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AtThe Pour Seasons Olym pic, It’s O ur G rand IdeaThat M akes Us Seattle’s O nly G rand Hotel. The Four Seasons Olympic Hotel was restored with one thought in mind. To create a grand hotel that adapts to your lifestyle. Never you to it. Here, your needs are antici pated. So your normal routine is never compromised. That is our grand idea. And it’s what we believe a grand hotel is all about. For instance, if you like to start your day with a six a.m. dip, our solarium Spa is waiting. Swim. Sauna. Exercise.Then enjoy a leisurely breakfast. Once you’ve completed the business at hand, return. Relax with a massage.

Ease into the whirlpool. Recline on our private sun deck. Also experience the personal care shown by all our staff. Take our Chef de cuisine. He under stands your tastes. And your hesi tation to indulge. So, he Created a unique Alternative Cuisine m enu... featuring this area’s famous fresh food specialties.The result: gourmet cuisine, sans gourmet calories. Most hotels would consider a full health spa and special menu unnecessary luxuries.To us, it’s only a small part of a grand idea. An idea based on a simple philosophy. We adapt to you. Not the other

way around. That’s why our gracious accommodations are consid ered such an exceptional value. To reserve your grand experience call (800) 268-6282 or, in Seattle, (206) 621-1700.

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1308 5th Avenue

The 15 th S eattle I nternational F ilm F estival 11 - J u n e 4 1989

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SEA TTLE IN T E R N A T IO N A L FILM FESTIV A L

Seattle's International Film Festival sponsored in part by

^CONTINENTAL AIRLINES

W ORLDW IDE EX P R ESS ®

KUOW

Seaso ns O lym p ic Hotel

N e a r ly 95FM

A M ER IC A N

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TCI Cablevision of Washington, Inc.

S4S

Co-Sponsors Benjamin's Broadway Improvement Association Broadway Music Cucina! Cucina! Chander's Crabhouse Stewart Brothers Coffee Seattle Central Community College The Seattle Times KCMU KCPQ 13 KU O W KING AM KING FM KPLU KTZZ 22 Tropics Motor Hotel Steve Peringer Washington State Film & Video Association Workhause Productions Yellow Cab

The Businessm an’s Airline

HEATH 1f 1U 1 J1 P R IN T E R S

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tosterà Washington Beverage

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This is definitely you and me.

SO RRENT0 H ÜTEL

UJJ u n iT E D A iR L in e s

D irector 's M essage

by Darryl Macdonald

If movies are the food of life, then this year's Festival rivals Babette's Feast for sheer delicious indulgence. Ever diligent in our search for the best and brightest the film world has to offer, the Festival's selection committee has put together an incredibly varied menu of film-going experiences for you this year, and expanded our programming to cover even more cinematic territory than ever before. From Portugal to Peru; from Sri Lanka to South Africa; from the USA to the USSR; the Seattle Film Festival has scoured the planet and brought home to Seattle the most engaging line-up of films we've ever been able to present. A large debt of gratitude is owed to our generous corporate and private sponsors; their enormous contribution of goods and services has allowed us to expand the scope and aims of the 1989 SIFF well beyond our past accomplishments. The incredible effort put forth by SIFF staff, volunteers, and the local film community has likewise contributed to the overall growth of the film ic feast in which you are about to partake. Major thanks must also be given to the distribution and production talents who have helped nurture and support the Seattle Film Festival for the last 15 years; without their strong contribution, this event would just be another interesting film series among the hundreds of similar events launched each year. In the spirit of universal adventure then, open your eyes and ears, hearts and minds, and partake of the cinematic smorgasbord laid out before you: it is to enjoy.

OURJACKETS HAVESEENBETTER DAYS.

Geiger. This means using There's hardly a period in American aviation cotton 3-ply thread, twelve stitches to the history more exciting inch, horn buttons, and dramatic than World WarIL solid brass coined zippers, wool wrist Or any bigger heroes than the bomber and and waist bands, and fighter pilots themselves. #vras^ ^ $ S £ Navy bar tacking. General Hap Arnold. Leather pieces are Jimmy Doolittle. Pappy even matched by hand. Boyington and the Black You can order by phone. Sheep Squadron. They Call the Museum Store at (206) 764-5704. were fearless, daring, wildly adventuresome. Museum members receive a 15% discount And they all wore The B-3 has a pocket for Willis & Geiger flight maps, gloves, and a picture of mom. on all merchandise. ^ ^ It also has high pile shearling body, jackets. The same jack- cowhide reinforced sleeve and cuff, Or come see our airfloating insignia epaulet. $710. ets you can buy today plane collection and try on at the Museum of Flight all three jackets;they're These authentic available in both men's jackets, complete with and women's sizes. Defense War Contract If you're going to labels, are made to get a flight jacket, get original military speci the most popular aviator issues. the real thing. It will Original 1931 specifications called for 1 fications and the high snap flap patch pockets and collar S e e yOU tlir O U g il t i l e with "hook and eye" neck closure. 1 i 1 standards of Willis & $380 goatskin. $450 horsehide. tO U g h e S t b a t t le s . ^

M USEUM O F FLIG H T 9404 East Marginal Way South, Seattle, Washington 98108. Open 10:00 a.m. to 5:00 p.m. daily; 10:00 a.m. to 9:00 p.m. Thursdays and Fridays. For information call (206) 764-5720.

G overnor 's M essage

The State of Washington Office of the Governor

P r o c l a m a t io n Whereas, the City of Seattle offers a richness of cultural activity unparalleled in the Northwest; and Whereas, the medium of film serves as an educational tool, a source of entertainment, and is recognized as major form of creative expression; and Whereas, the Seattle International Film Festival is one of the premiere film events on the West Coast; and Whereas, the Seattle International Film Festival serves as a showcase for films from all over the world, providing an opportunity for artistic interaction and exchange; Now, Therefore>I, Booth Gardner, Governor of the State of Washington, do hereby proclaim May 11 - June 4, 1989, as

Seattle International Film Festival Days in the State of Washington, and I urge all citizens to join me in supporting this landmark cultural event.

Signed, this 21 st day of April, 1989

Governor Booth Gardner

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an excellent product, delivered on time, at a competitive price, and in a manner that w ill bring you back. Please consider us for your next project. We are committed to your total satisfaction. Thank you. Terry Page and Dan Sturgeon.

j H EA TH P R IN T E R S Committed to total client satisfaction.

M ayor 's M essage

City of Seattle Office of the Mayor

P r o c l a m a t io n Whereas, the film medium is a vital part of our culture as an important channel or artistic expression; and Whereas, the City of Seattle has the highest film attendance per capita of any city in the United States; and Whereas, the 15th Annual Seattle International Film Festival is a showcase for films from may countries and a means of enhancing international understanding; and Whereas, the Seattle International Film Festival is the largest in the Northwest and is one of the most respected film festivals in the United States; Now, therefore>I, Charles Royer, Mayor of the City of Seattle, do hereby proclaim May 11 - June 4, 1989 Seattle International Film Festival Weeks in Seattle and encourage the community of Seattle to enjoy these foreign films.

Mayor

VISIT THE

SEATTLE

ART

MUSEUM IN BEAUTIFUL VOLUNTEER PARK AT THE T O P O F CA PITO L HILL

ASIAN» AFRI CAN ♦ NORT HWE S T EUROPEAN ♦ CONTEMPORARY ART & MORE Hours: Tues.-Sat.10 a.m .-5 p.m v Thurs. 10 a.m .-9 p.m , Sun. n o o n -5 p.m . C losed M ondays. A dm ission: $2 for adults, $ lfo r students and seniors, children under 6 adm itted free. Free adm ission on T hursdays. C all 625-8901 for exh ibition inform ation.

SUNDAYS FREE from M em orial D ay W eekend through Labor D ay weekend (5 /2 8 -9 /3 ) thanks to generous funding from the Seattle A rts C om m ission.

Table of C ontents

ALGERIA AUSTRALIA

BELGIUM BRAZIL BULGARIA CANADA

CHINA CUBA CZECHOSLOVAKIA DENMARK FINLAND FRANCE

GREAT BRITAIN

HONG KONG HUNGARY ICELAND INDIA IRAN ISRAEL ITALY

JAPAN

KOREA

CITADEL BINGO, BRIDESMAIDS AND BRACES BOUNDARIES OF THE HEART ECHOES OF PARADISE EVERLASTING SECRET FAMIL Y GEORGIA GHOSTS OF THE CIVIL DEAD PHOBIA MUSIC TEACHER, THE ANGELS OF THE NIGHT TIME OF VIOLENCE MILK AND HONEY OUTSIDE CHANCE OF MAXIMILIAN GLICK, THE REVOLVING DOORS, THE SQUAMISH 5, THE TALES FROM THE GIMLI HOSPITAL URINAL EVENING BELLS FAR FROM WAR WELL, THE LETTERS IN THE PARK HURRY, HE'S COMING LAST BOOTY, THE KATIN KA HAMLET GOES BUSINESS BENGALI NIGHT CAMOMILLE FOUR ADVENTURES OF REINETTE AND MIRABELLE IN SAND AND BLOOD LECTRICE, LA MAN NO RUN 49TH PARALLEL AFRICAN DREAM, AN BLACK NARCISSUS CANTERBURY TALE, A CHORUS OF DISAPPROVAL DISTANT VOICES, STILL LIVES FOR QUEEN AND COUNTRY GETTING IT RIGHT GONE TO EARTH GREENAWAY SHORTS PROGRAM HAUNTED SUMMER H O W TO GET AHEAD IN ADVERTISING I KNOW WHERE I'M GOING LIFE AND DEATH OF COLONEL BLIMP, THE MATTER OF LIFE AND DEATH, A ON THE BLACK HILL RAINBOW, THE RED SHOES, THE RESURRECTED TALL GUY, THE VROOM WAR REQUIEM with short IMAGINING OCTOBER WHISPERERS, THE WONDERLAND BETTER TOMORROW, A I LOVE MARIA HANUSSEN MR. UNIVERSE WHOOPING COUGH FOXTROT IN THE SHADOW OF THE RAVEN APARAJITO PESTONJEE VOYAGE BEYOND, THE PEDDLER, THE AVIYA'S SUMMER LEGEND O f THE HOL Y DRINKER MASCHERA, LA (THE MASK) MIGNON HAS COME TO STAY RORRET HOPE AND PAIN' REMEMBRANCE SUMMER VACATION OF 1999 YEN FAMILY, THE DIARY OF KING YONSAN HELLO GOD

MEXICO NETHERLANDS NEW ZEALAND

PERU PORTUGAL PUERTO RICO SOUTH AFRICA SPAIN

SRI LANKA SWEDEN TAIWAN , R.O.C.

MARIANA, MARIANA SUMMER OF MISS FORBES, THE THE EGG, wi th shor t Wil d Sound VANISHING, THE BAD TASTE ILLUSTRIOUS ENERGY MAURI NEVER SAY DIE LION'S DEN (La Boca D el Lobo ) JESTER, THE (O Bobo ) TANGO BAR MAPANTSULA FABLE OF THE BEAUTIFUL PIGEON FANCIER LA SENYORA NEON MAN WAY OF THE LOTUS DEMONS HIP HIP HURRAH IN THE NAME OF THE LAW DAUGHTER OF THE NILE ROUGE OF THE NORTH STRAWMAN

C o r po rate S po n so rs D ir e c t o r 's M e s s a g e G o v e r n o r 's M e s s a g e M a y o r 's M e s s a g e D a i l y F il m S c h e d u l e O p e n in g N i g h t • T h e R a in b o w C l o s in g N i g h t • T h e T a l l G u y M ic h a e l P o w e l l T r ib u t e S y m p o s iu m s • P r o d u c e r 's & S c r e e n w r it e r ' s E a s t - W e s t C e n t e r • F r e e S e r ie s W a y D o w n East R a /e e v e G u p t a T r ib u t e • A p a r j it o B i g T r a il A m e r ic a n M o v ie C l a s s ic s G o ld en S pace N eed le A w ard s F il m S h o r t s S e c r e t F e s t iv a l P o s t e r A u c t io n P a c if ic R im S e r ie s

4 5 7 9 60 21 23 26 29 31 33 34 34 35 39 41 43 45 48

P ro g ra m N o tes

TURKEY

U.S.A./TAIWAN U.S.A.

U.S.S.R.

WEST GERMANY

IRON EARTH, COPPER SKY 84 CHARLIE MOPIC AMANDA APARTMENT ZERO BAD AND THE BEAUTIFUL, THE BIG PICTURE, THE BIG TRAIL, THE BIRTHRIGHT BLACKOUT BLOODHOUNDS OF BROADWAY CARNIVAL OF SOULS CHANTICLEER SHORTS PROGRAM CHECKING O UT DAYS OF GREEK GODS DEVIL IS A WOMAN, THE EARTH GIRLS ARE EASY FIRST DATE FLESH EATING MOTHERS FOR ALL MANKIND FUNNY HEATHERS HELLBENT HIDER IN THE HOUSE KILLING OF A CHINESE BOOKIE, THE LASERMAN, THE LI'A — THE LEGACY OF A HAWAIIAN MAN LIGHTNING OVER BRADDOCK: A RUSTBOWL FANTASY LOBSTER MAN FROM MARS NOT SINCE CASANOVA PARENTS PUMPKINHEAD ROMERO SCENES FROM THE CLASS STRUGGLE IN BEVERLY HILLS SHORTS SIGNS OF LIFE SOME GIRLS STAYING TOGETHER SUBMITTING (short) SUNDOWN TASTE OF HEMLOCK THIRD DEGREE BURN TIME FLIES WHEN YOU'RE ALIVE TWISTER VAMPIRE'S KISS WARM SUMMER RAIN WAY DOWN EAST WEST IS WEST WHO ARE THEY (short) ASH IK KERIB ASSA FORGOTTEN TUNE FOR THE FLUTE STRANGE PEOPLE ROBBYKALLEPAUL VIRGIN MACHINE

A l g e r ia A u s t r a l ia * B e l g iu m B r a z il B u l g a r ia C an ad a * C h in a * C uba C z e c h o s l o v a k ia D en m a rk F in l a n d F rance G erm an y G r e a t B r it a in H ong Kong* H un gary Ic e la n d I n d ia Ir a n I s r a el I ta ly Ja p a n * K o r ea * M e x ic o N eth erlan d s N ew Z ealan d P eru P o r tu g a l P u e r t o R ic o S o u t h A f r ic a S p a in S ri L an ka S w ed en T a i w a n * RO C T u rk ey

U.S.A. U.S.S.R G o n e W i t h t h e M i n d • T h e M id n it e s F e s t iv a l S t a f f

Box O f f ic e S t a f f V o lu n teers F il m S o u r c e s F il m A c k n o w l e d g e m e n t s T h a n k - y o u 's A d v e r t is e r ' s I n d e x T i c k e t I n f o r m a t io n F il m I n d e x

* D cNOTES P a CIFIc R i M C o UUNTRICS

49 49 51 52 52 52 54 55 56 56 57 57 59 59 68 69 70 71 71 71 72 73 74 75 75 76 77 77 78 78 78 31 79 80 81 82 92 94 104 105 106 113 114 115 116 119 120

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CELEBRATE MOVIES THAT LAST A LIFETIME! Join Viacom Cablevision, TCI Cablevision and American Movie Classics at the 15th Seattle International Film Festival. We are proud to present a series o f American Movie C lassics ... . . . featuring a special presentation of “The Big Trail” starring John Wayne in his first starring role. Directed by Raoul Walsh, this film has been newly restored from the British Film Institute in 70mm. As supporters of the arts, your local cable companies are delighted to participate in one of the most highly respected film festivals in the country.

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MORNING EDITION HOST Dave Meyer ALL THINGS CONSIDERED HOST Guy Nelson NEWS REPORTERS Larry Altose Karyl Levinson Michael Marcotte Anne Martin Dan Tritle JAZZ HOSTS DaleBundrant Joey Cohn Nick Morrison Ken W iley Jim W ilke Aki Wright BLUES HOST Marlee Walker D IR ECTED BY Martin J. Neeb, General Manager PRO DU CED BY Roger Johnson, Program Director NEW S DIRECTION by Michael V. Marcotte MUSIC D IRECTED by Joey Cbhn ASSISTA N T P R O D U C ER S Diana Butl, Office Manager & Kerry Swanson, Operations Manager PRODUCTION DESIGN David Christian, Chief Engineer & Lowell Kiesow, Assistant Engineer FINANCIAL DIRECTION Mel Baer, Director of Development & Kim Stanphill, Membership Coordinator AUTOMOTIVE AD VICE by Click and Clack, Hosts of "Car Talk" PU BLICIST Greg Coe, Promotions Coordinator

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Glad-handing, buzz words and a frenzy of activity do not make successful advertising. It takes insight, creativity, depth, care and a commitment to results. We congratulate the Seattle Rim Festival for that same kind of action.

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i l D0N neI » D O N 1 ì É ^ * | d O N “n é g r o

B R U T

B Y

F R E I [

O pening Night

mam ■

■

■ I■

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I I ■

lil

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T h u r s d a y , M a y 11

^ 8

8 :0 0 pm

G rea t B r it a in

The Rainbow D irector/P roducer: K en R ussell Screenwriters: K en and V ivian R ussell, from the novel by D .H . Lawrence C inematograper: B illy W illiams Editor : Peter D avies M usic : C arl D avis C ast: Sammi D avis, Paul M c C ann, A manda D onhoe, G lenda Jackson, C hristopher G able, D avid H emmings P rint Source: V estron Pictures • 1989 • 104 minutes

Ken Russell proved with his breakthrough 1970 film Women in Love that he is the ideal cinematic interpreter of D .H . Lawrence. Now he returns to Lawrence to create his best film in years, The Rainbow, the story of ayoung woman's awakening to maturity and independence in rebellion against prim turn-of-the-century England. Lawrence created Ursula in The Rainbow and continued her adventure in Women in Love. (In that film she was played by Jennie Linden and her sister Gudrun by Glenda Jackson, who won an Oscar; Jackson makes a welcome return in The Rainbow, playing that character's mother.) Radiant Sammi Davis (H ope and Glory, Mona Lisa,_Lair o f the White Worm) gives her best performance to date as Ursula, a strong modern heroine. She is an ardent young woman searching for truth, beauty, and fulfillment, who wants to face life boldly and embrace its possibilities, no matter the cost. Ursula's sexual initiation comes at the persuasive hands of her swimming instructor (Amanda Donohoe, the beautiful vamp of Lair o f the White Worm), a free spirit whom Ursula greatly admires but who eventually disillusions her. Idealistically becoming a teacher at a poor grammar school, Ursula tries to liberate her students, but instead is forced to resort to stern discipline. And to her surprise, she finds herself powerfully attracted to the masculine strength of a handsome officer (Paul McGann), involved in fighting the Boer War, who wants to marry her. The Rainbow is a gorgeous, sensual, passionate film; in challenging us to consider the possiblities of life, it is a film that shines.

R eception to fo llo w at the S panish B a llro o m

-IN THE O lym pic F o u r S easons H otel Th e O pen in g N ig h t F ilm a n d G ala ARE PRESENTED BY C on tinental A irlin es and

F reixen et W ines / W estern W a sh in g to n B everage

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II t i i s i n il U n t il i t t r i t a t e n C l .

Beverage

# C O N T IN E N T A L A I R L I N E S M

It took 4 0 countries to produce the films in this festival. But only one express com pany to get them here. We're proud to sponsor the Seattle International Film Festival, and provide all air express services.

The World's Express Com pany

1989 DHLAirways, Inc.

C losing Night

8 :0 0 pm

S u n d a y, June 4

E g y p t ia n

G r ea t B r it a in

U.S. P rem iere

^ T h e Tall G u y

W e are pro ud to present the A m erican premiere o f

Th e Tall G u y

D irector: M el Smith Producer: Paul W ebster, T im B evan Screenwriter: R ichard C urtis C inematographer: A drian B iddle Editor : D an Rae M usic : Peter B rewis C ast: Jeff G oldblum, Emma T hompson, Rowan A tkinson, Emil W olk, G eraldine James, K im T hompson P rint Source : V estron Pictures »1989 »92 minutes Dexter King is a love 'em and leave 'em kind of guy. He loves 'em, they leave him. Being a tall American actor working in London's West End has its difficulties for Dexter. He's the abused second half of the act to a madly eccentric comedian. His roommate (a woman) is constantly parading her new sexual conquests all over the house, and Dexter just wants to fall in love in the worst way. Enter Kate, a pretty no nonsense nurse who Dexter meets while receiving his allergy shots, and . . . it must be love. After consummating their affair in what certainly must be regarded as the wildest and funniest sex scene in recent history, Dexter and Kate move in together. After being sacked for missing a performance of his show, Dexter lands the lead role in the new musical version of THE ELEPHAN T M AN called (yes, you guessed it) ELEPHANT! with hit songs like "Somewhere Up in Heaven is an Angel with Big Ears" and "I'm Packing My Trunk". Suddenly Dexter's on top of the town: a new love and the lead in the newest musical sensation of London. What could go wrong? EVERYTH IN G! THE TALL G U Y is a festive charmer that boasts the comic brilliance of its star Jeff Goldblum, and heralds first time director Mel Smith as a name to watch. This is a boy meets girl, boy loses girl, boy gets girl again story told in a fresh, funny and utterly endearing way.

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A Tribute to M ichael Powell "I live the cinema." — Michael Powell Michael Powell's life in movies, which has spanned the history of the art form, began (1905) in the Kentish countryside near Canterbury, England, this "dreamy boy" grew up with his senses atuned to the rhythms of field and stream, and with a reverence for the deep cultural roots of his home land. Working for the legendary American director Rex Ingram (Mare Nostrum. 1926) on the French Riviera, young Powell absorbed Ingram's passion for grand themes and expressive visual effects. Knowing that he was "born to be a film director," Powell contributed the idea for the first "Hitchcock Clim ax" (BLACKMAIL, 1929) and began a string of 23 quote-quickie thrillers (RYNOX, 1931). Powell is one of the cinema's most gifted storytellers. Though his films are sterling models of literacy, Powell's images flow along like music, engaging us at some level more primal than that of language. The seasons and weathers of his films are eloquent. Tempestuous emotions and exalted spiritual states are echoed in skirling bagpipes and the baying of hunting hounds. Unspoken love and cherished personal honor are painted in the rich reds, blues, golds, and greens of some of the screen's most ravishingly designed Technicolor productions. Powell presents heroic, romantic characters who seek adventure in a sublime realm where fantasy and reality blend in a most natural sort of way. He explores the mysteries of the earth and of the human heart, and impishly adds a few visual-narrative surprises to further beguile us. Now 84, Powell is writing the second half of his life story. And as he looks back over his brilliant career, the Festival invites you to sample some of the golden hours of extraordinary entertainment he has given us and to join us for a rare and very special evening with Michael Powell. This tribute is presented by Seattle Art Museum film curator Greg Olson and the Festival staff.

Sa t u r d a y , M a y 2 0 P o w e l l A ppea r a n c e

W a

7 :0 0 pm E g y p t ia n O ne T ic k e t P r ic e

G rea t B r ita in

M atter of L ife and D eath

D irector/P roducer/S creenwriter: M ichael Powell and Emeric Pressburger, T he A rchers C inematography: Jack C ardiff P roduction designed : A lfred J unge Editor : Reginald M ills M usic : A llan G ray, with D avid N iven, K im H unter, M arius G oring, Roger L ivesey, Robert C oote, Kathleen Byron, R ichard A ttenborough, Raymond Massey, A braham Sofaer. Print Source: K ino • 1946 • T echnicolor, 104 minutes Powell's "most perfect film" opens with an RAF pilot (David Niven), who's going down in flames, and a ground-based American radio operator (Kim Hunter) falling, impossibly, in love. Somehow alive, Niven meets Hunter on an English beach. But there's been a slip-up in the Other World and he must ascend a gigantic stairway to the clouds and go on trial for his life. One of Powell's supreme visual achievements, the film moves effortlessly between our Technicolor world and a pearlescent, monochromatic Eternity, where Niven is defended by his doctor friend (Roger Livesey). Livesey argues for the rights of the "uncommon man" and proves that love can save your life in any possible world.

Sa t u r d a y , M a y 2 7

2 :3 0 pm

E g y p t ia n

G reat B r ita in

B lack Narcissus D irector/P roducer/ Screenwriter: M ichael Powell and Emeric Pressburger, T he A rchers F rom R umer G odden ' s novel C inematography: Jack C ardiff (A cademy A ward) Editor : R eginald M ills Production designed: A lfred Junge M usic : B rian Easdale, with D eborah K err, Sabu, D avid Farrar, Flora Robson, Esmond K night, Kathleen Byron, Jean Simmons. Print Source : K ino • 1947 • T echnicolor, 100 minutes

In Powell's "most erotic film ," Sister Clodagh (Deborah Kerr) and her white-robed Anglican nuns start a school in the high Himalayas. But the exotic spirit of the place threatens their venture. The perfumed winds never stop, the earthy Mr. Den (David Farrar) stirs carnal desires, and there's something sunsettling about the interaction between a native girl (Jean Simmons) and a silky young prince (Sabu). Sister Ruth (Kathleen Byron) loses control and, with murderous eyes, stalks Sister Clodagh in the stunning cliff-top clim ax, whose action was choreographed to a piece of music. Sister Clodagh's short flashbacks to her pre-convent life in the Irish countryside are ecstatic passages of bravura filmmaking. A milestone of color design and studio production, NARCISSUS was shot entirely within Great Britain.

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A Tribute to M ichael Powell S u n d a y M a y 14

2 :3 0 pm

E g y p t ia n

G rea t B r it a in

C anterbury Tale D irector/P roducer/ Screenwriter: M ichael Powell and Emeric P ressburger, T he A rchers C inematography: Erwin H illier Editor : John Seabourne Production designed: A lfred J unge M usic : A llan G ray, with Eric Paortman, Sheila Sim, Sgt . John Sweet, D ennis Price, Esmond K night, C harles H awtrey, H ay Petrie. Print Source: K ino • 1944 » 1 2 4 minutes TALE begins with a breathtaking cut that bridges the centuries between Chaucer's England and World W ar II with the image of a winging falcon becoming a Spitfire fighter diving out of the clouds. An Oregon-born soldier (John Sweet), a cinema organist (Dennis Price), and a Women's Corps farm worker (Sheila Sim) retraces the steps of Chaucer's travelers along Pilgrim's W ay. They are mesmerized by the local squire's (Eric Portman) tales of the old days and menaced by the Glue Man, who pours the sticky stuff on young women's hair. Converging upon the Great Cathedral, each receives a unique blessing. Filmed in the landscapes of Powell's childhood, TALE is full of summer heat, ripe orchards, and boys at play. This is the rarely shown full-length version.

Saturday, June 3

2:00 pm

Egyptian

G reat B ritain

fo ) The L ife and D eath of C olonel B limp D irector/P roducer/ Screenwriter: M ichael Powell and Emeric Pressburger, T he A rchers C inematography: G eorges Perinal Editor : John Seabourne P roduction designed : A lfred Junge M usic : A llan G ray, with Roger L ivesey, A nton W albrook, D eborah K err, Roland C ulver, James M c K echnie, A lbert L ieven, U rsula J eans, John Laurie, Reginald T ate. Print Source : K ino • 1943* T echnicolor, 163 minutes A triumph for Powell and Pressburger, B LIM P is one of the greatest British films. Pressburger's fascination with paradox and transcendence are fully evident: an impatient young man can't believe he'll change with age, and a crusty, yet mellowing old man can't convince the youth that he was also once an impudent youngster; two soldiers (English, German) who should be enemies share a lifelong friendship; and a man loves three women who are, somehow, the same woman. Roger Livesey gives the performance of his life as Clive Candy, the career army man who crosses four decades with Theo Kretschmar-Schuldorff (Anton Walbrook) and Deborah Kerr (in three forms). Powell has spoken of his kinship with Candy's sense of gentlemanly honor, his puzzled innocence and his devotion to woman (Powell was in love with Deborah Kerr in 1943). In a sword duel that dissolves to insignificance in a swirl of snowflakes, and on a blitzed London street where an old soldier is reminded of his lost, yet present love, we sense a wordless expression of Powell's credo.: "Beauty, truth, and the heart of England." Leery of any possible anti-military propoganda, Churchill had BLIMP shortened; this is the restored, original version.

S u n d a y , M a y 21

2 :3 0 pm

E y g p t ia n

G r ea t B r it a in

f®) G one to Earth D irector: Producer: Screenwriter: C inematography: Production designed : M usic :

M ichael Powell and Emeric Pressburger D avid O . Selznick M ichael Powell and Emeric Pressburger, from M ary W ebb' s novel C hristopher C hallis H ein H eckroth B rian Easdale, with Jennifer Jones, D avid Farrar, C yril C usack, Sybil T hondike, Esmond K night, H ugh G riffith, G eorge C ole. Print Source: B ritish F ilm I nstitute • 1950 • T echnicolor, 110 minutes

In the legend-haunted Welsh border country of 19th-century Shropshire, with its Roman ruins and pagan megaliths, tales of the Black Huntsman make even fiery Hazel Woodus (Jennifer Jones) quake with fear. This young gypsy woman, who treasures her untamed fox companion, draws the attention of MarstonfCyril Cusack), a good-hearted man of the cloth, and Reddin (David Farrar) a rakish squire-huntsman. Torn between a sacred and a profane love, Hazel is in danger of being driven to earth by the passionate forces that this triangle unleashes. Alive with Jones' foxy performance, Brian Easdale's harp and hunting horn score, and some of Powell's most striking landscapes, this is the restored British version of the film, not THE W ILD H EAR T that Selznick shortened and re-shot for American release.

A Tribute to M ichael Powell S a t u r d a y , M a y 13

2 :3 0 pm

E g y p t ia n

G r ea t B r it a in

I K now W here I'm G oing D irector/P roducer/ Screenwriter: M ichael Powell and Emeric PressburgerT he A rchers C inematography: Erwin H illier Editor : John Seabourne A rt D irector: A lfred Junge M usic : A llan G ray, with W endy H iller, Robert Livesey, Pamela B rown, F inlay C urrie, C apt. C.W.R. K night, Petula C lark, V alentine D yall, Nancy Price, John Laurie, Jean C adell. P rint Source : K ino • 1945 • 92 minutes Brimming with Celtic magic, / KN O W journeys North with headstrong, materialistic Joan Webster (Wendy Hiller), who's going to the Western Isles of Scotland to marry her millionaire boss. But wind and waves and eerie Gaelic harmonies conspire to keep her from crossing to her fiance's island. She stays at the house of Catriona (Pamela Brown), who bursts in with wild black hair and a brace of Irish wolfhounds. Against her w ill, Joan is enthralled by the folkways of people who are sustained by values more lasting than the glitter of gold. She's troubled by the husky-voiced laird, Torquil (Roger Livesey), who seems to think she's the girl for him. Desperate to get away, she finds herself living out the mythic pattern of a sly Highland curse. After Pressburger's passing this film was chosen for a memorial showing.

S u n d ay, M ay 28

2 :3 0 pm

E g y p t ia n

G rea t B r it a in

The R ed S hoes D irector/P roducer/ Screenwriter: C inematography: Editor : Production designed : M usic : C horeography:

M ichael Powell and Emeric Pressburger, T he A rchers Jack C ardiff R eginald M ills H ein H eckroth B rian Easdale (A cademy A ward) Robert H elpmann, with M arius G oring, A nton W albrook, Moira Shearer, L eonid M assine, A ustin T revor, Esmond K night, L udmilla T cherina, Robert H elpmann, A lbert Basserman. P rint Source: K ino • 1948 »T echnicolor, 133 minutes

The Archers' most famous classic interweaves a Hans Christian Andersen fairy tale with the story of Vicky Page (Moira Shearer), a ballerina who must choose between the impressario (Anton Walbrook) who brought her to stardom and the composer (Marius Goring) she loves. Vicky's need for her art and for human affection are equally strong, and the RED SHOES BALLET, in which she dances the character of a girl swept away by bewitched dancing slippers, seems to foreshadow the course of her own life. This celebrated ballet sequence is a culmination of Powell's desire to craft a "composed film ": dance, drama, surrealistic design, and painterly color merge as one. The film concludes on the luminous Cote d'Azur, where the young Powell had yearned to be a filmmaker,

Sa t u r d a y M a y 2 0

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4 9 th Parallel Director/Producer:

Michael Powell

Screenwriter:

Emeric Pressburger (Academy Award)

Cinematography:

Frederick Young

Editor:

David Lean

Music: Ralph Vaughn Williams, with Eric Portman, Niall M acGinnis, Laurence O livier, Leslie Howard, Finaly Currie, Anton Walbrook, Glynis Johns, Raymond Massey. Print Source:

Kino • 1941 • 123 minutes

This spellbinding suspense epic focuses on six Nazis, led by a fanatical lieutenant (Eric Portman), who come ashore at Hudson's Bay when their U-Boat is sunk off the Canadian coast. They flee westward, hoping to cross into the freedom of neutral America. Pillaging and murdering as they go, they encounter a number of representative Canadians: French trapper Laurence Olivier, Hutterite farmer Anton Walbrook, whimsical aesthete Leslie Howard, AW OL soldier Raymond Massey. Shot on location from Nova Scotia to Vancouver Bay, PARALLEL stirringly projects the sense of a great nation pulling together to repell evil invaders. This was a message that the English were anxious for isolationist, pre-Pearl Harbor America to hear.

S ymposium S a t u r d a y , M a y 1 3 , 2 :3 0 - 6 :3 0 p . m .

The M otion Picture Producer S ymposium

This seminar provides an informative and realistic approach to feature film production. Topics to be covered include: ♦Raising capital independently and through the studio system * Working with the screenwriter, director, cast and crew * Major and independent distribution * Marketing and promotion * The ancillary markets (i.e., foreign theatrical, home video, pay-TV, cable-TV, etc.) * Whom to talk to * What to ask for * Dealmaking * The rules of the game, and much more. The distinguished panel of leading film producers includes:

H a r v a r d E x it T h ea ter 8 0 7 E. R o y S

* M ark J ohnson * producer of RAIN M AN, the Academy Award-winner for Best Picture of 1988 starring Best Actor of the Year Dustin Hoffman. He also produced DINER, THE N ATU RAL, TIN MEN, and G O O D M O RN IN G VIETNAM. * Harry Ufland * most recently the executive producer of THE LA ST TEM PTATION O F CHRIST, and producer of W HERE THE RIVER RUN S BACK, STREETS O F GO LD, and M O V IN G VIOLATIONS. He has represented Martin Scorsese, Robert De Niro and Ridley Scott, among others.

* M ary Jane Ufland * began her career as a freelance script reader working for both directors and producers and advancing to story editor. She has worked with Stephan Friedman on EYE O F THE NEEDLE and Michael Shamberg on both M O D ERN PROBLEMS and THE BIG CHILL. Currently she is a partner in Ufland Productions. * Ron Shedlo * producer of last year's festival hit THE DRESSMAKER, as well as D A Y O F THE LO C U ST and THE WHISPERERS, Ron Shedlo has also produced BACK ROADS starring Sally Field. In Vancouver, B.C.,w hile working on a production for TV , Shedlo discovered actor Michael J. Fox and brought him to Hollywood. Between 1985 and 1986, Shedlo was a special production advisor for Columbia Pictures. * Lori Weintraub * an independent film producer, she was Senior Vice President in charge of Worldwide Production at Lorimar Motion Pictures supervising films such as THE M O RN IN G AFTER and RUN N IN G O N EMPTY. Previously she served as senior vice president of motion picture production under Alan Ladd, Jr. at MGM/UA Entertainment Co. * J eff D owd * a producer, writer and nationally recognized authority on marketing, distribution, exhibition and producer's representation. His marketing credits include THE G R EY FOX, BLACK STALLIO N , B LO O D SIM PLE, THE STU N T M AN , WAR GAMES, and DESPERATELY SEEKING SUSAN. Program Moderator: Rick Stevenson, an independent film producer whose producing credits include RESTLESS NATIVES, PRIVILEGED, PROM ISED LAND, and SO M E GIRLS. He is currently developing CAN DLE IN THE W IND with Robert Redford.

S a t . & S u n ., M a y 2 0 -2 1 , 2 :3 0 - 6 :3 0 pm

The S creenwriters S ymposium

Topics to covered include: STORY AND SCREENPLA Y DEVELOPMENT ♦Writing the treatment * Creating saleable scripts * Proper story structure analysis * Developing vivid character and realistic, sharp, earnest dialogue * Constructing scenes that keep the reader turning the script pages * Which stories are currently marketable, and more. SCRIPT PITCHING DO'S AND DON'TS

H a r v a r d E x it T h ea tre , 8 0 7 E. R o y

♦Researching the individual you will pitch to ♦ Getting the studio executive excited about your script * Proper presentation: style and delivery, materials, appearance, etc. ♦ Practicing your pitch, and much more. LEGAL PROTECTION ♦Protecting your script, story ideas, yourself, and much more. The distinguished panel of leading screenwriters includes, (in addition to others yet to be announced:

Darryl Ponicsan * author of the book CINDERELLA LIBERTY as well as the screenplay for the movie, he also wrote the book THE LAST DETAIL. His screenplays include TAPS, VISION QUEST, THE BOOST, and he co-wrote N UTS with Alvin Sargent.

* M ichael Varhol *the co-writer of PEE WEE'S B IG AD VEN TU RE, he received an emmy nomination for the premiere season of PEE WEE'S PLAYHOUSE. He is also the co-writer/producer of THE BIG PICTURE. * R upert Walters * a member of the Oxford Film Company, he co-wrote PRIVILEGED with Michael Hoffman, script edited RESTLESS NATIVES, wrote SO M E GIRLS, and will produce ECHO ES O F A G REAT WAR for Britain's Channel 4 Program Moderator: Rick Stevenson, an independent film producer whose producing credits include RESTLESS NATIVES, PPRIVILEGED, PROM ISED LAND, and SO M E GIRLS. He is currently developing CAN DLE IN THE W IND with Robert Redford.

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East-West C enter/F ree Series Sa t u r d a y , M a y 2 7

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1 2 :0 0 pm

E g y p t ia n

S ri L a n k a

W a y o f th e L o tu s

D irector/S creenwriter: Producer: C ast: Print Source:

T issa A beysekera C handra M allawarachchi Sanath G unatilake, Sriyani A marasena, Sunethra Sarachchandra D ilini F ilms • 1987 » 1 4 0 minutes

According to traditional Buddhist symbolism, the lotus signifies the simultaneous attachment to and detachment from life, as the plant itself is both inside and outside the pond. This is the defining trait of the hero of THE W AY O F THE LO TUS, named Aravinda, which literally means lotus. Based on a widely discussed Sinhalese novel, Aravinda's story is that of a man who doesn't follow the expected paths. Temperamentally unsuited to a profession and diffident in expressing his love, he falls out with his family and loses the women he cares about to other men. Yet, despite these painful experiences, he finds contentment. Does this Sri Lanka everyman exemplify the Buddhist theme of detachment? Is he meant to represent an instructive counterpoint to modern consumerism and competitiveness? O r is he just a deeply passive character? These are the questions that have engaged both readers of the novel and viewers of Tissa Abeysekera's finely crafted film. W inner of its country's Best Film Prize, it provides us with a rare and thought-provoking look inside an exotic culture.

Sa t u r d a y , M a y 2 0

f°) R \

1 2 :0 0 pm

E g y p t ia n

J a pa n m m

em em bra n ce

D irector/S creenwriter: T akehiro Nakajima Producers: H iroshi I shikawa, T etsuo Konda, and Shinsuke A chida C inematographer: Junichiro H ayashi M usic : T oshinoori Kondo C ast: H iroshi N ishikawa, Sairi K omaki, Kazuko Y oshiyuki, M ashiro T sugawa P rint Source : Shibata O rganization • 1987*115 minutes

A beautifully realized first film by 53-year-old writer-director Takehiro Nakajima, Remembrance breathes refreshing life into the genre of autobiographical filmmaking. Tender and wry, the story is based on his memories of growing up in a Japanese fishing village during the early 1950's. Episodic in structure, the film is made up of dozens of colorful incidents reflecting everyday life in a backwater town and a teenaged boy's sexual and moral coming of age. (The film was actually shot in the village where Nakajima spent his youth.) The director's alter ego is 15-year-old Nishikawa Sumio (played by first-time actor Hiroshi Nishikawa), living with his mother and sister after his philandering father has abandoned them. Here are the faces and places, family traumas, youthful adventures, sexual explorations, and small tragedies that indelibly mark the adult memory. Visually lovely and full of those indelible moments that bring the past to life for all of us, Remembrance is indeed unforgettable.

Sa t u r d a y , J u n e 3

1 2 :0 0 pm

E g y p t ia n

I n d ia

P est o n jee D irector: V ijaya M ehta Screenwriters: B urjor K. Katanjia and V ijaya M ehta C inematographer: A. K. B ir Editor: Renu Saluja M usic : V anraj B hatia C ast: Naseeruddin Shah, A nupam K her, Shabana A zmi Print Source : National F ilm D evelopment C orporation • 1987 *114 minutes

Vijaya Mehta is a socially conscious artist who has distinguished herself in theater and films both as an actress and a director. Her sensitive talents are well displayed in this, her newest film. Pestonjee deals with the culture and conventions characterizing the Parsi community, a group that immigrated to India to avoid religious persecution and have become known for their wealth and beneficence. Specifically, the film is about the long-term friendship of two men, Pirojshau and Pestonjee, and how it changes over the years as one marries and starts a family while the other stands back from life as a self-appointed conscience. The strength of this charming film lies in the way Mehta examines the quirks, whims, and fancies of her characters with a deep sense of humanity and generous humor. "In my opinion," she has said, "the statement in Pestonjee is ...life is full of surprises. It stresses the tendency we have as human beings of passing judgement on other human beings." Mehta has woven a warm and moving tale of the small and large events that shape all our lives.

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II ü f e S u n d a y , M a y 21

7 :0 0 pm

Ü .S .A

E g y p t ia n

f t W 4V D o w n E a s t D irector/P roducer: D .W . G riffith Screenwriters: G riffith and A ntj Parker C inematogrophy: G .W . B itzer and M usic : Louis Silveb^ r^d W illiam1 R econstruction Editor : Peter W il^ mson M usic R econstruction: G illian B. C ast: L illian G ish,^ipc MINUTES

lay by L ottie B lair

ell Sherman • 1921

• 165

^ always been an emotional stunner, D .W . Griffith's silent film masterpi for so many years. Now, nearly even in the mushy black-and-whi celebration of a woman's spiritual seven decades after its Big Apple nal conception, thanks to the odyssey has been restored to som uired to reconstruct the film's musical Museum of Modern Art. Four years usic specialist Gillian Anderson); to score (unearthed and conducted by cut from generations of re-issues; and, integrate the many secondary scenes ah print that would allow the superb most importantly, to mount a black-and cinematography of "Billy" Blitzer and Hendrik Sartov to shine through once again. Griffith's colleagues thought he was crazy when, in 1919, he laid out $165,000 for the film rights to W AY D O W N EAST, a hoary melodrama that had been staged to death for the past 22 years. The plot was as old as the hills: a naif seduced and abandoned by a conscienceless rake finds happiness and a new love, only to have her past revealed so that she is cast out again as a fallen woman. But melodrama isn't at issue in the film W AY D O W N EAST, flowery intertitles aside. MoMA's restored print gives us the happy oppurtunity to see Griffith at work on his chosen ground: an American dream landscape that's as mythic as it is timely in its familiarity. The incomparable Lillian Gish is Griffith's collaborator on this classic "road film ," portraying pilgrim Anna Moore with such naked psychological authenticity that her performance is occasionally almost too painful to witness. W AY D O W N EAST contains all the ingredients of the "hero's journey" as currently popularized by mythologist Joseph Campbell. When Anna Moore falls from grace according to the mores of

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society, she's forced outside constricting human laws to become her own moral pathfinder as she travels from city to country, from innocence to wisdom. Her spiritual journey is partly meaured between the distance of her two lovers. Her city seducer (Lowell Sherman), a self-absorbed predator, views her as sexual parts, as though she were merely meat and drink. Down on the farm, Richard Barthelmess is psychically connected before they meet. For him, her spiritual and physical wholeness is always inextricable from the natural landscape— even he cannot literally see her. Griffith's faith in nature's power to redeem was never of the wishy-washy, hearts-andflowers variety. Anna's penultimate flirtation with death, in the justly famous ice-floe sequence, is just as dangerous as it looks. Special effects had nothing to do with Gish's life-risking exposure or Barthelmess' near miss as the ice floes start to slide over the falls. D .W . Griffith, by virtue of inventing nearly all of the fundamental cinematic techniques, has been called the father of American film. But it's his down-deep understanding of what roads of the mythic travel, and his aesthetic commitment to make you see clearly a soul's itinerary, that makes this American master— and W AY D O W N EAST—great.

A T r ib u t e t o R a je e v e G u pta Rajeeve Gupta, director of the A .S.U .W . Film Series from 1973-1978 and co-director of the Seattle International Film Festival from 1978-1983, passed away January 13, 1989. He was an invaluable co-worker, often bringing much-needed comic relief to the stressful task of mounting our annual endeavor, as well as his consummate good taste and ability to cut through the bull shit and get to the essentials where film programming and promotion are concerned. We've missed him sorely since he left the festival staff for a position in New York years ago...we'll miss him even more now that he's gone. Here's to you, Rajeeve...we w ill treasure our memories of you and the spirit you brought to all you did and everything you were a part of.

S a t u r d a y , M a y 13 S 3

1 2 :0 0 pm

H a r v a r d E x it

I n d ia

w A p a r a j it o D irector/P roducer/ Screenwriter: Satyajit Ray C inematography: Subrata M itra Editor : D ulal D utta M usic : Ravi Shankar C ast: K anu B andyopadhyay, K aruna Bandyopadhyay, Smaran K umar G hosal Print Source : 1956 « 1 1 3 minutes The second part of Satyajit Ray's brilliant Apu Trilogy, Aparajito, won the grand prize at the 1957 Venice Film Festival. The film deals with the painful estrangement of an adolescent boy from his widowed mother and village life, as he takes the awkward steps from childhood to manhood. Rajeeve was in the film, and can be seen sitting to the right of and just behind Apu in a classroom scene which comes about midway through the film.

T u e s d a y ,M a y 16

7 :0 0 pm

E g y p t ia n

U .S .A .

f t T h e B i g T r a il D irector: Raoul W alsh Screenwriters: Jack Peabody, M arie Boyle and Florence Postal, after a story by H al G . Everts C inematographer: A rthur Edeson C ast: John W ayne, T yrone Power, Sr., M arguerite C hurchill, Ian K eith, C harles Stevens, T ully M arshall, El B rendal, W ard B ond Print Source : 1930 • 126 minutes You wouldn't think a movie this large could get lost. It's 1929. Raoul Walsh who shot Lincoln in The Birth o f a Nation, the guy who directed and co-starred with Gloria Swanson in Sadie Thompson (12th SIFF), the fellow who just lost an eye while filming the first talkie Western, In Old Arizona—wrangles a multimillion dollar budget from Fox to make the first feature film in 70mm widescreen. He's spotted this good-looking former USC footballer playing small parts in Jack Ford movies, and Walsh figures the 22-year old can become a big star if only he'd change his name from Marion Morrison to, say, John Wayne. So Walsh gets together with an authentic frontier type named Hal G . Evarts and cooks up a rough and ready scenario: hardy pioneers, riled-up Indians, a stalwart hero on a dual quest to shephard a wagon train safely West and to avenge the murder of a friend. Then he and Wayne and two casts and two camera crews (because Fox wants a widescreen version and a regular screen version and a German-language version) set out to spend a better part of a year shooting some spectacular footage in some of the grandest, least spoiled corners of the West. The result, ballyhooed as "the picture of the century," premieres at the Roxy Theatre in October 1930— and effectively disappears from view for more than half of the aforementioned century. THE B IC TRAIL went into the history books as a monumental fiasco for one simple reason: theatre owners who had just paid a lot of money to retool for sound films were not about to shell out a lot of money to re-equip for widescreen projection, and the concept went into the dumper until Fox (by then Twentieth Century-Fox) introduced CinemaScope 23 years later. (There were at least four other all-but-forgotten 1930 experiments in widescreen; one of them the Magnifilm The Bat Whispers, was beautifully showcased in last year's SIFF.) Over the years, the assumption grew that TH E B IG TRAIL was simply a clunker of a movie, worth only a footnote in film history. Now the Museum of Modern Art's painstaking reconstruction of the original Grandeur version enables us to see— and enjoy— it as a landmark. It goes without saying that THE B IG TRAIL is a knockout to behold. What more natural widescreen subjects could ask than a wagon train, a river crossing, a buffalo stampede, an Indian attack, the Grand Tetons, and the Grand Canyon? But Walsh didn't merely broaden the action, he layered it. There's always something tugging the eye in the depth of a shot, be it scenic splendor or some workaday detail of pioneer activity. Still more intriguingly, Walsh clearly felt that the enlarged resources of sound and widescreen warranted re-thinking the dynamics of film storytelling. Rather than cutting for shifts of viewpoint and action, Walsh composed his scenes in such a way that characters edge into shots in progress, trade background and foreground as storylines interweave before our eyes. The soundtrack is deep, too, with a richness of incidental noise and bustle unparalled at the time. As for the film's other conspicuous natural resource, the young John Wayne not only is astonishingly beautiful, but also gives a performance of great charm. He would have to weather nearly a decade of B action movies before John Ford supplied his nex t decisive oppurtunity, in Stagecoach, to justify Walsh's faith in his

starpower. Meanwhile, Washingtonians will be gratified to know that he's scouting the big trail to a "land beyond Oregon," with "two snow-capped mountain ranges with peaks lost in the sky" and "salmon swarmin' up them rivers thicker 'n blackbirds in a cane patch." No other Western we know of has aspired to that destination. Our centennial is surely the proper year for THE B IG TRAIL to finally get here.

A merican M ovie C lassics Sa t u r d a y, M a y 27

1 2 :0 0 pm

C a p t io l H ill

U.S.A.

A T h e B a d a n d t h e B e a u t if u l D irector: V incente M inelli Producer: John H ouseman Screenwriter: C harles Schnee (A cademy A ward) C inematographer: Robert S urtees (A cademy A ward) A rt D irector: C edric G ibbons, Edward C arfagno (A cademy A ward) Set D irector: Edwin B. W illis, K eough G leason (A cademy A ward) C ostume D esigner: H elen Rose (A cademy A ward) M usic : D avid Raksin C ast: K irk D ouglas (O scar nomination), Lana T urner, W alter P idgeon, Barry Sullivan , D ick Powell, G loria G rahame (A cademy A ward), G ilbert Roland, L eo G . C arroll, Paul Stewart, V anessa B rown, Elaine Stewart, Louis C alhern (voice) Print Source: 1952 « 1 1 8 minutes John Houseman (1902-1988), Orson Welles' partner in the legendary Mercury Theatre of the '30s, was pretty much a silent partner by the time of Citizen Kane. Did Houseman take special delight, then, in appropriating Kane's "prism" structure for his own first major production at MGM a decade later? Like the recently deceased C.F. Kane, ultra manipulative movie mogul Jonathon Shields isn't even on screen in the present-tense framing scenes of THE BAD AN D THE BEA U TIFU L, yet his spirit dominates the movie as it dominated the lives of those now remembering his career: Shield's first partner, now a successful director; the starlet Shields rescued from drunken oblivion and set on her way to becoming the most glamorous star in town; and the screenwriter whose career he made and marriage he destroyed. THE BAD A N D THE BEAUTIFUL (working title: Tribute to a Bad Man) is Hollywood's most elegant poison-pen valentine to itself— lavishly produced in the silkiest MGM mode, which is at once satirized and triumphantly served by director Vincente M inelli, and by all means by the deliciously urbane Mr. Houseman. M o n d a y , M a y 29

1 2 :0 0 pm

C a p it o l H ill

USA

T h e D e v il is a W o m a n D irector: Josef V on Sternberg Screenwriters: John D os Passos, S.K. W inston, based on the novel by P ierre Louys C inematography: L ucien Ballard, Josef von Sternberg M usic : R imsky-Korsakov, Ralph Rainger, A ndrea Setaro C ast: M arlene D ietrich, L ionel A twill, C esar Romero, Edward Everett H orton Print Source : UCLA F ilm and T elevision A rchives »1935 • 82 minutes

Unarguably one of America's most gifted cameramen, Lucien Ballard helped define the American West for many film-goers through his work with Sam Peckinpah in classics like THE W ILD BUN CH, RID E THE H IG H C O U N TRY and THE BALLAD O F CABLE H O G U E. In Peckinpah's contemporary films THE G ETA W A Y and JU N IO R BONNER, Ballard brought all his talents to bear upon the fading west as it is lived today. Ballard worked for many directors and with varied palettes to create such diverse films as THE LO D GER, PRINCE VALIANT, THE KILLIN G and TRUE GRIT. One of Ballard's finest achievements was also one of his first, Josef Von Sternberg's THE DEVIL IS A W O M A N , in which an older gentleman is destroyed by the demands of a beautiful femme fatale in turn of the century Seville, a story many say derived from the real-life relationship between Von Sternberg and Dietrich. Called "one of the most sophisticated films produced in America" by the N ew York Times, THE DEVIL IS A W O M AN is certainly one of the most visually dazzling and visually textured pictures ever made and is a perfect testament to the breadth and beauty of the artistry of Lucien Ballard.

Su n d ay, M ay 28

1 2 :0 0 pm

C a p it o l H ill

U SA

A T h e K il l in g o f a C h in e s e B o o k ie D irector and Screenplay: John C assavetes Producer: A l R uban C inematography: F red Elmes, M ike F erris C ast: B en G azzara, T imothy C arey, Seymour C assel, Robert P hillips, M organ W oodward , John R ed K ullers, A l R uban , A zizi Johari, V irginia C arrington Print Source : 1976 • 108 minutes The late John Cassavetes' 1976 feature, THE K ILLIN G O F A C H IN ESE BOOKIE, is a neglected masterpiece from one of the most idiosyncratic of American film directors. This highly charged drama stars Ben Gazzara as a Los Angeles nightclub owner who, in order to pay off a debt, is forced by gangsters to eliminate a troublesome Chinese bookmaker. Gazzara puts on the performance of a career in a world of harsh neon lights, seedy nightclubs, and tacky strip joints. Seymour Cassel (M IN N IE A N D M O SKO W ITZ) and Timothy Carey (PATHS O F GLO RY), along with other Cassavete regulars, fill out a cast that highlights some of the finest ensemble acting to grace the American screen. A harrowing journey into the dark American night, a nightmare version of the Hollywood dream, THE K ILLIN G O F A C H IN ESE BO O KIE, in its detail and performances, stands as a monument to Cassavetes' uncompromising vision. It bears the unmistakable stamp of a remarkable artist.

AMERICAN

\ iacomCablevision

•3rMOVIE « CLASSICS.

The Midnighters At the S.I.F.F.

May 12 Flesh Eating Mothers

May 13 Sundown

May 19 Lobsterman from Mars

May 20 Pumpkinhead

May 26 Bad Taste

May 27 Parents

May 28 Hellbent

June 2 Carnival of Souls

June 3 Black-Out

Yellow Cabs

622-6500 T h e R o ad is O u r A rt F orm .

FOOD YOU CAN TR U ST We've been buying and selling organic produce for over ten years now and we know our stuff. We select only the pick of the crop of local and out-ofstate fruits and vegetables; we know the difference between unsprayed and "not sprayed very much". If you're interested in including nutritious, wholesome chemical-free food in your diet, stop by the new Central Co-op.

12TH & DENNY ON C A P IT O L H ILL

At Frederick & Nelson, we’re film fans just like you. So, we are very proud to help sponsor the 15th Annual Seattle International Film Festival. The critics rave: “Deserves Best Performer award”... “Two thumbs up!”... “Amazing! Spectacular!”... “The best of the Sony series”. .. “True movie-lovers will love it’.’

SONY VCR - THE NEXT DIMENSION Why not come in to Frederick & Nelson and get a sneak preview of this amazing VCR? Our Sales Associates have years of experience, so even if you don’t know a two-head from a four-head, they can answer all of your video and audio questions. Model #SLV70HF. Orig. $999, sale $899. This is the Sony VHS VCR you’ve been waiting for, with the latest technological advances for the ulti mate in home viewing enjoyment. It features four video heads (of course), and MTS stereo hi-fi for great sound. Plus, a flying erase head to take care of those ugly gaps between programs on a tape; a digital picture for better tape-to-tape editing; and an index search so you find your favorite parts of a movie, faster and easier. And the LCD remote puts you in the director’s seat.

Receive 10% o ff any Sony VCR or TV!

Here’s a special offer just for Film Festival fans: When | you purchase any Sony TV or VCR at our Downtown Seattle store, give this advertisement to the Sales Associate, and w e’ll give you 10% off! Offer good May 12-June 9,1989- Ad must be surrendered at time of purchase. Not valid at ¿ the Frederick & Nelson Warehouse Sale.

This is definitely you and me.

Th e G O LD EN S p a c e N EED LE A w a r d s

In a radical move that is sure to send shock w aves throughout the entire motion picture industry, the Com m ittee of the 15th Seattle International Film Festival has decided to move the Fifth A nnual G olden Space N eedle A w ards Cerem ony up one day. The A w ards w ill now be presented just prior to the screening of our closing night film , at the Closing Night G a la . The reasoning behind this decision w as obvious and lo g ical; Firstly, of course, this m ove w ill help to "class up" the A w ards in the eyes of Seattleites, w ho have never seemed to take it quite as seriously as the rest of the w orld does. Secondly, by announcing the aw ards on Sunday rather than M onday, the networks, the national press and all other media w ould be able to e asily meet deadlines w h ich they had to race to meet previously. (And as the O scar presentation gets more and more predictable and boring year after year, coverage of the G olden Space Needle A w ards just keeps getting bigger and better.) Please Note: Because it is being presented on Closing Night and, in fact, after the A w ards have already been presented, T H E TALL G U Y w ill be at an obvious disadvantage in garnering votes. It is therefore being presented out-ofcom petition, but it's still a w in n e r in our opinion. For those w ho have been living in a cave for the past four years and haven't heard of them before, the G olden Space Needle A w ards are the finest exam ple of dem o cracy at w o rk in our great nation. The A w ards are chosen by you, the people, w ith very little behind-the-scenes tam pering by election o fficials. The procedure goes something like this: Firstly, of course, you must attend m any, m any film s presented at the Film Festival. (Film s you have hopefully paid large amounts of cash to see.) Secondly, a ballot box w ill be prom inently displayed in the lobby of the Egyptian and M arket Theatres. Ballots and pencils w ill hopefully be beside the boxes. W hen you have seen a film that you consider one of the best in the Fest, sim ply fill in that film 's title (along w ith any pertinent com ments) and drop your ballot in the box. That's all there is to it. The same procedure applies in all categories: Film , D irector, A ctor, Actress and Short Film . W e ask o n ly that you not vote more than five times in any category, please. At the end of the Festival, the votes w ill be tallied by the independent accounting firm of Pray-M acdonald (just kidding — w e 'll hire someone w ho 's reputable) and the w inners w ill be announced just prior to the closing night screening. The G olden Space Needles are a totally unscientific token of our audiences' esteem, presented in the spirit of fun and international go odw ill. So dust off your b lack tie, and join us.

Last year’s winners were: B est P ictu re: B A G D A D C A F E B est D ire c to r: A lan Rudolph, T H E M O D E R N S B est A c to r: Tom H u lce, D O M IN IC K A N D EU G EN E Best A ctre ss: D eb ra h L e e Furness, S H A M E Best S h o rt: R A Y 'S M A L E H E T E R O S E X U A L D A N C E H ALL

« so

n0 a w , * *

Greg Gilbert / Seattle Times

LastyearJohn Hartl saw 525films soyou didn’t have to. People who care about film don't w ant to be in the dark about the movies they see. They want to know whaP s w orth watching. And w hat's better left unseen. For tw enty years Times readers have relied on John H artl for insightful analysis, informed criti cism and excellent writing. IPs w hat you can expect from a Hartl review. So you know w hat to expect from a movie.

0>e Seattle Cimes To subscribe call 624-READ

A M O R E BACIAM I by O liver Harrison A LITTLE N IG H T M U S IC byMaarten Koopman

APRIL 16, 1989 by David Byrne, David W ild BALLAD O F READ IN G GAO L by Richard Kwietniowski

3 minutes Great Britain, 1988 8 minutes Netherlands, 1988 USA Premiere 1 minute USA, 1989 12 minutes/ US Prem iere, Great Britain, 1988

BLACK HU LA by Marv Newland.

3 1/2 minutes/ Canada, 1989 W orld Premiere

CAFE O FFERIN G by David Tattu

7 minutes USA, 1988

CHET'S RO M AN CE by Bertrand Fevre

10 minutes France, 1988

D EC O D IN G S by Michael Wallin

5 minutes/ USA, 1989

D IC K by Jo Menell

15 minutes/ USA, 1988

$$$$

5 minutes USA 1989

by Andrew Lowder

EN TAN GLED KN ITTIN G by Ruben Dellers, Ludmilla Kron

6.5 minutes/ Switzerland, 1988 US Premiere

GEN TLEM EN byD avid Farrington

6 minutes/ Great Britain, 1988 US Premiere

IM A G IN IN G O CTO BER by Derek Jarman X

17 minutes/ Great Britain, 1986

IN THE EXILE O F D RO W N ED TIGERS by G i Brenig

10 minutes West Germany, 1988 US Premiere

IN TERIO R D ECO RATO R FRO M HELL by Sonja Roth

16 minutes USA, 1988

LAN DSCAPE W ITH STRANGER by Thomas Thonson

16 minutes USA, 1987

M U SEU M by Perta Dolleman

4 minutes The Netherlands, 1987 US Premiere

RU N LIK E A M O TH ER by Bradley Cox

16 minutes USA, 1989

A SLIC E O F LIFE by William Kent

3 minutes USA, 1988

STILL N ACH T FOR M T V by Brothers Quay

1 minute Great Britain, 1988

TIN TO Y by John Lasseter

4 minutes USA, 1988

TRACKS by Rupert Nadeau

20 minutes USA, 1988

VIO LIN A N D STEAM RO LLER by Andrei Tarkovsky

14 minutes USSR, 1961

W ADDLES by Dan Collins Canada, 1989

2 minutes W orld Premiere

Adding the third dimension. •.

Look again at the way radio covers the movies. Tune in to 94.9 FM to get ^ the m ost thoughtful and inform ative film coverage on the dial. KUOW takes extra care to ^ feature off-beat film s from the w o rld ’s independent m ovie producers. Y o u ’ll hear reviews, interviews, features and analysis with such local and national personalities as Tom Keogh, Jim Emerson, Elvis Mitchell and Bob Mondello.

KUOW N e a r ly 9 5 F M

is a proud spo nsor of this ye a r’s film

series, Cinem a o f the P a cific Rim : A Centennial Celebration.

Secret Festival Dearest Secret Festival Fans, My sister Jane and I would like to bid you a hearty welcome back to the fold. Just before we launch this year's series of tastefully top-secret movies, I'd like to remind you all of your oath of secrecy. It has come to my attention that certain disloyal fans have been 'telling tales out of class' . . . isn't that right, Tina darling? As you all know, one of the things we require when you join my fan club, A .K.A . the Secret Festival, is that you divulge the agenda of our meetings to N O ONE. This is serious — it could cost me my contract with Warner Brothers, (not to mention my position on the board with PepsiCo.) and the adoration of all my dearest fans, should the titles of the movies on view at our meetings be divulged to A N YO N E. Besides, it's a matter of simple courtesy, respect and good manners for you not to break those sacred vows of secrecy we all hold so dear to our hearts when we join the Secret Festival membership. Please remember to honor vows, and to arrive promptly for all Secret Festival meetings each Sunday of the Festival at noon, or my sister, Jane, will have no choice but to take you to the beach at Santa Monica and bury you in the sand.

x >3*

ft M

REX RYSTEDT

« y * i* - y** t "t »

Poster A uction

M ovie Poster Exhibition and A uction

Sunday, June 4th at 2:30 at the Egyptian This year is the seventh edition of the popular Movie Poster Exhibition and Auction. Once a year we give you a golden opportunity to enjoy — and perhaps take home — these eye-popping, colorful posters from exotic parts. It's your only chance, unless you are in the habit of dropping in on Paris. . . This year we again feature giant French, Italian, and British posters, as well as American posters for foreign films, with an emphasis on classics and on films that have played in the Festival in past years. Enjoy the posters on display at the Egyptian throughout the Festival, and don't miss the Auction (free admission, everyone invited) on Sunday, June 4th at 2:30 at the Egyptian.

■

The 1989 W ashington Centennial Com m ission and the Seattle International Film Festival Present

C inem a o f the Pacific R im A C entennial Celebration

The Washington Centennial Commission and Stage Fright, Inc. have entered into an agreement to increase the proportion o f Pacific Rim films in the 1989 Seattle International Film Festival. This agreement reflected the Commission’s interest in developing Pacific Rim cultural programs and Stage Fright’s com mitment to presenting the best o f cinema from around the world. This special tribute is the result o f that joint effort. The Centennial Commission extends special thanks to United Airlines which contributed travel to support this program. 1989 Washington Centennial Com m ission □ Jean Gardner co-chairm an, Ralph Munro co-chairm an, Wilfred Woods vice chairman, Representative Jennifer Belcher oiympia, Hayner waiia waiia. Representative Gary Locke Seattle, Robert Mack Tacoma, Donna Marco Kettle Falls, Donna Mason Vancouver, Barney McClure oiympia, Bertha Ortega Toppenish, Senator Peter VOn Reichbauer Dash Point,

Between May 13 and June 2,1989 you are invited to view films o f Australia, Canada, Hong Kong, Japan, Malaysia, Mexico, New Zealand, People’s Repub lic o f China, Peru, The Philippines, South Korea, Soviet Union, Taiwan and Viet Nam. Special programs are planned for the series opening event on May 13 and series closing event on June 2. Additional support for this series has been provided by Uwajimaya.

Representative John BetrOZOff Redmond, Louis CoaSton Seattle, Allison Cowles Spokane, LeS Eldridge Olympia, Bill Frank, Jr. Nisqually, Barney Goltz Bellingham, Senator Jeannette

Richard Page Seattle, Charlotte Paul Lopez Island, Representative Eugene Prince Thornton, Louis O. Stewart Olympia, David Stratton Pullman, Senator Lois Stratton Spokane, Senator Al Williams Seattle, Putnam Barber Executive Secretary.

Pacific Rim C ountries

Through the generosity of the Washington State P a c i f i c R i m Centennial Commission and United Airlines, the Seattle jt.uj,uL International Film Festival has been working for two X n vears towards mounting a major program which focuses on the films and filmmakers of our neighboring nations of the Pacific Rim. During the last five years, we have observed a remarkable blossoming of new cinematic talent in these countries. Although the films of Australia and New Zealand already have large followings, and Japanese cinema continues to hold its honorable place in the pantheon of World Cinema, not much was heard about the films of other Pacific Rim nations until relatively recently. O f late, this situation has changed dramatically. Festivals, filmgoers and distributors world wide are now sitting up and taking note of the incredible richness and diversity of films from Taiwan, Hong Kong, China and Korea as well as our nearest neighbor to the north, Canada.

C in e m a

o f the

This series is dedicated to celebrating that richness and diversity, and we urge you to come and enjoy this sampling of Pacific Rim films, it truly portends a filmic 'Century of the Pacific1 Countries involved in the Cinema of the Pacific Rim series: AUSTRALIA Bingo, Bridesmaids and Braces, Boundaries o f the Heart, Echoes of Paradise, Everlasting Secret family Georgia, Ghosts...of the Civil Dead CANADA Milk and Honey, The Outside Chance of Maximilian Glick, Revolving Doors,, Squamish 5, Tales from the Gimli Hospital, Urinal CHINA Evening Bells, Far From War, The Well HONG KONG A Better Tomorrow, I Love Maria JAPAN Hope and Pain, Summer Vacation 1999, A Taxing Woman's Return, The Yen Family NEW ZEALAND Bad Taste, Mauri, Never Say Die SOUTH KOREA Diary of King Yonsan, Hello God, TAIWAN Daughter of The Nile, Rouge of the North , Strawman, TAIWAN/USA First Date

UJJ u n iT G D A i R L i n e s

KUOW Nearly 95FM

A lgeria • A ustralia W e d n e s d a y , M a y 17

9 :3 0 pm

H a r v a r d E x it

A lg e r ia

xx T h e C i t a d e l ( E l K a a l a ) D irector/S creenwriter: M ohamed C houikh Producer: M ohamed T ahar H arhoura C inematographer: Y ahiaoui A llel Editor: Y amina C houikh M usic : Jawad Fasla C ast: K haied Barkat, D jillali A in -Tedeles, F ettouma O usliha, Momo, Fatima B elhadi, M ohamed Bouamari Print Source: K-Z F ilms • 1988 • 95 minutes Using a day in the life of the Algerian village of El Kaala, director Mohamed Chouikh presents a stunning visual tour de force, as well as a powerful indictment of patriarchal Arab society. Breaking with time-honored tradition and the status quo, the young Kaddour falls in love with a married woman and demonstratively shows his affection for her, much to the chagrin of the village and his father, who forces him into a marriage of less than desireable ends. The power of love and the individual, against an oppressive, tradition-bound society is at the heart of this tragic parable. Against a backdrop of religious intolerance, the subjugation and oppression of women, and a cultural denial of changing sex roles, poignant and loving portraits are drawn of the victims of a repressive society. An exotic and spell-bindingly beautiful work, THE CITAD EL stands out as testimony to the vibrancy and currency of Arab cinema.

Sa t u r d a y , M a y 2 0 M o n d a y , M a y 15

5 :0 0 pm 7 :0 0 pm

E g y p t ia n H a r v a r d E x it

A u s t r a lia

fo) B i n g o , B r i d e s m a i d s , & B r a c e s _ -jk mk

D irector/S creenwriter: G illian A rmstrong Producers: T ristam M iall and G illian A rmstrong C inematography: Steve A rnold, M alcolm R ichards Editor : N ick B eauman M usic : M ark M offat C ast: K erry, D iana, Josie P rint Source: F ilm A ustralia Pty. , Ltd . • 1988 • 92 minutes

Gillian Armstrong, acclaimed director of such outstanding Australian features as M Y BRILLIAN T CAREER and H IG H TIDE, has created a fascinating and insightful documentary along the same lines as Michel Apted's unforgettable 28 UP. In this case the focus is on three girls, age 14, who have very clear ideas about what they want from life and what they expect as they grow up. Armstrong filmed this segment as a short for Australian television called SM O KES AN D FOLLIES. The results were so intriguing that she returned to Adelaide, the girls' hometown , to film 14's G O O D , I8 'S BETTER, a follow-up study of the three girls at the age of 18. The changes in their lives and their attitudes in the intervening years are remarkable. Earlier last year, Armstrong interviewed the three friends again. The resulting trilogy of tales provides us with an astounding and insightful sampling of what we aspire to as young innocents, and what we become as we grow.

Su n d a y, M a y 28

7 :0 0 pm

o u n d a r ie s o f t h e

C a p it o l H ill

H eart

A u s t r a lia

fix

D irector: L ex M arinos P roducer: Patric J uillet Screenwriter: Peter Y eldham C inematographer: D avid Sanderson, G eoff Simpson Editor: Philip H owe M usic : Sharon C alcraft C ast: W endy H ughes, John H argreaves. Norman Kaye, Julie N ihill, M ax C ullen Print Source : M .C .E.G . • 1988 • 99 minutes A brilliant cast featuring some of Australia's best talents makes the most of this story about the inhabitants of a small township (population:49) set in a remote corner of the Australian countryside. Wendy Hughes (NEW SFRONT, W ARM N IG H TS O N A SLO W M O V IN G TRAIN) is Stella, a 40-ish, unmarried woman who works in the hotel and bar owned by her father Billy (Norman Kaye), once a famous cricketer whose career was destroyed over a sex scandal. Over the years, Stella has relieved her frustrations through a series of fleeting affairs with a number of men. The first of these was Andy Ford (John Hargreaves), a rodeo rider who has returned to the township every year since at New Years in the hope that Stella w ill marry him. Andy is convinced that Stella's father is the cause of her refusal to wed him.On this particular New Years, two strangers arrive in the town, and the part they play in the unravelling of these long-established relationships becomes the focus of this gorgeously visualized romantic drama.

T h u r s d a y , M a y 25

9 :3 0 pm

C a p it o l H ill

T h e E v e r l a s t in g S e c r e t F a m il y

A u s t r a lia m m

D irector/P roducer: M ichael T hornhill Screenwriter: F rank M oorhouse , based on his book C inematographer: Julian Penney Editor : Pam Barnetta M usic : T ony B remner C ast: A rthur D ignam, M ark Lee, D ennis M iller, H eather M itchell, John M eillon Print Source: A ugust Entertainment • 1988 • 94 minutes

A highly unusual power-and-sex fable, THE EVERLASTIN G SECRET FA M ILY gives a deliciously perverse twist to the myth of Australian macho. It imagines a centuries old secret society of elite gay businessmen and politicians bonded together to recruit beautiful young men for their decadent pleasures. The story centers on one prominent club member, the Senator, and the handsome youth who wins his heart. Amongst several familiar Aussie faces, fans of Gallipoli's stunning blond Mark Lee will be pleased to see him back on the screen— and under such provocative circumstances! Lee plays the Senator's captivating lover whose determination to beat the cruel system and preserve his allure leads him to a cure for aging and to induct the Senator's own son into their private club. Pitched somewhere between seriousness and camp, SECRET FA M ILY takes the old boys club theme to a Bunuel-like extreme that gives rude challenge to the forces of power and morality. A controversial sell-out hit at last year's San Francisco Gay Film Festival, this tantalizingly original and surreal film could well become the next gay cult classic!

W ed n esd ay, M a y 24

9 :3 0

E g y p t ia n

A u s t r a lia

f t G e o r g ia D irector: B en L ewin Producer: Bob W eis Screenwriter: B en L ewin, Joanna M urray-Smith, Bob W eis C inematographer: Y uri Sokol Editor : Edward M c Q ueen-Mason M usic : Paul G rabowski C ast: J udy D avis, John B ach, J ulia B lake, A lex M englet, M arshall Napier Print Source: M .C .E.G . • 1988 • 90 minutes This enigmatic thriller features Judy Davis (H IG H TIDE, M Y BRILLIAN T CAREER) as Nina, a tax fraud investigator who unwittingly stumbles upon a photograph at a gallery opening which holds some strange fascination for her, and ends up opening the door to a long-buried mystery involving the death of her real mother years before. Nina has been living under the assumption that Elizabeth, the only woman she's ever known as 'mom', was her mother, but when Elizabeth confesses the truth about Nina's origins, and it turns out that Elizabeth was somehow involved in her mother's drowning, it triggers a search for clues that lead in dangerous directions. Once Nina starts delving into the background of her mother Georgia's death, she becomes the target of a murderous stalker who is intent upon covering up all traces of the events surrounding the death. The past and present intertwine ferociously in this stylish thriller.

T u e s d a y , M a y 23

9 :3 0

C a p it o l H ill

G h o s t s . . . o f t h e C iv il D e a d D irector: Producer: Screenwriters: C inematographer: Editor: M usic : C ast: Print Source:

A u s t r a lia

111

John H illcoat Evan E nglish H illcoat, English, G ene C onkie, N ick C ave Paul G oldman Stewart Y oung N ick C ave D ave F ield, M ike B ishop, N ick C ave, C hris D e Rose O utlaw V alues M arketing • 1988 • 92 minutes

A correctional institution of the near future, the Central Industrial Prison, towering three stories in the middle of a blazing desert, is Hell on Earth. G H O STS... follows new inmate Wenzil as he discovers a nightmare world where sex, drugs and brutality are the order of the day, and guards encourage violence in order to crack down harder. Not an exploitation film by any means, the filmmakers of G H O STS... O F THE C IVIL DEAD spent 4 years compiling research, much of it based on American prisons. Extremely brutal, and extremely important, the film never flinches from portraying the horrors of prison life and should, literally, hammer home the argument that reform is long, long overdue.

A ustralia • Belgium M o n d a y , M a y 29

2 :3 0 pm

E g y p t ia n

A u s t r a lia m m

P h o b ia D irector/S creenwriter: John D ingwall Producer/E ditor : John M andelberg C inematographer: Steve N ewman M usic : Ross Edwards C ast: G osia D obrowolska, Sean Scully Print Source: T homas F.R. G arvin «1988 »85 minutes

This taut moody feature about the cathartic exchanges between two people during the breakup of their marriage showcases two brilliant performances and enough plot twists and turns to keep us riveted until its gripping clim ax occiirs. Renate, superbly played by Gosia Dobrowolska, (SILVER CITY), at first appears to be a tense, insecure agoraphobic— we are introduced to her as she anxiously waits for her husband David's drunken late-night return. David appears to be a charming and cheerful roue, solicitous of his wife and concerned with her mental state. Midway through the film— it covers two nights and two days—their roles begin to change as Renate summons up an almost superhuman strength and, realizing she's being subtly manipulated by David, turns the tables in their game of one-upmanship. Director-screenwriter John Dingwall (SU N D AY TO O FAR A W AY, BUDDIES) triumphs in his handling of this marital minefield, directing his intelligent and grimly amusing script with a sure hand and a true understanding of his characters. Ross Edwards' spare, haunting music also deserves mention.

F r id a y , J u n e 2

5 :0 0 pm

E g y p t ia n

A u s t r a lia m m

E c h o e s o f P a r a d is e

D irector: Phillip Noyce P roducer: Jan Scott Screenwriter: Jan Sharp C inematographer: Peter James \ Editor : F ranz V andenburg M usic : W illiam M otzing C ast: W endy H ughes, John Lone, Steven Jacobs, Peta T oppano, Rod M ullinar Print Source: C astle H ill F ilms • 1987 »90 minutes Directed by rising-star Phillip Noyce (DEAD CALM), ECH O ES O F PARAD ISE is an exotic tale of passion and love set on the sunburnt beaches of Thailand. The splendid Wendy Hughes (CAREFUL, H E M IG H T HEAR YOU) plays a young woman on vacation from her husband's philandering. There she meets John Lone (TH E LAST EMPEROR, THE M ODERNS), a strikingly handsome Balinese dancer and an exile of a different sort. Q uickly their flirtation becomes a full blown affair. Falling somewhere between the romantic fancy of David Lean's SU M M ERTIM E and the probing seriousness of Alain Resnais's H IRO SH IM A M O N AM O U R , this cross-cultural love story is never simply a melodrama. Noyce's skillful hand and the finely shaded performances of the stars give it an emotional resonance to match the colorful gloss. (Fans of John Lone also won't want to miss his magnetic dancing!) O f course, for those who want nothing more, Echoes is good steamy fun and an eye-filing cinematic vacation! "A sensuous elixir that's a surefire cure for the early summertime blues..."— The H ollyw ood Reporter

Sa t u r d a y , M a y 2 7

7 :0 0 pm

E g y p t ia n

B e l g iu m

f ®) T h e M u s i c T e a c h e r D irector: G erard C orbiau Producer: Jacqueline P ierreux Screenwriters: G erard C orbiau, A ndree C orbiau, Patrick I ratni, C hristine W atton, Jacqueline Pierreux C inematographer: W alther V anden Ende M usic : Mahler, V erdi, B ellini, M ozart, O ffenbach, Schubert, Schumann C ast: Jose V an D am, A nne Roussel, Philippe V olter, Patrick B auchau Print Source: O rion C lassics • 1988 • 95 minutes Nominated this year for a Best Foreign Film Oscar, THE M U S IC TEACHER is already a big hit in Europe, and promises to be one in America, too. Famed opera singer Jose Van Dam plays Joachim, a famed baritone singer at the height of his career, who announces to his disappointed fans that he is leaving the stage forever, to devote himself to teaching a single pupil with a wonderful voice, Sylvie. On his way to his chateau the celebrated master meets a charming scoundrel at the village market whose voice also captivates him, and impulsively invites him to come for lessons too. The story climaxes with a grand singing contest of masked participants, in which Joachim's students challenge the protege of the prince, a fabulously wealthy patron of the arts who is a deadly rival. A gorgeous combination of song and story, THE M U S IC TEACHER is the classiest, most delightful music film since AM A D EU S.

Brazil

•

Bulgaria • Canada W ed n e s d a y , M a y 31

9 :3 0 pm

C a p it o l H ill

B r a z il

(®) A n g e l s o f t h e N i g h t D irector/S creenwriter: W ilson Barros Producers: A ndre K lotzel, Z ita C arvalhosa C inematographer: Jose Roberto Eliezer Editor: R enato N eiva M oreira M usic : Servulo A ugusto C ast: Z eze M otta, M arilia Pera, A ntonio Fagundes, M arco Nanimi Print Source: A mazing M ovies • 1987 «98 M inutes The true star of this picture is Sao Paulo at night and with it the taxi-boys, prostitutes, homosexuals and gangsters who inhabit that night. A steamy, sexy, tropical version of an Alan Rudolph film, AN G ELS O F THE N IG H T features two great actresses, Zeze Motta (XICA) and Marilia Pera (PICOTE BYE BRASIL), in a cross-sectional exploration of one hot and hectic night in Brazil's biggest city. Lurid, stylized and highly romantic, the story revolves around four people— a theater director, a black model, a taxi boy, a wealthy homosexual— whose lives become interconnected over a seemingly random murder, or was it two murders? Full of unforgettable characters, great music and knockout camera work, A N G ELS O F THE N IG H T has enough of the devil in it to keep you hopping long after it's over.

M o n d a y , M a y 22

7 :0 0 pm

H a r v a r d E x it

B u l g a r ia

US P rem iere

W Tim e o f V io l e n c e D irector: Lyudmil Staikov P roducer: Boyana Studio Screenwriters: Staikov, Radoslav Spassov, G ueorgui D anailov C inematographer: Radoslav Spassov Editor : V ioleta T ochkova M usic : G eorgi G enkov C ast: Y ossif Surchadjiev, A nya Pencheva, I van K rustev, W alter T oschi Print Source: Longridge F ilms • 1988 » 1 6 0 minutes With the sweep and scope worthy of David Lean, TIM E O F VIOLEN CE recounts the forced Islamization of Bulgaria by the Ottoman Empire as it thundered across Eastern Europe in the 17th Century, from Damascus to the walls of Vienna. Into the Rhodope valley ride the dreaded Jannissaries of the Sultan who have been sent to convert the villagers to the Prophet's faith. In a terrible irony, many of the Jannissaries had been born in these very villages, taken away as children in the early years of the Turkish domination to serve the Sultan. The stage is immediately set for an incredibly gripping struggle, as friend confronts friend and brother faces brother. Mounted on a grand scale, with a cast of hundreds, lavish costuming and brilliant Cinemascope photography amidst starkly beautiful landscapes, TIM E O F VIOLENCE, though medieval in setting, addresses issues that peoples and nations are still fighting for just as violently today. Un Certain Regard, Cannes 1988.

M o n d a y , M a y 29

9 :3 0 pm

C a p t io l H ill

C anada

U.S. P rem iere m m

M il k a n d H o n e y D irectors: R ebecca Y ates, G len Salzman P roducer: Peter O 'B rian Screenwriters: G len Salzman, T revor R hone C inematographer: G uy D ufaux Editor : B ruce Nyznik M usic : M ickey Erbe, M aribeth Solomon C ast: Josette Simon, Lyman W ard, R ichard M ills, D janet Sears Print Source: ABC D istribution C o . • 1988 • 89 minutes

This deeply moving and equally honest film revolves around Jo, a Jamaican woman who immigrates to Toronto, Canada, leaving her 8-year-boy behind in Jamaica. Taking a job as a nanny, she struggles to come to terms with her new life — Jo befriends other immigrant nannies, takes English classes at night, and works hard to better her life. When her son comes to visit her, she decides to keep him in Canada illegally, setting in motion a chain of events which is both heartbreaking and unjust. Drawing upon the reality faced daily by thousands of immigrants to North America, M ILK AN D H O N EY is an unsparing portrait of the indignity visited on these 'strangers in a strange land', and gains powerful impact from a wonderful central performance given by Josette Simon as the hapless immigrant Jo.

m io ■ n ■ » ä

C anada T u e s d a y , M a y 16

9 :4 5 pm

E g y p t ia n

C anada m m

f t U r in a l

D irector/P roducer/S creenwriter: John G reyson C inematographers: A dam Swica , A lmerinda T rassavos, and John G reyson Editors: D avid M c I ntosh and John G reyson M usic : G lenn Schellenberg C ast: Pauline C arey, Paul B ettis, M ark G omes, O livia Rojas, D avid G onzales Print Source: G reyson Productions • 1988 • 100 minutes

To the Toronto garden of two long-deceased sculptors, a number of historically prominent (and also deceased) gay artists are mysteriously summoned. Amongst them are filmmaker Sergei Eisenstein, painter Frida Kahlo, and author Yukio Mishima. Since 1981, they are told, hundreds of arrests have been made in Ontario's public lavatories, a pervasive form of official harassment that has resulted in social ostracism and even suicide for many of the province's gay citizens. The mission of this august body is to investigate the history of policing sexuality in society. Utilizing techniques drawn from video and documentary as well as narrative and experimental film, URINAL regales us with some fascinating and disturbing data about a host of gay-related issues, including public washroom sex. This controversial first feature by celebrated video artist John Greyson is a thought-provoking, convention-bender of a movie and a uniquely entertaining challenge to sexual prejudice.

S u n d a y , M a y 21

7 :0 0 pm

C a p it o l H il l

C anada

U.S. Prem iere

A T

O u t s id e C h a n c e o f M a x im il ia n G u c k

III

D irector: A llan A . G oldstein Producers: Stephen Foster, R ichard D avis Screenwriter: P hil Savath \ C inematographer: I an Elkin E ditor : R ichard M artin M usic : G raeme C oleman C ast: Noam Z ylberman, Fairuza Balk, Saul R ubinek, A aron Schwartz,S haron C order, Jan R ubes, Susan R ubes. Print Source: South G ate Entertainment • 1988 • 97 minutes Winner of the "Most Popular Canadian Film" Award at both Toronto and Vancouver Festivals last fall, this is a lively comedy with a strong script and excellent performances by the whole cast. Maximilian G lick is 13 years old, Jewish, and a resident of a quiet small town. But all is not so quiet in Max's life. The pairing of Max with the talented, pretty, and non-Jewish Celia for a piano competition brings a confrontation with his parents over race and religious relations. Redemption^) soon arrives in the form of Rabbi Tietelman, whose unconventionality soon puts him in conflict with the town's conservative elders. More than just a coming-of-age story, the film explores the life crisis of difference, and how several characters come together to deal with their dilemmas. Maximilian G lick shows us that being grownup is less a function of age than attitude, and that children's openness can teach us all a lesson or two.

T h u rsd ay, June 1

7 :0 0 pm

C a p it o l H ill

C a n a d a / F ra n c e

R e v o l v in g D o o r s D irector: F rancis Mankiew icz Producers: R ene M alo, F rancyne M orin Screenwriters: Jacques Savoie, F rancis M ankiewicz, from a novel by Savoie C inematographer: T homas V amos Editor : A ndre C orriveau M usic : F rancois D ompierre C ast: M onique Spaziani, G abriel A rcand, M iou -M iou , F rancois M ethe Print Source : M alofilm G roup • 1988 » 1 0 0 minutes

This year's Oscar entry from Canada is a two-tiered generational story with a strong emotional impact. Directed by Francis M ankiewicz (G O O D RIDDAN CE, SIFF '81; LES BEAUX SOUVENIRS, SIFF '82), it is enhanced by splendid color and production design. In flashback we meet Celeste (Monique Spaziani), who leaves a large musical family in the country to play for silent films in a nearby town. She falls under the spell of movie make-believe, but loses her career with the coming of sound and accepts a loveless marriage, eventually losing custody of her son. Celeste's story is intertwined with the contemporary one of the son she never knew, to whom she writes after many years. Introverted and estranged from his wife (M IO U -M IO U , star of LA LECTRICE), he lives with his lively and devoted young son, who reads the diary from Celeste and determines to try to meet her and bring the family back together.

C anada • C hina T h u r s d a y , M a y 18

5 :0 0 pm

E g y p t ia n

C anada

f t T h e S q u a m is h 5

D irector: Paul D onovan Producer: B ernard Z ukerman Screenplay: K en G ass with T erence M c K enna C inematography: R ichard Leiterman Editor : G ordon M c C lellan M usic : M arty Simon C ast: Robyn Stevan, M ichael M c M anus, N icky G uadagni D avid M c L eod, A lbert Schultz Print Source : CBC TV D rama» 1988 • 97 minutes In 1982, a series of terrorist actions, including the bombing of a defense contractor in Toronto, and the firebombing of three porn stores in Vancouver, shocked Canada. A group calling itself Direct Action claimed responsibility, sparking one of the largest police investigations in Canadian history. The group remained until January 1983, when five young people - three men, two women - were arrested on a highway north of Vancouver. Immediately dubbed "The Squamish Five", they were perceived as Canada's version of an urban guerilla terrorist cell. This film traces their transformation from a disparate group of social rebels and environmental activists into a tightly-knit cell of committed terrorists. Its primary focus is on Julie Belmas - whose recent parole case caused much political heat and many uncomfortable headlines for Premier Bill Vander Zalm - as her character changes from that of a somewhat ambivalent punk into a not-so-committed revolutionary. Excellent performances by a talented group of little-known actors make this film a riveting and totally credible docudrama. Even if you've never heard of the Squamish Five, this is a gripping story, handled with great authority and consummate professionalism. M o n d a y , M a y 22

9 :4 5 pm

f ? Ta l e s F r o m

th e

H a r v a r d E x it

C anada

ill

G im i l i H o s p it a l

D irector/S creenwriter/ C inematographer/E ditor : G uy M addin C ast: Kyle M cC ulloch, M ichael G ottli, A ngela H eck, M argaret-A nne M acleod Print Source: C ircle Releasing» 1988 • 72 minutes Guy Maddin's first feature, TALES FRO M THE G IM LI H O SPITAL, has drawn comparisons with many filmmakers from Carl Dreyer to David Lynch. The film is a mock-saga about a desperate fisherman, Eimar the Lonely, who falls ill during a smallpox epidemic near the turn of the century. W hile recuperating at the Gim li Hospital, he is confined to a room which he shares with Gunnar, a portly, jovial man most popular with the nurses. In this tale of madness and jealousy between two men, Maddin has the intelligence and know-how to parody other filmmakers who've dealt with absurdity and whimsicality while at the same time remaining totally in control of content and form. He has managed to combine an Icelandic legend with Indian folklore, while including a bit of sadomasochism, some strange form of wrestling, and— why not?— synchronized swimming. There is enough surrealism in TALES to make Buñuel green with envy, and the dramatic, high contrast black-and-white photography brings to mind the strange and beautiful atmosphere of some of Jean Cocteau's films. Laughs are guaranteed.

M o n d a y , M a y 29

A T

7 :0 0

C a p it o l H ill

C h in a m m

W ell D irector: L i Y alin Producer: E'mei Film Studio Screenwriter: Z hang X ian C inematography: L i Baoqi, Pan Jing C ast: Pan H ong, L i Z hiyu , L in D axin • 1987 » 1 0 3 minutes

Pan Hong, China's leading actress, gives a stunning performance as an intellectual and successful businesswoman who survives the Cultural Revolution only to find she cannot free herself from prejudice, sexism and discrimination, sharply contrasting the new ideas brought about by social reform and people's inward conservativeness. Xu Lisha has a better job than her husband, isn't interested in a domestic life and decides to have an abortion rather than give up her career; her "modern" thinking definitely has its price. A dramatic history (set over 20 years) of women's struggle for recognition in a changing China.

» .

C hina S u n d a y , M a y 21

9 :3 0 pm

•

C uba

C h in a

E g y p t ia n

f ®) E v e n i n g B e l l s D irector: Wu Z in iu Producer: A ugust F irst F ilm Studio Screenwriter: Wu Z iniu , W ang Y ifei Editor: Z ong L iji' ang M usic : M a J i ' anping C inematography: Hou Y ong C ast: T ao Z eru, Flu Z ongqi, Sun M in, C ong Peipei P rint Source : C hina F ilm I mport and Export (L.A.) I nc. • 1987 • 90 MINUTES W inner of the Silver Bear at the Berlin Film Festival this year, EVEN IN G BELLS focuses on the fate of humanity during war, looking at the experience from both sides of the struggle. Magnificently photographed in wide-screen color by Hou Yong (H O RSE THIEF), the film is set in the final days of 1945 after Japan's surrender. A five man Chinese patrol discovers 33 Japanese soldiers holed up in a cave who are starving and desperate, but refuse to give up. So begins a tension filled stand-off— one group out-manned, the other out-gunned— that is less about men and war that it is about men and themselves. Often compared to the films of Sergio Leone and Anthony Mann, E vening Bells delves below the surface of war to focus on the hopeful possibilities of human relationships.

F r id a y , M a y 19

9 :3 0

C h in a

C a p it o l H ill

Far Fro m W ar D irector: Flu M ei Producer: A ugust F irst F ilm Studio Screenwriter: L i Baolin C inematographer: Z hang L i M usic : Z heng Q iufeng C ast: H uang Z ongluo , W ang X uenqi J in, Z hu L in Print Source: C hina F ilm I mport and Export (L.A.) I nc. • 1987 • 93 minutes

From China's foremost woman director, Hu Mei, comes a multi-layered story about memory, tradition and the disintegrating family in modern China. An evocative and often poetic film, FAR FRO M W AR deals not with combat at all but focuses on a retired soldier (played with memorable gruff charm by stage actor Huang Zongluo) trying to communicate his memories and values to his son's family, who are far too interested in their various pursuits to be bothered. At a loss for what to do with himself, with no more orders to take, Gu Meng finds the '80's a very strange place indeed. Continuously rebuffed, he finally leaves home on a journey of remembrances past to search for his one moment of passion: the nurse he loved during the war. Probing the past and the present, FAR FRO M W AR should bring Hu Mei the deserved recognition already achieved by her contemporaries Chen Kaige and Zhang Yimou.

M o n d a y , M a y 22

L etters fr o m

9 :3 0 pm

th e

C a p it o l H il l

C u b a / S pa in

Pa r k

D irector: T omas G utierrez A lea Producer: TVE S.A., I nternational N etwork G roup, S.A. Screenplay: Eliseo A lberto, T omas G utierrez A lea, G abriel G arcia Marquez C inematographer: M ario G arcia Joya Editor : M ariam T alavera M usic : G onzalo R udalcaba C ast: V ictor Laplace, I vonne Lopez, M iguel Paneque, M irta I barra, A dolfo L lgurado, Elio M esa, Paule A li, A melia Pita, Jose Pelayo Print Source: RTVE Master Cuban director, Tomas Gutierrez Alea (M EM O RIES O F UND ERDEVELOPMENT, U P TO A CERTAIN POINT) lovingly brings to the screen this turn-of-the-century tale of star-crossed lovers and a middle-aged widower who acts as their go-between. This enchanting tale, set in the lovely port town of Mantanzas City, concerns a solitary man, Pedro, who ekes out a meager living as a scribe, setting up a table on the street corner and writing letters for those who don't know how. Enter Maria and Juan, two new clients, sweethearts in need of the eloquence of the older man's pen. Unbeknown to either of the young lovers, Pedro writes each other's love missives. Privy to each of the young lovers, old longings stir in Pedro's heart. Poetically scripted by Gabriel Garcia Marquez, for Spanish television, as part of the D AN G ERO U S LO VES series (Which also includes THE FABLE O F TH E BEAUTIFUL PIGEO N FANCIER and THE SU M M ER O F M ISS FORBES) this witty and winsome love story captures an evocative time and place with graceful period detail, lush cinematography, and poignant performances.

>a*

m m

F r id a y , M a y 19 S a t u r d a y , M a y 27

7 :0 0 pm 5 :0 0 pm

H a r v a r d E x it C a p it o l H ill

C z e c h o s l o v a k ia

H u r r y , H e 's C o m i n g ! D irector: D usan Rapos Producer: Jan T omaskovic Screenwriters: Jozef H eriban, Jozef Slovak, D usan Rapos C inematographer: V ladimir J esina Editor : M aximilian R emen M usic : Josef Slovak, D usan Rapos C ast: M arian Z ednikovic , Z uzana B ydzovska, A ndrei H yrc Print Source : C eskoslovensky F ilmexport • 1986 • 84 minutes Sysel, his wife and two children live in a cramped one-room apartment, with no hopes of finding a larger one in over-crowded Prague. When Hadzi Mahma the Magician moves in next door by himself, slight envy sets in. It isn't until Sysel accidentally kicks through the adjoining wall (during karate lessons!) that the family realizes how luxurious the magician's apartment is. They soon take to living there during their neighbor's frequent absences...hence the title. Beginning as an (apparently) serious social commentary,H U RRY, HE'S C O M IN G ! soon shows what a genuine— and often hilarious— comic delight it really is.

F r id a y , M a y 19

5 :0 0 pm

E g y p t ia n

C z e c h o s l o v a k ia

U.S. P rem iere

W Th e La s t B o o t y D irector: J iri Barta Producer J iri T rnka Studios Screenplay: V aclav M ergl C inematographer: Jan M alir Editor: Jan Sladek M usic : M ichael K ocab Print Source: C zech F ilm Export • 1988 • 91 minutes Those of us who saw THE PIED PIPER and THE EXTINCT W O RLD O F G LO VES (SIFF 87) know what kind of treat is in store with THE LAST BO O TY, the latest masterwork from Czech animator Jiri Barta. A generation younger than Jan Svankmajer (ALICE), Barta also specializes in animating and humanising objects. THE EXTINCT W O RLD O F G LO VES showed us the history of the 20th Century, through scenes from famous movies, enacted by, yes, gloves. In THE PIED PIPER the medieval tale was brought terrifyingly to life with figures, cities and landscapes carved entirely from walnuts, except the rats...which were real. Set in Prague at the turn of the century, THE LAST B O O TY explores the dark and sensuous world of vampires. Combining for the first\time live actors and animation, Barta has created a dazzling visual excursion, full of magical passages of handtinted black and white footage.

W e d n s d a y , M a y 31

7 :0 0 pm

E g y p t ia n

D en m a rk / S w e d en

fo) K a t i n k a D irector: M ax von Sydow Producer: Bo C hristensen Screenwriter: Klaus R ifbierg, from a novel by H erman B ang C inematographer: Sven Nykvist Editor : Janus B illeskov Jansen M usic : G eorg R iedel C ast: T ammi O st, O le Ernst, K urt Ravn, G hita Norby Print Source: D anish F ilm I nstitute • 1988 • 96 minutes "After almost four decades on screen as an actor, Max von Sydow found the time, energy and resources to direct a film. 'It's been a love story between me and the book for 25 years,' he says of KATINKA, which flows deliciously and poignantly, like a fine Sancerre, from the pages of one of Europe's most underestimated novelists, Herman Bang...A simple triangle story ('drama' is too coarse a word) involving a station-master and his wife, and a handsome newcomer to the sleepy Danish countryside, KATINKA breathes a serene melancholy, and the luscious photography of Sven Nykvist gives s dimension of fulfillment to a romance doomed never to flower. But von Sydow's firm belief in his fiction gives the film a vigor that sustains even the quietest of sequences. Bravo!"— Peter Cowie, International Film Guide. Max von Sydow, nominated for an Academy Award this year for his acting in PELLE THE C O N Q U ERO R won the Swedish Film Institute award for best director for KATINKA.

Finland F r id a y , M a y 19

7 :0 0 pm

C a p it o l H il l

•

France

F in l a n d

H a m l e t G o e s B u s in e s s Produced/W ritten/D irected: A ki Kaurismaki M usic : T imo Salminen Editor : Raija T alvio C ast: Pirkka-P ekka Petelius, Esko Salminen, Kati O utinen, Elina Salo Print Source : F innish F ilm Foundation • 1988 • 86 min .

Hailed at Festivals worldwide as one of the brightest new lights on the international film scene, Finnish enfant terrible Aki Kaurismaki often straddles the line between cynical farce and goofy social satire. In this wry turn of Shakespeare's HAM LET, while he uses quotes from the original and follows its plot quite closely, he has cleverly transformed it into a cruel comedy on the ethics of modern society. A bloody power struggle is taking place at the top of a large company. Who murdered the general director? W ill the mills be sold in exchange for a world monopoly in rubber ducks? Finally, where is the driver's cap? For answers to these and other burning questions, see this villainous concoction by a vigorous new talent.

S4S T h u r s d a y , Ju n e 1

9 :3 0 pm

Fran ce

E g y p t ia n

f ®) A F e w D a y s w i t h M e D irector: C laude Sautet Producers: A lain Sarde, Philippe C arcassonne Screenwriters: C laude Sautet, Jerome T onnerre, Jacques F ieschi; from a novel by Jean-François Josselin C inematographer: Jean-François Robin Editor: Jacqueline T hiedot M usic : Philippe Sarde C ast: D aniel A uteuil, Sandrine Bonnaire , D anielle D arrieux, JeanP ierre M arielle, D ominique Lavanant, T herese L iotard Print Source : G alaxy Entertainment • 1988 • 120 minutes Daniel Auteuil, Cesar winner for JEAN DE FLO RETTE and M AN O N O F THE SPRING, plays M&rtial, a bored, rich young man just out of a mental clinic, who agrees to tour his mother's provinicial supermarket chain. But his first stop, Limoges, is his last. There he notes discrepancies in the books kept by the unscrupulous manager— but is more interested in the manager's housemaid Francine (Sandrine Bonnaire), whose insolent, independent manner attracts and fascinates him. He installs himself in a luxury apartment and invites her to spend a few days with him; intrigued, she agrees. Things get uproariously out of control as they proceed to shock both his own family and the incredibly pompous local gentry. Disturbed by Martial's erratic behavior, his business-minded mother (Danielle Darrieux) lures him back to Paris, and Francine misinterprets his departure. Warm, witty, and beautifully-crafted, A FEW D AYS W TH M E marks the welcome return of master director Claude Sautet (CESAR A N D ROSALIE).

M o n d a y , M a y 15

9 :3 0 pm

F ran ce

E g y p t ia n

U .S . P rem iere

f ®) T h e B e n g a l i N i g h t N icolas Klotz Philippe D iaz N icolas K lotz with Jean-C laude C arriere Emmanuel M achuel Jean-Francois Naudon A lexandre T rauner B rij Narayan H ugh G rant, Supriya Pathak, John H urt, Shabana A zmi, Soumitra C hatteriee Print Source : G aumont D istribution I nternationale • 1988 »111 minutes

D irector: Producer: Screenwriters: C inematographer: Editor: A rt D irection : M usic : C ast:

Based on an autobiographical novel, THE B EN G A LI N IG H T unfolds as a lush and exotic crosscultural romance set in Calcutta of the troubled 1930's. Dashingly handsome Hugh Grant (MAURICE) plays Allan, a European engineer who is welcomed into the home of his Bengali employer and benefactor to convalesce from an illness. Here the young man falls in love with an enchanting Indian girl named Gayatri. Naively breaking the taboo that forbids any physical contact with foreigners, the couple's affair precipitates a tragedy of aching poignance. Young director Nicolas Klotz brings fresh charm to this pointed and tender love story and vividly conveys his fascination with the wonders and mysteries of the East. Shot on location with a healthy 22,000,000 franc budget, this ambitious, international production is also distinguished by its handsome imagery and meticulous period production design. John Hurt and Indian star Shabana Azmi (M ADAM E SO USATZKA lend able dramatic support. This is a N IG H T to remember.

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7 :0 0 pm

F ran ce

E g y p t ia n

U.S. P rem iere

f t C a m o m il l e D irector/S creenwriter: Producer: C inematographer: Editor : M usic : C ast: Print Source:

M ehdi C haref M ichèle Ray-G avras Patrick B lossier Luc Barnier T ony C oe Philippine Leroy-B eaulieu, Remi M artin , M onique C haumette W.M.F. • 1988 • 82 minutes

Mehdi Charef, who made such a spectacular leap from factory worker to prize-winning filmmaker with TEA IN THE HAREM, returns with an unexpectedly upbeat look at a couple of society's misfits. C A M O M ILLE has even been described as a kind of fairy tale. It tells the strange and charming story of a cowed, stuttering young baker's assistant with a passion for cats and cars (piece by piece, he's constructing an automobile in his garret apartment, from which it can never be removed) and the pretty jet-set junkie he takes in, sequesters there with him, and impregnates., Drawn together, the two share their secrets and find surprising redemption from a sordid world. C A M O M ILLE is particularly notable for Charef's furtive direction, Patrick Blossier's striking camerawork and for the moody performances of stars Remi Martin (one of the boys from TEA IN , THE HAREM) and the appealing Philippine Leroy-Beaulieu. With its echoes of THE CO LLECTOR, this is an unusually evocative picture of dark despair and ever-glimmering hope.

T h u r s d a y , M a y 25

7 :0 0 pm

H a r v a r d E x it

F ran ce

xx F o u r A d v e n t u r e s o f R e i n e t t e a n d M i r a b e l l e D irector/S creenwriter: Eric Rohmer C inematographer: Sophis M aintigneux Editor: M aria-Luisa G arcia M usic : Ronan G irre and Jean-Louis V alero C ast: Jessica Forde, Joelle M iquel, Philippe Laudenbach Print Source: N ew Y orker F ilms • 1987 • 97 minutes Made just before BOYFRIEN DS AN D GIRLFRIENDS, REIN ETTE AN D M IR A BELLE stands outside the "comedies and proverbs" cycle that has consumed Eric Rohmer much of the decade, while remaining very much in its wry, perceptive spirit. Conceived as a divertissement while the director waited for SUM MER'S "green ra y "to make its appearance, the film was more or less improvised on the anecdotes of Parisian student life confided to Rohmer by Joelle Miquel (who in effect plays herself as Reinette). The film is an anthology of four shaggy dog stories illustrating the budding friendship between two girls and the moral divide between pragmatism and idealism that marks their different approaches to life. Recalling the early days of the French new wave, REIN ETTE is remarkable particularly for its air of breezily insolent spontaneity. As always, Rohmer's penetrating vision has the ability to turn the seemingly mundane into transcendent moments of great beauty and insight. Sunny, funny, and affectionate, FO U R AD VEN TU RES is sure to delight Rohmer aficionados and novices alike!

T h u rsd ay, June 1

5 :0 0 pm

E g y p t ia n

Fran ce

U.S. P rem iere

f t Sa n d a n d B lo o d D irector/S creenwriter: Jeanne Labrune Producer: Jean Nainchrik C inematographer: A ndre N eau Editor : Nadine F ischer M usic : A nne-Marie F ijal and N ina C orti C ast: Sami F rey, Patrick C atalifo, C lementine C elarie, A ndre D ussollier, M arie C asares Print Source: N ew Y orker F ilms • 1988 • 100 minutes

1 1

Young writer-director Jeanne Labrune is known for her ability to create unusual physical and psychological climates. Here, her focus of conflict is the bloody bull rings of Spain, charged with their suggestion of political and sexual machismo. In SAND A N D B LO O D she tantalizes us with the ambiguous friendship of a good-looking young bullfighter (played by the sensuous Patrick Catalifo) and a gentleman doctor who cannot abide the brutal sport. Their chance meeting becomes an occasion for mutual introspection. The doctor's long-time aversion to bullfighting cannot prevent his (erotic?) fascination with the striking toreador. At the same time, the doctor inspires his new friend to an act of conscience that risks the young man's only possibility of success and glory. A film of swirling, sunburnt color and red-blooded passion, made with a woman's questioning intelligence, SAND A N D BLO O D is full of extraordinary scenes that dramatize the men's dilemma. This is a vivid entertainment from a bright new talent. (Warning: the bullfights are graphically depicted!)

France • G ermany (West) S u n d a y , M a y 14 Sa t u r d a y , M a y 2 0

9 :3 0 pm 5 :0 0 pm

H a r v a r d E x it C a p it o l H ill

F ra n c e U S Prem iere

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D irector: C laire D enis P roducer: Jean F rancois C asamayou Screenwriters: C laire D enis, Jean-Maire A handa, B laise N'D jehoya C inematographer: Pascal M arti Editor : D ominique A uvray Sound : D aniel O lliver M usic : Les T etes B rulees, A ndre A fata, Jean-Marie A handa, Roger B ekongo, T heodere Epeme, M artin M ash Print Source: C asa F ilms S.A. • 1988 » 1 0 4 minutes

Claire Denis, a former assistant to Wim Wenders and Jim Jarmusch, has just made a brilliant directing debut with CH O CO LAT, filmed in Cameroon, West Africa. MAN NO RUN, her second film, is a portrait of the energetic Cameroon band Les Tetes Brulees ("the Hotheads") on their first concert tour of France. The film's title is Pidgin English and means "Don't go away, there's still lots more to see!"— and the band certainly lives up to it. Five black musicians, their heads shaven bald, their bodies decorated in white paint, dance and play Blkutsi music, an age-old rhythm of the Beti country which they work over on their electric guitars. A fantastic mixture of rock, jazz, reggae, soul and disco, the music of Les Tetes Brulees is an exhilarating experience, marking the band as one of the hottest musical groups of black Africa.

Sa t u r d a y , J u n e 3

7 :0 0 pm

E g y p t ia n

Fran ce

f ®) L a L e c t r i c e D irector: M ichel D eville Producers/S creenwriters: M ichel and Rosalinqe D eville, from the novel by Raymond Jean C inematographer: D ominique L e R igoleur Editor : Raymonde G uyot M usic : L udwig van B eethoven C ast: M iou -Miou , Patrick C hesnais, M aria C asares, C hristian R uche, Pierre D ux Print Source: O rion C lassics • 1988 » 1 0 0 minutes Playful, elegant, and erotic, LA LECTRICE is a perfect showcase for the unique talents of MiouMiou, (ENTRE NOUS), written especially for her by director Michel Deville, (VO YAG E EN DOUCE, SIFF '80) and his wife Rosalinde. Miou-Miou plays a young woman who likes to read aloud, has an attractive voice, and enjoys meeting people. She starts out reading novels in bed to her preoccupied boyfriend, and she ends up working as a professional reader for hire, choosing passages from Baudelaire, Karl Marx, Lewis Carroll, or the Marquis de Sade, according to the taste of her clients. This odd profession leads to many adventures, and turns out to be a wonderful pretext for the tender-hearted heroine to pursue her own quest for romance and self-understanding. Winner of the Prix Louis Delluc and Best Film, Montreal Film Festival.

W e d n e s d a y , M a y 31

9 :3 0 pm

E y g p t ia n

G erm a n y

f ®) T h e V i r g i n M a c h i n e D irector/P roducer/S creenwriter: C inematographer: Editor : M usic : C ast: Print Source:

M onika T reut Eifi M ikesch R enate M erck M ona M ur, Laibach , B lazing R edheads, Pearl H arbor I na B lum, Susie B right, D onimique C aspar, Shelly Mars F irst-Run F eatures • 1988 • 85 minutes

This light-hearted charmer of a movie about the pursuit of feminine happiness follows pretty, young Dorothee, a Hamburg journalist, as she investigates the nature of romantic love. Following in her mother's footsteps, she leaves benind her unsatisfying male relationships in Germany and heads for the gay O z of San Francisco. Here she is introduced to the delights of the city's lesbian community by three guides: Susie Sexpert, the barker for an all- girl strip show and designer of custom-made dildoes; Dominique, a forthright charmer in button-down shirts who advises Dorothee to forget romance and stick to having fun; and a male impersonator named Romona who wins the girl's heart and gives the film its comic highpoint. Suggesting an after-hours Lily Tomlin, her act climaxes when she sticks a well-shaken beer in her boxer shorts and lets it spew. With V IRGIN M AC H IN E, Monika Treut proves herself an agile, intelligent director with a distinctly female sense of fun!

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13 Egyptian Theatre

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G e r m a n y ( W est) • G reat B r it a in T h u rsd a y, June 1

9 :3 0 pm

W est G erm a n y

C a p it o l H ill

R o b b y K a llePa u l D irector: D ani L evy Producers: G udrun R uzickova, H anns Eckelkamp, Rolf Schmid Screenwriters: D ani L evy, M aria Schrader, A nja F ranke, H olger F ranks C inematographer: C arl F. Koschnick Editor: U we Lauterhorn M usic : N iki Reiser, N ina Schultz C ast: D ani L evy, F rank B eilicke, Josef H ofmann, A nfa F ranke Print Source : T homas F. R. G arvin • 1989 • 95 min.

This spunky, fast-paced comedy revolves around three roommates who are desperately seeking love. When Robby returns from a trip to Japan, he finds his girlfriend Henny has taken up with his roommate Kalle. Robby is shattered; Henny moves out, and Robby takes up meditation and declares sex a waste of-time. Paul, a sexually frustrated factory supervisor moves in. When his attempt to seduce one of his employees fails and she becomes enamored with Kalle, the three roommates begin a very funny battle of wills.

S u n d a y , M a y 28

5 :0 0 pm

G rea t B r it a in

C a p it o l H ill

f t A n A f r ic a n D r e a m D irector: John Smallcombe Producer/S creenplay: John Smallcombe, Nodi M urphy C inematography: Paul B eeson Editor: Nodi M urphy M usic : D r. Jeanne Z aidel-R udolph , A driaan Strydom C ast: K itty A ldridge, John K ani, D ominic Jephcott, K enneth H endel Print Source: H emdale R eleasing • 1988 • 94 minutes

This ravishingly beautiful period piece from South Africa reminds one of such haunting films as M A X HAVELAAR and PICNIC A T H AN G IN G ROCK. The film, set in 1907, is a moving tale of love and human dignity, set against the social and political scene at the turn of the century. The story opens as Katherine, a strongwilled and lovely young woman, leaves England en route to South Africa. There she will join her fiance', a well-to-do young Karoo farmer. Katherine is entranced at first by her gorgeous new home, but soon becomes disenchanted with the round of tea parties and the brittle atmosphere of racism that informed South African society at this time. She passes the daytime hours by painting and taking long walks in the veldt. It is on one of these walks that she first encounters a smartly-attired black man. They immediately find common ground - they are both teachers. Their friendship causes a sensation in this hermetic and plainly racist small-town society, and the ensuing events give the story a strange and haunting twist. A notable debut for director John Smallcombe.

F r id a y , M a y 12

7 :0 0 pm

G r ea t B r it a in

H a r v a r d E x it

W o r ld P rem iere G S

11 A C h o r u s o f D i s a p p r o v a l D irector/P roducer: M ichael W inner Screenwriters: A lan A yckbourn and M ichael W inner, from the play by A yckbourn C inematographer: A lan Jones Editor : C hris Barnes C ast: Jeremy I rons, A nthony H opkins, Jenny Seagrove, Prunella Scales, L ionel Jeffries, R ichard B riers, Patsy K ensit, A lexandra Pigg Print Source: South G ate Entertainment • 1989 A C H O R U S O F D IS A P P R O V A L , adapted from the hit play by Alan Ayckbourn (BEDROOM

FARCE), is a hilarious comedy about the misadventures of an amateur theatre group putting on the The Beggar's Opera. Jeremy Irons (DEAD RINGERS) plays Guy Jones, a painfully shy widower who

joins the group to try to make new friends. At first he will only paint scenery, but soon he graduates to a bit part—and before long he's taking over the star part of the faithless highwayman Macheath! Events offstage match those on, Guy's personality undergoes an amazing and hilarious transformation. He finds himself torn between the repressed wife of the show's dictatorial director and a married swinger. Anthony Hopkins creates a memorable comic character in the wildly enthusiastic director, who sometimes gets so carried away that he takes over all the parts in rehearsal. Filmed on location in the Yorkshire seaside town of Scarborough, birthplace of Charles Laughton and hometown of Ayckbourn.

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ü Su n d a y, M a y 28 T u esd ay, M a y 30

7 :0 0 pm 5 :0 0 pm

E g y p t ia n C a p it o l H ill

G r ea t B r it a in

f t D i s t a n t V o i c e , S t il l L i v e s D irector/S creenwriter: T erence D avies Producer: J ennifer H owarth C inematographers: W illiam D iver, Patrick D uval Editor : W illiam D iver C ast: F reda D owie, Pete Postlethwaite, A ngela W alsh, D ean W illiams, Lorraine A shbourne Print Source : A venue Pictures • 1988 • 85 minutes

This unique, astonishing film is sheer magic. Terence Davies' memoir of his working c|ass family in Liverpol during and just after World War II is based on personal memory, but transcends it. The impressionistic non-traditional narrative is built out of incidents, moods, fragments; it moves with the logic of emotion, tied together with music—American popular songs and British music hall ditties. Davies has a breathtaking sense of timing and transitions, and creates extraordinarily resonant matchings of image to mood. About life's pain and disappointment, but also its sweetness and humor, the film embraces warmer, life-enhancing qualities. Winner of Critics' Prizes at both the Cannes and Toronto Film Festivals. "Terence Davies has created a cinematic gem that's close to perfect in its blending of laughter and tears, images and music, hardship and poetry...The visuals are radiant, the soundtrack is superb, the performances couldn't be more vivid."— New York Film Festival

S u n d a y , M a y 14

7 :0 0 pm

E g y p t ia n

G rea t B r ita in

f t G e t t in g it R ig h t D irector: Randal K leiser P roducers: Jonathan D. K rane, Randal K leiser Screenwriter: Elizabeth Jane H oward, based on her novel C inematographer: C live T ickner Editor : C hris K elly M usic : C olin T owns C ast: J esse B irdsall, H elena B onham C arter, Peter C ook, John G ielgud , Jane H orrocks, Lynn R edgrave, Pat H eywood Print Source : M.C.E.G. • 1989 »102 minutes

Gavin Lamb is 31, lives at home, and is still a virgin. He's awfully shy, and tells himself that he's waiting to get everything just right. But things are about to start happening to him...A wonderful cast makes this movie sparkle. Lynn Redgrave plays a self-assured older woman who finds Gavin (appealing newcomer Jesse Birdsall) a challenge. Helena Bonham Carter (LA M ASCHERA, A RO O M W ITH A VIEW) plays a neurotic debutante who pursues him. John Gielgud plays her rich daddy who first browbeats Gavin for compromising her, then tries to bribe him into marrying her. Jane Horrocks (THE DRESSMAKER) plays an unprepossessing workmate whose charm grows on him. Pat Heywood (the nurse in R O M EO A N D JULIET) is hilarious as Gavin's interfering mum, an outstandingly bad cook. Director Randal Kleiser (GREASE) has long admired British films of the 60's such as G EO R G Y GIRL, D ARLIN G and ALFIE; this film, made in their spirit, is a loving tribute.

T h u r sd a y, Jun e 1

7 :0 0 pm

E g y p t ia n

G reat B r ita in

f t O n t h e B l a c k H il l D irector: A ndrew G rieve Producer: Jennifer H owarth Screenwriter: A ndrew G rieve, from a novel by B ruce C hatwin C inematographer: T haddeus O 'S ullivan Editor : Scott T homas M usic : Robert Lockhart C ast: M ike G wilym , Robert G wilym, Bob Peck, G emma Jones Print Source : Roxiue R eleasing • 1987 • 116 minutes

This subtle, richly atmospheric tale set in the Welsh border country traces the lives of inseparable twin brothers (Mike and Robert Gwilym), born on a hillside farm, from 1900 to 1980. The story is built around dichotomies—Welsh against English, farmers against gentry, tradition against social turmoil—within the microcosm of one family. Their saga spans four generations, and is set against the major events of the 20th century. O N T H E B L A C K H IL L conveys a strong feeling for the outdoor life and the splendor of the British landscape; it was filmed entirely on location around the magnificent Brecon Beacons in mid-Wales. First-time writer/director Andrew Grieve, a former assistant to Ken Loach, William Friedkin, and Tony Richardson and a 25-year-veteran of films, brings great affection to this remarkably moving and entertaining film.

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G r e a t B r it a in M o n d a y , M a y 15

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R esu rrected D irector: Paul G reengrass Producers: A drian H ughes, T ara P rem Screenwriter: M artin A llen C inematographer: I van Strasburg Editor: D an R ea C ast: D avid T hewlis, R ita tushingham , T om B ell, R udi D avies Print Source : F ilm Four I nternational • 1988 • 96 minutes

During a battle in the Falklands War, Pvt. Deakin is pronounced missing and presumed dead., and given posthumous honors for saving the life of an officer. Seven weeks later he staggers into a farmhouse, suffering from amnesia, with no knowledge of the lapsed time. The Army, though suspicious, does not pursue the matter further. Upon returning to England, his hero's welcome soon turns to whispers of cowardice and eventually banner headlines as the press digs for its "story" and family, friends and fellow-soldiers turn away from the hero who didn't fit the mold. A gripping story featuring outstanding performances by Tom Bell (W ISH YO U W ERE HERE), Rita Tushingham (A TASTE O F HONEY) and especially by newcomers David Thewlis and Rudi Davies.

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F o r Q u een a n d C o u n t r y D irector: M artin Stellman Producer: T im B evan Screenwriters: Martin Stellman and T rix W orrell C inematogrpaher: R ichard G reatrex Editor : Stephen Singleton M usic : M ichael Kamen and G eoff MacC ormack C ast: D enzel W ashington, G eorge Baker, A manda R edman, D orian H ealey, G eff F rancis, B ruce Payne Print Source: A tlantic R eleasing • 1988 » 1 0 6 minutes

Martin Stellman, who wrote DEFENSE O F THE REALM and Q U ADRO PHEN IA, is yet another recent example of an accomplished screenwriter making a strong directing debut, following Bruce Robinson (WITHNAIL AN D \L H O W TO G ET A H EAD IN AD VERTISIN G) and David Leland (W ISH YO U WERE HERE, CHECKING OUT). F O R Q U E E N A N D C O U N T R Y tells the story of a black ex paratrooper who wants to get away from guns and violence, but in coming home to inner city London finds he has entered a new kind of war zone. Denzel Washington (CRY FREEDO M , THE M IG H T Y Q UINN) is riveting as the decorated veteran who has survived Northern Ireland and the Falklands and can cope with racist thugs, criminal corruption, and slum living conditions—but flips out when a quirk in the immigration laws erases his British citizenship. Stellman's extraordinary storytelling ablilty and Washington's intense performance make this a devastating contemporary thriller.

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f ? G is f o r G r e e n a w a y A PROGRAM OF SHORT FILMS DESIGNED, WRITTEN AND DIRECTED BY PETER GREENAWAY Print Source: M useum of M odern A rt • 1973-1978 « 1 2 9 minutes

Perhaps the most important film-maker now working in England, if not all of Europe, Peter Greenaway started out as a painter before trying film-making and has since produced some of the most controversial and visually stunning films of the last decade including THE D RAU G H TSM AN 'S CON TRACT, A ZED AN D TW O N O U G H TS and THE B ELLY O F AN ARCH ITECH T. As Mr. Greenaway is about to present his sixth feature, THE LO O K, THE THIEF H IS W IFE AN D HER LOVER, we couldn't resist going through "back issues" so to speak and screen six of his earlier works, including W ATER W RACKETS, H IS FOR HOUSE, W IN DOW S, VERTICAL FEATURES REMAKE, DEAR PHO NE (a visual record of all the telephone boxes in England, at every time of day, in every shape of place), and A W ALK TH R O U G H H (in which fictional maps evaporate into meaningless symbols just when the narrator arrives at the points being discussed).

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f t How t o G e t A h e a d i n A d v e r t i s i n g D irector/S creenwriter: B ruce Robinson P roducer: D avid W imbury C inematographer: Peter H annan Editor : A lan Strachan M usic : D avid D undas, R ick R entworth C ast: R ichard E. G rant, Rachel W ard, R ichard W ilson, Jacqueline T ong, S usan W ooldridge, John Shrapnel Print Source : W arner B rothers • 1989 • 95 minutes

Bruce Robinson earned an Oscar nomination for his first screenplay, THE KILLIN G FIELDS; following that powerful political film, he made his directing debut with a manic comedy, W ITH NAIL AN D I. Now Robinson has combined these approaches in H O W T O G E T A H E A D IN A D V E R T IS IN G , a corrosive assault on the ad game and Mrs. Thatcher's England that is both raucously funny and devilishly surreal. Richard E. Grant, so memorable as the bohemian actor Withnail, turns in another bravura comic performance as the reigning hotshot of the London ad community who, stalled on a campaign for a new pimple cream, suddenly experiences a crisis of faith. He begins to preach that the world should do away with advertising! At which point Grant develops a large boil on his neck. In a ferocious twist on the title, the boil in turn produces a second head, a miniature but diabolic alter ego that takes over Grant's life, and the film. Advertising, we can only hope, will never be the same again.

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Vro o m D irector: B eeban K idron Producer: Paul L ister Screenwriter: J im C artwright C inematographer: G ale T attersall Editor : Stephen Singleton M usic : A dam K idron, M ichael M c Evoy C ast: C live O wen, D iana Q uick, D avid T hewlis Print Source : F ilms Four I nternational • 1988 • 89 minutes

This funny and energetic first feature by Beeban Kidron celebrates the importance of having a dream. Set in a small, depression-hit north England town, V R O O M tells of two working class lads, Jake and Ringe, who have re-built a flashy American car as their freedom machine. Their prospects are nil, and when Jake falls for an older woman (Diana Quick), the threesome take off into the countryside to live a free, idyllic existence. Even when disillusionment and pragmatism set in for the others, Jake refuses to surrender his dreams. Made in the best tradition of independent British filmmaking, such as LETTER TO BREZH N EV and W ITHNAIL AN D I, V R O O M has an appealing young cast, a witty script, and plenty of easy, infectious charm.

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f® ) W a r R e q u i e m D irector/S creenwriter: Producer: C inematographer: Editor : M usic :

D erek Jarman D on Boyd R ichard G reatrex R ick Elgood B eniamin B ritten; sung by Peter Pears, D ietrich F ischer-D ieskau, G alina V ishnevskaya C ast: Nathaniel Parker, T ilda Swinton, Laurence O livier, Sean B ean, Patricia H ayes Print Source : L iberty F ilms • 1988 • 85 minutes

Benjamin Britten's powerful and compassionate choral work , alternating the poetry of World War I soldier Wifred Owen and the latin mass for the dead, is the soundtrack for this film, made by the producer and one of the directors of ARIA. The fertile imagination of Derek Jarman (SEBASTIENE\ JUBILEE, A N G ELIC CON VERSATIO NS, C ARAVAGG IO ) creates a compelling visual scenario that complements the music. An old soldier (Laurence Olivier) at a hospital where he has spent most of his life, disabled and "war scarred," relives his vivid youthful memories. W A R R E Q U IE M is full of his dreams and nightmares, of wars which have plagued his life, and people he has loved. The poet Wilfred Owen appears, as well as a nurse, whose happy vivacious beauty comforts all who fall under her spell. "Jarman's finest achievement"—Philip French, Observer. In Dolby Stereo. Shown with Jarman's 1984 short, IM A G IN IN G OCTOBER.

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W o n d erla n d D irector: Producer: Screenwriter: C inematographer: Editor : M usic : C ast: Print Source:

P hilip Saville Steve M orrison F rank C larke D ick Pope R ichard B edford H ans Z immer Emile C harles, T ony Forsyth, Robert Stephens, C lare H iggins V estron • 1988 » 1 0 2 M inutes

Eddie is an innocent gay teenager, on the run from his home and repressive parents; Michael is also gay and young, but a streetwise hustler who lives by his wits. Both are looking for a way to escape their pasts, and decide to run away together and start a new life. Unwittingly, they stumble into a bar and witness the brutal gangland slaying of the bar's owner. Thus begins a feverishly taut chase thriller, which reaches its climax at the Marine Wonderland of the title, among the dolphins with whom Eddie has identified in his dreams. Screenwriter Frank Clarke, (LETTER TO BREZHNEV, SIFF '86) returns to give us more than we bargained for.

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H arvard

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a a

T h e W h is p e r e r s D irector/S creenwriter: B ryan Forbes, from the novel M R S . R O S S by Robert N icolson Producers: Ronald Shedlo, M ichael S. Laughlin C inematographer: G erry T urpin Editor : A nthony H arvey M usic : John Barry C ast: Edith Evans, Eric Portman, Nanette N ewman, A vis B unnage, Ronald Fraser Print Source: MGM/UA C lassics • 1967 * 106 minutes

Edith Evans won the Best Actress Prize of the New York Film Critics, the National Board of Review, and the Berlin Film Festival, as well as an Academy Award nomination, for her haunting, heart breaking performance in this gem of a film. As a lonely old woman, deserted by her worthless husband and crooked son, whose only companions are the whispering "voices" of her apartment, Evans creates a rich character who is at once dottily eccentric, warmly humorous, and unsentimentally poignant. Don't miss this rare chance to see a seldom shown, highly rewarding classic.

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® A B etter To m o r r o w

D irector/W riter: John Woo Producers: Tsui H ark, W an Ka M an C inematographer: W ong W ing H ang Editor : Kam M a M usic : Joseph Koo C ast: C how Y uen Fat, Leslie C heung, T i L ung, Emily C hu Print Source: G ordon ' s F ilm I nternational • 1987 • 93 minutes

From the producer and star of A CHINESE G H O S T S TO R Y comes one of the most action-packed films the Festival has ever had the guilty pleasure to show, one that's guaranteed to knock your socks off. Sharing the best qualities of BU TC H CASSID Y A N D THE SU N D AN CE KID, THE UNTO UCHABLES and THE W ILD BUN CH, Hong Kong's all time box office champ A B E TTE R T O M O R R O W , set in New York's Chinatown, concerns two brothers, one a cop, the other a counterfeiter who battle each other from opposites sides of the law, only to unite in toppling a gang syndicate. Not exactly the most original storyline, but the escalating operatic energy, genuine humor and sheer extravagance, the bravura of director John Woo leaves De Palma gasping for breath. Winner of the Hong Kong Film Awards for Best Picture and Best Actor (Chow Yuen Fat).

H o n g Ko n g • H ungary

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xx / L o v e M a r i a D irector: C hung C hi M an P roducers: T sui H ark, John Sham C ast: Sally Y eh, John Sham, T sui H ark, B en Lam Print Source: G ordon ' s F ilms I nternational • 91 minutes

1988

A cross between RO BO CO P and 48 H O U R S , I L O V E M A R IA is another nitro-fueled action comedy from the hardest working man in show-business, Tsui Hark. As actor, writer, director and producer, Hark has been responsible for many of the biggest Hong Kong films of recent years, most notably A CHINESE G H O S T S TO R Y and PEKING OPERA BLUES (both SIFF 88). In his latest film, we find ourselves in an unnamed city of the future where robots have taken to robbing banks and leading the police for a loop. Our two heroes—Al's an ex-gangster on the run and Mo was fired from the police—soon set out to find out who's behind the mayhem. In no time flat, both sides of the game are after them and with the help of Maria, one of the robots they catch and reprogram (played by the lovely Sally Yeh), Al and Mo decide to take on all comers in the fight of right vs. might. Faster than a speeding locomotive, and with more than a little tongue in cheek, / L O V E M A R IA is a romp to relish.

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xx M r . U n i v e r s e D irector: G yorgy Szomjas Producer: M iklos K ello Screenwriters: Szomjas, I bolya F ekete, F erenc G runwalsky C inematographer: G runwalsky Editor : A nna Korniss C ast: Laszlo Szabo, G eorge P inter, M ickey H argitay Print Source: H ungarofilm V allalat • 1987 • 94 minutes

Two Hungarian scam artists, Laszlo and "The Lord," embark on a pilgramage from New York City to Hollywood —• in The Lord's Yellow Cab. Their mission is to convince fellow Hungarian Miklos "Mickey" Hargitay to star in a new film version of his life: the ultimate rags-to riches story of a poor boy from Budapest who became the world's first superstar bodybuilder and wooed and wed blonde bombshell Jayne Mansfield. They do reach Hollywood and Hargitay eventually, but not before we have accompanied them on a dog-legged Godardian itinerary through such landmarks in the American consciousness as Nashville, Graceland, and Dallas ("where Abraham Zapruder and Lee Harvey Oswald made history by shooting thé same subject"), and confrontations with a motley crew of U.S. citizens adrift on the back roads and byways of the continent. M R . U N IV E R S E is the sixth and latest feature by a brilliant "new" Hungarian director, Gyorgy Szomjas, long overdue for discovery in the country whose music (rock 'h' roll) and movies he understands better than most natives. This quirky retake on the road-moive genre is funny, endearing, wonderfully scruffy yet utterly assured — an ebullient introduction to a major filmmaker, and a fresh

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W h o o p in g C o u g h D irector: Peter G ardos Producer: A ndras Elek Screenplay: A ndras O svat, Peter G ardos C inematography: T ib o r M athe Editor : M aria R igo M usic : Janos Novak C ast: Mari T orocsik, D ezso G aras, J udit H ernadi, M arcell T oth , Ezter Karasz, Karoly Eperies, A nna F eher Print Source: C inephile • 1987 • 87 minutes

W H O O P IN G C O U G H is a fascinating look at the "counter-revolution" of 1956 and the subsequent Soviet invasion of Hungary, seen entirely through the eyes of one family, particularly of the two young children. The turmoil of October and November of that year are not directly witnessed by the isolated family, but appear through changes in daily routine and order. School is closed, and when the children venture to the empty edifice they discover the caretaker's body in the stairwell; grandmother returns from shopping with bullet-riddled bread; gunfire is heard throughout the night. The fighting and killing become more frightening for being unseen. Peter Gardos' young characters come of age against this backdrop of social ferment. This touching film falls in the tradition of A N G I VERA and TIM E STAN DS STILL, mixing bittersweet memories of youth against larger historical forces that affected the attitudes and outlooks of a whole generation.

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H un gary

H anussen D irector: I stvan Szabo Producer: A rthur B rauner Screenwriters: I stvan Szabo and Peter D obai C inematographer: Lajos K oltai Editor : Z suzsa C sakany M usic : G y o r g y V ukan C ast: K laus M aria B randauer, Erland Josephson, I ldiko B ansagi, A driana B ierdrzynska Print Source: C olumbia P ictures • 1988 » 1 1 7 M inutes

Istvan Szabo, Hungary's foremost film director, reunites here for the third time with his favorite star, Klaus Maria Brandauer, to complete his trilogy exploring the split personality of central Europe between the world wars. Following the popular M E P H IS T O and C O L O N E L R E D L, this is his most fascinating and subtle meditation yet on free will and corruptibility. His hero is a clairvoyant with an uncanny ability to predict the future. Taking the stage name of "Hanussen," he becomes a celebrated hypnotist and conjurer. As in M E P H IS T O , the protaganist's fortunes bear disturbing relation to Hitler's rise. Both men are crowd seducers , practicing "transference of will" and intuiting people's needs with eerie accuracy. Rarely off screen, Brandauer gives yet another

M on d ay, M ay 29 W e d n e s d a y , M a y 31

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Icela n d

I n the S hadow of the Raven D irector/S creenwriter: H rafn G unnlaugsson Producer: C hrister A brahamsen C inematography: Esa V uorinen Editor : Edda K ristjansdottir M usic : H ans-Erik Philip C ast: R eine B rynolfsson, T inna G unnlaugsdottir, Egil O lafsson, Sune M angs Print Source: Icelandic F ilm F und • 1988 » 1 2 7 min

Inspired by the great sagas of Icelandic literature, IN T H E S H A D O W O F T H E R A V E N weaves a spellbinding tale of revenge and romance. Set in legendary times and stunningly photographed against majestic backdrops of Iceland's amazing natural beauty, this mythic story spills across the screen in a gorgeous flood of sound and images. As this epic opens one of young Trausti's men, in a bloody fight with a rival tribe, kills Eric, the rich chieftan of that tribe. Eric's daughter, Isolde, swears vengeance against Trausti, setting the trajectory for this strange and wonderful reworking of T R IS T A N A N D IS O L D E . Director Hrafn Gunnlaugsson and cameraman Esa Vuorinen bring life to this ancient and unforgettable fable of vengeance, betrayal, and passion.

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A Foxtrot D irector: Jon T ryggvason Producer: H lynur O scarsson Screenwriter: Sveinbjorn I Baldvinsson C inematographer: Karl O skarsson Editor : R ussell L loyd M usic : Erik G unvaldsen, Stein B. Svendsen C ast: V ladimar O rn F lygenning, Steinar O lafsson, M aria Ellingsen Print Source : Icelandic F ilm F und • 1988 • 97 minutes

Hailed by Variety as "a thriller that works on all levels" this stunning 1988 directorial debut by Jon Tryggvason, made in English language, is a modern day saga of sibling rivalry and bonding. Using the convention of the road movie, two half brothers, Kiddi and the younger Tommy, set off across the volcanic sands and deserts of southern Iceland. They meet up with a young woman hitchhiker and soon jealousy and violence erupt. Kiddi begins to exhibit signs of craziness. But unlike Dustin Hoffman's benign madness in R A IN M A N , Kiddi, the older brother of this story, begins to show a darker side of madness. Brilliantly played by Vladimar Orn Flygenning, he loses his grip on reality as the three drive deeper and deeper into a more alien and unearthly volcanic landscape. F O X T R O T has been causing a sensation wherever it has played and was a hit at the recent New Directors/New Films series in New York.

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I n d ia

A The Voyage Beyond D irector/Screenplay/ C amera/M usic : G autam G hose P roducers: Favi M alik, D ebashiah M ajumdarj Editor : M oloy Baneriei C ast: Shatrughan Sinha, Promode G anguli, Shampa G hosh Print Source: National F ilm D evelopment C orporation • 1987 »130 minutes

In his latest feature, G A U TAM G H O SE (PAAR SIFF 87), turns to a classic of Bengali literature that directors Satyajit Fay and Mrinal Sen judged too difficult to adapt. Set in 1829, ten years after the banning of sati (self-immolation of widows), T H E V O Y A G E B E Y O N D does not concern itself with the spectacle of sati, but rather with the conflict of rituals and old beliefs against the elemental needs of man. A dying man is broughjt to the banks of the Ganges for immolation, but in a grotesque ceremony is married to a beautiful girl. Her father is glad to be rid of her, and the priests revel in an oppressive sky, the doomed players act on the primal emotions of love, hate, and sexual jealousy which finally overwhelm them.

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I ran

A The Peddler D irector/S creenwriter/E ditor: M ohsen M akhmalbaf Producer: A rts B ureau of the O rganization for the Propagation of I slamic T hought C inematographers: H omayun Payvar, M ehrdad Fakhimi, A li R. Z arindast M usic : M ajid Entezami C ast: Z ohreh Saramadi, Esmail Sarmadian, B ehzad B ehzadpour, Faridkashan Fallah , M orteza Z arrabi P rint Source : Farabi C inema Foundation • 1987 • 95 minutes

Out of a restructured Iranian cinema comes this remarkable feature, not what one would expect out of Khomeini's revolutionary society. T H E P E D D LE R deals with the urban poor of contemporary Iran, with a vision that is akin to Buñuel, hard-edged and unpredictable. Director Mohsen Makhmalbaf relates small dramas of life at the bottom of the pile, some with characters who have become as mean and depraved as their environment, and with others who allow their humanity to glimmer in the dust. The first of three tales, based on a story by Alberto Moravia, is about a couple whose extreme poverty forces them to abandon their daughter with the hope that some kind soul will rescue and take care of her. The second deals with an unstable man and his less-than-normal relationship with his aged mother. The last is a story of a youth (the peddler of the title) who is suspected and judged by his fellow smugglers of being an informer. This uncompromising view of life at the lower depths shows a side of Iranian society we rarely see.

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I srael

A viya's S ummer D irector: Eli C ohen Producer: G ila A lmagor, Eitan Evan Screenwriter: C ohen, A lmagor, H aim B uzaglo, based on A lmagor' s novel C inematographer: D avid G urfinkel Editor : T ova N eeman M usic : Shemtov L evi C ast: G ila A lmagor, Kaipu C ohen, Eli C ohen, A vital D ikkar, Rami Baruch P rint Source: H.S.A.L td. • 1988 • 96 minutes.

This year's Israeli submission to the Oscars, A V IY A 'S S U M M E R tells the autobiographical story of a young girl whose rich fantasy life is the source of much trouble, even as it helps her deal with the fact that her father will never return to her. The action takes place in 1951, shortly after Israel became a sovereign state. Henia, Aviya's mother, is a holocaust survivor who has fought with the partisans, was caught and sent to Auschwitz and lost her husband there. Emotionally unstable, she is in and out of mental hospitals, but for one summer she takes her daughter out of boarding school and home to her suburban house. That summer, Aviya attempts to convince herself and others that her father is still alive and will come back for her. Thus begins the haunting tale of a wonderful little girl, her relationship with her troubled mother, and a summer which will remain with her forever.

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I t a l y / F ra n c e

7t7ì M ignon H as C ome to S tay D irector: F rancesca A rchibugi Producers: L eo Pescarolo, G uido D e Laurentiis Screenwriters: Francesca A rchibugi, G loria M alatesta, C laudia Sbarigia C inematographer: L uigi V erga Editor : A lfredo M uschetti M usic : Roberto G atto, Battista Lena C ast: Stefania Sandrelli, C eline B eauvallet, Leonardo R uta, M assimo D apporto, M icheline P resle, Jean Pierre D uriez Print Source : Ellepi F ilm • 1988 • 94 minutes

Into the earthy, disorderly, but attractive Forbicioni family of five children, ranging from 17 to 2, comes Mignon, a cousin from Paris. Daughter of rich and elegant parents, she has been sent to visit because of a family crisis, and feels as is she had landed on Mars. To the Italian children she seems cold, oblique, and scornful. Only the bright and quiet middle son Giorgio, himself lonely, tries to make friends. He soon becomes infatuated with his pretty cousin (who is, unfortunately, a year older than he), but she starts dating his elder brother's boisterous pal. Perhaps the air of tender humor that pervades this film comes from first-time director Francesca Archibugi, who was pregnant during the filming and, a few days after shooting had ended, gave birth to a daughter— along with this wonderful film. "An altogether delightful and refreshing comedy"— Variety.

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It a l y

u R orret D irector: Falvio W etzl Producer: RAI-TV Screenwriters: Falvio W etzl, Enzo C apua C inematographer: C arlo C erchio Editor : M assimo Palumbo C ardella M usic : F lorian Schneider, F erruccio B usoni C ast: Lou C astel, A nna G aliena, M assimo V inturiello, Enrica Rosso Print Source : N ew Y orker F ilms • 1988 » 1 0 3 min.

This twisted thriller concerns the misadventures of a psychopathic theatre owner who lives behind the screen of his cinema, which specializes in showing classic horror films. Rorret, the villain of the piece (his name spells his garpe, in reverse) chooses his victims from the audience; whoever shows the most fright at the scary scenes becomes his next intended victim. This very strange film is a thriller made by and for cinephiles; one of its pleasures lies in the glimpses we catch of absurd re-creations of famous and frightening scenes from such classics as P S Y C H O , P EEP IN G T O M and D IA L M F O R M U R D E R .

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It a l y

La M aschera D irector: F iorella I nfascelli P roducers: L ilia Smecchia and Ettore Rosboch Screenwriters: A driano A pra and F iorella I nfascelli C inematographer: A cacio de A lmeida Editor: F rancesco Malvestito M usic : L uis Bacalov C ast: FIelena Bonham C arter, M ichael M aloney, F eodor C haliapin, Roberto H erlitzka, M ichele de M archi Print Source : I stituto L uce, I talnoeggio C inematogra • 1988 • 90 M inutes

This witty feature debut from writer-director Fioreila Infascelli is notablefor at least two reasons: First, it is a compelling and artfully composed fable about play-acting and the role of illusion in love. And second, it is a perfect vehicle for A R O O M W IT H A V IE W 'S Helena Bonham Carter, who conjures the same enchantment in this make-believe 18th century setting. Here, Carter plays a 17-year-old prima donna in a company of traveling actors. One day she attracts the attention of a dissipated young nobleman (who nevertheless has the heartbreaking suavity of the quintessential romantic hero). To win her heart, he enlists the aid of a sinister mask maker whose fantastic disguises give him the courage to express his innermost feelings. Typically Italian in its eye catching settings, which recall Venice without actually being set there, this magical film makes the most of its atmospheric backgrounds, period costumes, and lush score. LA M A S C H E R A is sure to please both those hungry for the hot-house passions of Gothic romance and those who prefer love stories with a little more bite and erotic charge.

I t a l y • Ja p a n F r id a y , J u n e 2

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E g y p t ia n

It a l y

U .S . P rem iere

f® ) L e g e n d o f a H o l y D r i n k e r D irector: Producer: Screenwriters: C inematographer: Editor: M usic : C ast:

Ermanno O lmi Roberto C icutto , V incenzo de Leo Ermanno O lmi, T ullio K ezich , from a story by Joseph Roth D ante Spinotti Ermanno O lmi I gor Stravinsky R utger H auer, A nthony Q uayle, Sandrine D umas, D ominique P inon, Sophie Segalen Print Source: »1988 »125 minutes

Winner of the Venice Film Festival Golden Lion (Best Film), L E G E N D is a poetic gem of a film about an odyssey of redemption, directed in English by Ermanno Olmi (TREE O F W OODEN C LO G S: LO N G LIVE THE L A D Y !, SIFF '88). Seattle Film Festival favorite Rutger Hauer (SOLDIER O F O RANGE, BLAD E RUNNER) gives a wonderfully complex and sympathetic performance in the title role. He plays Andreas, a Polish ex-miner down on his luck in Paris. One day, when a mysterious stranger (Anthony Quayle) appears and gives him 200 francs, it seems like a real miracle to Andreas. He promises to pay the money back to the gentleman's patron saint, Theresa, after mass the following Sunday—but each Sunday something arises to prevent him from keeping his promise.

M o n d a y , M a y 29

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C a p it o l H ill

J apan

A H o p e a n d P a in

D irector: Y oii Y amada Producer: Kogi T anaka Screenplay: Y oji Y amada, Y oshitaka A sama C inematographer: T etsuo T akaba M usic : T eizo M atsumura C ast: H ashinosuke Nakamura, H iroko Y akushimaru, T etsuta Sugimoto Print Source : Shochiku C orporation of A merica • 1988 »120 MINUTES

Nostalgic, exuberant, heartfelt and filled with laughter, H O P E A N D P A IN has been called a JAPANESE GRAFFITI by the Los Angeles Times, describing as it does the last year of the graduating

class of 1948, 'a time when Japan was emerging from the devastation of war and tasting a new and uncertain freedom. It is a film about a crucial time of change, but it's also about the condition of adolescents anywhere and anytime—their loves, politics, sexual desires, pranks, dilemmas and worries for the future. Yoji Yamada, one of Japan's most popular directors and best known for the Tora-san series, the longest running film series ever (42 to date!), has fashioned an autobiographical tale about a time that was never to be the same again. A film about growing up for himself, his friends and for a nation.

Japanese submission, Academy Award for Best Foreign Film

F r id a y , M a y 12

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J a pa n

m m

D irector: Y ojiro T akita Producer: Shuji M iyajima Editor : Isso T omita C inematography: Y oichi Shiga M usic : Katsuo O hne C ast: T akeshi Kaga , Kaori M omoi, H iromi Iwasaki, M itsunori I saki Print Source: F uiisankei C ommunications I nternational • 1988 » 1 1 3 min

This new delight from the director of CO M IC M A G A ZIN E starts out as an outrageously madcap romp about a money-obsessed family and its quest for more and more yen, and then along the way reverses its course to become a cautionary tale about the personal damage that greed can cause. Despite the change in tone, it remains one of the funniest comedies to come from Japan in years, and is the equal of anything Juzo Itami has done to date.

ft m s m äi **

Ja p a n • K o r e a (S o u t h ) F r id a y , M a y 2 6

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A S u m m e r Va c a t io n : 1 9 9 9 D irector: Producers: Screenwriter: C inematography: Editor : M usic : C ast: Print S ource:

Shusuke Kaneko Naoya Narita and M itsuhisa H ida M ichiyo K ishida Kenji T akama I sao T omita Y uriko Nakamura Eri M iyajima, T omoko O takara, M iyuki Nakano, R ie M izuhara N ew Y orker F ilms • 1988 • 90 minutes

Easily the most original Japanese film of the year, S U M M E R V A C A T IO N : 1999 represents a daring feature debut for young director Shusuke Kaneko, previously known for softcore sex films. Set during a langurous summer vacation at a nearly abandoned boy's school, this is a haunting, even metaphysical, tale of adolescent love and sexual awakening. Centering on four teenaged schoolboys, the film opens with the apparent suicide of one of them, a victim of unrequited love for another of his fellows. Just as the others are recovering, in walks a new boy, an exact double of their dead friend. Is this some kind of Joke? A coincidence of fate: Or even ghost? Heightening the film's sense of mystery and androgeny, Kaneko cast fourteen year-old girls to play the boys. Incisively written and seductively photographed, this is an emotionally charged film of seamless beauty that healds a major new talent.

Th u r s d a y , M a y 18

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S o u t h K o r ea

U .S . Prem iere m

f° ) D i a r y o f K i n g Y o n s a n D irector: Producer: Screenplay: C inematographer: C ast: Print Source:

I m Kwon -t' aek Y eo Jung -ho I Sang-hyun G u J ung -mo Y u I n-chon , G weon Jae-hi, K im J in-a Korean M otion P icture Promotion C orp. • 1987 » 1 1 4 MINUTES

Shooting in ancient palaces and fabulously decorated interiors, Im Kwon-t'aek (in his 85th film!) creates a symphony of color, costuming and movement that simply take your breath away. Set in the 15th Century, the film chronicles the brief reign of King Yonsan, which was marked by violent purges and opposition to Buddhist rituals, and who nearly toppled the entire Confucian state system. Yonsan leads his court (especially the women) on quite a merry dance until madness begins to set in, and the aristocrats plot his overthrow. Marked by rich period details, gorgeous dramatic tableaux and characters fit for an opera (as was his S U R R O G A T E M O T H E R , S IF F 88), T H E D IA R Y O F K IN G Y O N S A N won four of the Grand Bell Awards (Korea's Oscar) including Best Picture and Best Director.

T u esd ay, M a y 30

ello

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C a p it o l H ill

S o u t h K o r ea

G od D irector: Bae C hang-ho Producers: L ee W oo -seok, Lee Kyeon-seok Screenwriter: C hoi I nn-ho C inematography: Yoo Y eong-kil Editor : K im H yeon M usic : Jeong Seong-jo C ast: A hn Seong-ki, K im B o -yeon, J eon M oo -song Print Source : Korean M otion Picture Promotion C orp. • 1987 » 1 0 5 minutes

A delightful road movie by one of last year's favorite directors, Bae Chang-ho, who brought us M A N D A L A and O U R S W E E T D A Y S O F Y O U T H . A young boy, whose handicap has kept him indoors for 10 years, sets off on his cherished dream of visiting the ancient holy city of Kyongju and there to draw pictures of the stars. Immediately hopping on the wrong bus, he is rescued by a rather charming, and slighly loony, self-described poet. Together they jump a freight train, get caught and are about to be arrested when along comes Chun-ja, quite pregnant and quite abandoned. With more wits about her than both boys put together, she soon has them out of trouble and firmly on the way. Stealing apples, begging food and stopping at festivals, the three vagabonds seem to have the journey about wrapped up, but the adventures on the road have only begun. Full of warmth, humor and the beautiful Korean countryside, H E L L O G O D will have you smiling long after its over. Winner of the Korean Academy Awards for Best Picture and Best Director.

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f lï

M exico • N etherlands T u e s d a y , M a y 23

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C a p it o l H ill

M e x ic o

U .S . Prem iere

M ariana, M ariana D irector: A lberto I saac Producer: I nstituto M exicano de C inematografia Screenwriters: V incente L enero, Jose Estrada C inematographers: D aniel Lopez, A ngel C oded Editor : C arlos Savage M usic : C arlos W arman C ast: Pedro A rmendariz, Elizabeth A guilar, Saby Kamalich, A aron H ernan, L uis M ario Q uiroz, Fernando Palavicini, H ector O rtega Print Source: I nstituto M exicano de C inematografia • 1987 • 82 minutes

Two men caught in a traffic jam reminisce on their shared past in the more peaceful streets of Mexico city of the 1940's. One had a boyhood crush on Mariana, the mother of his best friend. Mariana was the mistress of an important politician of the time, the man who later became the cause of her suicide. This is a bittersweet coming of age tale, a yearning for a simpler time that proves not to be as simple as it seems. Director Alberto Isaac brings to the screen a loving and evocative recreation of 1940's Mexico, where a young adolescent begins his journey toward manhood. Elizabeth Aguilar is stunning as Mariana, both mother and object of a young man's desire. As the film flashes forward to the present day, the men drive past the destruction left in the wake of the 1985 earthquake in Mexico City, the very foundations of their generation laid to dust,

S a t u r d a y , M a y 27

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M e x ic o / S pain

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The S ummer of M iss F orbes D irector: Jaime H umberto H ermosillo Script: Jaime H umberto H ermosillo, G abriel G arcia Marquez C inematographer: Rodrigo G arcia Editor : N elson Rodriguez M usic : Sergio V itier C ast: H anna Schygulla , F rancisco G attorno, A lexis C astañares, V ictor C esar V illalobos, G uadalupe Sandoval, Fernando Balzaretti Print Source : RTVE • 1988 • 90 minutes

Hanna Schygulla (M ARRIAGE O F M ARIA BRAUN ) plays Miss Forbes, a stern German governess, by day terrorizing'her two young Mexican charges with rules so strict they are impossible to comply with. By night, however, she guzzles bottles of tequila, gorges on desserts, and sings melancholy German ballads. This story, written by Gabriel Garcia Marquez is a strange and wonderful tale of repressed "northern" desires bubbling over in the Caribbean sun. Added to this tropical stew is Miss Forbes' unrequited love for a diver and a recurring story of a drowned sailor, this is quintessential Marquez. Lush settings and stunning cinematography, along with Hanna Schygulla's dazzling performance conspire to make a great adaptation of Marquez to the screen. As part of the D AN G ERO U S LOVES series (also including THE FABLE O F THE BEAUTIFUL PIGEO N FANCIER and LETTERS FRO M THE PARK), veteran Mexican director Jaime Humberto Hermosillo (DONA HERLIN DA AN D HER SON) does an admirable job.

F r id a y , M a y 12

™

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H a r v a r d E x it

N eth er la n d s

Egg D irector: Producer: Screenplay: C inematography: Editor: M usic : C ast: Print Source:

D anniel D anniel Rene Scholter D anniel D anniel Erik van Empel M enno B oerema M ichel M ulders Johan L evsen, M ariike V eugelers, Jake K ruyer, C oby T imp Z eitgiest F ilms • 1988 • 58 min .

A totally delightful and very quirky first feature from Holland, E G G has some of the charm of Jaques Tati's early films. Johan is a somewhat eccentric 35 year-old baker who lives with his mother. He amuses himself in his off hours engaged in rather strange pursuits, and doesn't have much hope of a change in his circumstances until one of his co-workers suggests he answer a personal ad in the local paper. Thus begins a correspondence with a lady from some foreign shore, which he finds quite fulfilling until one day, a handsome woman of his own age arrives in town and announces she has come to marry the local baker! Romance will have its way, but in this understated charmer the path of true love is somewhat bumpy. (Shown with short W ILD SO UN D)

Ill M

S a t u r d a y , M a y 20

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C a p it o l H ill

N eth e r la n d s

Â Th e Va n ish in g D irector/E ditor : G eorge Sluizer P roducers: A nne Lordon and G eorge Sluizer Screenwriter: T im K rabbe C inematography: T oni K uhn M usic : H enry V rienten C ast: G ene B ervoats, Johanna T er Steege, B ernard-Pierre D onnadieu Print Source: G olden Egg F ilm/ MGS Film • 1988 » 1 0 7 minutes

The Dutch submission for this year's Oscar contest, T H E V A N IS H IN G is a sharp-edged, unpredictable thriller that has all the ingredients of the best suspense films. Its obsessed villain appears at first to be a fairly average guy, albeit with some irregular attitudes about women. To test his ability to go beyond the limit, he decides to kidnap a woman—any woman. His innocent victim is a young Dutch tourist on vacation in France. When she disappears, her boyfriend spends the next three years searching for her and trying to find the man who keeps taunting him with postcards and letters. Director George Sluizer has fashioned a chilling cat and mouse game of psychological terror that puts three ordinary people in an extraordinary situation. Wrote Variety: T H E V A N IS H IN G is the ultimate tribute to Alfred Hitchcock, daring to offer an ending that goes beyond even the master's memorable climaxes."

T h u r s d a y , M a y 18

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H a r v a r d E x it

N ew Z ea la n d

w M auri D irector/P roducer/S creenwriter: M erata M ita C inematography: G raeme C owley Editor: N icholas B eauman M usic : A mokura C ast: A nzac W allace, Eva R ickard, James H eyward, G eoff M urphy P rint Source: N ew Z ealand F ilm C ommission M A U R I (in English, "life force") is set in a predominantly Maori community in New Zealand, 1958.

Its central theme concerns the holistic view of the universe - the.intertwining links between the powers of nature, or earth, and the life force found in all living things. On a less ethereal level, it tells the story of Rewi a Maori man on the run from his past, who stumbles into a Maori community which holds the key to his future. The village is his childhood home, and here he is taken in by his aunt Kara - a spiritually gifted old woman - and her great grand-daughter. Rewi begins to undergo changes; he discovers the spiritual force within himself and also begins to fall in love with Kara's niece, Ramari, a beautiful, headstrong young woman. Meanwhile his past begins to close in on him and although Kara senses things about both his troubled past and his tumultuous future, she allows events to unfold as they should... This is a vital and amazingly original picture from a hitherto unheralded source, a New Zealand woman director - the first- who is also part Maori. Noted director Geoff Murphy (SMASH PALACE, THE Q U IET EARTH) read Merata Mita's ambitious script and was impressed enough to help get her first directorial effort produced.

Sa t u r d a y, M a y 27

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C a p it o l H ill

N ew Z ea la n d

I llu str io u s E n ergy D irector: L eon Narbey Producer: D on R eynolds Screenwriters: L eon Narbey and M artin Edmund C inematographer: A lan Locke M usic : Jan Preston C ast: C hen Shu, Shaun B ao, Peter C hin, Peter H ayden Print Source : N ew Z ealand F ilm C ommission • 1988 » 1 0 0 minutes

Set in a remote valley in the south of New Zealand in 1905, IL L U S T R IO U S E N E R G Y tells the story of two immigrant Chinese gold miners striving to improve their lot by working abandoned claims thirty years after the gold rush has come and gone. The film opens as young Chan and his aging father-in-law Kim disinter the remains of a their former mining partner and prepare them for their journey home to ancestral China. Kim and Chan each hold different aspirations, as the older man is anxious to strike it rich and return home before he dies. The younger man, even with a wife and child back in China, is not so sure about returning. Adding urgency to their quest for gold is the encroachment by land surveyors on the claim, and the bitterness and distrust they are shown by European miners working the played-out gold fields. Finally, the two make a lucky strike, and it appears that their problems are all over, but a twist of fate intercedes...This is a haunting and highly-accomplished first feature by Leon Narbey, a seminal cinematographer of the strongly emerging New Zealand film industry. The film can be savored on both a historical and purely cinematic level.

N e w Z ealand • Peru • Po r t u g a l F r id a y , M a y 19 T u e s d a y , M a y 23

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N ew Z ea la n d

E g y p t ia n C a p it o l H ill

N ever Say D ie

D irector/S creenplay: G eoff M urphy Producder: G eoff M urphy, M urray N ewey C inematographer: Rory O 'S hea Editor: Scott C onrad M usic : B illy K ristian, Sam N egri C ast: T emuera M orrison, L isa Eilbacher, T ony Barry, G eorge W endt Print Source : Everard F ilm D istributors Ltd • 1988 • 103 min.

Geoff Murphy, director of such local favorites as THE Q U IET EARTH and U TU, here tackles a labrynth tale that is part road movie, part paranoic thriller and totally exhillarating. Newspaper reporter Alf returns to New Zealand and his American love Melissa in a highly agitated state. He convinces her that the explosion which has leveled their apartment was not an accident and the two escape to an island to hide out until it becomes apparent that someone is indeed after them. It seems a conversation which Melissa overheard at a L.A. airport on her way back to N.Z. is at the root of their current dilema, but having no clues to the people involved in the conversation, the two opt to live on the run while they try desperately to solve the mystery. A truly hair raising - and sometimes quite comic - chase/thriller.

W e d n e s d a y , M a y 24

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P er u / S pain

H a r v a r d E x it

ix The L io n 's D en (La B oca del L obo ) D irector: F rancisco José Lombardi Producer: G erardo H errero, F rancisco José Lombardi Screenplay: A ugusto C abada, G iovanna Pollarolo, G erardo H errero C inematography: José L uis Lopez L inares Editor: Jan San Mateo M usic : B ernardo Bonezzi C ast: G ustavo B ueno, T ono V ega, José T ejada, G ilberto T orres P rint Source : C inevista • 1988 » 1 2 2 minutes T H E L IO N 'S D E N unfolds as a small detachment of Peruvian soldiers are sent to a remote mountain village where the Maoist Shining Path movement has gained foothold. Upon the murder of the regiment's commander, a tenacious new lieutenant, Roca, provides new morale and inspiration, particularly to the impressionable young private, Vitin. But as tensions rise between the army and the mistrusting villagers, against the constant backdrop of terrorist acts committed by unseen hands, the idealistic Vitin is forced to come to some life-changing decisions. This gripping drama, shot amid the austere beauty of southern Peru, is akin to an Andean PLATOON. Compelling performances and unforgettable characters are memorably caught by director Francisco Jose Lombardi, a talent worth watching. Acclaimed in South America, T H E L IO N 'S D E N was Peru's official submission for the Oscars.

W e d n e s d a y , M a y 24

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C a p it o l H ill

Po r tu g a l

The Jester ( o bobo) D irector: José A lvaro M oráis Producer: H enrique Espirito Santo Screenplay: José A lvaro M oráis C inematography: M ario de C arvalho M usic : C arlos A zevedo, C arlos Z íngaro , Pedro C aldeira C abral C ast: F ernando H eitor, Paula G uedes, L uis L ucas, José Eduardo, G licinia Q uartin, Isabel R uth Print Source: I nstitut Portugais de C inema • 1987 » 1 2 7 minutes

Jose Alvaro Morais' brilliant first feature walked away with the grand prize at the 1987 Locarno Film Festival. A sort of modernist RED SHOES, T H E JE S T E R deals with a group of actors trying to stage Alexandre Herculano's classic novel of Portuguese history and national identity, of the same iame. Set in 1976, against a backdrop of the rightwing backlash against the Portuguese Revolution, some of the characters dream of escape to America, others look to creating a future in their own homeland. This moving account of a generation trying to come to grips with changing times is beautifully shot in the derelict Lisboa Filmes studios, where the play within the film is strikingly conceived in cinematic terms, hauntingly evoking the long-vanished studio tradition. T H E JE S T E R is an unforgettably resonant and beautiful film. Morais and company are at the forefront of an exciting and original national cinema, revitalized in recent years.

P u e r t o R i c o • S o u t h A frica • S p a i n F r id a y , M a y 26

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E g y p t ia n

P u e r t o R ic o / A r g en t in a

(® i T a n g o B a r D irector/C inematographer: M arcos Z urinaga Producers: J uan C arlos C odazzi, Roberto G andara Screenwriters: Jose Pablo Feinnman, J uan C arlos C odazzi, M arcos Z urinaga Editor : Pablo M ari M usic : A tilio Stampone C horeographers: N elia and N elson, C arsol and M aria R ivarola, Santiago A yala and Norma V iola, L iliana B elfiore, D oris P etroni C ast: Raul J ulia , V aleria Lynch , R uben J uarez Print Source: C astle H ill F ilms • 1988 • 90 minutes

Raul Julia (ROM ERO, KISS O F THE SPIDER W OMAN) stars in this anthology of—and homage to— tango, set within a contemporary story. Ricardo (Raul Julia) and Elena are reunited with their old friend Antonio, after his ten year exile, in the Buenos Aires cabaret where they had once presented a successful tango show. In flashbacks and conversation they reveal the importance and meaning to them of the sensual, hypnotic dance. Brilliantly choreographed musical numbers, performed by the dancers of Broadway's TAN G O ARGEN TIN O , take us through the evolution of tango. The flexible narrative form includes dance footage from films such as SO M E LIKE IT H O T and LAST TAN G O IN PARIS , and from performers including Carlos Gardel, Rudolph Valentino, Astaire and Rogers, and Laurel and Hardy. A delectable feast of music and dance, T A N G O B A R may tempt you to leave the theatre dancing.

S u n d a y , M a y 21

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C a p it o l H ill

S o u t h A fr ic a / A u s t r a lia / E n g l a n d

111

a pa n tsu la

D irector: O liver Schmitz Producer: M ax M ontocchio Screenwriter: T homas M ogotlane, O liver Schmitz C inematographer: Rod Stewart Editor : M ark Baard C ast: M ogotlane, T hembi M tshali, D olly Rathebe, Peter Sephuma Print Source: T homas F. R. G arvin • 1988 » 1 0 6 minutes

At last — a film about South Africa which focuses on the experiences of blacks. M A P A N T S U L A is the story of Panic, a small-time gangster so engrossed in his own private war against society that he hardly notices the political eruptions going on around him. Panic lives township life to the full, dancing, drinking, and relieving the occasional businessman of his wallet. But the ghetto's political realities gradually impinge upon Panic, whose politicization begins in earnest when he is thrown into prison with freedom fighters who have little regard for his hedonistic way of life. Filmed semi-clandestinely, and featuring the work of many members of South Africa's dynamic black music and theatre movements, the film tantalizes with a vision of what a liberated South African cinema might be like. This contro-versial film is endorsed by the ANC and banned by Botha's government.

M o n d a y , M a y 15 S u n d a y , M a y 21

7 :0 0 pm 2 :3 0 pm

E g y p t ia n C a p it o l H ill

B r a z il / S pa in

f t F a b l e o f t h e B e a u t if u l P ig e o n F a n c ie r 2^ (F a b u l a

d e la

B ella Pa l o m e r a )

D irector: Ray G uerra Screenwriters: Ray G uerra and G abriel G arcia M arquez, after a story by G abriel G arcia M arquez C inematographer: Edgar M oura M usic : Egberto G ismonti C ast: N ey Latorraca, C laudia O hana, T ony C orrero 1987 • 90 MINUTES

Ray Guerra, Brazilian director of CINEMA N O VO , here adapts another Gabriel Garcia Marquez short story to the screen—the first was cREN DIRA. We first encounter Orestes, a melancholy Brazilian aristocrat in his 40s, prissily hairnetted, as he is tenderly tucked into bed by his momma, a large, ravaged beauty who'd propel even the most macho of men into nightmares of castration. Our hero leads an ordered, passionless life, with carnal (and comic) relief provided by his (dying) best friend's wife in a veriable nest of pussy cats. A voluptuous young girl, frequently surrounded by a cloud of white pidgeons, suddenly sets his soul on fire, resulting in a black comedy cooked up with equal parts Blake Edwards and Luis Buñuel. A lusciously sensual film, F A B L E pushes the concept of a m our fou to its limits, and amkes us wonder if emotional hibernation—even with such a momma—might not have been the better part of valor.

Spain • S w eden W ed n esd ay, M a y 17

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S pa in

E g y p t ia n

fo ) L a S e n y o r a D irector: Jordi C adena Producer: Paco Poch Screenwriters: Jordi C adena, Silvia T ortosa, BASED ON THE NOVEL BY ANTONIO MuS C inematographer: Jose G . G alisteo Editor : A mat C arreras M usic : J.M . Pagan C ast: Silvia T ortosa, H ermann B onnin , L uis M erlo, Fernando G uillen C uervo Print Source: Sharp F eatures • 1987 • 96 minutes

This sinister story of upper-class obsession and denial is an erotic and kinky journey through the labyrinth of sexual power-playing. Teresa is a youngish Mallorca virgin who is basically sold by her family to an onanistic old man, a creaking patriarch whose idea of procreation is to disperse his seed from a golden thimble. Over the course of twenty-odd years spent in this ogre's clutches, Teresa's libido becomes magnificently twisted. This stunning parable of perversion, taken from a famous Catalan novel, provides more than one unexpected twist, as the widowed Teresa, after her husbands death begins to indulge her own fantasies with the help of her handsome gardener. A visually vivid and haunting tale of lust and its reckoning, with a mesmer ¡zing central performance by the gorgeous Sylvia Tortosa.

M o n d a y , M a y 22

7 :0 0 pm

E g y p t ia n

S pain

f f l N eo n M an D irector/S creenwriter: A lbert A bril Producer: Paco Poch C inematography: Lorenc Soler Editor : Emili Rodriguez M usic : T oti Soler C ast: F eodor A kine, A ssumpta Serna, L luis H omar, Jordi T orras, V ivianne V ives, M oïses T orner, V ictor I srael Print Source : C atalan F ilms • 1988 » 1 0 0 minutes

This debut feature by Alberto Abril won the prestigious New Director's prize from the Spanish Ministry of Culture. At the forefront of the burgeoning Catalan cinema movement, N E O N M A N is an urban thriller, set in Barcelona, involving a man named David who makes a modest living as a neon repairman. He is enticed by a beautiful radio announcer, Lynda (Assumpta Serna of M A T A D O R fame) into a web of intrigue in which he ultimately plays the role of a pawn in a much larger game. Feodor Atkine, a rising star in the Catalan cinema, lends a quiet strength and power to the character of David. And Assumpta Serna, as ever, is a Spanish star to watch: sexy and witty, she commands the screen. A moody and menacing atmosphere prevails throughout this stylish thriller, marking a fascinating feature debut by a new Spanish talent.

Su n d a y, M ay 28

9 :3 0 pm

C a p it o l H ill

S w ed en

em o n s D irector/S creenwriter: C arsten B randt Producer: B o Jansson C inematography: G oran N lisson Editors: Kasper Schyberg and Lars H agstrom C ast: Ewa F roling, Lars G reen, Bjorn G ranath, Pia O scarsson 1986 « 1 2 5 MINUTES

With D E M O N S , screenwriter/director Carsten Brandt has succeeded in matching the best of Strindberg, Ingmar Bergman, and Edward Albee, while adding plenty of comic relief to leaven his acid brew. As incisive as S C E N E S F R O M A M A R R IA G E and as keen-witted as W H O 'S A F R A ID O F V IR G IN IA W O O L F ?, this tightly paced picture brings together two couples for a tense evening of emotional fun and games, on the eve of a family funeral. Their free-for-all confrontations produce the most diabolical revelations and accusations about the relationships of men and women. Inevitably, nobody's dignity is left unsoiled and everybody's sexual identity is brought into question. The film is further distinguished by four sensational performances. A look a marriage at its most sinister, D E M O N S is a must-see for those who like their humor a rich black and their drama electric-charged.

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S w e d e n • Ta i w a n F r id a y , M a y 2 6

9 :3 0 pm

C a p it o l H ill

S w e d en / D en m a r k / N o r w a y

A H ip H ip H urrah! D irector/S creenwriter: Producer: C inematographer: Editor : M usic : C ast: Print Source:

Kjell G rede Katinka Farago Sten H olmberg Sigurd H allman F uzzy, B rahms, Mahler Stellan Skarsgard, Lene B rondum, Pia V ieth, H elge Jordal Swedish F ilm I nstitute • 1988 » 1 1 0 minutes

H IP , H IP , H U R R A H ! is a fantasy revolving around a group of Scandinavian artists who gathered in Skagen, the northernmost peninsula in Denmark in the late 19th Century, and painted their way into the history of art as the 'Skagen Group'. The film centers on P.S. Kroyer, called Soren, the most famous and beloved of all Danish painters. His philosophy:"Life is a party" was also the central theme of his life and art. Born in a mental asylum, his mother was a madwoman, and Soren sprang away from this dark genesis into a compulsion for light - a light which manifested itself in all of his .work, just as it infused itself in his love of gaity and spontanaity. This exquisitely beautiful and uplifting film tells the story of Soren's life, but in broader strokes it paints a luminescent portrait of a group of artists whose lives and work were deeply affected by one of their own — a moth drawn inexorably toward the flickering candle of life lived at its fullest. Venice Film Festival, Best Cinematography and Special Jury Prize.

S4S T h u r s d a y , M a y 25

5 :0 0 pm

E g y p t ia n

fo ) I n the N ame of the Law

S w e d en

U .S . P rem iere

D irector: Kjell Sundvall Producer: H ans Iveberg Screenwriters: H ans I veberg, L ief G . W . Persson C inematography: Peter M okrosinski, Roland Skofeldt Editing : U lla Lennman, Bjorn G unnarsson, B engt R enander M usic : U lf D ageby C ast: Sven W ollter, A nita W all, Stefan Sauk, Pia G reen, M arvin Y xner, Sven H olm, Ernst G unther, C arlo Barisotti, M icke K lover P rint Source: Swedish F ilm I nstitute • 1986 • 87 minutes

This hard-hitting police drama created a major controversy when it opened in Sweden. Based on true stories compiled by Lief Persson, one of Sweden's leading criminologists, IN T H E N A M E O F T H E L A W deals with a group of policemen, who through a misguided sense of morality and justice begin to abuse their power. It all comes to a head when an old alcoholic is maltreated in his holding cell and becomes brain damaged. The official explanation says it is an accident. When Inspector Jarnebring comes on the scene and uncovers the systematic violence and abuse of civil rights by certain members of the police department, the system and his own life are thrown into turmoil. The moral crux of this story is how much is society willing to give up to maintain the peace; and by giving power to those who may abuse it, how much violence can we accept in the name of the law. Stunning performances and a hard realism make this a thoroughly engagihg and provocative film.

S4S W ed n e s d a y , M a y 2 4

7 :0 0 pm

H a r v a r d E x it

11 D aughter of the N ile D irector: Hou H siao-hsien Producers: T s' ai Sung-lin, W ang Y ing-chieh Screenwriter: C hu T ' ien-wen C inematographer: C h ' en H uai-en Editor : L iao C h ' ing-sung M usic : C h ' en C hih -yuan , C hang H ung-yi C ast: Y ang L in, Kao C hieh, Y ang Fan, L i T ' ien-lu Print Source : G .I.O ./C entral M otion Picture C orp. » 1 9 8 7

T a iw a n m m

95 MINUTES

Best known for his autobiographical portraits of rural Taiwan, Hou Hsiao-hsien (A TIM E TO LIVE AN D A TIM E TO DIE, SIFF 87) turns now to the urban sprawl of Taipei, a city burgeoning with prosperity where everyone seems out to make a buck, and losing their morality amidst the Americanized neon glamour. The film is a fascinating hybrid—part family drama, part gangster thriller and part brightly colored nightclub saga—all revolving around teen-ager Yang Lin, whose favorite comic book is D A U G H T E R O F T H E N IL E . Contrasting random outbursts of street violence with quiet moments at home between Yang Lin and her uncle (delightfully played by veteran Li T'ien-lu), Hou captures the divisiveness of urban life plaguing much of Taiwan's youth, and therefore its future. A highly successful —and quite eye-filling—departure from one of Asia's best directors.

Ta i w a n • T u r k e y S a t u r d a y , M a y 13

7 :0 0 pm

T a iw a n

H a r v a r d E x it

R o u g e o f th e N o r th D irector/S creenwriter: F red T an Producer: H su K uo -liang C inematographer: Y ang W ei-han Editor: C hen Po -wen M usic : C hang H ong -yi C ast: H sia W en-shi, Emily C hang, H su M ing, Shirley C hen Print Source: H orizon Productions • 1988 » 112 minutes

Based on a novel by a renowned Chinese writer, R O U G H E O F T H E N O R T H is a richly visualized, entertainingly convoluted portrait of a Chinese woman's life in Shanghai between 1910and 1935. Sharply critical of the lot of women in traditional Chinese society, the film starts as a melodrama arid ends as a cruel tale of vengeance. To avoid a life of poverty, the beautiful heroine is forcibly married to an asthmatic invalid. Hated and terrorized by his family, she retreats into a lonely, bitter life with her only son, taking small comfort in opium and dreams of revenge. Begging comparison with the lush and ironic films of 50's director Douglas Sirk, R O U G E is a triumph of cinematic style. A former UCLA film student, director Fred Tan shot his film entirely in the studio, skillfully using the many elaborate sets and costumes to reflect his characters' changing social status and states of mind. Also featuring a powerfully controlled performance by Hong Kong star Hsia Wen-shi, this is exciting confirmation of the growing strength of Taiwanese cinema.

T h u r s d a y , M a y 25

7 :0 0 pm

T a iw a n

C a p it o l H ill

Â S traw m an D irector: W ang T ' ung Producer: Hsu K uo -liang Screenplay: W ang H siao-di, Sung H ung C inematographer: L i P'ing -pin Editor : C h' en Sheng-ch ' ang M usic : C hang H ung -yi C ast: C hang Pai-chou , C ho Sheng-li, K' o C hung-hsiung Print Source: G overnment I nformation O ffice • 1987 • 97 minutes.

If there ever was an Ealing Studios on Taiwan they might have come up with S T R A W M A N , a delightful and utterly charming comedy about a small country town whose everyday quiet is interrupted by the appearance of an unexploded bomb, a la PASSPORT TO PIMLICO. Set during the last days of WW II, when Taiwan was a Japanese colony, the film details the discovery of the American bomb by two farmers and the ensuing comedy as everyone in the village tries to find their particular angle to benefit from the bomb. Full of warm humor and wry portraits of village life, S T R A W M A N derives its pleasures from ordinary characters whose lives are transformed by extraordinary events. Winner of the Golden Horse (Taiwan's Oscar) for Best Picture and Best Script.

T h u r s d a y , M a y 25

7 :0 0 pm

E g y p t ia n

T u r k ey

U.S. Prem iere

f® ) I r o n E a r t h , C o p p e r S k y D irector/W riter/M usic : O mer Z ulfu L ivaneli Producers: W im W enders, U lker L ivaneli C inematographer: J urgen ( urges Editor : B ettina B ohler C ast: R utkay A ziz, M acide T anir , Y avuzer C etinkaya, D ilek D amlacik Print Source: M .G .I. • 1987 • 104 minutes

Haunting and exotic, IR O N E A R T H , C O P P E R S K Y is a near mythic tale set in the snowbound Anatolian mountains, produced by Wim Wenders and gloriously photographed by Jurgen Jurges (who shot many of Fassbinder's finest). In a remote hamlet, villagers await with fear the arrival of their dreaded landlord Adil Bfendi. The harvest has yielded little, and the failure of last year's crop has driven them deep into debt; there is little money to pay the rent. One of them has a dream in which Tashbash, an outspoken and rakish character who had predicted the calamity, appears as a saint and the villagers quickly seize upon him as their salvation, persisting in treating him like a saint until even he believes it. As the villagers turn from hope into despair, Tashbash tries to bring about the impossible. Un Certain Regard, Cannes 1987

U.S.A. 5 :0 0 pm

F r id a y , M a y 26

U.S.A.

E g y p t ia n

W o r ld Prem iere

f f A manda D irectors/P roducers/S creenwriters/E ditors: Jeff M eyer and G ail Kappler Rosella C inematographer: M ark Shapiro C ast: G ail Kappler Rosella, Jeff M eyer, A nn B owden, D rew Forsythe, C laire Janell, W illiam M itchell, Ron Q uint, D avid R ichardt, M arvin Rosand Print Source: A urora F ilms • 1989 » 1 0 5 minutes

Local filmmaker Jeff Meyer (GAS CITY, S.I.F.F. '83) has created a sweet romantic fantasy that is as beguiling as the beautiful city (Seattle) that serves as its backdrop. A M A N D A follows the story of Jason, a down and out photographer who lives on a houseboat in Lake Union. Jason owes money to everybody in town, which he hopes to pay off when his grant comes through for the book of photographs he's working on. Quite by accident, he meets a young woman at a photo supply shop and agrees to take a picture of her which she needs for a gift for her father. Jason finds himself falling in love with her, but everything else in his life is going to hell rapidly — his grant request is turned down, he's evicted from his houseboat — when Amanda shows up and tells him the truth about herself: she's rich, she's single, and she wants him to come live with her. Jason's life changes overnight, as he's swept into her world and she uses her contacts in the art scene to get his book published. But ail is not as it seems in Amanda's world . . .

S a t u r d a y , M a y 13

7 :0 0 pm

E g y p t ia n

U.S.A.

f t E a r t h G ir l s a r e E a s y D irector: Julien T emple Producer: T ony G arnett Screenwriters: J ulie B rown, C harlie C offey, T errence E. Mc Nally C inematographer: O liver Stapelton Editor: R ichard H alsey P roduction D esigner: D ennis G assner M usic : N ile Rogers C ast: G eena D avis, J eff G oldblum, J ulie B rown, Jim C arrey, D amon W ayans, M ichael M c K ean, C harles Rocket Print Source: V estron Pictures • 1988 • 100 minutes E A R T H G IR L S blasts off with one of liveliest credit sequences in recent memory and then just keeps cornin' at ya with hip jokes, funky songs, and its alien love touch. Poor Geena (Accidentally Oscared) Davis is having a BAD day. Not only didn't her latest makeover from the "Curl Up and Dye" beauty shop win back her louse of a boyfriend, but three girl-hungry aliens just crash-landed in her backyard pool. What's a Valley girl to do? Things get more complicated when their own earth-style makeovers—that multicolored fur just had to go!—reveal three gorgeous hunks (including muscley Jeff Goldblum). These boys won't be just content with drinking liquid soap and watching reruns, they want to party! Almost stealing the show is Julie ("Homecoming Queen's Got a Gun") Brown with her hilariously zany song satires. Director Julien Temple has even out-done A B SO LU TE BEGINNERS with this sassy, sci-fi-funny film!

S a t u r d a y , M a y 13

9 :3 0 pm

E g y p t ia n

U.S.A

f® | A p a r t m e n t Z e r o D irector: M artin D onovan Producer: M artin D onovan, D avid Koepp Screenplay: M artin D onovan, D avid Koepp C inematography: M iguel Rodreguez Editor : C onrad M. G onzales M usic : Elia O miral C ast: C olin F irth , H art Bochner, D ora B ryan, L iz Smith Print Source : Skouras • 1988 » 1 2 4 min .

A virtuoso directoral turn by Martin Donovan, A P A R T M E N T Z E R O is one of the most audacious and unsettling American movies in years. Colin Firth portrays Adrian, a fastidious and repressed repertory film theatre owner who is forced to take in a boarder to help make ends meet. In to his life walks Jack (Hart Bochner), a charmingly devilish enigma who may or may not be what he seems. The drama which results from this pairing contains echoes of such screen classics as KISS O F THE SPIDER W OM AN , THE AM ERICAN FRIEND, THE TENNANT and even Hitchcock's PSYCHO.

U.S.A. 7 :0 0 pm 5 :0 0 pm

S a t u r d a y , M a y 20 T h u r s d a y , M a y 25

H a r v a r d E x it C a p it o l H ill

U.S.A.

11 The Big Picture

D irector: C hristopher G uest Producer: M ichael V arnol Screenwriters: M ichael V arnol, C hristopher G uest, M ichael Mc Kean C inematographer: Jeff J ur Editor : M arty N icholson M usic : D avid N ichtern C ast: K evin Bacon, Emily Longstreth, J.T. W alsh, J ennifer Jason Leigh, M artin Short, M ichael M c K ean Print Source : C olumbia Pictures • 1989 • 99 minutes

T H E B IG P IC T U R E is a biting satire of the Hollywood film industry that marks Christopher Guest's debut as a director. As might be expected from two of the co-authors of TH IS IS SP IN A L TA P (Guest and Michael McKean), the satire is hilariously on-target. Idealistic young filmmaker Nick Chapman (Kevin Bacon) has just won a national student film award and been invited to Hollywood on a development deal. It's Nick's chance to fulfill his dream of writing and directing a "Big Picture." Things move fast. Before long he's allowed his script to be "improved" beyond recognition, rejected his true friends, and run up big debts; then a studio shakeup sends his dreams, tumbling.. . Movie buffs will relish scenes such as the one in which the on-the-rise director makes his best friend get out of his Porsche while he takes a call on his car phone. Special appearances by John Cleese, June Lockhart, Roddy McDowall, Elliott Gould and others add to the fun.

F r id a y , M a y 19

5 :0 0 pm

H a r v a r d E x it

U.S.A. W o r ld Prem iere

11 Birthright D irector/Screenwriter: Lynn W egenka Producer: C athy Sarkowsky Editor : L inda M itchell C inematography: D on B onato M usic : Jeff G reinke C ast: D eborah O aks, M egan C ole, Steven J. B ernstein, Jan Poore Print Source: B irthright F ilm Productions • 1989 • 63 minutes

Sometime in the future, life has wound down to the barest essentials. People work mindlessly at unrewarding jobs, as isolated from each other as industrial machinery. Color, except for yeastyyellow signals of decay, has been leeched out of dehumanized spaces that bore or repel the eye. In this barren environment, half B R O A Z IL , half 1984, bearing children the old-fashioned way is verboten. Sarah (Deborah Oaks) dreams of motherhood, escape from her dreary round. Given very little dialogue, Oaks subtly signs the nature of her trap, and her yearning for freedom, through her expressive face and body. Writer-director Lynn Wegenka and her colleagues makes this small fable reverberate far beyond its limitations: B IR T H R IG H T (made in Seattle) looks terrific, both in choice of locations and in the caliber of camerawork, and Wegenka's imaginative conception of her heroine's verging-on-mythic journey out of an endless basement-underworld shows considerable promise for this director's future as filmmaker.

M o n d ay, M ay 29

9 :3 0 pm

E g y p t ia n

U.S.A.

Bloodhounds of Broadway Director:

Howard Brookner

Producer: C olman deKay Screenwriters: H oward B rookner and C olman deKay, adapted from short stories by D amon R unyon C ast: M att D illon, Randy Q uaid , M adonna, J ennifer G rey, Julie H agerty, Esai M orales, A nita M orris, R utger H auer P rint Source : V estron P ictures • 1989 »101 minutes

It's New Year's Eve 1928 and the regulars of Mindy's, Broadway's most popular watering hole, are celebrating the coming New Year in grand style with raucous parties, bootleg houch, clandestine crap games and chorus girls ready to sing and shimmy at the stroke of midnight. Romance and magic are in the air, and the streets of Broadway are filled with bright hopes for the New Year. Based on four short stories by Damon Runyon, "Bloodhounds" interweaves the stories of some of the colorful characters of that time and place. There's Harriet Mackyle (Julie Hagerty), a rich society babe who's throwing the party and invites some local mobsters for added color; Feet Samuels (Randy Quaid), an honorable dimwit who's madly in love with diamond-hungry showgirl Hortense Hathaway (Madonna); Handsome Jack Maddigan (Esai Morales), a hot-tempered bootlegger; Regret (Matt Dillon), Broadway's lousiest horse player; Lovely Lou (Jennifer Grey), an angel-faced showgirl who's crazy about Regret; and the Brain (Rutger Hauer), a powerful gangster who spends the entire night being driven around with a knife in his stomach in search of some refuge. Enter Inspector MacNamera and his mantracking bloodhounds, hot on the trail of whoever did in society guy Marvin Clay, left belly-up on the floor of his apartment. This comic gangster's farce is a sweet paean to a more innocent time and place, a place where dreams can and do come true. _____

U.S.A. S u n d a y , M a y 28

5 :0 0 pm

U.S.A.

E g y p t ia n

D ays of G reek G ods : Physique F ilms of R ichard E. F ontaine D irector: R ichard E. Fontaine C ast: Ed F ury, D ick D u B ois, A rtie Z eller, Bob D elmontague Print Source: F rameline • 1949-1968 • 79 M inutes

This unique program combines fourteen of the short films of Richard Fontaine, the spiritual father of gay erotic films. Using the studios of the Athletic Model Guild, he pioneered their commercial and creative possibilities. Besides D A Y S O F G R E E K G O D S the earliest-known gay film to play theatrical engagements, they include such provocatively titled items as BRO THER LOVE, THE M A G IC POOL ON THE ISLE O F DESIRE, CELLM ATES, IN THE FLESH and BEN H U RRY. All feature gorgeous men wearing little bits of nothing—or less! They exemplify three basic styles: the classic posing strap film, the "historical" films with their sexually charged gladiators, and contemporary stories of male bonding or struggles for dominance. Sight gags and in-jokes inevitably abound as well as a surprising sense of romanticism. Irrestible fun for those who can't get enough of looking at mouth-watering, breathtaking, heart-stopping men!

S u n d a y , M a y 21

5 :0 0 pm

U.S.A.

E g y p t ia n

F or A ll M ankind D irector/P roducer: C o -Producer: Editors: M usic : Print Source :

A l H einert B etsy B royles B reier Susan C . Korda, G oran M ilutinovic, Eric Jenkins, C huck W eiss B rian Eno F red M iller/B en Y. M ason 1988 • 90 MINUTES

Between December 1968 and November1972 there were nine manned space flights to the moon. Twenty-four men made the journey, the first human beings to leave the planet for another world. F O R A L L M A N K IN D is a composite portrait of that awesome experience, composed entirely of footage brought back by the Apollo crews. Looking magnificent in 35mm, enhanced by an avantgarde score by Brian Eno, the visual images are accompanied by off-screen recollections of some twenty astronauts, sharing their feelings with us. According to Variety, "You'd have to be jaded, indeed, not to get caught up in the magnitude of these images. With such material, producerdirector Al Reinert could hardly fail. Nonetheless, he and his crew have done a terrific job in assembling a cohesive vision from what must have been literally miles of footage."

M o n d ay, M ay 29

5 :0 0 pm

U.S.A.

E g y p t ia n

F unny

D irector/P roducer/C inematographer: C ast: P rint source:

B ran F erren D ick C avett, Sidney L umet, Peter Stone, Eli W allach, F rank Z appa T homas F. R. G arvin • 1988 • 81 minutes

" F U N N Y is a fast-paced romp about jokes and joke telling, a veritable anthology of contemporary American humor. Without script or actors, it features nearly 100 people delivering the goods on sex, death, religion, and ethnicity via every type of humor from the knock-knock joke, to the proverbial farmer's-daughter story, to the man-who-dies-and-goes-to-heaven routine, and many, many more. It's so good at what is does, FUNNY should have been part of the Venus probe into deep space. As jokes are prone to do, it reveals everything about us. Some of the joke tellers are professionals, others are celebrities, but most are just regular guys, ordinary Joes with remarkable poise, efficiency and delivery. Director Bran Ferren is clever enough to include jokes that fall flat (you can hear the film crew moaning in the background). His film is more than meets the funny bone. It's really about people and performance: that moment when we're called upon to tell a funny story, with our self-esteem hanging in the balance."—Tony Safford, United States Film Festival.

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U.S.A. 9 :3 0 pm

F r id a y , M a y 12

U.S.A.

E g y p t ia n

f® | H e a t h e r s D irector: Producer: Screenwriter: C inematographer: Editor : M usic : C ast:

M ichael L ehmann D enise D i Novi D aniel W aters F rancis K enney Norman H ollyn D avid N ewman W inona Ryder, C hristian Slater, Shannen D oherty, L isanne Falk, K im W alder, Penelope M ilford Print Source: N ew W orld P ictures • 1989 » 1 0 2 minutes

Sparkling delight and controversy wherever it has shown, H E A T H E R S is a super-smart black comedy about high school politics and teen suicide that showcases a host of promising young talents. Daniel Water's enormously clever screenplay blazes a trail of originality through the dead wood of the teen comedy genre by focusing on the H E A T H E R S , an elite group of the four most popular girls at Westerburg High, three of whom are named Heather. Setting the tone for the group is the founder and queen bitch who has a devestating put-down for every occasion and an icy stare that cbuld freeze a heat-seeking missile in its tracks. Small wonder a couple of school rebels are tempted to take some drastic revenge. With its eminently hip, deliciously quotable dialog and razor-sharp eye for contemporary teen mores, this is a cult classic in the making and could provoke as much live feedback as R O C K Y H O R R O R . ("Fuck me gently with a chainsaw. Do I look like Mother Teresa?") "The most socially realistic American movie released this spring. . . H E A T H E R S is something like T H E B R E A K F A S T C L U B IN H E L L ."— J. Hoberman, Village V oice.

S a t u r d a y , M a y 13

9 :3 0 pm

U.S.A.

H a r v a r d E x it

W o rld Prem iere

H l D E R IN T H E H O U S E D irector: M athew Patrick Producers: Edward T eets and M ichael T aylor ■ Screenwriter: L em D obbs C inematographer: J eff J ur Editor: D ebra Smith C ast: G ary B usey, M imi Rogers, M ichael M c K ean, K urt C hristopher K inder, C andy H utson P rint Source: V estron Pictures • 1989 • 96 minutes

Tom Sykes just settled into the home of his dreams. A quiet neighborhood, a secluded yard, a roomy attic,..everything a man could want. The only problem is, the house has just been bought and moved into by julie and Phil Dryer and their kids, who have no idea that their seldom-used attic is being occupied by Tom, and he isn't about to let them know. This truly creepy psychological thriller boasts a brilliant and edgy performance by Gary Busey as Tom. Terribly abused as a child, Tom Sykes has just been released from a state institution, where he has spent the last twenty years of his life after burning down his abusive parents' home with them in it. Convinced that he's at last found the home of his dreams, he triés to ingratiate himself with this unsuspecting family, but the ensuing complications turn their dream home into a nightmare. Busey's performance is the stuff that Oscars are made of. His characterization of a tormented and deeply wounded soul is unlike anything seen on the screen so far this year.

T h ursay, June 1

5 :0 0 pm

U.S.A.

C a p it o l H ill

Th e La serm a n D irector/P roducer/S creenwriter: C inematographer: Editor : M usic : C ast:

Peter W ang Ernest D ickerson G rahame W einbren M ason D aring Peter W ang, M arc H ayashi, Maryann U rbano, T ony L eung K a-Fei P rint Source: T homas F.R. G arvin • 1988 • 91 minutes

Writer-director-actor Peter Wang made a big splash with his feature debut, the critically-accaimed popular hit A G R E A T W A LL. With T H E LA S E R M A N he takes his former occupation—he was a professor of laser technology prior to taking up filmmaking—and creates a modern high-tech mystery/comedy, set in the near future, that exhibits the culture-clashing wit of A G R E A T W A LL while commenting on the impact of scientific development. The story revolves around Lieutenant Lu, a modern day Charlie Chan (Wang) and his investigation of a bizarre accident in a laser research facility. The case leads him to Arthur Weiss, a dedicated and naive scientist who discovers too late that his research is being used for evil purposes... Wang uses a multi-ethnic cast—his characters include a "typical Jewish mother" who thinks she posesses a Chinese soul— and a crazier-than-usual New York to tell his tale, a tale that pokes fun at racial stereotypes and cultural differences while celebrating the triumph of the individual.

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U SA . T h ursd ay, M a y 18

7 :0 0 pm

U.S.A.

H a r v a r d E x it

m L ightning O ver B raddock : A R ust B owl Fantasy D irector/P roducer/S creenwriter/E ditor : T ony B uba C inematographer: B rady L ewis M usic : Stephen Pellegrino C ast: T ony B uba, Sal C aru, Stephen Pellegrino, J. Roy , Natalka V oslakov Print Source : Z eitgeist F ilms • 1988 • 80 minutes

The musician in the bar was singing Ju m p in ' Ja ck Flash at the time of filming but,,as director Tony Buba genially explains, it would have cost $15,000 for the song rights, and that's three times the per-capita income in his hometown of Braddock, Pa., so Buba has to talk to cover the silent footage. L IG H T N IN G O V E R B R A D D O C K is a cockeyed milestone — a zany documentary whose most immediate and entertaining subject is the making of itself. But it also manages to be about a good deal more: a blighted milltown six miles from the heart of the "Pittsburgh Renaissance"; the sort of intransigent individuality that digs in its heels in the face of 37 percent unemployment; the fight to save a local plant (Dorothy 6) from abandonment by Big Steel; and the ethics of building a viable film career (Buba's been at it for 15 years) over a socio-economic faultline. L IG H T N IN G O V E R B R A D D O C K is rich in real-life characters as complex as any fictional creation — particularly "Sweet Sal", a manic con artist who makes Pat Paulsen look like a health nut by comparison, and who is convinced that his personal star quality made Buba's career. Watching their love-hate relationship evolve before our eyes is an eerily pixilated experience.

Sa t u r d a y , M a y 2 0

2 :3 0 pm

U.S.A.

C a p it o l H ill

A N ot Since C asanova D irector/S creenwriter: B rett T hompson Producers: B radford O wen and B rett T hompson C inematographer: A ndreas Kossak Editors: A rthur Farkas and B rett T hompson M usic : John D ebney C ast: C harles Soloman , D iana F rank, T omi G riffin, Leslie M itts, L ucy W ynn, D oug Self Print Source : T homas F.R. G arvin • 1988 • 80 minutes N O T S IN C E C A S A N O V A is a new American comedy about an old—but newly rediscovered— subject: young men who refuse to accept adulthood and its responsibilities. Prepski Morris is one such man, and his wild ride through life in search of the right girl is really symptomatic of a deeper quest: the search for himself. Fantasy and reality frequently mingle and sometimes merge in Prepski's world—his yearning for perfection is thus tainted by his own self-delusions. Seven women in his life have had a profound effect on shaping his desires. Each of them is about as different as it is possible to get from the others, yet each in turn has been the almost obsessive object of Prepski's affections. The only other overriding interest in his life has been rocketships and his fantasy of becoming an astronaut. Can Prepski Morris settle down and let happiness find him? It's doubtful, but definitely a question worth pursuing, and first-time filmmaker Brett Thompson brings a fresh slant and a youthful sense of fun to the pursuit, utilizing animation and puppetry sequences to add to the richness of the fantasy sequences. Selected Filmography: R A D IO L A N D ('79), B R U C E A N D H A R O L D ('82), N O T S IN C E C A S A N O V A ('88)

Sa t u r d a y , J u n e 3

9 :3 0 pm

U.S.A.

E g y p t ia n

W o r ld Prem iere

R omero D irector: John D uigan Producer: Ellwood E. R eiser Screenwriter: John Sacret Y oung C inematographer: G eoff B urton C ast: Raul Julia , R ichard Jordan , A an A licia , T ony P lana, H arold G ould , T ony Perez, A l R uscio Print Source: A ugust Entertainment • 1989 • 96 minutes

This brilliant and deeply moving film tells the story of Father Oscar Romero, Archbishop of El Salvador, and of his transformation from an apolitical complacent priest to a committed leader of the Salvadoran people, struggling to bring social justice and political reform to the El Salvadorian nation until his martyrdom at the hands of the military junta in March, 1980. Father Romero (an astonishing portrayal by Raul Julia) did not start out to be a leader of his people. Despite—or perhaps because of—the fact that he was a simple, seemingly ineffective priest, he was chosen by the church hierarchy to become the new Archbishop for the country. Encouraged by church officials not to make waves and not to get politically involved, he earned the scorn of other activist priests who work with him. But the corruption and injustice surrounding him become more and more apparent to him as time passes, and when he sees his best friend Father Grande gunned down by the military along with innocent men, women and children, his path becomes clear. This story of this brave champion of the peoples' rights is an inspiration for all mankind.

f t 'M SB m ft

U SA . S a t u r d a y , M a y 27

9 :3 0 pm

E g y p t ia n

U.S.A. W o rld Prem iere

f® ) S cenes from the C lass S truggle in B everly H ills D irector: Paul B artel Producer: James C . Katz Screenplay: B ruce W agner C inematographer: Steven F ierberg Editor : A lan T oomavan M usic : Stanley M eyers C ast: Jacqueline B isset, Paul Bartel, M ary W oronow, W alace Shawn, R ebecca Schaeffer Print Source: C inecom • 1989 • 108 minutes

Paul Bartel, who brought us "the first and last truly sophisticated comedy about happy, clean living, urban cannibals" E A T IN G R A O U L (SIFF '82) returns both in front of and behind the camera in this outrageous satire about the upper-middle class and those who aspire to it. Clare Lipkin (Jacqueline Bisset) is a nearly forgotten sitcom queen, determined to get her life and career back into high gear after the recent death of her husband (due to autoerotic strangulation). Clair is being dutifully counselled by her loyal Beverly Hills 'thinologist', Dr. Mo Van de Kamp (Bartel himself), who is privately dreaming of feasting upon Clare's beautiful teen-aged daughter, Zandra. When her best freind, neurotic nextdoor neighbor, Lizabeth (Mary Woronow) has her mansion fumigated to celebrate her newly won divorce from lecherous her husband (Wallace Shawn), Lizabeth and her unusual entourage move in to Clare's mansion and the wicked fun kicks into high gear.

9 :3 0 pm

S u n d a y , M a y 21

H a r v a r d E x it

U.S.A, W o r ld P rem iere

w S taying Together D irector: Lee G rant Producer: Joseph F eury C o -producer: M ilton Justice Screenwriter: M onte M errick C inematographer: D ick B usch Editor : Katherine W enning M usic : M iles G oodman C ast: T im Q uill, D ermot M ulroney, Sean A stin, Stockard C hanning, M elinda D illon, Jim H aynie Print Source: H emdale F ilms • 1989 • 91 minutes S T A Y IN G T O G E T H E R is that rare film, a wonderful, emotionally involving story about family life in

a small town. Three brothers growing up together in a close family seem to have secure futures in the family restaurant business—until their father suddenly sells it to fulfill a lifelong ambition to see the world. They learn that finding and keeping jobs requires more than fast talk with quick punchlines. The oldest son's love affair with an older woman turns sour after she is elected mayor. Another brother discovers that sex and love are two different things when his girlfriend insists on marrying another man. Highly dramatic, delightfully humorous, and filled with in-depth characterizations, S T A Y IN G T O G E T H E R is superbly directed by Lee Grant, the Academy Award winning actress who has become an acclaimed director, (TELL M E A R ID D L E ; T H E W IL L M A R 8i S IF F '81).

S u n d a y , M a y 21

9 :3 0 pm

C a p it o l H ill

U.S.A.

Taste of H emlock D irector: G eoffrey D arwin P roducer: Eric T ynan Y oung Screenplay: Eric T ynan Y oung , from the play by Pauline M acaulay C inematography: Roger T onry Editing : H enry T e M usic : Eric T ynan Y oung C ast: Randy H arrington, Eric T ynan Y oung , A nne Elizabeth Ramsay, R eed A rmstrong P rint Source : T ynan Y oung Ltd . • 1988 • 91 minutes

This deviously funny nighmare story defies characterization, but that is one of its most satisfying elements. The central character, 29-year-old Claud Thatch, is a lonely, timid man who has difficulty finding any purpose to his existence. Living in a shabby inner city apartment, he subsists on the meager wages he earns as a waiter. His spare time is spent in somewhat creative, although peculiar and aimless pursuits. One night, in an effort to add a small measure of excitement to his drab life, he answers a laundromat bulletin board ad for a leather jacket for sale. His hope is to own something of truly superior quality, for a price within his modest means. He meets with the jacket's owner, James Hatton, a wealthy eccentric who lives in an elegantly appointed penthouse apartment. He introduces Claud to his friends, Barry and Barbara — "Tweenies" as James affectionately refers to them. The jacket is indeed quite stunning, and Claud immediately falls in love with it. But, to his dismay, the jacket is far more expensive than he can afford. However, with Barbara's intervention, James is convinced to accept a special payment arrangement. Claud is thrilled with his purchase but has unwittingly been lured into a sinister, diabolical scheme. The plot twists and turns along the way add immeasurably to this very strange film's wry pleasures.

S u n d a y , M a y 14

7 :0 0 pm

U.S.A

H a r v a r d E x it

f f T w is t e r D irector/S creenwriter: M ichael A lmereyda Producer: Schulz-Keil C inematographer: R enato B erta Editor: Roberto Silui M usic : H ans Z immer C ast: H arry D ean Stanton, Suzy A mis, C rispin G lover Print Source : V estron • 1989 • 94 min

This truly screwy deadpan comedy is set in an estate situated in the flatest part of the midwest, and revolves around one of the most distorted families to grace the screen since one in ARSEN IC AN D O LD LACE. Harry Dean Stanton; Suzy Amis, and Crispin Glover are some of the eccentrics who populate this mad ensemble piece, but the real mayhem begins when the entire group is locked up in the mansion during a huge toronado, and the sparks that fly inside rival the worst that the storm has to offer.

F r id a y , M a y 19 W e d n e s d a y , M a y 24

9 :3 0 pm 5 :0 0 pm

U.S.A.

E g y p t ia n C a p it o l H ill

f®| V a m p i r e 's K is s D irector: Robert B ierman Producers: B arry Shils and Barbara Z itwas Screenwriter: Joe M inion C inematographer: Stefan C zapsky Editor : A ngus N ewton Music: C olin T owns C ast: N icolas C age, M aria C onchito A lonso, Jennifer B eals, Elizabeth A shley Print Source: H emdale R eleasing • 1988 » 1 0 5 minutes

This fresh and very twisted new comedy is a true scream...in every sense of the word. Written by Joe Minion, Martin Scorsese's screenwriter on AFTER H O U RS, V A M P IR E 'S K IS S features an overthe-edge performance by Nicolas Cage (RAISING ARIZO N A, M O O N STRUCK) as well as delightfully eccentric turns by Maria Conchito Alonso (COLORS, M O SC O W ON THE H UDSON), Jennifer Beals (FLASHDANCE, THE BRIDE) and Elizabeth Ashley (Broadway star of C A T ON A H O T TIN R O O F and AG N ES O F GOD). It's a kind of distorted fable about yuppie guilt and the pressures of the workplace, with a sinister New York as its backdrop. V A M P IR E 'S K IS S puts a fresh Kafkaesque spin on the vampire genre, with Cage playing a womanizing, over-achieving young literary agent who's convinced that he's become the victim of a seductive, gorgeous vampire. Soon, he develops an appetite for

T h u r s d a y , M a y 25

9 :3 0 pm

U.S.A.

E g y p t ia n

f®) W a r m S u m m e r R a i n D irector/S creenwriter: Joe G ayton Producers: C assian Elwes, L ionel W igram Screenwriter: Joe G aiton C inematographer: F ernando A rguelles E ditors: Ed Rothkowitz, Robin Katz M usic : Roger E no C ast: K elly Lynch, Barry T ubb Print Source: T ransworld Entertainment • 1989

88 minutes

This steamy puzzle-film, reminiscent of Mary Lambert's audacious SIESTA, grabs you by the throat with its vivid portrayal of obsessive love between two beautiful drifters. One is thrown off guard immediately upon encount- ering Kate (Kelly Lynch), a gorgeous but totally over-the-edge young woman who has decided to end it all by slitting her wrists. After coming to in a hospital, she throws on a coat and catches the first bus out of town. Coercing the bus driver into letting her off in the middle of nowhere, she begins to walk along the road, when a convertible pulls alongside and Kate finds herself looking into the face of a wild young man in a tuxedo. Thus begins an explicit love story with no erotic punches pulled. S U M M E R R A IN shares territory with such erotic masterworks as LAST TAN G O IN PARIS and 9 1/2 WEEKS. Kelly Lynch (also featured in the upcoming R O A D H O U SE and D RU G STO RE CO W BO Y) is incendiary as Kate, archtypal downfall child. With this film alone she signals the world that she is an actress to be watched in the future.

U SA . T u e s d a y , M a y 16

7 :0 0 pm

USA

H a r v a r d E x it

W e s t is W e s t D irector/S creenplay/P roducer: D avid Rathod C inematographer: C hristopher T ufty Editor : D avid Rathod M usic : Sheila C handra, Jai U ttal C ast: A shutosh G owariker, H eidi C arpenter, Pearl Padamsee Print Source: Rathod P roductions »1988 • 80 min.

One of the more successful American Independent films to show at this years Berlin Festival, this delightful culture-clash comedy shares much in common with such recent treats as Living on Tokyo Time. Vikram Desai is a young student who arrives in San Francisco from Bombay on a 6 month visa, hoping to study engineering at Berkeley. When his visa is immediately cut to 30 days by a suspicious immigration official and he arrives at the home of his host family to find them gone, Vikram finds himself with little money and few prospects. Finding a room and a job at a seedy transient hotel, Vikram spends his evenings at a local theatre, where he meets Sue, a punked-out movie theatre employee who is somewhat beguiled by Vikram's oddness. Vikram falls prey to more bad luck; his visa lapses, Berkeley rejects him, and immigration authorities begin to close in. Just when things look bleakest, this delightful comedy finds its own resolution to the clashing of cultures and Vikram finds that East and West can meet.

F r id a y , J u n e 2

7 :0 0 pm

E g y p t ia n

USA/T aiwan W o rld Prem iere

F ir s t D a t e D irector/Screenwriter: Producer: C inematographer: Editor: M usic : C ast:

Peter W ang

Xu Guo L iang

Larry B anks L i Shin Y u Z hang H ong Y i Peter W ang, C hang Shi, T ian N i, Li X ing W en, X ie Z u W u, Z hang Z hi H ua Print Source: T homas F.R. G arvin • 1989

Director Peter Wang (A G R E A T W A LL, LA S E R M A N ) has created something very special in this touching portrayal of an adolescent's journey to self-discovery, set in the late 195Q's in Taipei, Taiwan. Yang Jia Luo is a mischievous adolescent who attends a strict disciplinary high school. Bored and unchallenged at school, Jia Luo fantasizes about true love. Joining him in his exploits are his buddies, Mousie and Birdie: the three spend countless hours spying on Jia Luo's beautiful neighbor through a hole in the wall in Jia Luo's room. Jia Luo has an unhappy home life; to escape this situation he struggles to better himself and dreams of one day becoming a novelist. He turns to one of his teachers at school for inspiration and forms a close relationship with him. When one of Jia Luo's classmates—a rich braggart and son of a high ranking official—sets off an explosion in the

S a t u r d a y , M a y 20

9 :3 0 pm

C a p it o l H ill

U.S.A.

A 8 4 C h a r l ie M o p ic D irector/S creenwriter: Patick D uncan Producer: M ichael Nolin C inematographer: A lan C aso C ast: Jonathan Emerson, R ichard B rooks, N icholas G ascone, Jason T omlins, C hristopher B urgard Print Source : N ew C entury/V ista • 1988 • 95 minutes

"84 Charlie" is military job code for cameraman; "MoPic" makes it motion picture. Every frame of this feature directing debut of HBO's V IE TN A M W A R S T O R IE S producer Patrick Duncan, is seen through the lens of a combat cameraman accompanying a recon patrol "in country." Duncan is a vet himself and his bone-deep familiarity with the world of this particular war is apparent. Because we are denied conventional "coverage" of the action, and because there are no "Hollywood" cues for who will get it next and how, we come as close as possible to sharing the unnerving tension of the patrol. The dialogue is pungent, the characters vividly drawn. Even the old cliche of the green lieutenant vs. the combat-wise sergeant (a mesmerizing performance by black actor Richard Brooks) becomes a powerful dialectic of values in this bracing and original film.

U SA . W ed n e s d a y , M a y 2 4

7 :0 0 pm

U.S.A.

E g y p t ia n W o r l d P rem iere

Third D egree B urn D irector: Roger Spottiswoode Producer: Fredda W eiss Screenwriters: D uncan G ibbons and Y ale U doff M usic : C harles G ross C ast: T reat W illiams, V irginia M adsen, R ichard M asur, C .C .H . Pounder , M ichael C hapman, Robert Nadir Print Source : H.B.O. Pictures • 1989

Partly shot in Seattle last fall, this sultry thriller purposefully plays off the cool, rain-washed Northwest against Arizona's sun-stricken deserts. Private investigator Scott Weston is a hard luck kind of guy. He's left the police force and his marriage is over. The best he can do is to keep occupied with small-time divorce cases and a series of "no-strings" love affairs. Then he meets Anne Scholes. Blonde, beautiful, and bored, Anne is the young wife of the very wealthy Mr. Scholes. Suspecting she may be cheating on him, Scholes hires Weston to investigate. Only problem is, while trailing her, he falls in love. So begins this twisted tale of passion, betrayal, and murder, with its affectionate nod to film noir classics of the past. Treat Williams (PRINCE O F THE CITY, SM O O TH TALK) and Virginia Madsen (SLAM DANCE, M R. NORTH) send sparks as the dangerous lovers, with B AG D AD CAFE'S C.C.H. Pounder lending colorful support. T H IR D D E G R E E B U R N — When it gets this hot, it's murder!

F r id a y , M a y 19

5 :0 0 pm

U.S.A.

C a p it o l H ill

Time F lies W hen Yo u 're A live D irector: Roger Spottiswoode Producer: Ellen K rass C reated and performed by: Paul L inke C inematographer: John Bailey Editor : Paul Seydor Print Source: H.B.O. Pictures • 1989 • 83 min

T IM E F L IE S W H E N Y O U 'R E A L IV E is the gripping screen adaptation of Paul Linke's acclaimed autobiographical theater piece. Linke himself stars in this powerful film monologue recounting how he and his children came to terms with his wife's illness and death from cancer. Speaking honestly and emotionally, Linke shares with us the intimate details of their lives, their battle with the disease, and how the experience—however devastating—gained them new understanding of their relationships with each other. A courageous attempt to fashion something positive and lifeaffirming from a personal tragedy, T IM E F L IE S is a stunning film about love and loss. Directed by Roger Spottiswoode (best known for UNDER FIRE and also represented in this year's festival with THIRD D EG REE BURN), it also gives a fine example of the opportunities cable television affords filmmakers of mainstream film production. Prepare to be moved by this deeply personal story!

F r id a y , M a y 19

9 :3 0 pm

USA

H a r v a r d E x it

tt C hecking O ut D irector: D avid L eland Producer: B en M yron Screenplay: Joe Eszterhas C inematography: I an W ilson Editing : L ee Percy M usic : C arter B urwell C ast: Jeff D aniels, M elanie Mayron, M ichael T ucker, Kathleen Y ork, A llan H avey, A nn M agnuson, Ian W olfe Print Source : W arner B rothers F ilms • 1989 • 93 minutes

When his best friend, Alan Havey, dies in mid-joke, the hapless hero of this story, Jeff Daniels (SO M ETHIN G W ILD, THE PURPLE RO SE O F CAIRO) sets off on a whacky series of misadventures in search of the elusive punchline. Middle class lifestyles, mortality, and hypochondria are the targets of this wry satire. In the tradition of THE LO VED ONE, director David Leland (W ISH YOU W ERE H ERE and screenwriter for M O N A LISA and PERSONAL SERVICES) teams up with screenwriter Joe Eszterhas (JAGGED EDGE) for potshots at American big business, funeral homes, medicine, and sexual hypocrisy. Set in an appropriately tacky southern California suburb with sequences as far flung as Heaven (creatively imagined as a redneck cabana club in a desert oasis at the edge of the universe), C H E C K IN G O U T dares to ask the question, "Why don't Italians have barbecues?" Find out why.

ft M S

IIS

U SA . S u n d a y , M a y 21

7 :0 0 pm

H a r v a r d E x it

U.S.A.

™ H aun ted S um m er D irector: I van Passer Producer: M artin Poll Screenwriter: Lewis John C arlino, from a novel by A nne Edwards C inematographer: G iuseppe Rotunno Production D esigner: Stephen G rimes Editors: C asare D'A mico and R ichard F ields M usic : C hristopher Y oung C ast: P hilip A nglim, Laura D ern, A lice K rige, Eric Stoltz, A lex W inter P rint Source: C annon G roup • 1988 » 1 0 6 minutes

Lost in the shadow of Ken Russell's G O T H IC treatment of the same story (the scandalous carryings on of the talents who created Dracula and Frankenstein), H A U N T E D S U M M E R has gone virtually unreleased. We thought it deserved a look too, especially in light of its attractive young cast— Philip Anglim, Laura Dern, Alice Krige, and Eric Stoltz—and its director, Ivan Passer, o í C U T T E R 'S W A Víame. Based on a screenplay the late John Huston had hoped to film, this is a far more satisfyingly authentic picture of Lord Byron, Mary and Percy Shelley, Claire Clairmont, and Dr. Polidori. Which is not to suggest the film short-changes the erotic sensationalism of the tale (Eric Stoltz, for one, has few secrets left). The creative quintet is caught dabbling in drugs and the occult, reading poetry, arguing politics, and flashing diverse sexual signals. This version features Giuseppe Rotunno's elegant location photography and five adventurous performances

Sa t u r d a y , M a y 2 0

1 2 :0 0 pm

H a r v a r d E x it

U.S.A.

xx S o m e G irls/ W hen B a d Th in g s H appen to G o o d P ictu res : A

C ase S tu d y

D irector: M ichael H offman P roducer: R ick Stevenson Screenwriter: R upert W alters C inematogrpher: U eli Steiger Editor : D avid Spiers C ast: Patrick D empsey, Jennifer C onnelly, F lorinda Bolkan, A ndre G regory, L ila K edrova, Lance Edwards, A shley G reenfield, Sheila K elley P rint Source: MGM/UA • 1988 • 97 minutes

One of the most unjustly undefeated films of the last year, Rick Stevenson and Michael Hoffman's S O M E G IR L S got a bum rap all the way around. S O M E G IR L S tells the farcical story of a young man (Dempsey) who falls into the clutches of a highly eccentric family when he goes to visit his girlfriend over Christmas, and winds up on a semi-mythical merry-go-round of bent relationships with different members of the family. Bad distribution and marketing, a series of unnatural disasters and even legal hassles with its original title (SISTER S) caused its release to be botched. It is just now being opened in Los Angeles (over six months after its release), supported by rave reviews by Sheila Benson and David Ansen. It has not yet opened in New York despite having been rapturously received by Festival audiences at Vancouver (where it won Most Popular Film), Hawaii and Utah. Is it too late to save this wonderfully funny and touching film? We invite you to share its many pleasures and hear of its manifold problems from its producer, Rick Stevenson, and screenwriter Rupert Walters. S a t u r d a y , M a y 13

1 2 :0 0 pm

E g y p t ia n

U.S.A.

L i 'a D irector: Eddie Kamae A ssistant D irectors: Boone M orrison, G ene K ois Producer: M yrna K amae Screenwriter: J im H ouston C inematographers: G ene Kois , W .E. C oouvillon , III, Boone M orrison, Rodney O hatni Editor: Ralph B iesemeyer Narrator: Ka ' upena W ong Sound : J im W alters Production C onsultant: D ennis Mahaffay M usic : Eddie Kamae & the Sons of H awaii, D ennis Kamahaki, Joe M arshall, G eorge K uo , C laybourne "B rother Smitty" Smith, Junior D augherty , C lyde Sproat, Karin H aleamau, A aron Mahi— B andmaster, T he Royal H awaiian Band, Rev. Jacob Naweli & Ka M akua Mau Loa C hurch C hoir , Lahaina L unar Borders C horus of 1956, Johnny L um H o , K uma H ula, H alau O ka U a Kani L ehua C ast: C harles A ki, John and G inger A una, Paul and L eimoni A grabante, A bdoy B atalona, R uth Kaholoaa, H erb Kawainui Kane, C hris L eialoha & U ka-G O hana Print Source : A sian/P acific Foundation of H awaii • 1988» 60 minutes

Get ready...the spirit of aloha is alive and hula-ing and is about to descend upon Seattle in a major way. This wonderful documentary from Hawaii focuses on a local Hawaiian legend, Sam Li'a, known as the musical heart of the W aipi'o V alley, and his unequalled ability to capture the heart and soul of the Hawaiian spirit in his music.

U S A • USS.R. Sa t u r d a y , J u n e 3

5 :0 0 pm

E c y p t ia n

U.S.A. W o r ld Prem iere

W ho A re They ? D irector: B ill B ristow Producer: R utger H auer Print Source : U mbrellahead I nc. • 1989 • 45 minutes

W H O A R E T H E Y ? chronicles the day to day existence of Michael Alexander, who is not only black and gay, but an epileptic and amputee who suffers from the delusion he is the victim of an international conspiracy. He has- such a truly weird perspective on the world, you can't help laughing!

U.S.A.

S ubmitting (Short) D irector: C raig Schlattmann Producer: R utger H auer M usic : J ean M ichel M ichenaud, with James N ewsome • 1989 • 20 MINUTES S U B M IT T IN G is about the politics of submission and its relationship to bigotry and racism. It combines a number of different genres in its approach including narrative, dramatic, documentary and allegorical. Its humor is broad and dark, it is dead serious, and the photography is beautiful

Rutger Hauer w ill be present for a discussion afterwards. F r id a y , M a u 12

5 :0 0 pm

E g y p t ia n

U .S .A .

f t S igns of L ife D irector: John D avid C oles Producers: M arcus V iscidi and A ndrew R eichman Screenwriter: M ark Malone C inematographer: Elliot D avis Editors: W illiam A . A nderson and A ngelo C orrao M usic : H oward Stone C ast: A rthur Kennedy, K evin J. O 'C onnor, V incent Philip D 'O nofrio, M ichael L ewis, B eau B ridges, Kate R eid, M ary Louise Parker Print Source:A venue Pictures »1989 • 91 minutes S IG N S O F L IF E delightfully captures a slice of Americana that's fading fast — the Yankee fishing town with its craggy shoreline and craggier inhabitants. With a humorous smalltown feeling and gallery of lively characters reminiscent of LOCAL HERO, the film tells how the closing of the last fishing boat factory in Easthasset, Maine, upsets the townsfolk. In a space of 24 hours, everyone's future is thrown into disarray. This may sound depressing, but it most assuredly is not, due to the surprising terror of whimsy that keeps the story unpredictable and the care with which the characters are drawn. Virtually every one is involving and memorable. The movie puts to excellent use both Beau Bridges (HEART LIKE A WHEEL) as well as up-and-coming talents like Kevin J. O'Connor (THE M OD ERN S) and Vincent D'Onofrio (M YSTIC PIZZA). Luminously photographed, the mystical quality of the film is especially evident in its depiction of weathered Easthasset in which even the mist seems to contain wonderment! "S IG N S O F L IF E is a heartwarming, magical gem of a film." — VARIETY

T u e s d a y , M a y 23

7:00

E g y p t ia n

U.S.S.R.

W A shik K erib D irectors: Sergei Paradjanov, D avid A bachidze Screenwriter: C eorgi Badridze , from a story by M ikhail L ermontov C inematographer: A lbert Y avurian A rt D irectors: G eorgi M eskhichvili, Shota G ogolashvili, N ikolai Z andoukeli M usic : Z havanshir K uliev C ast: Y uri G oyan, V eronika M etonidze , Levan Natroshvili, Sofiko C hiaureli P rint Source: I nternational F ilm Exchange • 1988 • 78 minutes

The magical and enigmatic films of Sergei Paradjonov, (Shadows o f Our Forgotten Ancestors, Legend ofSuram Fortress), are filled with sumptuous imagery . ASHIK KERIB is a haunting love story of a handsome young wandering minstrel, who loves the daughter of a rich Turkish merchant. Ashik Kerib, the hero , is poor but can sing and play the saaz (Turkish balaika) wonderfully. His gift of rose petals is angrily rejected by the girl's father, so he embarks on a seven-year quest to seek his fortune. His wondrous adventures include playing at the weddings of the blind and deaf, visiting a profaned convent, and being aided by St. George on his white horse with two guardian angels. Shot in all three of the Trans-Caucasian republics—Georgia, Armenia and Azerbaijan, A S H IK K E R IB was made in Azerbaijani, although a Georgian voiceover has been added. With gloriously costumed performers and colorful props, A S H IK K E R IB takes us on an enchanted magic carpet ride.

:Hl a ¡0 % im 5 r t i * m n **

T u e s d a y , M a y 30

9 :3 0 pm

C a p it o l H ill

U.S.S.R.

ASS D irector: Sergei Soloviov Screenwriter: Sergei Livnev and Sergei Soloviov C inematographer: Pavel Lebeshev M usic : Boris G rebenschikov, A quarium, K ino, B ravo, Soyuz C ompozitorov C ast: T atiana D rubich, Stanislav G ovorukhin , Sergei B ugayev Print Source: G oskino • 1987 » 1 5 0 minutes

An unusually stylish, avant garde thriller, A SS A opens a luminous window on what Gorbachev's new cinema may look like. Crammed with a wealth of cinematic invention, it takes the conventions of popular gangster stories to the very edge of surrealism. Set in 1980, the film's young heroine, Alika, is the mistress of a much older "gentleman gangster." While enjoying the luxurious life his creative swindling affords her, she becomes involved with a freewheeling rock ' it' roller leading a lifestyle of a very different and unconventional sort. All three are very distinctive, likable characters and the film unfolds as a surprising and highly watchable cat and mouse game with the two men vying for Alika's love. Inevitably, this rivalry turns sinister and deadly. Always avoiding the predictable, director Soloviov's experimental inclination is particularly evident on the soundtrack, which features the music of four of the U.S.S.R.'s top rock bands and special effects tracks that could come from Mars. Dazzling and innovative, Assa is unlike any other Russian movie you've ever seen

W e d n e s d a y , M a y 17

7 :0 0 pm

E g y p t ia n

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f®) A F o rg o tten T un e for the F lute D irector: Eldar Ryazanov Production C ompany: M osfilm Studios Screenwriters: Emil B raginsky, Eldar Ryazanov C inematographer: V adim A lisov M usic : A ndrei Petrov, with song lyrics by Y evgeny Y evtushenko C ast: L eonid F ilatov, T atyana D ogileva, I rina K upchenko Print Source : F ries Entertainment • 1987,131 minutes

This delightful Soviet sex comedy, very popular in the Soviet Union, gleefully attacks bloated bureaucracy. The hero, Lenny, is a high-living bureaucrat on the rise, with a spacious apartment, plenty of caviar and chocolate, and a father-in-law who's a party big shot. Once he played the flute; now he works at the (fictional) Leisure Time Directorate, which polices cultural affairs. Since glasnost has struck, the bewildered bureaucrats don't know what to do. Lenny is about to be promoted, but meets and falls in love with a luscious nurse. The affair threatens to do more than mess up his marriage and career—it threatens to liberate him. Can he give up the good life for true love? F O R G O T T E N T U N E is filled with humor, from the hapless adventures of a touring ethnic troupe to Lenny's musical fantasy of his office colleagues, out of work, beggars on the commute train. Bright and funny, this film reflects recent significant changes in Soviet attitudes.

Sa t u r d a y , M a y 2 7

5 :0 0 pm

E g y p t ia n

U.S.S.R.

(®) S trange P eople D irector: V assili Shukshin Producer: G orky Studio Screenwriter: Shukshin, from his stories "S trange People" , "T houghts" and "T hank you, ma' am" C inematographer: V alery G insburg Editor: V . O lenik M usic : A ram K hachaturian C ast: Sergei N ikonenko, Y evgeny Y evstigneyev, Lydia F edoseyeva 1971 • 99 MINUTES

Not a discovery of glasnost as was COMM ISSAR, the films of Vasili Shukshin were, apparently, simply forgotten about in the West. Never banned in the Soviet Union, in fact widely shown to critical and commercial success, these quite unique and beautiful films became neglected for almost 20 years. Resurrected two years ago at a retrospective mounted by Ian Christie of the British Film Institute, Shukshin and his films have come to be regarded as true Russian classics, ranking with Eisenstein, Dovzhenko and Tarkovsky, but closer in spirit to Ozu, Pagnol and the early Renoir. Made up of three stories, S T R A N G E PEO P LE, as most Shukshin films, takes place in the Siberian Altai where he was born, in small villages where everyone knows each other, life has its own pace, and everything has its place. In a setting unlike any other Soviet film, with a style completely his own, Shukshin celebrates life with a beautiful simplicity, full of humor and compassion for his "strange people".

G o n e W it h Th e M i n d / Th e M id n ites 1 2 :0 0 am

F r id a y , M a y 12

C a p it o l H ill

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Ä F lesh Ea tin g M others D irector: James A viles M artin Producers: M ilian Peter I lich and James A viles M artin Screenwriters: James A viles M artin and Z ev S hlasinger C inematographer: FIarry Eisenstein Editors: FIarry Eisenstein and James A viles M artin M usic : M inerva, with songs performed by Sherri Lamar C ast: Robert L ee O liver, D onatella FIecht, V alorie H ubbard, N eal Rosen Print Source: Panorama Entertainment C orp. • 1988 • 88 minutes

If you crossed N IG H T O F T H E L IV IN G D E A D , B L U E V ELV ET, and L E A V E IT T O B E A V E R you'd either get serious brain damage or— F LE S H E A T IN G M O T H E R S ! At first these mommies seem normal enough. They live in nice suburban homes, the lawns are neat and green, and they're married to the usual jerks. But there's this nasty, sexually transmitted disease going around. It makes mommies real hungry and not just for pizza and ice cream. Mommy's eyeing little Billy awful strangely. Could it be? Chomp... Slurp... Mommy's eating Billy! Oh no, Mommy's a cannibal!! Of course, F .E .M . is thoroughly hilarious and entirely gross, but we spare ourselves no shame to please you trash-horror buffs who are ever in search of the latest extreme in camp humor and gut-wrenching gore. Besides, we just know there has to be a socially redeeming subtext here somewhere. Could F LE S H E A T IN G be the ultimate wrinkle in the feminist revolution? Mommies of the world bite back! Eat that chauvinist pig! But where will it all end? Find out for yourselves— if you can take it.

Su n d ay, M ay 28

1 2 :0 0 a m

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Â H ellbent D irector/S creenwriter: Richard C asey Producer: Louise Jaffe C inematography: Jim G illie Editor: M atthew H arrison, R ichard C asey M usic : G reg B urk, M ark W heaton, T rotsky Icepick, A ngry Samoans, D rowning Pool, A ngst, G one, Kyle C . Kyle C ast: P hil W ard, Lyn L evand, C hery Slean, D avid M arciano Print Source: T homas F. R. G arvin • 1988 • 95 minutes H E L L B E N T comes described as a classical tragedy about a young man who asks the question, "Why does evil exist in the world, and how can I get in on it?" This tale of a rock-n-roller who makes a deal with the devil is an allegorical sojourn into self-destruction. Lemmy is the lead singer in a band that's going nowhere, until a strange dude named Luther Tanas offers to manage them an offer that Lemmy jumps at, thinking it's just another business deal. At the same time, Sally Jones is a middle-class suburban housewife whose life is torn apart when her husband tries to doublecross Tanas. Although Lemmy and Sally each choose different paths towards the evil Luther, their fates are inexorably intertwined because, ultimately, Luther is the man pulling the strings. Rock video director Richard Casey - lauded by R o llin g Stone for his videos for Black Sabbath, Blue Oyster Cult, Romeo Void and many others - mixes comedy, action, and suspense in this unsettling soupcon of ultimate evil. A soundtrack by the likes of Trotsky Icepick, The Angry Samoans, Drowning Pool, and Angst contributes to the, umm, "atmosphere".

F r id a y , M a y 19

1 2 :0 0 a m

C a p it o l H ill

U.S.A.

Ä L obster M an F r o m M ars D irector: Stanley Sheff P roducers: Eyal R immon and Steven S. G reene Screenwriter: Bob G reenberg C inematographer: G erry L ively C ast: T ony C urtis, D eborah Foreman, Patrick M acnee, B ill Barty, A nthony H ickox Print Source: Electric Pictures • 1989 • 93 minutes

Billed as "the only comedy that combines seafood and science fiction," just its description should make your mouth water! L O B S T E R M A N F R O M M A R S is a deliciously accomplished send-up of those '50s sci-fi movies populated by terrifyingly tacky monsters, super-heroic heroes, everinnocent ingenues, and madly eccentric scientists. Here the fun is served up as a film within a film. Movie mogul Tony Curtis (!) it seems needs a tax write-off. He finds a boy wonderkind with a plan for a tasty cinematic morsel about dreaded lobsters from Mars out to steal Earth's atmosphere. Can Professor Plocostomos save us with his culinary plan to boil those crafty crustaceans? Don't miss the exciting climax in Yellowstone Park!! But seriously, L O B S T E R M A N 'S succulent satire is harder to pull off than you might realize, succeeding where so many others have produced only a sophomoric stew. (We SIFFers wouldn't want to be sophomoric would we?) A veritable smorgasbord of sci-fi silliness and not without its surprises, this is one midnighter that promises to be good to the last bite!

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G o n e W it h Th e M i n d / Th e M id n it e s S a t u r d a y , M a y 27

1 2 :0 0 am

C a p it o l H ill

U.S.A.

Pa ren ts D irector: B ob Balaban Producer: B onnie Palef Screenwriter: C hristopher H awthorne C inematographers: E rnest D ay, Robert V idgeon Editor : B ill Pankow M usic : Jonathan Elias C ast: Randy Q uaid , Mary B eth H urt, Sandy D ennis, B ryan M adorsky Print Source : V estron Pictures • 1989 • 82 minutes

Perverse and subversive, this horror-black comedy is fiendishly funny, subtly suspenseful, and delivers some big shocks. Michael, the ultimate alienated youngster, is afraid of his all-American parents (Randy Quaid and Mary Beth Hurt)—perhaps with good reason! Mom spends a lot of time in the kitchen preparing big chunks of red meat, but her queasy son wonders what the leftovers she always serves are leftover from. Her smiling answer: "Leftovers to be." Set in the '50s, P A R E N TS sports outrageously bizarre period design— high Eisenhower-Edsel—that makes everything seem even more strange and threatening. Actor Bob Balaban (ALTERED STATES) makes an impressively assured directing debut with this stylish, imaginative chiller, winner of the Critics Prize at the Avoriaz Festival. "There are real, lurid, antisocial thrills to be had here."—Stuart Klawans, The Nation.

Sa t u r d a y , M a y 2 0

1 2 :0 0 a m

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U.S.A.

A PUMPKINHEAD D irector: Stan W inston Producers: R ichard C. W einman and woward Smith Screenwriters: M ark Patrick C arducci and G ary G erani C inematographer: B ojan Bazelli Editor: M arcus M anton M usic : R ichard Stone • 1988 • 86 minutes

Bloody good fun, P U M P K IN H E A D is a violent tale of supernatural revenge with the spooky flavor of a campfire ghost story. About all Ed Harley has in the world is his love for his little son. When the boy is senselessly killed by a group of wild boys on bikes, the enraged Harley seeks help from a mysterious "old woman with powers" (Mrs. Freddy Krueger?). He believes she can bring the dead child back to life— instead, she offers revenge of the fearsome Pumpkinhead! So named because he lies buried in a dank pumpkin graveyard, Pumpkinhead is a strikingly grotesque demon of the bloodcurdling ALIEN variety. Stalking the guilty teens, he gashes faces, twists heads, and smashes them through windows. They definitely get their just deserts! (Pumpkin pie, anyone?) But once started, can Pumpkinhead be stopped? That's for us to know and you to find out... Directed by Stan Winston (who was responsible for A LIEN S' spectacular special effects), P U M P K IN H E A D is a sharply crafted hellraiser with a truly chilling moral. Charlie Brown meets Ridley Scott?

S a t u r d a y , M a y 13

u n d o w n :

1 2 :0 0 a m

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W o r l d P rem iere

T h e V a m p ir e in R e t r e a t

D irector: A nthony H ickox P roducer: J efferson R ichard Executive P roducers: D an I reland, Jack Lorenz M usic : R ichard Stone D irector of Photography: L evy I saacks Screenwriters: John B urgess and A nthony H ickox Editor : C hristopher C ibelli C ostume D esign : L eonard Pollack C ast: D avid C arradine, M axwell C aulfield, B ruce C ampbell, D eborah Foreman, M. Emmet W alsh, M organ B rittany, M arion Eaton, John I reland

Described as the world's first Vampire Western Comedy, S U N D O W N : T H E V A M P IR E IN R E T R E A T , is about a group of "retired" vampires who are tired of killing and want to find a new way of living. Led by the powerful and righteous Count Mardulak (David Carradine), this group has inhabited a small deserted town somewhere out West. Armed with sunblock, UVH protected glass, and nourished with blood from a synthesizing plant (that will not work without the help of a human), the true test of this brave new world is almost about to begin. However, there are some members of this community who do not believe in the new ways, and do not want to be labeled as "bottlesuckers," so come sundown, they've got to fight for the right to bite. Part western, part horror, all comedy, S U N D O W N is truly an original spoof that will leave you thirsty for more. Sergio Leone with fangs.

I t a

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Composed of 50% wheat malt, it has a wonderful complexity for a lighter refreshing ale. Traditionally served with a slice of lemon. R efrigerated ■ O npasturized N a C om prom ises H A R T B R E W S H Q , SMC. ■ K A L A M A , W A Brewers of: Pyramid Wheaien Ale, Pyramid Pale Ale, and Pacific Crest Ate

G o n e W it h T h e M i n d / Th e M id n ite s Fr id a y , M a y

12: 00a m

N ew Z ealand

C a p it o l H ill

U.S. P r e m i e r e m m

A B a d Taste

D irector/P roducer/C inematographer: Peter Jackson Screenwriter: Peter Jackson,T ony H iles, K en H ammon Editor: Jamie Selkirk M usic : M ichelle Scullion C ast: Peter Jackson, M ike M inett, Pete O 'H erne, T erry Potter Print Source: N ew Z ealand F ilm C ommission • 1988 • 92 minutes

Among the honors heaped upon this deliciously awful Kiwi horror/comedy are the Special Jury Prize at the 17th Paris International Festival of Fantasy and Science Fiction and — be forewarned — outright banning of the film by the Ontario (Canada) Censor Board "for indignities to the human body"(l). Derek and his gang of not-so-merry men from the Alien Investigation and Defense Service are on a search and destroy mission. A small town has been depopulated by aliens planning to promote homo sapiens as a low-calorie delicacy at their intergalactic fast food chain. When an unwitting charity collector stumbles upon alien headquarters only to be marinated for a victory dinner, the stage is set for a bloody, entrails-ripping battle which reaches new heights in low humor. This movie is definitely not for the squeamish... to quote the N .Z . H era ld : " B A D TA STE gloriously lives up to its name — taking the splatter movie genre and not only turning it on its ear, but ripping its ear off and swallowing it whole..."

Sa t u r d a y , Ju n e

1 2 :0 0 am

U.S.A.

C apito l H ill

A B la c ko u t D irector: D oug A dams Producers: D oug A dams, Joseph Stefano Screenplay: Joseph Stefano C inematography: A rledge A rmenaki Editor: Z ach Staenberg M usic : D on D avis C ast: C arol Lynley, G ail O 'G rady, M ichael K eys H all, Joseph G ian, Joanna M iles Print Source : T homas F.R. G arvin • 1988 • 90 minutes

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Midnight is the perfect time for hair-raising Gothic horror stories that creep up on us in the dark. Writer Joe Stefano—who scripted Alfred Hitchcock's all-time classic shocker, P S Y C H O —and first time director Doug Adams have here created a terror-filled psychological thriller that is both haunting and suspenseful. Carolyn Boyle, a beautiful but disturbed twenty-one-year-old runaway, is lured back home when she receives an urgent, cryptic letter from her father who had disappeared when she was seven. When she returns to the small rural farm town of her childhood, strange things begin to happen, and she is plunged into a series of terrifying events which force her to confront the shocking truth of her repressed past.Come and be scared, but don't come unprepared!

F r id a y , Ju n e

1 2 :0 0 am

U.S.A.

C apito l H ill

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C arnival o f S o u ls D irector/P roducer: H erk H arvey Screenwriter: John C lifford C inematography: Maurice P rather Editors: D an Palmquist, B ill D eJarnette M usic : G ene M oore C ast: C andace H illigoss, F rances F eist, Sidney B erger, A rt Ellison, H erk M arvey P rint Source : Panorama Entertainment C orp. • 1962 • 91 minutes

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Discover for yourself why this is coming to be considered a cult classic! Made available to us in a brand new print, we couldn't resist its creepy spell. Originally released—but little seen—in 1962, it doesn't rely on the gore that's become standard for today's horror-shockers. But we think you'll find C A R N IV A L far more unnerving and just as much fun! Organist Mary Henry is the lone survivor of a mysterious drowning accident. Soon after, she starts to see a cadaverous figure lingering outside her window and experiences an inexplicable curiosity about an eerie, abandoned carnival. Is Mary just off her rocker or could this be the Twilight Zone? The film is distinguished by its droll, deadpan performances, wonderfully gloomy organ score (recalling silents, soap operas, and classic horror pix), and moody, black and white photography. Echoing P S Y C H O with its sense of evil in mundane places and IN V A S IO N O F T H E B O D Y S N A T C H E R S with its suggestion that the pod people are out-to-get-ya, C A R N IV A L is a ghoulish treat!

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M a ry Pat Dileva Katie D un sm ore N an cy Em ery Jo e Fesalbon Fran ce B. G iddings D a v id G ord o n E ric G o u ld N orm an G underso n Jo n H a ll Jay H am ilton C raig H a rris Susan H a rw o o d Kathleen H elfrich H e id i H en d rick s Janet H itch co ck Kathie H um m el-B erry B arth olo m ew Jam es

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¿ is , Thanks to those volunteers w h o can clean a theatre in fiv e m inutes b etw een sh ow s

— you k n o w w h o you are.

106

A FRENCH BISTRO Take It from A Critic: ★

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“...wewerebackinParisatthekindofplaceenjoyedbytheaverage Frenchman —who can’t blowa month’s wages on one dinner. Mutedjazz played inthe background amid the joyous sounds of peopleenjoyinggoodfood, wine andconversation.”

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W h a t i s o n e o f A m e r i c a 's b e s t f ilm c r i t i c s d o i n g in S e a t t l e ? T h e r e is a good reason one of the nation's m ost influential film critics is here. Seattleites love the movies. This area ranks first in cinema ticket purchases per capita. New titles are routinely tested here for audience reaction before national distribution begins. To find out if films are worth seeing, Seattle looks to the Seattle Post-Intelligencer for the reviews of P-I Film Critic William Arnold. And for good reason. He understands the movie business. His reviews make great reading. They are carefully crafted, well-written and interesting. For news of film, dance, music, the arts and more, Seattle turns to the morning P-I.

Seattle¡post-JirteUfyeitcer A HEARST NEWSPAPER

Voice o f th e N orthw est since 1863 .

Film S o u r c e s

A B C D i s t r ib u t io n C o m p a n y 825 7th A v e n u e N e w Yo r k ; N .Y .

C in e v is t a I n c . S u it e 404, 353 W e s t 39 th S t . N ew Yo rk, N Y

10019

U.S.A. 10018

F a x : (212887-1708

F a x : (212)947-0644 T e l e x : 288189 (C IN F V )

U.S.A.

A m a z in g M o v ie s

S uite 7, 7471 M elrose A ve . Lo s A n g eles, C A

U.S.A. 90046 F a x : (213)658-7265 A p o l l o A s s o c ia t e s 1815 Norfolk St. H ouston , TX

U.S.A. 77098 A s ia n / P a c i f i c F o u n d a t io n o f H a w a ii S uite 1031, 1221 Kapiolani Blvd . H onolulu , Hawaii

U.S.A. 96814 A t l a n t ic R e l e a s in g 8255 Sunset B l vd. L o s A n g eles, C A

U.S.A. 90046-2400 A u g u s t E n t e r t a in m e n t 838 N o r t h F a ir f a x Los A n g e l e s , CA Fa x :

U.S.A. 90046 (213)658-7654 A u r o r a Fil m s

P.O. Box 78015 S k y w a y , WA U.S.A. 98136

C i r c l e R e l e a s in g S u it e 225, 2445 M S t r e e t , NW W a s h in g t o n , D.C.

U.S.A. 10018 Fax : (202)429-9043 C o l u m b ia P ic t u r e s #2109 C o l u m b ia P l a z a S o u t h B u r b a n k , CA

U.S.A. 91505 F a x : (818) 954-4249 D a n is h F i l m I n s t it u t e S t o re So en d erv o ld stra ed e DK-1419 C o p e n h a g e n K D en m a rk Fa x : (45)(1) 576-700 Te l e x : 31465 (DFILM DK)

B r i t i s h F i l m I n s it u t e 24 R a t h b o n e S t . London W I p TAG, E n g l a n d F a x : (44) (01) 580-9456 T e l e x : 27624 (BFILDN G) C a n o n Fil m G r o u p

640 Sa n V in c e n t e B l v d . L o s A n g e l e s , CA U.S.A. 90048

Korean M otion Picture Promotion Corp. 34-5, 3-Ka Namsan -Donc Chung -ku, S eoul South Korea Fax : (82X2)774-0531 Telex: 28285 (KOMOPRO)

G a u m o n t D i s t r ib u t io n I n t e r n a t io n a l e 30 a v. Charles de G aulle 92200 Neuilly/Seine France F a x : (33)(1) 47.38.23.82 T e l e x : 612079

Liberty Films 849 Shenandoah S t. Los A ngeles, CA U.S.A. 90035 Fax : (213)652-1649

G a l a x y I n t e r n a t io n a l

G o l d e n E g g F il m s / M G S F il m s

SlNGEL 64 1015 AC A msterdam The Netherlands Fax : (31X20)243-181 Telex: 41275 G o r d o n F il m s S u it e 805, 8 C h a t h a m S q u a r e N e w Yo r k , N Y

U.S.A. 10038 Fax : (212)732-2647

05, M a h a n e g a G a r d e n

G o s k in o U.S.S.R. M a l y G n e z d in k o v s k y P e r e u l o k 7

M ah aragam a S r i La n k a

T e l e x : 411417 (KINO SU)

D u i n i F il m s

M oscow

G r e y s o n P r o d u c t io n s E l e c t r ic P ic t u r e s S u it e 303, 1119 M c C a d d e n P l a c e Los A n g e l e s , CA

S uite 603, 29 M cCaul S treet Toronto , O ntario Canada M 5T 1V7

U.S.A. 90038 E l l e p i F il m s Ro m e

H e l l b e n t P r o d u c t io n s L t d . 1121 G r a n t S t . S a n M o n ic a , CA 90405

00186

It a l y T e l e x : 620238

H e m d a l e R e l e a s in g S u it e 1000, 12121 W il s h ir e B l v d . L o s A n g e l e s , CA

E v e r a r d F i l m s D i s t r ib u t o r s L t d .

U.S.A. 90025

PO Box 3064

F a x : (213)207-6186

A u cklan d N ew Z ealan d F a x : (64)(9)780-109 F a r a b i C i n e m a F o u n d a t io n No. 55 S i_ e_ T i r A v e n u e Teh r an I r a n 11358 F a x : (98X21)678-155 T e l e x : 214283

H o m e B o x O f f ic e ; I n c . 1100 A v e n u e o f t h e A m e r ic a s N e w Y o r k ; NY

U.S.A. 10036 H o r iz o n P r o d u c t io n s A p t . 1, 1134 O g d e n D r iv e Los A n g e l e s , CA

U.S.A. 90046

C a s a F i l m s S .A .

71, B o u l e v a r d G o u v io n , S a i n t C y r 75017 P a r is Fr a n c e F a x : (33)(1) 45.72.56.14 T e l e x : 644304 (FROGFLM) C a s t l e H il l F i l m s

1414 A venue of the A mericas New York, NY U.S.A. 10019 C a t a l a n Fil m s c/D iputacio 279-283 Barcelona 08007 Spain F a x : (34)(3) 301.22.47. C e c c h i / G o r i U .S .A .

Suite 700, 11111 Santa M onica Bl v d . Los A n g e l e s , CA U.S.A. 90025 F a x : (213)478-4810 T e l e x : 4947379 C e s k o s l o v e n s k y F il m e x p o r t Vaclavske Namesti Cis 28 111 45 Prague 1 Te l e x :

CZEKOSLOVAKIA 122259 CFEX/122059

F i l m A u s t r a l ia Eto n Ro a d L in d f ie l d , N.S.W. 2070 A u s t r a l ia F a x : (61X2)467-5672

Films 4 I nternational 60 C h a r l o t t e S t . Lo n d o n

W1P2AZ, E n g l a n d F a x : (44)(1) 323-0858 T e l e x : 6374872 G Finnish Film Foundation K 13, K a n a v a k a t u 24 H e l s in k i SF-00160, F in l a n d F a x : (358X0)177-113 T e l e x : 125032 (SESFISF)

First Run Features 153 W a v e r l y P l a c e N e w Yo r k , N Y

U.S.A. 10014 F a x : (212)989-7649

Frameline S u it e 205, 347 D o l o r e s S t r e e t S a n F r a n c is c o , CA U.S.A. 94110

C h a n t ic l e e r Fil m s

6th Floor , 6525 S unset B lvd . H o l l y w o o d , CA U.S.A. 90028 Fax : (213)462-1603 C h in a F i l m I m p o r t a n d E x p o r t ( L .A .) I n c . S u it e 1028, 2500 W il s h ir e B l v d . Los A n g e l e s , CA

U.S.A. 90057 F a x : (213)487-2089 T e l e x : 261822 (CFIE UR)

Fries Theatrical Releasing 4 th F l o o r , 6922 H o l l y w o o d B l v d . L o s A n g eles, C A

CINEPHILE U .S .A .

S uite 603, 306 West 38 th S t. N e w Yo r k , N Y

U.S.A. 10018

H .S .A . L im it e d 3, Eli Cohen S t. Herzliya 46499 Israel F a x : (972)292-388 T e l e x : 391495 (GURI) H u n g a r o f il m Va l l a l a t B a t h o r i u t 10. 1054 B u d a p e s t H un gary F a x : (36X1)531-850 T e l e x : 225768 (H FILM H) I c e l a n d ic F i l m F u n d L a n g a v e g u r 24 121 R e y k ja v ik Ic e l a n d F a x : (354)(1) 623-068 T e l e x : 2111 I n s it u t o L u c e s p a , I t a l n o l e g g io Cinema tog raphia Via Tuscolana 1055 0 0 1 7 3 Rome Italy F a x : (39X6)722—2090 T e l e x : 620478 (CINCITI) I n s t it u t o M e x ic a n o d e C in e m a t o c r a f ia Av. M exico Coyoacan No . 340 C.P. 03340, M exico City M exico, D.F. Telex: 01775697 (PEME ME)

U.S.A. 90028 F a x : (213)464-6082

Fujisankei Communications I nternational S u it e 820, 2049 C e n t u r y P a r k E a s t L o s A n g e l e s , CA U.S.A. 90067 F a x : (213)553-2196 T e l e x : 9104903801 (FUJI US)

M.C.E.G. Suite 100, 2400 Broadway Santa M onica, CA U.S.A. 90404 Fax : (213)315-7850 M .G.I. 122, Rue La Boetie 75008 Paris France Fax : (33X1)42.89.08.21

I n t e r n a t io n a l F i l m E x c h a n g e 201 W e s t 52nd S t . N e w Y o r k , NY

U.S.A. 10019 K-Z F il m s 4B, 32 J o n e s S t. N e w Y o r k , N .Y .

M alofilm G roup 4 th Floor , 1207 Rue Saint A ndre M ontreal, Q uebec Canada H2L 3S8 Fax :(514)844-1471 M anson I nternational Suite 100, 2400 Broadway Santa M onica , CA U.S.A. 90404 Fax :(213)315-7850 MCM/UA 10000 West Washington Blvd . C ulver City , CA U.S.A. 90232-2728 Fax : (213)836-1680

Ra thod Productions 1810 Harrison S t. San Francisco, CA U.S.A. 94103 Roxie Releasing 3117 16th S t. San Francisco, CA U.S.A. 94103 RTVE; U.S.A. O ffice Suite 604, 501 M adison A ve. New York, NY U.S.A. 10022 Fa x : (212)758-7390 Sharp Features Suite 200, 31 Thorpe Road Needham , MA U.S.A. 02194 Sh i bata O rganization 2-10-8 G inza, Chuo -ku Tokyo

G.I.O./C entral M otion Picture Corpora tion 3 Chung Hsiao Ea st Road , Section 1 Taipei Ta iw a n 100, R.O.C. F a x : (886X2)341-6252 T e l e x : 28385 o r 11636 INFO

F a x : (212)627-3132 K in o

333 West 39 th S t .

National Film Development Corp. Lok Nayak Bhawan , Khan M arket, 4 th Floor New Delhi 110003, India Telex: 3162741 (FEST IN)

Skouras Pictures 1040 North Las Palmas, Bldg . 10 Los A ngeles, CA U.S.A. 90038-2409 South G ate Entertainment S uite 307, 7080 H ollywood Blvd . H ollywood , CA U.S.A. 90028 Fa x : (213)962-2416 S wedish Film I nstitute P.O. Box 27 126 S-10252 S tockhol m S weden Fa x : (46X8)661-1820 or Telex: 10025 (SWEDINS S) Thomas F.R. G arvin S uite 900, 9401 Wilshire Blvd . Beverly H ills, CA U.S.A. 90069 Fa x : (213)859-2325

New Century/V ista Suite 200, 1875 Century Park East Los A ngeles, CA U.S.A. 90067

Trans-World Suite 500, 3330 West Cahuenga Blvd . Los A ngeles, CA U.S.A. 90068 Fax : (213)969-8211

New World Entertainment 1440 South Sepulveda Blvd . Los A ngeles, CA U.S.A. 90025 Fax : (213)444-8102

Tynan Young L td. Suite 3, 10916 M oorpark S t. N. H ollywood , CA U.S.A. 91602 Fa x : (818)558-0457

New Yorker Films 16 West 61st New York, NY U.S.A. 90025 Fax : (212)307-7855

Umbrellahead I nc . c/ o G reenberg, G lusker ETAL. S uite 2000, 1900 A venue of the S tars Los A ngeles, CA 90067 Fa x : (213)201-7482

New Z ealand Film Commission 36 A llen S t. Wellington New Z ealand Fax : (64X4)849-719 Telex: 30386 (FILMCOM)

Vestron Pictures 1010 Washington Blvd . S tamford , CT U.S.A. 06901 Fa x : (203)978-5810

O rio n Classics 711 5 th A ve. New York, NY U.S.A. 10022 Fax : (212)486-0648 O utlaw Values M arketing 3/17 Herbert S t., S t. Kilda M elbourne, Victoria A ustralia 3182 Fax : (61X8)525-3903 O verseas Film G roup Suite 302, 8800 S unset B l vd. Los A ngeles, CA U.S.A. 90069

N e w Yo r k , N Y

U.S.A. 10018

Fax : (81X03)545-3519 S hochiku Films o f America Suite 9, 8230 Beverly Blvd . Lo s A ngeles, CA U.S.A. 90048 Fax : (213)653-8309

MCM/UA Classics M useum of M odern A rt —Circulating D ept. 11 West 53rd S t. New York, N.Y. U.S.A. 10019

U.S.A. 10014

ClNECOM

1250 B r o a d w a y N e w Y o r k , NY U.S.A. 10001 F a x : (212) 947-7095

Longridge Film s Inc . Suite 300, 8501 Wilshire Blvd . Beverly H ills, CA U.S.A. 90211 Fax : (213)659-6505

Portuguese Film I nstitute Rua de S. Pedro de A lcantara 45 Lisbon 1200 Portugal Telex : 14068 P

T e l e x : 22145 (SALAKA CE)

v ia d e i B a n c h i V e c c h i 58

B ir t h r i g h t F i l m P r o d u c t io n s #5, 101 N.W. 58 th St. Seattle, WA 98107

Suite 907, 16000 Ventura Blvd . E n c in o , CA U.S.A. 91436 Fax : (818)501-0385

Panorama Entertainment Corp. 125 North M ain St. Port Chester , NY U.S.A. 10573 Fax : (914)937-8496

Village Road Show 22nd Floor , 2121 A venue of the Stars Los A ngeles, CA U.S.A. 90067 Fax : (213)282-8992 W.M.F. 8, rue Lincoln 75008 Paris France Fax : (33X1)42.25.67.52 Warner Brothers 4000 Warner Blvd . Burbank, CA U.S.A. 95122 Z eitgeist Films S uite 1, 200 Waverly Place New York, NY U.S.A. 10014 Fa x : (212)727-1658

113

A cknowledgements

Harrison 'Red' Reader Longridge Films Inc. 20th Century Fox Worldwide Serv. Lewis Allen Terry Grochowski / John M.C.E.G. / Manson International ABC Distribution June Shelley Merkel A FI/Lo s Angeles Int'l Film Festival LindaPariser Michel G u e/ Nicole M .G.I. AFI/Washlngton D.C. Film Festival John Sery / Eddie Cockerell Rene Mato/Danielle Lariviere Malofilm Group Amazing Movies Jeffrey Beach / Doug Witkin David Goldstein American Movie Classics JohnSadler M G M /U A Anne Morra Museum of Modern Art Apollo Associates Fred Miller /Ben Mason Larry Kardish/Steve Harvey Museum of Modern Art Asian/Pacific Foundation of Hawaii Myrna Kamae National Film Development Corp. Sankar Basu/Urmila Gupta/ Mel Richmond Atlantic Releasing Malti Sahai Diana & Michael Hoiser August Entertainment Netherlands Ministry of Culture Simone Kerkhof/Yvonne Sies Jeff Meyer Aurora Films Harper Paul Williams / Penelope New Century/ Vista Lisa Taylor/ MaryAnne Scully Australian Film Commission Kevin Sweeny New World Entertainment Victoria Treole Australian Film Commission Tim Swain / Frank Wright New World Entertainment Gary Pursell/Cary Brocan Avenue Films Andre Beauregard/ Jean Paradis New World Mutual Joe Rogell / Bill Barrett B.I.A. Beth DeVoe New Yorker Films Birthright Film Production Cathy Sarkowsky/ Lynn Wegenka Lindsay Shelton / Phil New Zealand Film Commission Nigel Algar/Mary Davies British Film Institute Langridge Kate Mellor British Film Institute Prod. Board Mike Barker Orion Classics John Harsh Canon Film Group Evan English / John Hillcoat Outlaw Values Marketing Lissy BelIaie he Captiol Hill Danish Film Institute Robby Little Art Jackson Overseas Film Group DHL Worldwide Express Stuart Strutin Panorama Entertainment Corp. Dale Ridings / Christian Garland DHL Worldwide Express Bill Foster Portland Film Festival Mrs. Chundra Mallawaratchchi Dilini Films Fernanda Teixeira Portugese Film Institute A ll the wonderful staff Egyptian Theatre Producer Representatives Organization Cynthia Lear/ Stanley Sheff Electric Pictures Morey Eisenman Ellepi Films David Rathod Vicky Wright / Barry Everard Rathod Productions Everard Film Distributors Ltd. Al Milgrom Mr. Ali R. Shoja Noori Rivertown Film Festival Farabi Cinema Foundation Bill Banning Roxie Releasing Robyn Watts/Helen Thwaites Film Australia Teresa Shelly RTVE U.S.A. Office Marsha Zalbowitz/Ron Stephanson FilmFest D.C. S.A.S. Airlines Paul Totten/Karen Hyland/John Hanson Regina Simmons / Bridget Pedgrift Films 4 International S.C.C.C. Ron Moore Kirsi Tykkylainen/Arja Aarnio Finnish Film Foundation San Francisco Intn'l Film Festival Charles Zukow/ Rick Norris Sandy Zeig / Mark Mauceri First Run Features San Francisco Intn'l Film Festival Holly Henke/Brian Gordon Barbara Callahan Four Seasons Olympic Hotel Jeanette Shaheen / Laura San Francisco Intn'l Film Festival Michael Lumpkin Frameline Thielen Patrick Harrison Fredrick & Nelson Peter Scarlet/Linda Cohen San Francisco Intn'l Film Festival Andrea Goodwin Fries Theatrical Releasing All the Staff Seven Gables Theatres Peter Guzardo / Jim Dudelson Fries Theatrical Releasing Neal Evans Sharp Features Tim & Lynda Lord Full Moon Studios Kazuko Shibata Shibata Organization Brent Writer Fujisankei Communications Int'l Masayuki Takizawa Shochiku Films of America Michael Lin G.I.O. /Central Motion Picture Jeff Lipsky / Ruth Skouras Pictures Gabe von Dettre Gabe von Dettre Nancy Grygorowicz Sorrento Hotel Nicole Gilbert Gades Film Yoram Pelman / Bee Beckman South Gate Entertainment Galaxy Releasing Jim Goldschlager/Anne "Boom Boom" Suzanne Bage/Bengt Forslund Swedish Film Institute Amesbury Curtis Smith/Audrey T.C.I. Cablevision Gaumont Distribution Internationale Philippe de Chaismartin / Pauline Kidjeck Telefilm Canada Katherine Tom Garvin / Heather Miller Thomas F.R. Garvin Global Village Documentary Festival Robbie Roseburg Trans World Entertainment Golden Egg Film George Sheer Betsy Hansen Tropics Motor Inn Gordon's Films International Robert Tam Eric Young Tynan Young Ltd. Goskino U.S.S.R. Gennady Kononenko / Mr. Pushkin UCLA Film & Television Archives Claire Aguilar/Robert Rosen Greyson Productions John Greyson UCLA Film & Television Archives Geoff Gilmore Harvard Exit Theatre The Staff Umbrellahead Inc/Greenberg, Glusker Mark Stankovich / Hawaii International Film Festival Betty Buck/June Sakaba / Rutger Hauer Anne Nancy Hogan Unicraft Hawaii International Film Festival Jeanette Paulsen Jenny Benidt / Josette Bonte UniFrance Heath Printers Julie Norris/Steve Mellander Allan Franey / Chris Adkins Vancouver Intn'l Film Festival Hellbent Productions Ltd. Richard Cassey / Louise Jaffe Jack Vermee Vancouver Intn'l Film Festival Hemdale Films Corp. Heather Probert/ Velvet Probert Jack Vermee Vancouver Intn'l Film Festival Hemdale Releasing T.C. Rice/Celia Velasco PoChu AuYeung/ Jane Vancouver Intn'l Film Festival Holland Animation Foundation Nico Crama MacDonald Home Box Office Inc. Colin Calender/Kerry Shehan/Bob Gold Vestron Pictures Bill QuigleyAinda de Trinko/Bonnie Horizon Productions Ron Norman Vestron Pictures Dan Ireland/Sal Ladestro/M.J. Peckos Houston Film Festival Frank Madrid Vestron Pictures James Richardson Hungarofilm Vallalat Katalin Vajda Vestron Pictures Mary Donovan / Susan Sänke Icelandic Film Fund Gudbrandur Gislason Viacom Anne McMullan / Deborah Saunders Instituto Luce spa Italnoleggio Cinema Mr. Jim Stark Village Road Show Bob Dingillian Instituto Mexicano de Cinematografia David Davila / W.M.F. Claude Nouchi Ignaico Duran Warner Brothers Barry Reardon International Film Exchange RobertNewman Warwick Hotel Sharon Seifert Its Your World Travel Janet Butler Washington State Centennial Com. Zia Gipsen / Put Barber Jeff Dowd & Associates Jeff Dowd/ Jamie Willet Washington State Film & Video Assoc. George Ladas/ K-Z Films Zanne C. Lexow Allison Roth Kino GarryPalmucci Washington State Film Office Lynn Baldwin / Christine Lewis Korean Cousul-General (Seattle) Mr. Shin Western Washington Beverage Bob Stevens Korean Motion Picture Promotion Corp. Kim Dong-Ho Workhause Productions John Burgess L.W. Blair Larry Blair WIZYWIG Neil & Paul Liberty Films David Blake/Teresa Kelleher Zeitgeist Films Nancy Gerstman LORD Design Sam Lord Marx

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teeth of Isabella Rossellini: Rossellini's eerie resemblance to her mother (Ingrid Bergman) is

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fro c k 2 9 : Nicolas Roeg's Track 29 was madden ingly convoluted and predictably self-indulgent, but any movie that has a naked Gary Oldham flying out of a closet can't be a crashing bore.

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Ticket I n f o r m a t i o n

G EN ER A L I n f o r m a t io n

All films will be shown in their original language with English subtitles. Most films will be preceded by a short. Please check with the festival information line at 325 -2 48 5 if you wish further details. Seating is available at all performances on a first-come, first-served basis. All programs are subject to change without notice. Due to circumstances beyond our control, certain films may be re-scheduled or cancelled. Every effort humanly possible will be made to keep you informed of these changes.

T ic k e t I n f o r m a t io n

F u l l S e r ie s P a s s :

Costs $200 and includes admission to all programs at the Capitol Hill, Harvard Exit and Egyptian Theatres with the exception of Opening Night, May 11 and the Producer's and Screenwriter's Seminars. These passes are nontransferrable and do not guarantee seating. Please Note: Due to limited seating and anticipated sellouts at all theatres, all full series ticket holders are encouraged to arrrive at the theatre one-half hour prior to showtime. This is to ensure adequate seating for everyone. P a r t ia l S e r ie s P a s s :

These are available for $27.50 and include admission to any six films, with the exception of any events priced over $5.50. When purchasing a partial series pass, you will be asked to select the films you will be attending. A limited number of tickets per film are allotted to be sold as part of a partial series, so it is strongly urged that you purchase your tickets as soon as possible to avoid disappointment. These are general admission tickets and do not entitle the holders to priority seating. T ic k e t s f o r a l l e v e n t s a r e a v a il a b l e t w o

w ays:

1. Individual, partial and full series tickets are available at the Egyptian Box Office - 80l East Pine - daily from 12:00 noon to 9:00pm. Tickets for the Capitol Hill Cinema and Harvard Exit Theatre are available at the Egyptian until 9:00pm of the evening prior to show date. On the actual day of the show, tickets are available at their respective theatres one-half hour prior to the first show of the day. 2. By mail from the Egyptian Theatre. When ordering tickets, please send a list of the films, the amount of the tickets desired and the price (availablein this section). If ordering a partial series pass, please indicate the six admissions you would like included on the pass. (This can be any combination of six films or admissions $5.50 and under - for example, if you would like to purchase a partial series pass to use for two admissions for three films, please indicate this.) Please send your check and a self-addressed, stamped envelope to:

S ea ttle I n tern atio n al F ilm Festival c/ o Eg y p tia n Theatre , 801 Ea st P ine , S eattle ,

WA 98122

A ttn : Tic ket O rder To avoid the inconvenience of possible refunds, please leave the amount on your check blank and indicate the maximum you wish to spend with the words "Not valid over $ When picking up your tickets at the box office, please check them before you leave the window. No refunds or exchanges can be made with the exception of a program change. We regret that we cannot admit children under 6 years old. All children over 6 will be charged adult prices. Please note that unless otherwise indicated, the programs are not double bills. All screenings require separate admissions. Latecomers will be seated at the discretion of theatre management. Seating is not guaranteed for latecomers and latecomers may not be admitted in some cases. No latecomers will be admitted during Secret Festival screenings.

A d m is s io n

P r ic e S c h e d u l e

R eg u la r Even ing S c r e e n in g s ............................... $ 5 .5 0 G ala O p en in g - The R a in b o w .......... ................. $ 2 0 .0 0 C losin g N ig h t a t the Egyptian - The Tall G u y ..$ 1 0 .0 0 S e m in a r: S c r e e n w r ite r 's ..................................... $ 5 0 .0 0 P ro d u ce r's . .. ....................................... $ 3 5 .0 0 Even ing w ith M ic h a e l P o w e ll ............................... $ 7 .5 0 M id n ig h t F ilm s ......................................

$ 5 .0 0

N o o n , 2 :3 0 & 5 :0 0 M a tin e e s ................................ $ 4 .0 0 B est o f the East W est C e n t e r ................................. Free F u ll S e rie s Pass ................................................... $ 2 0 0 .0 0 Partial S eries P a s s .............................................. $ 2 7 .5 0 S e c re t F estiva l * ................................................... $ 1 0 .0 0

* Paid once, it is good for all four of this year's Secret Festival screenings in the Festival's calendar.

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