, JUL 17 THU, JUL 17 SAT, JUL 26 SUN, JUL 27 SAT, AUG 2

6:30 PM 8:00 PM 8:45 PM 6:00 PM 9:00 PM

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CLOSING NIGHT

SAMY Y YO Bay Area Premiere ARGENTINA, 2002, 35MM, 85 MIN., COLOR, SPANISH W/ENG. SUBTITLES DIRECTOR: EDUARDO MILEWICZ

Samy Goldstein is a television scriptwriter who suffers from severe self-consciousness and dreams of writing a great novel. He is trying to hold onto his job writing for a show with plummeting ratings, his boss accuses him of recycling the same plots, his mother nags him and his relationship with his intellectual girlfriend Esther is flagging. Things couldn’t be going worse, when a young woman, Mary, who mistakes him for her father’s shrink, accosts him on the street. Samy falls in love with Mary, who is attracted to Samy’s career in media as much as she is to Samy. Mary sees Samy’s talent, not only as a writer, but also as a character and potential pop icon. Through a few shrewdly furtive moves, Mary convinces the TV producers to launch a show featuring Samy. To heighten his lovable anxiety, Samy is informed that he will be the star of his own television show only moments before the pilot is shot before a live audience. Viva reality TV! Within days, Samy’s bespectacled face graces billboards and ads all over town. Esther is suddenly interested in him again, but Samy prefers his new relationship with the star-struck and elusive Mary. The new show’s ratings depend upon Samy’s level of unhappiness, presenting him with the dilemma of choosing between personal and professional success. Ricardo Darín turns in a memorable performance as Samy, a lovable anti-hero plagued by doubts about his intellectual worth in this witty South American comedy. Filmmaker Invited Closing night is sponsored by a generous contribution from Philo Television

preceded at the Castro screening by

FOUR SHORT FILMS ABOUT LOVE World Premiere UNITED STATES, 2003, 16MM, 17 MIN., COLOR, ENGLISH DIRECTOR: ALEX BAUM, DAVID COHEN, HANNAH LESSER, LEAH WHITMAN SALKIN, MAISSA CHOURAKI, MAX ANDREWS, MAX STALEY, RACHEL BARNETT, SOPHIA TEPER, TAMARA ROSENFELD.

The New Jewish Filmmaker Project (NJFP) gives talented teenagers the resources and opportunity to tell their own Jewish stories, providing what Youth Radio (NPR) calls “a memorable snapshot of teenage Jewish life.” What does it mean to have a sister? Or to be raised by your grandparents? What is it like to be raised in a multicultural family or to be in a multicultural couple? Now in its second year, the NJFP returns with four documentary vignettes that provide a rare window into coming of age.

SAMY Y YO FOUR SHORT FILMS ABOUT LOVE

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THU, JUL 24 THU, JUL 31

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THU, JUL 24 WED, JUL 30 THU, JUL 31 SAT, AUG 2

8:15 PM 8:30 PM 8:15 PM 6:30 PM

SAMY24C UNDE30A UNDE31W UNDE02R

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If you’re a Bay Area teenager and interested in making a Jewish-subject film, please visit www.sfjff.org/project Sponsored by DHL Worldwide Express

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FILM FOR THOUGHT: FREE SCREENINGS ON SATURDAY AFTERNOONS In the Jewish calendar, Saturday afternoon is a time to put business aside, to rest and contemplate the symbols, stories, and mysteries that animate our understanding of life. This year, the San Francisco Jewish Film Festival is delighted to introduce a new initiative created in this spirit. FILM FOR THOUGHT comprises free Saturday afternoon screenings and discussions open to anyone who wants to explore cinema’s power to illuminate life’s deeper meanings. Each FILM FOR THOUGHT program features a screening of one or more challenging films, and a discussion led by guest speakers chosen for their original ideas and zest for dialogue.

THE TEMPLE IN TIME AND SPACE

LOCAL ANGEL West Coast Premiere ISRAEL, UNITED STATES, 2002, BETA SP, 70 MIN., COLOR, HEBREW/ARABIC/W/ENG. SUBTITLES DIRECTOR: UDI ALONI

SATURDAY, JULY 19, 2003, 12:30 PM, FREE CASTRO THEATRE, SAN FRANCISCO SATURDAY, JULY 26, 2003, 12:30 PM, FREE WHEELER AUDITORIUM, UC BERKELEY

LOCAL ANGEL: THEOLOGICAL POLITICAL FRAGMENTS is a first-person film by New York-based artist Udi Aloni, son of Shulamit Aloni, a founder of Israeli peace and civil rights groups. Grounded in its maker’s progressive politics, the film questions how ancient ideas of place and sanctity inform the contemporary debate over Israel and Palestine. The discussion of this screening will be introduced by Howard Hamburger, a lay spiritual leader of Kehilla Community Synagogue and a marriage and family therapist in Oakland, who has taught classes on Jewish themes at Lehrhaus Judaica and elsewhere. Filmmaker in Person at SF screening

SHARING THE SCREEN: 20 YEARS OF ISRAELI AND PALESTINIAN CINEMA AT THE JEWISH FILM FESTIVAL SATURDAY, JULY 19, 2003, 2:45 PM, FREE CASTRO THEATRE, SAN FRANCISCO

Janis Plotkin, former executive director of the SFJFF, will screen a compilation of clips from 20 years of Israeli cinema, a fascinating look at a complex society through the eyes of its social commentators and artists. Janis will present clips representing the voices and views of independent Israeli and Palestinian filmmakers, who have turned their cameras onto the volatile and poignant relationships that embody the struggle for peace in the Middle East. What composite story of the last two decades in Israeli life does this body of work tell us? What futures does Israeli cinema foreshadow? W W W . S F J F F. O R G / 9 2 5 . 2 7 5 . 9 4 9 0

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This presentation is based on the media exhibition Sharing the Screen: Israelis and Palestinians in the San Francisco Jewish Film Festival, 1981-2002, curated by Janis Plotkin and Deborah Kaufman, and produced by Peter L. Stein for The Magnes Museum, San Francisco/Berkeley. The Festival thanks The Magnes Museum for its cooperation with this program.


WOMEN AND JUDAISM

PURITY ISRAEL, 2002, BETA SP, 63 MIN., COLOR, HEBREW/W/ENG. SUBTITLES DIRECTOR: ANAT ZURIA

TIKKUN ISRAEL, 2002, BETA SP, 50 MIN., COLOR, HEBREW/W/ENG. SUBTITLES DIRECTOR: TALIYA FINKEL

SATURDAY, JULY 26, 2003, 2:30 PM, FREE WHEELER AUDITORIUM, UC BERKELEY

PURITY, a film by Anat Zuria, depicts the traditional religious observances of mikvah (ritual bath) and niddah (laws governing sexuality, exploring notions of purity and uncleanness) that have often been disturbing to feminists seeking a new relationship to Judaism in modernity. TIKKUN, a film by Taliya Finkel, follows Rabbanit Leah Kook over the course of two years in the unique, ecstatic ministry to women based in her home in the orthodox community of Tiberias. A rare and intimate look into a very unusual orthodox family. Scholar Rachel Biale, author of Women and Jewish Law, will introduce the discussion of this screening with contemporary interpretations by religious women of these challenging concepts. Theater artist and executive coach Harriet Schiffer Scott (http://www.stagepresence.com) will perform an excerpt from her one-woman show, Late Saturday Night Sunday School.

MEDITATIONS ON EXILE

GALOOT ISRAEL, 2003, BETA SP, 158 MIN., COLOR, ENGLISH/HEBREW/ARABIC/W/ENG. SUBTITLES DIRECTOR: ASHER DE BENTOLILA TLALIM

SATURDAY, AUGUST 2, 2003, 1:00 PM, FREE RAFAEL FILM CENTER, SAN RAFAEL

GALOOT, a film by Asher de Bentolila Tlalim (see full description on page 13 for regular screenings), will be screened as a FILM FOR THOUGHT session on the final Saturday afternoon of the Festival, followed by discussion of our own meditations on the situation in Israel and our relationship to it.

Sponsored by the Gilo Family Foundation

Sponsored anonymously in honor of Janis Plotkin for 19 years of dedication, courage, and creativity as a leader of the Jewish Film Festival

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GALOOT (Exile) is an extended meditation on the Israeli-Palestinian conflict through the eyes of those living at a distance. Through visits in London, Israel, Morocco and Poland with Palestinian refugees and the new immigrants to Israel who now occupy their homes, the current occupants of his family’s former house in Tangiers, the residents of the former village of his wife’s family in Lisensk, a scientist, a jazz musician, and others, the filmmaker explores the position of exile, with its unique pain and perspective on what others may be too close to perceive. By layering rich and fascinating stories, the film allows the viewer to experience the complexity of the situation in Israel and the dilemmas faced by Jews who allow themselves to feel and understand this.

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ASESINO

BLACK ISRAEL

West Coast Premiere

North American Premiere

ARGENTINA, ISRAEL, 2002, BETA SP, 58 MIN., COLOR HEBREW/SPANISH/W/ENG. SUBTITLES DIRECTOR: NURIT KEDAR

FRANCE, 2003, BETA SP, 85 MIN., COLOR, ENGLISH/HEBREW/FRENCH/W/ENG. SUBTITLES DIRECTOR: MAURICE DORÉS

The story of the Jewish “disappeared” under Argentina’s former military junta in the 1970s is tragic and sinister; of the 30,000 people who disappeared, 3,000 were Jews. Marcus and Clara Weinstein were confronted at gunpoint by soldiers looking for their son; three of Laura Braunstein’s four children vanished; and Sarah Ross, a survivor of Auschwitz, lost her only son, Daniel, in Argentina. They were some of the thousands who knocked on the doors of the Israeli Embassy in Buenos Aires. The film alleges that Israel, ignoring Argentina’s human rights violations, sold weapons to the junta. The charge that Israel’s economic relationship with a dictatorship superseded the human rights of that country’s Jewish population is shocking but credible. Only in June 1983, after the military government in Argentina was finally overturned, did the Knesset hold a special session to discuss the disappearance of Jews in Argentina. preceded by

THUNDER IN GUYANA

An African guest worker who plays in an all-French soccer league in Tel Aviv; a religious student in Jerusalem who traces his heritage to a Hebraic tribe in Nigeria; a Togolese ambassador; and a community of AfricanAmericans who run Israel’s first tofu factory are among the people we meet in this unique documentary exploring the intersection of blacks and Jews in Israel and beyond. The film introduces us to the Hebrew Israelite community of Dimona, where a group of African-Americans who fled urban slums in the 1960s have formed an independent community in the Negev desert; an Ethiopian Jewish congregation in Harlem preparing for a marriage; an African man learning Yiddish in Paris; and Rebecca Walker, the biracial daughter of civil rights activist Alice Walker. A Harlem rabbi reveals his thoughts on the spread of Judaism in sub-Saharan Africa, while black Jews ponder the shared and disparate histories of racial and religious persecution between black and Jewish people. We also hear from black people who have converted to Judaism from various backgrounds, addressing the negative and positive ways in which people are affected by their heritage, and the steps they’re willing to take to live the lives they desire. This engaging film is a vibrant portrait of pluralistic 21st-century Jewish identities across the globe. In cooperation with the San Francisco Black Film Festival

West Coast Premiere UNITED STATES, 2003, BETA SP, 51 MIN., COLOR AND BLACK & WHITE, ENGLISH DIRECTOR: SUZANNE WASSERMAN

In the fall of 1977, Janet Rosenberg Jagan, a Jewish woman from Chicago, became the President of the Cooperative Republic of Guyana. In the 1940s, Janet fell in love with Chedi Jagan, a Guyanese student of Indian descent who shared her left-wing politics and zest for life. She married Jagan and they moved from Chicago to Guyana in 1943. Both Chedi and Janet were an integral part of Guyana’s struggle for independence from the British. Jagan, a tireless fighter for democracy and organized labor, was the first American-born woman elected to lead a country. Sponsored anonymously in honor of Freude Bartlett, filmmaker, distributor, writer, artist

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BLESSINGS: ROOMMATES IN JERUSALEM

THE BURIAL SOCIETY

North American Premiere

Northern California Premiere

ISRAEL, 2002, BETA SP, 45 MIN., COLOR, ENGLISH/HEBREW/W/ENG. SUBTITLES DIRECTOR: PAULA WEIMAN-KELMAN

CANADA, 2002, 35MM, 100 MIN., COLOR, ENGLISH DIRECTOR: NICHOLAS RACZ

Five years of shooting bring us an intimate picture of a

The Chevrah Kadisha (a traditional Jewish burial society,

decades-long relationship between two remarkable women: Shulamit Cohen, 74, and Ilana Blumenfeld, 66. They are developmentally challenged roommates at Magen, an assisted-living facility in Jerusalem. Paula Weiman-Kelman’s film opens a unique window into the lives of people who are typically removed from the mainstream. As they rise to the ordinary challenges of daily life, we come to understand something of their spiritual depth as human beings. A particularly interesting element of this story is the special relationship between the Magen community and Kol Haneshema, a progressive synagogue in the neighborhood led by the filmmaker’s husband, Rabbi Levi Weiman-Kelman.

in which elders prepare bodies for interment as a sacred duty to their community) is not your average backdrop for a seriocomic caper movie, but it imbues this offbeat Jewish noir with a unique gravity. It’s a bit unusual that Sheldon (Rob LaBelle), a thirty-something schlemiel of an accountant, wants to join a Chevrah Kadisha, but the tough old foxes of the group (Jan Rubes, Allan Rich, and Bill Meilen) decide to give him a chance. Then, two million bucks turn up missing from Sheldon’s former employer. Where’s the money? Why were two thugs dangling him off a bridge? What does this have to do with a traditional Jewish spiritual practice? Why was the Mafia kingpin (Seymour Cassel) so unhappy to meet Sheldon? And why is Sherman’s brother the only person he can trust? Canadian director Nicholas Racz has taken the little-seen world of the Jewish burial society and plunked a quirky, well-woven murder mystery— complete with Jewish Mafia thugs, devious detectives, and nervous breakdowns—right in the middle of it. It’s a treat. Beautifully shot, tightly edited and darkly funny.

preceded by

MY FOUR CHILDREN North American Premiere ISRAEL, 2002, BETA SP, 54 MIN., COLOR, HEBREW/W/ENG. SUBTITLES DIRECTOR: NITZA GONEN

Nitza Gonen’s film introduces us to Nelly Portuges, a mother who has

Filmmaker Invited Sponsored by Barrish Bail Bonds

suffered the loss of two of her four children. Her daughter Irit was killed in a terrorist attack on a bus, and her son Don was lost in a traffic accident. Sunken into despair, Nelly found the resolution to pull herself out by reaching out to children with Down’s syndrome. Before long, she had four new children, all with the extra gene that leads to Down’s. Her former husband and two natural daughters aren’t sure how to take this new turn in Nelly’s life, but her indomitable force buoys the entire family. In cooperation with Hatikvah, Jewish group home for developmentally disabled adults

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THU, JUL 24 TUE, JUL 29 WED, JUL 30

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SAT, JUL 19 SUN, JUL 27 THU, JUL 31 MON, AUG 4

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CARAVAN 841

CLOSE, CLOSED, CLOSURE

ISRAEL, 2001, BETA SP, 52 MIN., COLOR, HEBREW/W/ENG. SUBTITLES DIRECTOR: ZION RUBIN

West Coast Premiere FRANCE, 2002, BETA SP, 53 MIN., COLOR, HEBREW/ARABIC/W/ENG. SUBTITLES DIRECTOR: RAM LOEVY

In this emotionally powerful drama, we see a compelling vision of contemporary immigrant life in Israel. Moshe, an Ethiopian immigrant boy, lives in a temporary refugee camp where he anxiously waits to be reunited with his mother, who has been left behind in Addis Ababa. While he waits for news of her situation, his refugee camp is slated for closure and his fate falls into the hands of insensitive government bureaucrats. As a vulnerable young person on the edge of society, he is torn between the adults in his life—Aharon, the strict but caring Orthodox teacher who tells him to trust in God, and his new friend Walter, an African American saxophone player who teaches him to trust in himself. Beautiful, bittersweet, and hopeful, CARAVAN 841 reveals the reality of Ethiopian immigrant life. With music by Billie Holiday and Bob Marley. Winner, Best Script, Jerusalem Film Festival 2001. —Deborah Kaufman

Shot in and around the Gaza Strip before and after the outbreak of the Al Aqsa intifada in the fall of 2000, this film portrays the daily life of Gaza residents, including border crossings, border closings and the violence and tension that infuse daily life there. Outside the electric fence that borders Gaza, Israeli peace demonstrators are confronted by settlers who oppose their presence. The filmmaker identifies the Gaza Strip as “a prison with one million inmates” and uses his craft to pose an essential question: Can anyone truly see the other person’s side? This film challenges us to try. preceded by

IT IS NO DREAM North American Premiere

preceded by

NETHERLANDS, UNITED STATES, 2002, BETA SP, 53 MIN., COLOR, HEBREW/W/ENG. SUBTITLES DIRECTORS: BENNY BRUNNER, JOSEPH ROCHLITZ

PEPE’S WATCH

IT IS NO DREAM documents the will for peace and justice within modern

North American Premiere ISRAEL, 2002, 16MM, 18 MIN., HEBREW W/ENG. SUBTITLES DIRECTOR: MICHAEL PERETZ

Dudu doesn’t want to wear his fancy birthday suit, or listen to his mother. When he and his mother fight after he loses a watch that belonged to his father, they soon come to understand that a watch is not all they stand to lose. Sponsored anonymously in loving memory of Louise Taub, dedicated teacher and activist for peace and justice

Israel. Often in the United States, the Israeli “position” on relations with Palestine is perceived as unified, but this film, packed with the testimonies of Israeli activists and commentators, portrays a vibrant, diverse dialogue rather than a simple monologue. Interviewees include writers Meir Shalev, Yehudit Katzir and Yitzhak La’or; Ha’aretz columnist, Gideon Levy; Jessica Montell, executive director of B’Tselem: the Israeli Information Center for Human Rights in the Occupied Territories; and Noa Levy, a leader of the high school students’ refusal-to-serve movement. Filmmaker in Person and panels in San Francisco and Berkeley In cooperation with American Friends Service Committee and

SECURITY GROOVE West Coast Premiere ISRAEL, 2002, VIDEO, 4 MIN., COLOR, HEBREW/W/ENG. SUBTITLES DIRECTOR: IDAN ALTERMAN

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What is the sound of fear? This short presents a cacophony of sounds related to Israel’s constant state of alert.

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MON, JUL 21 TUE, JUL 29 SUN, AUG 3

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DETAINED

DIVAN

San Francisco Premiere

West Coast Premiere

ISRAEL, 2001, BETA SP, 73 MIN., COLOR, HEBREW/ARABIC/W/ENG. SUBTITLES DIRECTOR: ANAT EVEN, ADA USHPIZ

UNITED STATES/HUNGARY/UKRAINE, 2003, BETA SP, 72 MIN., COLOR, ENGLISH/HUNGARIAN/W/ENG. SUBTITLES DIRECTOR: PEARL GLUCK

Najwa, Nawal, and Siham, three Palestinian widows, live

Pearl Gluck’s perspicacious and wacky documentary takes

with their 11 children in a house on Shudada Street in Hebron. Their home is caught between two cultures; the facade is under Israeli occupation and the Palestinian Authority controls the back. At the entrance is an Israeli military post, and on the roof the Israelis have a machine-gun look out. While Israeli soldiers take up their daily post on the roof, the women hang their laundry, gossip, and clean up the soldiers’ litter. The absurdity of their situation is almost unfathomable. This bold and well-crafted documentary by two Israeli women provides a unique window into the lives of Palestinian women living under occupation.

us along on a quest to retrieve a family heirloom. From Brooklyn to Hungary, DIVAN is a parable about the process of seeking and a celebration of the Hasidic community the filmmaker left as a teenager. Gluck went to Hungary in 1996 on a Fulbright Scholarship to gather Hasidic stories. Along the journey she found her roots, a wealth of yiddishkeit, family and a special couch. According to family lore, her great, great-grandfather once owned a couch in Rohod, Hungary, upon which Hasidic rebbes slept. What begins as her simple quest for a sofa becomes a serious meditation on family, the Holocaust and religion. Gluck is comfortable in her life outside of orthodoxy, but is still nourished by its embrace. In Hungary and Poland we meet a colorful cast of characters: the couch salesman, Gluck’s ex-communist cousin, a pair of matchmakers, and Hasidim on pilgrimage. Back in the States we meet Gluck’s father and a zealous furniture upholsterer. A renegade group of former orthodox Jews are interspersed throughout the film; sitting on Gluck’s couch in Brooklyn, they function as a Greek chorus. DIVAN intelligently weaves together the threads of memory, longing and cultural identity. At the end of this funny and wise chronicle, the director’s father comes to her apartment in Manhattan to help her edit the film. While Gluck does not get the couch entirely on her own terms, she does get her father to travel the 8.2 miles from Brooklyn to Manhattan (for the first time in 15 years) to visit her on her own turf.

Filmmaker Invited

preceded by

THE SETTLERS Northern California Premiere ISRAEL, 2002, BETA SP, 58 MIN., COLOR, HEBREW/W/ENG. SUBTITLES DIRECTOR: RUTH WALK

Director Ruth Walk gains unprecedented access to the orthodox Jewish women settlers of Tel Romeida, a community of seven families and 43 children in the West Bank city of Hebron. These earnest Israeli housewives seem oblivious to the Arab world surrounding them. Stalwart in their belief in the Jews’ divine right to this land, they pay little heed to the fact that they are living in a state of siege, made possible only by the Israeli army. During Jewish holidays, the Arab residents of Hebron (who form the majority) must stay indoors under a curfew. The settlers’ denial of their impact on their neighbors is disturbingly surreal.

Filmmaker in Person Sponsored by the San Francisco Bay Guardian

Sponsored anonymously in loving memory of Beverly Axelrod, courageous and unflinching in her pursuit of justice

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EMBRACE ME

FOR MY CHILDREN

Northern California Premiere

ISRAEL, 2002, BETA SP, 65 MIN., COLOR, ENGLISH/HEBREW/W/ENG. SUBTITLES DIRECTOR: MICHAL AVIAD

ISRAEL, 2002, VIDEO, 48 MIN., HEBREW/ARABIC/W/ENG. SUBTITLES DIRECTORS: SHAUL MEISLISH, MICHAL AVRAHAM

Jo Amar is a liturgical poet, singer and composer whose voice embodies the longing and beautiful rhythmic dissonance of Mizrahi music. A Moroccan Jew who came to Israel in the 1950s, Amar’s rich history includes stints as a liturgical poet in the towns of Meknes, Fez, and Casablanca. The film explores the capricious waves of popularity and anonymity that have buffeted Amar’s music in Israel, and follows Amar on a trip back to Morocco, delving into the roots of Mizrahi music. Featuring exquisite music and unique archival footage from Amar’s performances, EMBRACE ME is a celluloid feast for the eyes and ears.

Since her first film ACTING OUR AGE arrived on the scene at the Sundance Film Festival in 1987, Tel Aviv University film professor and filmmaker Michal Aviad has been known for amazing documentaries that break down the boundaries between personal stories and public histories. Her award-winning works include: THE WOMAN NEXT DOOR, filmed during the first Palestinian Intifada; JENNY AND JENNY, following Mizrahi teenagers coming of age in a working-class town; and RAMLEH, about four women in a Jewish-Arab community. The Festival will show clips from her past work preceding the screening of her new film, which will be followed by a discussion with the filmmaker.

In October 2000, as the second Palestinian Intifada erupts,

preceded by

TAQASIM ISRAEL, 1999, BETA SP, 43 MIN., COLOR, HEBREW/ARABIC/W/ENG. SUBTITLES DIRECTOR: DUKI DROR

Israeli musician Felix Mizrahi takes us to his native Cairo in search of recordings by his brother, Faraq Ibrahim, a famous violinist who died tragically when Felix was a boy. During Felix’s childhood, there were 200,000 Jews in Cairo; today the remaining families are counted on the fingers of one hand. As we accompany Felix on his search through the old Jewish quarter, instrument stores and music archives in Cairo, we explore the persistence of his identification with Egyptian culture. Featuring beautiful performances by Israeli musicians, TAQASIM embodies Felix Mizrahi’s belief that, “Art has no boundaries; it’s the same language anywhere. It’s the language of the people.” In cooperation with the Jewish Music Festival

W W W . S F J F F. O R G / 9 2 5 . 2 7 5 . 9 4 9 0

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Special Presentation: An Afternoon with Film Director Michal Aviad Introduced by Deborah Kaufman

Israeli filmmaker Michal Aviad begins a video exploration about both the moral and mundane dilemmas she faces every day in Tel Aviv. What begins with deceptive simplicity—a tender scene of sending the children off to school— quickly becomes a profound study of vulnerability and anxiety. Small acts like crossing the street are charged with inescapable fear. As the nightmare of violence escalates over the coming months, Michal and her husband Shimshon ask the quintessential Diaspora Jewish question, “When is it time to go?” The question reverberates through a stream of images—public and private, home video and historic archival footage—as her parents and extended family recount their own journeys to Israel from Europe, escaping death and the Holocaust, and from America, out of ideological commitment to Israel. Their stories are told with vivid, beautiful detail—at a bucolic family picnic, during a vacation on the California coast—and with a degree of candor and intimacy rarely seen in Israeli cinema. “I don’t want to be an immigrant,” says Shimshon, a political activist whose profound feelings about displacement and exile are interwoven with TV images of war, children asleep in their beds, grandma making pasta and the sounds of sirens. Tanks roll over the hills as tea is being made in the kitchen in a cosmic seesaw between blissful domesticity and the nightmare of public life, in this deeply moving and riveting video essay. —Deborah Kaufman Sponsored anonymously in loving memory of Ani Mander, feminist, teacher, and human-rights activist extraordinaire

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FORGET BAGHDAD: JEWS AND ARABS - THE IRAQI CONNECTION

GALOOT

West Coast Premiere

United States Premiere

GERMANY, SWITZERLAND, 2002, 35MM, 114 MIN., COLOR, ENGLISH/HEBREW/ARABIC/W/ENG. SUBTITLES DIRECTOR: SAMIR

ISRAEL, 2003, BETA SP, 158 MIN., COLOR, ENGLISH/HEBREW/ARABICW/ENG. SUBTITLES DIRECTOR: ASHER DE BENTOLILA TLALIM

The son of a Shi’ite Muslim emigrant family that fled Iraq

A fascinating film essay by Asher de Bentolila Tlalim, an

for political reasons, Swiss film director Samir has created a brilliant tour de force in his new documentary FORGET BAGHDAD. This entertaining, ironic and visually stunning film essay begins as an exploration of the history and lives of exiled Iraqi Jewish writers, former members of the Communist Party, who now live in Israel. Their interviews are seamlessly layered and interwoven with fabulous Movietone newsreels, kitschy Egyptian musicals, and even Schwarzenegger’s TRUE LIES as the filmmaker asks, “What does it mean to be an enemy of your own past?” But this is not simply a recounting of individual memories. Patriotism, exile, cultural identity and persecution in both Iraq and Israel are all explored through these writers’ stories and their exquisite, sometimes painful, often sumptuous descriptions of life in two worlds. New meanings emerge from the eerie presence of the World Trade Center and images of the first Gulf War. Both emotionally moving and thought-provoking, FORGET BAGHDAD is also a plea for reconciliation and an amazing artistic intervention by an acclaimed European filmmaker. With Sami Michael, one of Israel’s most famous best-selling authors; Ella Shohat, film theorist and writer; and extended excerpts from the stereotyped, but still hilarious, 1964 Israeli satire “Sallah,” featuring Chaim Topol.

Israeli filmmaker now living in London, GALOOT (Exile) is an extended meditation on the Israeli-Palestinian conflict through the eyes of those living at a distance. Through international visits (London, Israel, Morocco and Poland) and dialogue—with Palestinian refugees, the new immigrants to Israel who now occupy their homes, the current occupants of his family’s former house in Tangiers, the residents of the former village of his wife’s family in Lisensk, a scientist, a jazz musician, and others—the filmmaker explores the position of exile, with its unique pain and perspective on what others may be too close to perceive. By layering rich and fascinating stories, the film allows viewers to experience the complexity of the situation in Israel and the dilemmas faced by Jews who allow themselves to feel and understand this. At the Berlin Film Festival, the filmmaker declared “It is the role of artists—filmmakers—to open a channel that politicians are trying to close.” Speaking of his film, he said, “Since the beginning of the Al-Aqsa intifada, the lack of mutual understanding on both sides and the blindness to the other side’s suffering has only been growing.” GALOOT speaks simultaneously to the mind and the heart, transcending the limitations of ordinary political discourse, time and indifference.

—Deborah Kaufman

Sponsored by the Gilo Family Foundation

2002 Locarno Film Festival – Critic’s Week Award In cooperation with the Consulate General of Switzerland Co-sponsored by Carl Grunfeld

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THE GLOW

HAND ON THE PULSE

West Coast Premiere

UNITED STATES, 2002, BETA SP, 52 MIN., COLOR, ENGLISH DIRECTOR: JOYCE WARSHOW

ISRAEL, 2002, 35MM, 86 MIN., COLOR, HEBREW/W/ENG. SUBTITLES DIRECTOR: IGAL BURSZTYN

In a film that Elvis Mitchell of the New York Times describes as “atmospheric and ambitious,” middle-aged former general Uri (veteran Israeli actor Asi Dayan) and his pretty, young girlfriend Mona (Tinkerbell) leave the bustle of the city to enjoy a quiet weekend visiting Uri’s old friends Motti and Bracha. When their cell phones go dead and the radio emits eerie sounds, Uri is annoyed by this glitch in his usual mastery of technology, but Mona senses that something unusual is happening. As unexplained events multiply—including an elusive glowing light—only Mona sees two black-robed men with shaved heads, who may or may not be aliens. She is on a quest for meaning in her life and for a greater understanding of love. Could her reading of Maimonides have anything to do with her unique experience of this day? Cultural conflict surfaces when secular Uri and Motti cross paths with Motti’s orthodox Sephardic neighbors. But these differences fall to the wayside when the area comes under a security alert. Uri organizes a patrol group to chase the unseen transgressors, who are assumed to be Arab. No one is caught, but in their pursuit of the elusive glow, the group almost shoots two young Thai men who work for Motti. This magical-realist/sci-fi story offers a tense look at Israeli xenophobia and society, where men move stealthily with guns in the night, and only a young woman steeped in the works of an ancient scholar can hear sounds of the intangible. Filmmaker Invited Sponsored by Hotel Adagio

HAND ON THE PULSE is the inspiring story of Joan Nestle, Co-founder of the Lesbian Herstory Archives in New York, political and sexual renegade, teacher and activist. The film follows Nestle’s development from 1950s Bronx girl, to Greenwich Village pleasure seeker and critical thinker. Nestle, whose trademark black slip accentuates her luscious, zaftig body, helped to forge a new lesbian and gay consciousness. Her groundbreaking collection of essays, A Restricted Country, excavated and resurrected butch/femme roles from the obscurity to which they had been relegated by the mainstream lesbian feminist movement. preceded by

MAIDELES WITH ATTITUDE: LESBIAN SHORT FILMS

THE GREAT YIDDISH LOVE UNITED STATES, 2002, 16MM, 15 MIN., YIDDISH/W/ENG. SUBTITLES DIRECTOR: DIANE NERWEN

MATZO MAIDELS UNITED STATES, 2003, VIDEO, 5 MIN., ENGLISH DIRECTORS: JENNI OLSON, JULIE DORF, MONICA NOLAN

BERLIN BESHERT GERMANY, 2002, VIDEO, 29 MIN., GERMAN/W/ENG. SUBTITLES DIRECTOR: NOVEMBER WANDERIN

INTERSEX EXPOSITION: FULL MONTY AUSTRALIA, 2002, VIDEO, 7 MIN., ENGLISH DIRECTOR: SHORONA SE MBESSAKWINI

CHERRIES IN THE SNOW: AN ODE TO JOAN NESTLE CANADA, 2002, VIDEO, 4 MIN., ENGLISH DIRECTOR: MELISSA LEVIN

W W W . S F J F F. O R G / 9 2 5 . 2 7 5 . 9 4 9 0

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In cooperation with Frameline and the LGBT Alliance of the Jewish Community Federation

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HAVE YOU HEARD ABOUT THE PANTHERS?

HIDING AND SEEKING:

United States Premiere

sneak preview

ISRAEL, 2002, BETA SP, 109 MIN., COLOR AND BLACK & WHITE, HEBREW/W/ENG. SUBTITLES DIRECTOR: NISSIM MOSSEK

UNITED STATES, 2003, BETA SP, 86 MIN., COLOR, ENGLISH/POLISH/W/ENG. SUBTITLES DIRECTORS: OREN RUDAVSKY, MENACHEM DAUM

In the 1970s, a new protest movement burst into Israeli politics. Calling themselves the Black Panthers, this group of rebellious young Mizrahi men was intensely critical of racism and class bias within the Israeli establishment. They embraced Robin Hood-like campaigns such as “Operation Milk,” which stole food from rich areas in Jerusalem and distributed it to impoverished immigrants. Their bold moves captured the attention of the young and disenfranchised while earning the animosity of others (Golda Meir called them barbarians). Thirty years ago, as a novice filmmaker, Nissim Mossek set out to document the Panthers’ burgeoning movement, following their demonstrations and ferocious confrontations with police. He and the Panthers had no compunctions about waking up families in the middle of the night to ask them to “present their poverty” to the camera, hoping to inform the public about the struggle for equality within Israeli society and incite others to action. Mossek’s 1970s protest film vanished suspiciously just after completion; for years it was believed to be lost. The recent discovery of a copy in the Jerusalem Cinematheque prompted the filmmaker to investigate the demise of the Panthers. He tracked down surviving members to examine their sometimes surprising trajectories and their deeply conflicted relationships to their shared radical past. Intercutting footage from his early film with his modern-day research, the diverse, volatile and charismatic subjects (including Panthers Charlie Bitton and Sa’adia Marciano) cast light onto a lesser-known chapter in the struggle for equality and justice of Mizrahi Jews, and illuminate issues of disunity that continue to reveal themselves in today’s Israel.

FAITH AND TOLERANCE AFTER THE HOLOCAUST

HIDING AND SEEKING is a profound and deeply personal post-Holocaust story of broken promises and an attempt to heal the wounds of the past. Daum and his wife Rivka undertake a journey to Poland with their sons, both of whom are married orthodox yeshiva students living in Jerusalem. The Daums are seeking traces of their family’s history, including the Polish family who hid Rivka’s father during WWII. Daum is proud of the religious traditions that his grandchildren are inheriting, but is also disturbed by the insularity of his sons’ religious practice. Directors Daum and Rudavsky, who made the critically acclaimed A LIFE APART: HASIDISM IN AMERICA, remarked, “A LIFE APART was our attempt to humanize Haredim (ultra-Orthodox Jews) for outsiders. HIDING AND SEEKING is our attempt to humanize outsiders to the Haredim.” At the beginning of this film, Daum challenges his sons to reconsider their limited world view, which has no place for outsiders who do not share their beliefs. Daum wants them to use Torah study as a means of connecting to all people. When he asks his sons Tzvi Dovid and Akiva to accompany him to Poland, they are skeptical about going on Dad’s roots tour. Throughout the trip, Daum and his sons spar good-naturedly about Daum’s homegrown humanism and even about the purpose of the film. But when they meet the Mucha family (who hid Rivka’s father), the sons’ view of non-Jews shifts from disinterest to acknowledgement of the humanity and courage of the Muchas. This astute and masterful documentary explores post-Holocaust questions of faith and a father’s hope for a more tolerant world. Filmmaker In Person In cooperation with the Holocaust Center of Northern California Sponsored by the Taube Foundation for Jewish Life and Culture

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KEDMA

KINKY FRIEDMAN: PROUD TO BE AN ASSHOLE FROM EL PASO

Northern California Premiere

NETHERLANDS, 2001, BETA SP, 54 MIN., COLOR, ENGLISH DIRECTOR: SIMONE DE VRIES

FRANCE, ISRAEL, ITALY, 2002, 35MM, 100 MIN., COLOR, HEBREW/YIDDISH/ARABIC/W/ENG. SUBTITLES DIRECTOR: AMOS GITAI

KEDMA follows a decade of nuanced films by Israel’s most prolific and internationally renowned director, Amos Gitai. Always sensitive to Israel’s complex political concerns, Gitai returns with a tough, anguished reconstruction of an episode in the founding of his nation. The story is set in early May 1948, on the eve of the birth of the state of Israel. The British are about to end their control and tensions are building between the Jewish and Arab communities. The Kedma, a European cargo freighter is packed with concentration camp survivors heading towards Palestine. As underground Jewish forces prepare for its arrival, the British soldiers position themselves to stop the Kedma’s unauthorized landing. Gitai’s film opens with a long panning shot that creates a mood of anticipation completely without dialogue. The story is told through a series of tableaus that evoke the confusion faced by the refugees as they observe and participate in a war against both the British and the Arabs. And yet, the golden-toned landscapes beckon them with the beauty of the Promised Land. The film gives witness to the displacement of two peoples, those exiled and those who were displaced by them. Shot in late 2000, just as the latest round of violence broke out, it has a recognizable timeliness. Gitai’s stories are often from his own personal history; this film reflects the experience of his father-in-law upon his arrival in Palestine. With KEDMA, Gitai honors the survivors and refugees who came to Palestine with their hopes for freedom. —Janis Plotkin Filmmaker Invited Sponsored by the Westin St. Francis Hotel

Kinky Friedman is a Jewish country musician, raconteur, writer, and agitator against the politically correct. Too smart for country and too country for the intelligentsia, Kinky Friedman and his band, The Texas Jewboys, paved the way for many unconventional country acts. His creative subversion of the genre gave birth to classics such as “They Don’t Make Jews like Jesus Anymore.” Celebrities Willie Nelson, Lyle Lovett, and Bill Clinton shed light on his music and novels. Sporting a satin country shirt with a menorah on the back, he dared to sing about the Holocaust in a country twang. This rollicking documentary traces Kinky’s roots, from restless teenager to country/cult act to ink slinging Texas son of a gun. Sit back, relax, and walk a few miles in Kinky’s shoes. Are lizard-skin boots kosher or treyf? preceded by

72 VIRGINS West Coast Premiere ISRAEL, 2002, VIDEO, 4 MIN., COLOR, HEBREW/W/ENG. SUBTITLES DIRECTOR: URI BAR-ON

How far would you go for peace in the Middle East?

A GOOD UPLIFT West Coast Premiere UNITED STATES, 2002, BETA SP, 13 MIN., COLOR, ENGLISH DIRECTOR: FAYE LEDERMAN, EVE LEDERMAN, CHERYL FURJANIC

This lighthearted look into a very special Lower East Side lingerie shop takes us into the haimishe world of Magda, the shop’s proprietor. Magda can size up a woman’s breasts in mere moments, and always finds the right fit for her diverse clientele.

THE WORST JEWISH FOOTBALL TEAM IN THE WORLD San Francisco Premiere ENGLAND, 1999, VIDEO, 10 MIN., COLOR, ENGLISH DIRECTOR: GARY OGIN

A hilarious portrait of a boys’ soccer team in Manchester, England. W W W . S F J F F. O R G / 9 2 5 . 2 7 5 . 9 4 9 0

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Broughton ‘B’ FC aren’t just bad, they’re awful. But, with supportive coaching, the boys are models of sportsmanship and determination and never let defeat get them down. In cooperation with Kung Pao Kosher Comedy

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THE LAST LETTER

MONSIEUR BATIGNOLE

San Francisco Premiere

Northern California Premiere

FRANCE, UNITED STATES, 2002, 35MM, 61 MIN., BLACK & WHITE, FRENCH/W/ENG. SUBTITLES DIRECTOR: FREDERICK WISEMAN

FRANCE, 2002, 35MM, 100 MIN., COLOR, FRENCH/W/ENG. SUBTITLES DIRECTOR: GERARD JUGNOT

Frederick Wiseman’s considerable reputation as a filmmaker

It’s 1942 in stormy, occupied Paris and times are hard for

is grounded in decades of outstanding documentary work. We are proud this year to present his first narrative film—THE LAST LETTER (LA DERNIÈRE LETTRE)— naturally based on a true story. In 1941, after the German invasion, a Russian Jewish woman is imprisoned in a camp and composes a farewell letter to her son before her life is taken. Wiseman’s live-theater directorial debut was a production of this piece in Boston 15 years ago; it was based on a chapter of the novel Life and Fate by Vassili Grossman. In 2001, Wiseman directed a second, live theatrical version, at the Comèdie-Française in Paris. The film centers on a riveting solo performance by Catherine Samie of the Comèdie-Française. She brings the writer’s words heartbreakingly to life, powerfully evoking her experience as the Nazis march the Jews in her town to their fate, and conveying her reflections on life and her love for her son as she contemplates her inevitable death. Wiseman’s film is beautifully lit, with shifting shadows deepening the action on screen. This is a deeply moving, elegiac film, not to be missed.

just about everyone. So who can blame Edmond Batignole, only a small businessman, for trying to get by? Who is he to object if the German Kommandant takes a liking to the foie gras he serves in his small, family delicatessen? Who is he to turn down a few francs? Why should he take notice if his Jewish neighbors are arrested? Batignole is surrounded by a colorful battery of French characters, who are all trying to make the best of their situation. Some collaborate with the Germans, while others resist. Batignole merely wants to make a living, yet because of his daughter’s zealously proGerman fiancé, he begins a long, slippery slide into full collaboration with the Germans. Then, unexpectedly, a Jewish child he knows asks him for help and Batignole can no longer keep his head in the sand. Gérard Jugnot, a director of popular social comedies, finds just the right tone in this bittersweet tale of innocence lost—which becomes taut as a thriller—when an ordinary man suddenly faces extraordinary life and death choices while his own redemption hangs in the balance.

preceded by

Filmmaker Invited In cooperation with the Consulate General of France Sponsored by Abraham and Marian Sofaer, Pearl Sofaer and Mozelle Sofaer

FOOLISH ME United States Premiere ISRAEL, 2003, BETA SP, 45 MIN., COLOR, HEBREW/YIDDISH/POLISH/W/ENG. SUBTITLES DIRECTOR: GABRIEL BIBLIOWICZ

In 1944, two Polish Holocaust survivors find respite at a café in Palestine. Andrej vacillates between silence and erratic boisterousness, while Yankel can barely persuade himself to come inside. An enormous chasm yawns between them and the nonsurvivor patrons of the café.

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MY LIFE PART 2

SECRET LIVES: HIDDEN CHILDREN & THEIR RESCUERS DURING WORLD WAR II

United States Premiere

California Premiere

GERMANY, 2003, 35MM, 90 MIN., COLOR AND BLACK & WHITE, GERMAN/W/ENG. SUBTITLES DIRECTOR: ANGELIKA LEVI

UNITED STATES, 2002, 35MM, 72 MIN., COLOR, ENGLISH DIRECTOR: AVIVA SLESIN

Angelika Levi describes her poetic chronicle as “an attempt

Aviva Slesin’s haunting documentary tells the story of

to tell what was told and not told in my family.” Using diary entries, photographs and other family archival materials, Angelika reveals the complicated life of her mother, Ursula, a woman of mixed Jewish/German heritage who survived Nazi rule. Angelika’s Jewish grandfather emigrated to Chile in 1938, while her nonJewish grandmother and her children survived the war in Europe. After the war, the family was reunited in Santiago, Chile, where Ursula studied botany and became an expert in plants that adapt to extreme environments. Returning to Germany in 1957, she married a Protestant theologian. While Angelika’s father documented the family with 8mm film, Angelika’s mother catalogued her own bodily sensations (after having been diagnosed with Hodgkin’s disease) in almost hourly reports. Ursula sometimes interpreted her battle with cancer as a kind of persecution, akin to German suppression of the Jews, and this painful association of her illness with the Holocaust contributed significantly to Angelika’s own identity as part of the post-Shoah generation. The film also documents German popular media inquiries into WWII, reporting that 50 percent of Germans think that they should stop being preoccupied with the Nazi era. Audio recordings of her mother (who died in 1996) and interviews with her father, accompanied by Angelika’s own unobtrusive musings, create a powerful look at how information, beliefs and myths are passed from one generation to the next. MY LIFE PART 2 is a fascinating portrait of a family whose story is both its own universe and a microcosm of European history.

Jewish children saved from the Nazis by non-Jews. A hidden child herself, Slesin lived with a Christian couple in Lithuania for several years. Non-Jewish rescuers, who took Jewish children into their homes at great personal risk, performed extraordinary acts of decency. The film deftly examines biological ties and the poignant reunions between children and their survivor parents. It also explores the bonds that developed, sometimes imperceptibly, between the hidden children and their rescuer families, and the intense sense of loss some rescuer parents felt when they relinquished their temporary charges.

Filmmaker In Person In cooperation with the Goethe Institut Inter Nationes

Filmmaker In Person

and

JOHNNY & JONES North American Premiere NETHERLANDS, 2001, BETA SP, 60 MIN., COLOR, DUTCH/W/ENG. SUBTITLES DIRECTOR: HANS HYLKEMA

Johnny & Jones (Max Kannewasser and Nol van Wesel) were a popular singing duo in Amsterdam in the 1940s. In September 1943 they were interned in Westerbork, yet in July 1944 they recorded several songs in Amsterdam. Whether their 1944 recordings were clandestine or made with the consent of the camp commander is unknown. They performed in the camps, and died in Bergen Belsen in 1945. This pitch-perfect documentary interweaves the story of the duo with the making of a modern opera based on their lives by Dutch composer Theo Loevendie. JOHNNY & JONES features rich archival footage and recordings of these pioneers of European swing. Co-sponsored by Laura and Gary Lauder

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In cooperation with Jewish Family and Children’s Services, whose Holocaust Survivor’s Services staff will lead the discussion in San Francisco and Palo Alto

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SHALOM IRELAND

THE SOUL KEEPER

United States Premiere

United States Premiere

UNITED STATES, 2003, BETA SP, 57 MIN., COLOR, ENGLISH DIRECTOR: VALERIE LAPIN GANLEY

ITALY/FRANCE/ENGLAND, 2002, 35MM, 95 MIN., COLOR, ENGLISH DIRECTOR: ROBERTO FAENZA

This fascinating film highlights the problem of maintaining

Sabina Spielrein was the first patient with whom Dr. Carl

Jewish community in the Diaspora. The little-known history of Irish Jewry begins in the Middle Ages, but the modern Jewish community has its roots in the flight from pogroms in Eastern Europe around the turn of the century. Irish Jews ran guns for the IRA, two generations of Briscoes— featured characters—served as Lord Mayor of Dublin, and the renowned Talmudic scholar Rabbi Isaac Herzog was the first chief rabbi of Ireland, and later became the first chief rabbi of the state of Israel. His son Chaim, born in Ireland, became president of Israel.

Jung attempted “the talking cure,” a method learned from his mentor Sigmund Freud. Spielrein also became a psychoanalyst, making contributions to the field of child psychiatry. Roberto Faenza’s rich and compelling narrative brings Spielrein and Jung to life through the considerable chemistry of actors Emilia Fox (The Pianist) and Iain Glen. Dr. Jung admits Spielrein, a 19-year-old Russian Jew, to a Zurich psychiatric hospital in 1905 for treatment. The doctor and his patient set off down the labyrinthine road of psychoanalysis, wherein they discover secrets of the mind as well as the pitfalls of transference. Spielrein’s intellect and her physical charms seduce Jung. He appeals to Freud for counsel, remarking insightfully, “Love is as close as you can get to psychosis.” Spielrein’s healing is bittersweet precisely because it draws on her passion for Jung, which cannot be sustained. But she recovers, attends medical school, and becomes the first female psychoanalyst in Switzerland. Her trajectory from analysand to analyst, from girl to woman, and from patient to healer is inspiring; her compassionate intellect rises like a phoenix from the ashes of her own lunacy. The film concludes in the post-revolutionary Soviet Union, where Spielrein founds the White Nursery, the world’s first psychoanalytical school for children. Her work with children comes under the scrutiny of the Stalinist regime, with which she refuses to cooperate. Spielrein’s story reveals the humanity of a woman who deserves to be more than a footnote in the history of the mind.

Filmmaker In Person at all screenings In cooperation with Film Arts Foundation and the Irish Arts Foundation

preceded by

THE LAST JEWISH TOWN Bay Area Premiere ISRAEL, 2001, BETA SP, 38 MIN., COLOR, HEBREW/RUSSIAN/W/ENG. SUBTITLES DIRECTOR: BILL LESNIK

The remote “mountain Jews” of north Azerbaijan, were granted their own land and community at the beginning of the 18th century and continue today to preserve their unique way of life—and excellent relations with local Muslim communities. The filmmaker’s vision is uniquely poignant. As a former resident of the Jewish town of Kresnia Sloboda, she has a deep connection to the people and customs she depicts; yet she is also able to see it as an outsider, critically and clearly.

Filmmaker Invited In cooperation with the Istituto Italiano di Cultura Co-sponsored by Carolyn Cavalier-Rosenberg and Sandy Rosenberg

DATE

TIME

CODE

LOCATION

DATE

TIME

CODE

CASTRO THEATRE CINÉARTS WHEELER AUDITORIUM RAFAEL FILM CENTER

WED, JUL 23 TUE, JUL 29 THU, JUL 31 SUN, AUG 3

1:30 PM 3:00 PM 3:30 PM 12:00 PM

SHAL23C SHAL29A SHAL31W SHAL03R

CASTRO THEATRE CINÉARTS WHEELER AUDITORIUM RAFAEL FILM CENTER

SUN, JUL 20 SUN, JUL 27 MON, JUL 28 SUN, AUG 3

7:15 PM 4:00 PM 8:45 PM 9:00 PM

SOUL20C SOUL27A SOUL28W SOUL03R

W W W . S F J F F. O R G / 9 2 5 . 2 7 5 . 9 4 9 0

LOCATION

19


UNDER WATER

WELCOME TO THE WAKS FAMILY

United States Premiere

United States Premiere

ISRAEL, 2002, 35MM, 90 MIN., COLOR, HEBREW/W/ENG. SUBTITLES DIRECTOR: EITAN LONDNER

AUSTRALIA, 2002, BETA SP, 52 MIN., COLOR, ENGLISH DIRECTOR: BARBARA CHOBODSKY

Michal, a 14-year-old competitive swimmer, is distracted by

Meet Zephaniah and Hava Waks and their 17 children, one

conflicts in her family. A decade earlier, her father left to become a ba’al t’shuvah, pursuing an ultra-orthodox life. Michal lives with her mother, a newage, secular Jew who sells beads, tells fortunes, and enjoys the company of a younger man. The funeral of Michal’s paternal grandmother brings the family into contact—and immediate conflict—spurring the girl to reconnect with her father, who was once a competitive swimmer like herself. Swimming through life—navigating her relationship with a popular girl Efrat, her main swimming competitor, and fending off the affections of Dror, her eager artist/boyfriend— Michal tries to find a place for herself amidst the conflicting pulls of her father’s new orthodox family, the swim team, her mother’s world and her own desires. Charismatic, fiercely independent and needy, Michal’s character draws the viewer into a personal world that uses one girl’s story to illuminate the cultural conflicts besetting Israel today.

of the largest families in Australia. Everyday life in the orthodox Waks household is a logistical operation of monumental proportions. There are two minibuses, a kosher kitchen with five ovens and a bar mitzvah to cater every year. Born in Israel, Hava’s childhood was steeped in conservative Judaism. Zephaniah grew up in a non-religious Jewish family in Sydney. His spiritual search led him to the Lubavitcher branch of Hasidism, based in New York, where his marriage was arranged through a matchmaker and friends. Together the couple has worked hard to raise their kids within the tenets of orthodoxy. Why have they made these life choices? How do the Waks cope with so many kids and the challenges and temptations of mainstream society? This engaging and boisterous documentary follows the family over five years, including the marriage of Zephaniah and Hava’s eldest daughter, just months after the birth of their youngest daughter.

Sponsored by the Westin St. Francis Hotel

preceded by

preceded at the CinéArts, Wheeler Auditorium and Rafael Film Center screenings by

THE COLLECTOR OF BEDFORD STREET

FOUR SHORT FILMS ABOUT LOVE

San Francisco Premiere

World Premiere

UNITED STATES, 2001, BETA SP, 34 MIN., COLOR, ENGLISH DIRECTOR: ALICE ELLIOTT

UNITED STATES, 2003, 16MM, 17 MIN., COLOR, ENGLISH DIRECTOR: ALEX BAUM, DAVID COHEN, HANNAH LESSER, LEAH WHITMAN SALKIN, MAISSA CHOURAKI, MAX ANDREWS, MAX STALEY, RACHEL BARNETT, SOPHIA TEPER, TAMARA ROSENFELD.

Larry Selman, the filmmaker’s 59-year-old developmentally disabled

The New Jewish Filmmaker Project (NJFP) gives talented teenagers the resources and opportunity to tell their own Jewish story, providing what Youth Radio (NPR) calls “a memorable snapshot of teenage Jewish life.” What does it mean to have a sister? Or to be raised by your grandparents? What is it like to be raised in a multicultural family or to be in a multicultural couple? Now in its second year, the NJFP returns with four documentary vignettes that provide a rare window into coming of age.

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20

neighbor, is an activist and fundraiser. Despite living in poverty, the charming and tenacious Larry collects thousands of dollars for charity every year. Larry’s neighbors are moved to create a trust fund for him with the help of the United Jewish Appeal.

Oscar ® nominee for Best Short Film in 2002

If you’re a Bay Area teenager and interested in making a Jewish-subject film, please visit www.sfjff.org/project Sponsored by DHL Worldwide Express

LOCATION

DATE

TIME

CODE

LOCATION

DATE

TIME

CODE

CASTRO THEATRE CINÉARTS WHEELER AUDITORIUM RAFAEL FILM CENTER

MON, JUL 21 WED, JUL 30 THU, JUL 31 SAT, AUG 2

6:30 PM 8:30 PM 8:15 PM 6:30 PM

UNDE21C UNDE30A UNDE31W UNDE02R

CASTRO THEATRE CINÉARTS WHEELER AUDITORIUM

MON, JUL 21 MON, JUL 28 WED, JUL 30

2:00 PM 4:00 PM 1:30 PM

FREE FREE FREE


CLOSING NIGHT CALENDAR CASTRO THEATRE TIME

FILM

PAGE

EVENT CODE

Thursday, July 17

6:30 PM

Opening Night Reception (Ticket includes film)

4

OPEN17C

8:00 PM

Opening Night Film: Manhood

4

MANH17C

12:30 PM

Local Angel

6

FREE

2:45 PM

Sharing the Screen

6

FREE

5:00 PM

Black Israel

8

BLAC19C

7:15 PM

The Burial Society

9

BURI19C

9:30 PM

Kinky Friedman with 72 Virgins and A Good Uplift and The Worst Jewish Football Team in the World

16

KINK19C

11:00 AM

Detained with The Settlers

11

DETA20C

2:00 PM

For My Children

12

FORM20C

4:45 PM

Hiding and Seeking

15

HIDI20C

7:15 PM

The Soul Keeper

19

SOUL20C

9:45 PM

The Glow

14

GLOW20C

11:00 AM

Close, Closed, Closure with It Is No Dream and Security Groove

10

CLOS21C

2:00 PM

Welcome to the Waks Family with The Collector of Bedford Street

20

FREE

4:15 PM

The Last Letter with Foolish Me

17

LAST21C

6:30 PM

Under Water

20

UNDE21C

8:45 PM

Monsieur Batignole

17

MONS21C

12:00 PM

Secret Lives with Johnny & Jones

18

SECR22C

3:00 PM

Have You Heard About The Panthers?

15

HAVE22C

6:00 PM

Embrace Me with Taqasim

12

EMBR22C

9:00 PM

Hand On the Pulse with Maideles with Attitude

14

HAND22C

10:30 AM

Galoot

13

GALO23C

1:30 PM

Shalom Ireland with The Last Jewish Town

19

SHAL23C

4:15 PM

My Life Part 2

18

MYLI23C

6:45 PM

Divan

11

DIVA23C

8:45 PM

Forget Baghdad

13

FORG23C

10:45 AM

Caravan 841 with Pepe's Watch

10

CARA24C

12:15 PM

Blessings: Roommates in Jerusalem with My Four Children

9

BLES24C

3:00 PM

Asesino with Thunder In Guyana

8

ASES24C

5:45 PM

Kedma

16

KEDM24C

8:15 PM

Samy y Yo with Four Short Films About Love

5

SAMY24C

Saturday, July 19

Sunday, July 20

Monday, July 21

Tuesday, July 22

Wednesday, July 23

Thursday, July 24

W W W . S F J F F. O R G / 9 2 5 . 2 7 5 . 9 4 9 0

DATE

21


CALENDAR WHEELER AUDITORIUM DATE

TIME

FILM

PAGE

EVENT CODE

Saturday, July 26

12:30 PM

Local Angel

6

FREE

2:30 PM

Purity with Tikkun

7

FREE

6:30 PM

Embrace Me with Taqasim

12

EMBR26W

8:45 PM

Manhood

4

MANH26W

12:00 PM

For My Children

12

FORM27W

2:30 PM

Kedma

16

KEDM27W

5:00 PM

Hiding and Seeking: Faith and Tolerance After the Holocaust

15

HIDI27W

7:00 PM

Caravan 841 with Pepe's Watch

10

CARA27W

8:45 PM

The Burial Society

9

BURI27W

11:00 AM

The Last Letter with Foolish Me

17

LAST28W

1:00 PM

Divan

11

DIVA28W

3:15 PM

Have You Heard About The Panthers?

15

HAVE28W

6:00 PM

Forget Baghdad

13

FORG28W

8:45 PM

The Soul Keeper

19

SOUL28W

12:30 PM

Blessings: Roommates in Jerusalem with My Four Children

9

BLES29W

3:00 PM

Detained with The Settlers

11

DETA29W

6:00 PM

Close, Closed, Closure with It Is No Dream and Security Groove

10

CLOS29W

8:45 PM

Hand On the Pulse with Maideles with Attitude

14

HAND29W

11:30 AM

My Life Part 2

18

MYLI30W

1:30 PM

Welcome to the Waks Family with The Collector of Bedford Street

20

FREE

3:30 PM

Asesino with Thunder In Guyana

8

ASES30W

6:00 PM

Kinky Friedman with 72 Virgins and A Good Uplift and The Worst Jewish Football Team in the World

16

KINK30W

8:00 PM

Galoot

13

GALO30W

11:00 AM

Black Israel

8

BLAC31W

1:00 PM

Secret Lives with Johnny & Jones

18

SECR31W

3:30 PM

Shalom Ireland with The Last Jewish Town

19

SHAL31W

6:00 PM

Monsieur Batignole

17

MONS31W

8:15 PM

Under Water with Four Short Films About Love

20

UNDE31W

Sunday, July 27

Monday, July 28

Tuesday, July 29

Wednesday, July 30

Thursday, July 31

W W W . S F J F F. O R G / 9 2 5 . 2 7 5 . 9 4 9 0

22

Screenings at the Wheeler Auditorium are made possible by the Center for Middle Eastern Studies at UC Berkeley


CALENDAR CINÉARTS DATE

TIME

FILM

PAGE

EVENT CODE

Sunday, July 27

1:30 PM

My Life Part 2

18

MYLI27A

4:00 PM

The Soul Keeper

19

SOUL27A

6:00 PM

Manhood

4

MANH27A

8:15 PM

The Glow

14

GLOW27A

1:30 PM

Asesino with Thunder In Guyana

8

ASES28A

4:00 PM

Welcome to the Waks Family with The Collector of Bedford Street

20

FREE

6:00 PM

Detained with The Settlers

11

DETA28A

8:45 PM

Embrace Me with Taqasim

12

EMBR28A

1:00 PM

Hiding and Seeking

15

HIDI29A

3:00 PM

Shalom Ireland with The Last Jewish Town

19

SHAL29A

6:00 PM

Have You Heard About The Panthers?

15

HAVE29A

8:30 PM

Monsieur Batignole

17

MONS29A

12:30 PM

Blessings: Roommates in Jerusalem with My Four Children

9

BLES30A

3:00 PM

Secret Lives with Johnny & Jones

18

SECR30A

6:00 PM

The Last Letter with Foolish Me

17

LAST30A

8:30 PM

Under Water with Four Short Films About Love

20

UNDE30A

1:00 PM

Kedma

16

KEDM31A

3:30 PM

Forget Baghdad

13

FORG31A

6:00 PM

The Burial Society

9

BURI31A

8:30 PM

Samy y Yo

5

SAMY31A

1:00 PM

Galoot

13

FREE

6:30 PM

Under Water with Four Short Films About Love

20

UNDE02R

9:00 PM

Manhood

4

MANH02R

12:00 PM

Shalom Ireland with The Last Jewish Town

19

SHAL03R

2:45 PM

Divan

11

DIVA03R

4:30 PM

Close, Closed, Closure with It Is No Dream and Security Groove

10

CLOS03R

7:00 PM

Embrace Me with Taqasim

12

EMBR03R

9:00 PM

The Soul Keeper

19

SOUL03R

6:30 PM

Monsieur Batignole

17

MONS04R

8:45 PM

The Burial Society

9

BURI04R

Monday, July 28

Tuesday, July 29

Wednesday, July 30

Thursday, July 31

RAFAEL FILM CENTER Saturday, Aug 2

Sunday, Aug 3

W W W . S F J F F. O R G / 9 2 5 . 2 7 5 . 9 4 9 0

Monday, Aug 4

23


DIRECTIONS & PARKING / SECURITY CASTRO THEATRE 415-621-6120

CINEARTS AT PALO ALTO 650-493-3456

429 Castro Street at Market / San Francisco

3000 El Camino Real, Building #6 (at Page Mill Rd.)/ Palo Alto

PUBLIC TRANSPORTATION:

PUBLIC TRANSPORTATION:

Muni Lines: 24, 35, 37 Street Cars: K, L, M

VTA bus lines 22, 36, 86, 300

PUBLIC PARKING:

• 18th Street between Castro and Collingwood • Castro Street between 17th & 18th PARKING METERS:

No charge Mon-Sat after 6:00 PM and on Sunday

WHEELER AUDITORIUM UC Berkeley Campus / Berkeley Enter campus at Bancroft Way & Telegraph. Through Sather Gate & turn right. Wheeler is immediately on left.

DRIVING: FROM SAN FRANCISCO:

101 S. to Embarcadero Rd/Oregon Expwy exit. Continue on Oregon Expwy. Left on El Camino Real. First right into parking lot. -or280 S to Page Mill Rd. exit East. Right on El Camino Real. First right into parking lot. FROM EAST BAY:

880 S to Decoto Rd./CA-84 W, exit towards Dumbarton Br. Merge onto 84 W. After bridge, left on University Avenue W. Left on El Camino Real. Just past Page Mill Rd., turn right into parking lot. FROM SAN JOSE:

PUBLIC TRANSPORTATION:

AC Transit Lines: 7, 40, 51, 52, 64 — exit at Bancroft & Telegraph. BART: Berkeley Station. Walk one block East on Center St. to Campus; right on Oxford to Bancroft; left on Bancroft to Telegraph; left into Campus. PARKING:

• Dana/Durant Lot at Dana St., near Bancroft, across from Zellerbach Hall. • City of Berkeley Public Parking, entrances on Dana Ave. & Channing St., between Telegraph & Dana St. • Bancroft Structure at Bancroft Way between College & Bowditch. • Martin Luther King Student Union Garage: Bancroft near Telegraph, under Zellerbach Hall. • Recreational Sports Facility (RSF) Garage, Bancroft Way at Ellsworth.

101 N. Embarcadero Rd./Oregon Expwy exit. Left on El Camino Real. First right into parking lot.

RAFAEL FILM CENTER 415-454-1222 1118 4th Street / San Rafael DRIVING:

From 101 take Central San Rafael exit; west on Fourth St. Theatre is between A and B Streets. PUBLIC TRANSPORTATION:

Golden Gate Transit: 1, 23, 25, 26, 32, 34, 60, 65, 70, 80, 90 to San Rafael Transit at Third and Weatherton. Theater is five blocks west and one block north.

Plenty of bike parking on UC Berkeley campus. Carpooling is encouraged.

All theaters are wheelchair accessible.

2003 SECURITY POLICY - PLEASE READ! Bags Not Permitted in Theaters. Please Arrive Early for Screenings to Allow Ample Time for Security Checks.

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All purses and bags will be subject to inspection prior to your admittance to theaters. Large bags, briefcases, backpacks, shopping bags, etc. will not be permitted inside theaters. PLEASE DO NOT BRING SUCH ITEMS WITH YOU.

You will be required to present a photo ID and the exact credit card that you used for your purchase in order to pick up your tickets at Will Call.

Please arrive early for your screening, and be sure to allow sufficient extra time for security checks.

Please hold onto your ticket stub, as you will not be permitted to re-enter the theater without it if you leave during your screening


NEW JEWISH FILMMAKER PROJECT THE NEW JEWISH FILMMAKER PROJECT OF THE SAN FRANCISCO JEWISH FILM FESTIVAL The New Jewish Filmmaker Project, a unique youth media project, gives a diverse group of talented teenagers extensive resources and training to tell their own stories. Teenagers spend a year working with a community of professional, independent filmmakers and challenging one another to consider the meaning and relevance of Jewish identity in their own lives. They turn the camera on themselves, their schools, homes and hang out spots to take us on an intimate journey through their emotional and cultural landscapes. The resulting high-quality independent films provide a rare, authentic point of view on what it’s like to come of age at the current complex juncture in American-Jewish history and culture. This is the second year of the New Jewish Filmmaker Project and we are pleased to present FOUR SHORT FILMS ABOUT LOVE (SEE DESCRIPTION ON PAGE 5). As we prepare to make our own way in the world, what draws us closer to the people we love? What pulls us apart? Directors: Alex Baum, David Cohen, Hannah Lesser, Leah Whitman Salkin, Maissa Chouraki, Max Andrews, Max Staley, Rachel Barnett, Sophia Teper, Tamara Rosenfeld. Produced by Sam Ball If you’re a teenager interested in Jewish-subject filmmaking, please visit us at www.sfjff.org/project

THE NEW JEWISH FILMMAKER PROJECT Contact: Sam Ball, Director 2180 Bryant Street, Studio 105 San Francisco, CA 94110 415.206.1235 (tel) 415.206.1329 (fax) Email: njfp@sfjff.org

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MISCELLANEOUS INFORMATION THE ONLINE GUIDE CONTINUES TO GROW AND EVOLVE

IF THE 2003 FESTIVAL LEAVES YOU HANKERING FOR MORE

Don’t forget to visit www.sfjff.org/guide, our definitive Online Library of Independent Jewish Film & Video. You’ll find photos, synopses, distributor information, filmmaker biographies and filmographies for virtually every SFJFF director; an online bulletin board; a support area for Jewish Film Festivals worldwide; and a host of related materials including full articles from our acclaimed, industry-standard book INDEPENDENT JEWISH FILM: A RESOURCE GUIDE.

SFJFF Wednesdays are the last Wednesday of every month at 7:30pm in the Yerba Buena Center for the Arts state-of-the-art screening room.

There’s nothing on the web that even comes close to this archive of truly independent Jewish cinema. Point your browsers to sfjff.org/guide today!

Yale Strom’s KLEZMER ON FISH STREET artfully weaves a tapestry of stories depicting the revival of Jewish culture in Poland. The cast includes a group of Jewish American klezmer musicians visiting Poland; Alta Frohman, a Holocaust survivor who serves as their guide; Jewish artists and intellectuals returning to live in Poland; non-Jewish Poles who want to learn about Jewish culture; and Poles who are beginning to embrace Judaism after discovering that one or more of their ancestors was Jewish. Add to this mix the bizarre phenomenon of the Holocaust tourist trade (organized tours of Krakow’s former Jewish Quarter and concentration camps) and you have a potent mixture of nostalgia, fetishization, and genuine interest in the rich Jewish culture that existed in Eastern Europe prior to the Holocaust. Strom looks squarely and openly at the trend that he calls “cultural philo-Semitism,” the proliferation of Yiddish culture by and for non-Jews.

STREAMING VIDEO! We’ve been streaming clips of selected movies since back when it was like watching a slideshow. Things have improved and you’ll find this year’s crop at http://www.sfjff.org/streams Stop by and preview some of your selections…

AND YET MORE ON PUBLIC TELEVISION! Once again we welcome KQED-TV as our Media Sponsor and look forward to our 8th season of collaborative programming on Channel 9. Watch for more innovative independent Jewish film on public KQED-TV this fall!

On Wednesday, September 25 at 7:30pm, we present an excellent new documentary:

KLEZMER ON FISH STREET

The documentary captures the tenacity of the new Polish Jews and the growth of Jewish culture produced by non-Jews, and asks serious questions: What constitutes Jewish renewal in this environment? What motivates Polish non-Jews to promote yiddishkeit? Is this reality, or a virtual Jewish reality? What is reconciliation, and is it the engine driving the revitalization of Jewish life in Poland?

PRINT SOURCE The full print source list is now available online at www.sfjff.org/23

SPECIAL OFFER FOR FESTIVAL TICKET-BUYERS Bring ticket stubs from three different Jewish Film Festival shows into the Jewish Community Center of San Francisco membership office at 3365 Sacramento Street in San Francisco and receive the guaranteed lowest JCCSF charter membership rate! Offer good only through August 15, 2003.

W W W . S F J F F. O R G / 9 2 5 . 2 7 5 . 9 4 9 0

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Join the SFJFF in kicking off our monthly screening series at Yerba Buena Center for the Arts with this insightful film from a veteran director and klezmer master. The Yerba Buena Center for the Arts is on Mission Street at Third Street in San Francisco. Call 415-978-ARTS for advance tickets. Tickets are $7; $6 for Yerba Buena Center for the Arts members.


SPONSORS BUSINESS & COMMUNITY SPONSORS Wells Fargo Bank Philo Television Vermeer Dutch Chocolate Cream Liqueur Barrish Bail Bonds Margolin and Biatch Communication Made Fun and Easy!

ANGEL Anonymous Lela and Gary Sarnat Bonnie and Marty Tenenbaum

PREMIER SPONSOR

MEDIA SPONSORS

Leyna Bernstein Rick Cummings Carl Grunfeld Marian and Abraham Sofaer

San Francisco Bay Guardian Film/Tape World

PROGRAM CO-SPONSOR

HOTEL SPONSORS

Gary and Laura Lauder Mark Reisman Sandy Rosenberg and Carolyn Cavalier-Rosenberg

Westin St. Francis Hotel Hotel Adagio

IN-KIND GIFTS Alamo Car Rental Alternative Telecom Arch Architectural Supplies, Susie Coliver Bay Area Video Coalition Carl Grunfeld Consulate of France Consulate of Israel DHL Dolby Labs Goethe Institut Inter Nationes Istituto Italiano di Cultura Microsoft Monaco Labs and Video Philo Television

Audrey Adams Sherry Brown Neil and Linda Brownstein Norman Coliver Michael Ehrenzweig Amy and Morton Friedkin Shelley Friedman Susan and Jon Golovin Janet Gottesman and Geoffrey Biddle Martine Habib and Hilary Hart Deborah Hoffmann and Francis Reed Victor and Lorraine Honig Valerie Joseph Deborah Kaufman and Alan Snitow Wendy and Howard Kleckner John Kurtz Charles and Helene Linker Laura Shaw Murra Sara Newman Orli and Zack Rinat Tobey Roland Susan and Alan Rothenberg Carol and Harry Saal Joan Sarnat Danny Scher Len Shustek Mr. and Mrs. Barry Traub Janet Traub Marilyn and Murry Waldman Dan and Polly Weissman Dan Wohlfeiler

REEL FRIEND Anonymous Irwin and Ann Bear Wendy Bear Arthur Berliner and Laura Werlin Mark W. Bernstein Lisa Bowen and Mark Solomon Muriel and Allan Brotsky Bonnie Burt Donald and Carole Chaiken Patricia Chang Ann Christian Catherine Coates Robert Feirman Susan Freundlich and Elizabeth Seja Min Linda and Sanford Gallanter Jan Meryl Goodman Arlene Gopen Lani Green Adam Gutride Howard Herman and Claudia Bernard Virginia King

FOUNDATION SUPPORT Bernard Osher Jewish Philanthropic Fund The Bonnie and Marty Tenenbaum Foundation The Columbia Foundation Covenant Foundation Firedoll Foundation Gaia Fund Gilo Family Foundation Isaac and Georgia Grossberg Abrams Foundation Jewish Community Endowment Fund Teen Initiative Jewish Community Federation of San Francisco, the Peninsula, Marin and Sonoma Counties Jewish Outreach Institute Joshua Venture Fund Koret Foundation Lisa and Douglas Goldman Fund Richard & Rhoda Goldman Fund Righteous Persons Foundation Taube Foundation for Jewish Life and Culture The Tides Foundation Vanguard Public Foundation Walter & Elise Haas Fund William & Flora Hewlett Foundation

PUBLIC SUPPORT California Arts Council Consulate General of Israel Consulate of France Consulate General of Switzerland National Endowment for the Arts San Francisco Arts Commission Clutural Equity Fund San Francisco Film and Video Arts Commission San Francisco Grants for the Arts

W W W . S F J F F. O R G / 9 2 5 . 2 7 5 . 9 4 9 0

A.G. Ferrari Foods Abbey Party Rents ACME Bread Co. Arizmendi Bakery Baron Herzog Cellars Ben and Jerry's/Juma Ventures Cha-Cha-Cha Ciao Bella Gelato Co. Grand Bakery Hagafen Cellars Have Your Cake He'Brew Holey Espresso Il Fornaio Izzy's Brooklyn Bagels Jeremiah's Pick Joseph Schmidt's Confections Judy's Bread Sticks Krispy Kreme Donuts La Mediterranee La Tempesta Bakery Oakland Kosher Food & Bagel Patisserie Café Peet's Coffee and Tea Samovar Tea Semifreddi's Sharon Dinkins Skyy Vodka Telling Pictures The Naked Juice Co. Trader Joe's Tully's Coffee Ultimate Cookie Winewise

PRODUCER’S CIRCLE

Davood Kohanzadeh Donna A. Korones Ellen Kutten Galina and Lev Leytes Andra Lichtenstein and William Glover Adele and Mark Lieberman Eldad and Charlotte Matityahu Howard Metzenberg Greg G Minshall Raquel Newman Douglas Okun and Eric Ethington Alan Ramo Sue and Arthur Rinsky Paul and Sheri Robbins Rob and Eileen Ruby Seth A. Safier Peter Samis Helen Serxner Sheila Simon Joel Spolin Jacob Tal Eli and Donna Taub Monte and Ruth Toole Laura Tow Gene Traub Leonie Walker Ronald and Anita Wornick

27


ACKNOWLEDGEMENTS & CREDITS ACKNOWLEDGEMENTS

W W W . S F J F F. O R G / 9 2 5 . 2 7 5 . 9 4 9 0

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Phil Abero Austin Jewish Film Festival Sonia Azar Jerry Barrish Bartel Audio Visual: Rick Bartel Gina Batelli Berlin International Film Festival Dennis Bookbinder Boston Jewish Film Festival: Sara Rubin, Laurann Black and Kai Wilson Simone Moti Bouadana Howard Brown Bubi’s Catering Castro Theatre: Stacy Wisnia, Mark Gantor, Gary Oliver, Christian Bruno and the Candy Kidz Cell Space Center for Middle East Studies, UC Berkeley James Chan Kevin Chappell CineArts: Nancy Klasky, Jackie Clark Club Noon Elizabeth Colton Consulate General of France: Chérif Castel, Grégory Douet-Lasne Consulate General of Israel: Yossi Amrani and Donny Inbar Consulate General of Switzerland: Max Grob Jeremy Cowan Dallas Video Festival: Bart Weiss Geoff Diesel Dolby Labs: Karen Atherton and Tom Bruchs East Bay Center for the Performing Arts East Bay Midrasha Avi Einhorn Fantasy, Inc.: Paul Zaentz, Scott Roberts and Ken Horner Film Arts Foundation: Gail Silva, Dan Gomes, Jason Wolos and K.C. Smith Debbie Findling Fineline: Jennifer Stott Frameline: Michael Lumpkin, Russ Gage, Christopher Kelleher and Jennifer Morris Emily Freed Brian Gaines Judith Ginsburg Goethe Insitut: Ingrid Eggers, Ulrich Everding Arlene Goldbard Gary Goldstein Robin Greybill Nina Haft Hatikvah: Sunny Kaplan, Delores Wade Claudia Hazeleur Nathan Herzog Ann Veronica Hughes Ayva Hughes-Ball Israel Film Festival: Meir Fenigstein Istituto Italiano di Cultura: Annamaria Lelli Holly Jacobson Bob Jaffee Jerusalem Cinematheque: Lia van Leer, Gille Mendel and Ruso Meir Jewish Community Center of San Francisco: Nate Levine, Lenore Naxon, Shelley Friedman, Tina Gillmor Jewish Community Endowment Fund: Phyllis Cook and Mark Reisbaum Jewish Community Federation: Sam Salkin Jewish Outreach Institute Jewish Vocational Services: Rebecca Bassin Jeff Jones JYCA Deborah Kaufman KCSM John Kifmeyer

Kino International: Jessica Rosner Paul Kivel Hannah Kranzberg Landmark Theaters: Michael Collier and Lonnie Potts Larsen Associates: Karen Larsen, Tim Buckwalter and Caroline Hanni Rachel Levin Caroline Libresco Andra Lichtenstein Robyn Lieberman Marla Manlove Marcus Softward Designs: Steven Marcus Karl Mason Mike and Linda McInerney Gary Meyer Terry Meyer Mill Valley Film Festival: Marc Fishkin, Zoe Elton and Joanna Parsant Peter Moore and Anita Monga NAATA: Eddie Wong, Chi-hui Yang and Erni Tayabas-Kim Lynda Najarian National Center for Jewish Film: Sharon Rivo National Foundation for Jewish Culture: Richard Siegel New Bridges New Directors/New Films: Isa Cucinotta and Sara Bensman New Israel Fund: Jim Scheinman New York Jewish Film Festival: Mohini Shapero and Aviva Weintraub Jeremy O'Neal Pacific Film Archive: Kathy Geritz, Edith Kramer, Steve Seid and Judy Bloch Dave Pagano Eliah Pfister Jeremiah Pick PlanitJewish.com Janis Plotkin Michele Provorny-Cash Quest Productions Rafael Film Center: Dan Zastrow, Richard Peterson and Steve Tradewell Dharini Rosaiah Audrey Ryan Danny Scher Seattle Jewish Film Festival: Molly Sedlik and Gregg Lachow Semifreddi’s: Marla Manlove ServiceMarc Corporation: Marc Schnapp SF JCC Club 18 SF Art and Film Ella Shohat Hiram Simon Allan Solomonow Susan Stanfield Judy Stone Sundance Film Festival Sundance Channel: Sarah Eaton Lori Suzuki Maralyn Tabastsky Cathy Taylor Cynthia Taylor Teen Space Toronto Jewish Film Festival: Shlomo Schwartzberg Tom Waits Washington Jewish Film Festival: Miriam Morcell Nathan, Joshua Speiser and David Horowitz Sarah Weinberg Ernie Weir Dan Wohlfeiler Women Make Movies: Debra Zimmerman, Marta Sanchez Women’s Educational Media Charles Wong Jonathan Woocher WWOZ, New Orleans

Micha X. Peled Yerba Buena Center for the Arts: Joel Shepard and John Killacky

FESTIVAL PRODUCTION STAFF Festival Artistic Director Don Adams Program Advisor Nancy Fishman Program Consultants Sam Ball Caroline Libresco Janis Plotkin Festival Production Manager Elizabeth Jouan Greene Operations Manager/Web Maven Peter Jacobson Program Coordinator Erin Stamos Production Manager Karin Shaw Program Design Propel Design Copy Editor Warren Taylor Printing Specialty Graphics Print Manager Kim Connolly Window Display Sharon Adam Publicist Larsen Associates Publicity Coordinator Joan Gibson Publicity Intern Jesse Ficks Accounting Trudi Larsen Christy Applegate House Manager Brad Robinson Technical Director Hal Rowland Box Office Trilogy Productions Pamela & Joe Lawrence Creative Director Online Peter Jacobson Donor Development Director Gal Adam Festival Administrative Assistant Stacey NyKhole Community Outreach Eleanor Shapiro Myra Feiger Kohn Intern Sarah Accomazzo Volunteer Coordinators Noam Manor Geoffrey Doiron Karin Shaw Special Events Coordinator Lawrence Helman Hospitality Coordinator Erin Stamos Hospitality Assistants Leo Wong Erica Mainstein Comps/Invitation Coordinator Stacey Nykhole Print Traffic Alex Cantin


CREDITS Print Traffic Assistant Paul de Lumen Business Outreach Gal Adam Lawrence Helman Catering Rebecca Broder Catering Photographers Richard Bermack Andy Partos Allen Stross

SCREENING COMMITTEE: Judy Bank Bonnie Burt Michael Ehrenzweig Jodi Epstein Debbie Hoffmann Marcia Jarmel Deborah Kaufman Vivian Kleiman Donna Korones Susan Libitzky Ken Schneider Alan Snitow Diane Wolf

SFJFF 2003 TRAILER CREDITS

Producer and Lead Instructor Sam Ball Writers, Directors, Cinematographers, Editors (Teen Filmmakers) Alex Baum David Cohen Hannah Lesser Leah Whitman Salkin Maissa Chouraki Max Andrews Max Staley Rachel Barnett Sophia Teper Tamara Rosenfeld Advisors Deborah Hoffmann Debra Chasnoff Don Adams Janis Plotkin Josh Rosen Michael Ehrensweig Steven Zipperstein Veronica Selver Instructors Sam Ball Sophie Constantinou Kate Stilley Andy Gersh Dave Nelson Deborah Hoffmann Elise Hurwitz Gary Weimberg Howard Shack Josh Peterson Josh Rosen Ken Schneider Larry London Michael Cavanaugh Rachel Antell Steve Erquiaga Veronica Selver Post-Production Coordinator and Technical Assistant Benita Naschold Additional Coordination and Technical Support Jessica Dorfman Michela Rivera-Gravage Debra Schaffner Mike Taylor Thad Povey Lab work and Telecine Monaco Labs and Video Production Facility BAVC Titles Propel Design Outreach and Marketing Coordinators Galen Joseph Karin Shaw Interns Joanna Lenn Jennifer Reynolds Heather Carawan Web Producer Peter Jacobson Marketing Materials Design Propel Design Leo Wong Evaluator Moira Denike

2002-2003 Funding Covenant Foundation Jewish Community Endowment Fund Teen Initiative Joshua Venture Fellowship for Jewish Social Entrepreneurs Richard and Rhoda Goldman Fund Righteous Persons Foundation Tenenbaum Family Foundation Walter and Elise Haas Fund Acknowledgements Ann Veronica Hughes Brian Gaines Cell Space Club Noon Cynthia Taylor Debbie Findling Dharini Rosaiah East Bay Center for the Performing Arts East Bay Midrasha Emily Freed Geoff Diesel Holly Jacobson Jeremy O’Neal John Kifmeyer Jonathan Woocher Judith Ginsburg JYCA Michele Provorny-Cash Paul Kivel Rachel Levin Rebecca Bassin Robyn Lieberman Sarah Weinberg SF Art and Film SF JCC Club 18 Teen Space Women’s Educational Media Yerba Buena Center for the Arts

2003 SAN FRANCISCO JEWISH FILM FESTIVAL Independent Filmmakers: Looking at Ourselves

For further information regarding this program and others sponsored by the San Francisco Jewish Film Festival, please contact: San Francisco Jewish Film Festival 145 Ninth Street, suite 200 San Francisco, CA 94103 Tel: 415.621.0556 Fax: 415.621.0568 Jewishfilm@sfjff.org www.sfjff.org The San Francisco Jewish Film Festival is a beneficiary of the Jewish Community Federation of San Francisco, the Peninsula, Marin and Sonoma Counties. This program is funded in part by the California Arts Council, a state agency, and by a grant from the National Endowment for the Arts.

W W W . S F J F F. O R G / 9 2 5 . 2 7 5 . 9 4 9 0

Director/Producer Sam Ball Cinematographer Sophie Constantinou Editor Rachel Antell Sound Recording Josh Rosen Sound Design and Mix Outpost Dave Nelson Music Larry London Post Production Coordinator/Assistant Editor Benita Naschold Keycode Matching Thad Povey Negative Cutting Lewis Motisher Film Lab and Telecine Monaco Labs and Video Timing Kip Hansen Wrangler Sandi Stewart Opticals/Titles Monaco/Interformat Michael Hinton Titles Design Propel Design Assistants Peggy Kim Joanna Lenn Jennifer Reynolds Julianna Vinogradsky 35mm Film Kodak Vision Stereo Matrix Dolby Digital Production Insurance Romalis Productions Craft Services Ann Hughes

NEW JEWISH FILMMAKER PROJECT

29


TICKET INFORMATION HOW TO BUY TICKETS

TICKET PRICES

Box Office opens June 23, 2003

REGULAR PROGRAMS

Online Fax Mail Phone

Access our website at www.sfjff.org completed order form to: 925-866-9597 completed order form to: SF Jewish Film Festival Box Office PO Box 2229 Danville, CA 94526 925-275-9490 Monday – Friday, 9am – 5pm

Please Note To ease congestion and impact on our audience at each theater, advance tickets will be sold only by fax, mail, phone or online, not at theaters. A $1.50 per ticket per order processing fee will be charged up to $5. Passes represent multiple tickets so processing fee is $5. Day of show tickets only will be sold at each theater, one hour prior to the first film of the day. Cash Only.

Regular Admission Advance Beginning 5 PM, July 16

$9.00 $10.00

Seniors / Students / Groups (10 or more) Advance $7.00 Beginning 5 PM, July 16 $8.00 (No discounted tickets for Opening & Closing nights and special events.) MATINEES

Monday - Friday, up to and including 4 PM Advance Beginning 5 PM, July 16 (Tickets not required for FREE matinees)

$7.00 $8.00

Seniors are 65 or older

TICKET DELIVERY

Groups are for 10 or more tickets purchased for the same film on a single order.

Tickets will automatically be mailed to the billing address unless an alternate option is chosen. Orders received 10 days prior to first film selected will be placed at Will Call. Photo ID will be required when picking up tickets at theater Will Call table. Only those persons listed on the order will be allowed to pick up that order.

Students must be full time and present valid photo ID at time of ticket purchase. Mail or fax a copy of your current ID with ticket order form. No student discounts accepted online or by phone.

ARRIVAL TIME Ticket and Pass Holders must arrive and be in line 20 minutes prior to show time. Anyone arriving after that may not be admitted, even with a purchased ticket or pass.

RUSH LINE Even when a screening is sold out, tickets may be available through “Rush.” Some seats at every show are held for pass holders until 20 minutes prior to show time. If these seats are not used, they are released for sale to persons standing in the Rush line. This line may form up to one hour prior to show time. Rush tickets are Regular Admission price, cash only, no discounts.

ADDITIONAL INFORMATION •

• •

W W W . S F J F F. O R G / 9 2 5 . 2 7 5 . 9 4 9 0

30

• •

All programs are subject to change. Sometimes for reasons beyond our control, screenings must be changed, substituted, rescheduled, or canceled. If a screening is canceled, simply return your tickets to the box office within 48 hours of the canceled screening date to exchange for a different screening or for a refund. The processing fee is non-refundable. Every person, regardless of age, must have a ticket, except free matinees. A patron purchasing tickets for friends may submit only one form of payment per order. SFJFF is not responsible for lost, stolen, forgotten, or damaged tickets, or tickets misdirected by the post office. There will be a $25 charge for returned checks. All seats are general admission, except Opening night at the Castro, which will be reserved seating.

SPECIAL PROGRAMS

SF Opening Night Film & Before Film Reception 6:30 PM Cocktail Reception and reserved theatre seating SF Opening Night Film Only reserved theatre seating SF Closing Night Film & After Film Dessert Advance Beginning 5 PM, July 16 (No discounted tickets for Opening & Closing nights)

$36.00 $15.00 $15.00 $18.00

SPECIAL TICKET PACKAGES

All Festival Pass $180.00 One pass good for all shows at all theaters – including Opening and Closing Night films and events. Early-entrance line reserved for passholders. One name per pass. MUST ARRIVE and be in line 20 minutes prior to show time. Pass does not guarantee seating. Reel Pass $40.00 A reel deal if you’re 25 or younger! One pass good for all shows at all theaters – including Opening and Closing Night films and events. Early-entrance line reserved for passholders. Proof of age required. One name per pass. MUST ARRIVE and be in line 20 minutes prior to show time. Pass does not guarantee seating. Become a Festival supporter at the $500+ level and get a tax deduction, ALL-FESTIVAL PASSES, and more! For info call SFJFF at 415.621.0556 ALL ORDERS ARE FINAL! NO REFUNDS, EXCHANGES, OR SUBSTITUTIONS!!

PLEASE ARRIVE AND BE IN LINE 20 MINUTES PRIOR TO SHOW TIME. TICKET OR PASS DOES NOT GUARANTEE SEATING.


CLOSING 2003 TICKET ORDER NIGHT FORM N A M E (as it appears on credit card)

BILLING ADDRESS

CITY

(

S T AT E

)

(

ZIP

COUNTRY

)

(

HOME PHONE

) I require wheelchair seating number of person(s) using wheelchairs

D AY T I M E P H O N E

E-MAIL

ALL FESTIVAL PASS passes @ $180 ea = $

REEL PASS (25 or under–proof of age required)

SF CLOSING NIGHT FILM &

BEFORE FILM 6:30 PM COCKTAIL RECEPTION

AFTER FILM DESSERT

passes @ $40 ea = $

pass holder’s name

pass holder’s name

pass holder’s name

pass holder’s name

pass holder’s name

pass holder’s name

pass holder’s name

pass holder’s name

EVENT CODE

SF OPENING NIGHT FILM &

tickets @ $36 ea = $

tickets @ $15 ea = $

SF OPENING NIGHT FILM ONLY

Beginning 5PM, July 16

tickets @ $15 ea = $

FILM TITLE

DATE

NO. OF TIX

tickets @ $18 ea = $

PRICE/TICKET

*DISCOUNT TYPES: SENIOR=S STUDENT=STU GROUP=G

DISCOUNT TYPE*

TOTAL PRICE

passes/special programs total subtotal

SENIORS are 65 or older GROUPS are for 10 or more tickets purchasedfor the same film on a single order. STUDENTS must be full time and present valid photo ID at time of ticket purchase. Mail or fax a copy of your current ID with ticket order form. No student discounts accepted online or by phone.

processing fee ($1.50/ticket, up to $5.00; $5.00/passes) donation (thank you) donation to building fund GRAND TOTAL

( )

please let me know about your year-round screenings

( ) I want to volunteer for the 2004 SFJFF, please contact me

FORM OF PAYMENT ( ) check or money order enclosed please make payable to SFJFF Box Office, PO Box 2229, Danville, CA 94526 ( ) credit card Visa/Mastercard accepted (fax 925.866.9597)

/ expiration date

account no. ALTERNATE DELIVERY INSTRUCTIONS Tickets are automatically mailed to the billing address, up until 10 days prior to your first film, unless a choice is made below ( ) ( )

I want my tickets mailed to the alternate address noted. I want my tickets held at Will Call and will pick them up at the theater on the day of the first show I attend. Photo ID will be required to pick up tickets at Will Call

A L T E R N AT E A D D R E S S

CITY

FAX TO: 925.866.9597

MAIL TO: PO BOX 2229 DANVILLE, CA 94526

S T AT E

ZIP

W W W . S F J F F. O R G / 9 2 5 . 2 7 5 . 9 4 9 0

authorized signature

31


INDEX & DISTRIBUTORS 72 VIRGINS

P.16

Distributor: Dana Lerner, Matar Plus dana-le@matar-plus.com

ASESINO

P.8

Distributor: Dan Setton, Set Production dansetton@yahoo.com

BERLIN BESHERT

P.14

P.8

P.9

P.9

P.10

Distributor: Ruth Diskin, Ruth Diskin Films ruthdis@netvision.net.il

CHERRIES IN THE SNOW

P.14

P.10

P.20

P.11

P.11

P.12

P.17

P.12

INTERSEX EXPOSITION: FULL MONTY

IT IS NO DREAM

JOHNNY & JONES

KEDMA

KINKY FRIEDMAN: Proud To Be An Asshole From El Paso

LAST JEWISH TOWN, THE

LAST LETTER, THE

LOCAL ANGEL

MANHOOD Distributor: Bobby Roth rothbobby@aol.com

JEWISH FILM FESTIVAL 145 NINTH STREET, SUITE 200 • SAN FRANCISCO, CA 94103

PURITY

P.7

SAMY Y YO

P.5

SECRET LIVES: Hidden Children and Their Rescuers During World War II P.18 Distributor: Ryan Krivoshey, Cinema Guild, Inc.rkrivoshey@cinemaguild.com

P.14 SECURITY GROOVE

MATZO MAIDELS Distributor: Jenni Olson butch@butch.org

P.10

Distributor: Dana Lerner, Matar Plus dana-le@matar-plus.com

P.10 SHALOM, IRELAND

P.19

Distributor: Valerie Lapin, Ganley Share Productions vlapin@aol.com

P.18 SETTLERS, THE

P.11

Distributor: Amy Adrion, First Run Features Amy@firstrunfeatures.com

P.16 SOUL KEEPER, THE

P.19

Distributor: Adriana Chiesa, Adriana Chiesa Enterprises Fax (011) 39-06-8068-7855

P.16 TAQASIM

P.12

Distributor: Duki Dror, Zygote Films office@zygotefilms.com

P.19 THUNDER IN GUYANA

P.8

Distributor: Suzanne Wasserman swasserman@gc.cuny.edu

P.17 TIKKUN

P.7

Distributor: Taliya Finkel taliyart@yahoo.com

P.6 UNDER WATER

Distributor: Udi Aloni, Local Angel LLC localangel@udialoni.com

P.5

P.10

HIDING AND SEEKING: Faith and Tolerance After the Holocaust P.15

FORGET BAGHDAD: Jews and Arabs - The Iraqi Connection P.13

FOUR SHORT FILMS ABOUT LOVE

PEPE’S WATCH

Distributor: Margarita Gomez, Mil Producciones margagomezmayo@ciudad.com.ar

Distributor: Remo Brauchi, Dschoint Ventschr Filmproduction remo@dschointventschr.ch

Distributor: New Jewish Film Project jewishfilm@sfjff.org

P.15

Distributor: Karen Konicek, Zipporah Films info@zipporah.com

Distributor: Marta Sanchez, Women Make Movies orders@wmm.com

P.18

Distributor: Sharon Schaveet, Biblical & Blue Rose Productions biblic5@barak.net.il

Distributor: Matt Henderson, Seventh Art Releasing seventhart@7thart.com

Distributor: Gabriel Bibliowicz, Buzz TV & Fnook Ltd. gbibli@yahoo.com

FOR MY CHILDREN

HAVE YOU HEARD ABOUT THE PANTHERS?

MY LIFE PART 2

Distributor: Marta Sanchez, Women Make Movies orders@wmm.com

Distributor: Jacques Spaans, Lagestee Film BV info@lagesteefilm.nl

Distributor: Donna Gobi, Israel Film Service ifs@most.gov.il

FOOLISH ME

P.14

Distributor: Jessica Rosner, Kino International jrosner@kino.com

Distributor: Pearl Gluck pearl@panix.com

EMBRACE ME

HAND ON THE PULSE

P.9

Distributor: Tal Shanny, Sam Spiegel School of Film & TV tal@jsfs.co.il

Distributor: Rene Mendel, Interakt interakt@interakt.nl

Distributor: Ruth Diskin, Ruth Diskin Films ruthdis@netvision.net.il

DIVAN

P.14

Distributor: Benny Brunner, Freshly Baked Films beherenow@xs4all.nl

Distributor: Alice Elliott, Welcome Change Productions Elliotgirl@aol.com

DETAINED

GREAT YIDDISH LOVE, THE

MY FOUR CHILDREN

Distributor: Angelika Levi, celestefilm celestefilm@planet-interkom.de

Distributor: Shorona Mbessakwini greenpiratequeen@yahoo.ca

Distributor: Lori Fried, First Run/Icarus Films info@frif.com

COLLECTOR OF BEDFORD STREET, THE

P.16

Distributor: Oren Rudavsky orudavsky@aol.com

Distributor: Jeff Crawford, Canadian Filmmakers Distribution Center cfmdc@cfmdc.org

CLOSE, CLOSED, CLOSURE

GOOD UPLIFT, A

P.17

Distributor: Gon Production gon@netvision.net.il

Distributor: Frameline Distribution distribution@frameline.org

Distributor: Richard Baumgartel, The Big Little Picture Company Ltd. richardb@sfu.ca

CARAVAN 841

P.14

Distributor: Diane Nerwen nerwen@earthlink.net

Distributor: Paula Weiman-Kelman, Moving Picture Productions movingportraitproductions@hotmail.com

BURIAL SOCIETY, THE

GLOW, THE

MONSIEUR BATIGNOLE Distributor: Eglantine Lasserre, UGC International Elasserre@ugc.fr

Distributor: Faye Lederman uplift@squeezethestone.org

Distributor: Maurice Dores, Les Films Esdes mauricedores@hotmail.com

BLESSINGS: Roommates in Jerusalem

P.13

Distributor: Philippa Kowarsky, Cinephil info@cinephil.co.il

Distributor: Dagmar Boguslawski, Berlin Beshert Filmproduktion BerlinBeshert@hotmail.com

BLACK ISRAEL

GALOOT Distributor: Asher Tlalim, Tlalim Film galoot2003@yahoo.com

P.20

Distributor: Philippa Kowarsky, Cinephil info@cinephil.co.il

P.4 WELCOME TO THE WAKS FAMILY

P.20

Distributor: Brigid Phelan, Film Australia sales@filmaust.com.au

P.14 WORST JEWISH FOOTBALL TEAM IN THE WORLD, THE

P.16

Distributor: Gary Ogin garyogin@yahoo.co.uk

Nonprofit Org U.S. Postage

P

A

I

D

Permit No. 107 San Francisco, CA

San Francisco Jewish Film Festival 23  

Full Program Guide

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