22nd Seattle International Film Festival (1996)

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Table of Contents

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Australia Angel Baby, 62 Epsilon, 75 Austria An Almost Perfect Affair, 75 Year Number 10, 76 Belgium Between the Devil and the Deep Blue Sea, 76 Manneken Pis, 62 Bolivia Jonah and the Pink Whale, 63 A Matter of Faith, 63 Brazil Foreign Land, 77 The Interview, 64 Burkino Faso Haramuya, 77 Canada Anatomy of Desire, 47 The Confessional, 64 Jim Loves Jack, 47 Live Bait, 78 The Lost Garden, 40 Margaret’s Museum, 78 China The King of the Masks, 79 A Mongolian Tale, 79 The Sun Has Ears, 80 Cuba Love Me and You Will See, 80 Madagascar, 80 Czech Republic I Thank You for Each New Morning, 81 Denmark Haiti- Untitled, 49 Just a Girl, 81 France Bye-Bye, 82 Celestial Clockwork, 82 The Horseman on the Roof, 83 I Can’t Sleep, 83 The Land Is White, the Seed Is Black, 50 Lumiere and Company, 84 Madame Butterfly, 84 Purple Noon, 41 A Single Girl, 85 Umbrellas of Cherbourg, 41 Germany Brother of Sleep, 85 Die Mediocren, 65 Talk of the Town, 86 Great Britain Brothers in Trouble, 86 Butterfly Kiss, 65 Emma, 19 A Feast at Midnight, 43 The Innocent Sleep, 87 Intimate Relations, 66 Loved Up, 87 Nervous Energy, 88 Paris Was a Woman, 54 Someone Else’s America, 88 Stonewall, 89 Trainspotting, 89 The Wind in the Willows, 44 Young Poisoner’s Handbook, 90 Hong Kong Full Throttle, 90, 152

Red Rose, White Rose, 91 Iceland Agnes, 91 Cold Fever, 95 Tears of Stone, 95 India Target, 96 Indonesia And the Moon Dances, 96 Ireland The Boy from Mercury, 43, 97 Guiltrip, 66 My Friend Joe, 44 Israel Saint Clara, 97 Under the Domim Tree, 98 Italy L’Amore Molesto, 98 Lamerica, 100 Celluloid, 99 The Delegation, 99 Next Year We’ll Go to Bed by Ten, 100 The Summer of Bobby Charlton, 101 Vite Strozzate, 101 Who Killed Pasolini?, 102 Japan Gamera: The Guardian of the Universe, 1 0 2 ,1 5 2 Gonin, 103 Maborosi, 67 Tokyo Drifter, 41 Village of Dreams, 103 Mali Gulmba, 104 Mexico No Sender, 104 Shadow of the Pepper Tree, 105 The Netherlands Little Sister, 67 Mother Dao, the Turtlelike, 52 Norway Zero Degrees Kelvin, 105 Palestine Tale of the Three Jewels, 106 Phillipines Harvest Home, 106 Poland Crows, 107 The Last Stop, 40 Russia The Man with a Movie Camera, 35 Scotland Small Faces, 107 Serbia Premeditated Murder, 68 Slovakia The Garden, 108 South Africa Hearts and Minds, 108 South Korea A Hot Roof, 109 Spain Cradle Song, 109 Gypsy Soul, 110 Mouth to Mouth, 110 Thesis, 68 Turkish Passion, 111 Sweden All Things Fair, 111 Sebastian, 114 Taiwan Mahjong, 114 Siao Yu, 115

Vive I’Amour, 115 Thailand The River Chao Phraya, 44 USA Alchemy, 116 Back to Back, 116, 151 Belly Talkers, 47 The Big Squeeze, 117 Cadillac Ranch, 117 Color of a Brisk and Leaping Day, 118 Crocodile Tears, 33 Dadetown, 48 Dead Man, 118 Drunks, 119 Ed’s Next Move, 119 Eden, 120 Edie and Pen, 120 Flirt, 121 Freebird...The Movie, 151 The Gate of Heavenly Peace, 48 Girls Town, 121 Gravesend, 122 Hitting the Ground, 122 Hype!, 49,153 I Shot Andy Warhol, 123 Jane: An Abortion Service, 50 Joint Adventure, 123 Kansas City, 21 Killer: A Journal of Murder, 124 Late Bloomers, 124 A Leap of Faith, 51 The Leopard Son, 51 Lone Star, 125 Losing Chase, 125 Man of the Year, 52 Manny and Lo, 126 My Knees Were Jumping, 53 Notes from Underground, 126 Nothing to Lose, 127 Other Voices Other Rooms, 127 The Ox and the Eye, 131 Palookaville, 131 Paradise Lost: The Child Murders at Robin Hood Hill, 53 A Perfect Candidate, 54 Phenomenon, 132 Politically Incorrect Cartoondaze 1, 40 Politically Incorrect Cartoondaze 2, 40 The Reggae Movie, 132 Scorpion Spring, 133, 153 Sister Island, 133 Sudden Manhattan, 134 Switchblade Sisters, 1 3 5 ,1 5 4 Synthetic Pleasures, 55 Tattoo Boy, 135 Throwing Down, 136 Trigger Effect, 136 Trinity and Beyond, 55 Troublesome Creek, 56 Underworld, 137 Walking and Talking, 137 Welcome to the Dollhouse, 138 Who Killed Teddy Bear, 154 The Whole Wide World, 17 Wild Bill: Hollywood Maverick, 56 Without Evidence, 138 Work, 139 Vietnam Cyclo, 139 Wales Streetlife, 140

Sponsors

3

Governor’s & Mayor’s Adresses

7

Director’s Message & Staff List

11

Screening & Ticket Information

15

Opening Night Gala

17

Closing Night Gala

19

Closing Night Special Presentation

21

Filmmakers’ Forum

22

American Independent Award 25 Space Needle Awards

27

Secret Festival

27

Join Cinema Seattle

29

Web Site

29

Benefit Screening

33

Man with a Movie Camera & The Alloy Orchestra

35

Seattle Symphony Goes to the Movies

37

Poster Auction

39

Archival Program

40

Child’s Play Series

43

Documentaries: Truth with an Attitude 47 New Directors Showcase

61

Contemporary World Cinema

75

Shorts Programs

143

Bedtime Stories: The Midnight Series

151

Cinema Seattle Members

159

Volunteers

163

Acknowledgments

167

Print Sources

172

Film Schedule

180

Film Index

184

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Independent Productions Featured In The 1996 Seattle International Film Festival Let Us Help You Continue Your Fine Work Suzy Kellett, Director Washington State Film Office

Donna James, Director City of Seattle Mayor's Film Office

Washington State Film Office, 2001 6th, Suite 2600, Seattle, WA 98121 (206) 464-7148 Fax: (206) 464-7222, E-mail: WAfilm@cted wagov $ Clty Qi Seattle Mayor's Film Office, 6004th, Seattle, WA98104 (206)684-5030 Fax: (206) 684-5360, E,mail: Donna@ci.seattle.wa.us

Governor’s and Mayor’s Addresses

May 1 9 96 As Governor, and on behalf of the State of Washington, I take great pleasure in welcoming you to the 22nd annual Seattle International Film Festival.

The Seattle International Film Festival serves as a show case for film s from all over the world, and provides a unique opportunity for artistic interaction and exchange. The arts are an essential part of the human experience, and the medium of film provides us an excellent way to communicate across and within cultures.

Sincerely,

Mike Lowry

May 1 9 96 To the Staff, Volunteers, and Audiences of the Seattle International Film Festival: As Mayor of the City of Seattle, it gives me great pleasure to congratulate all of you as the 22nd Seattle International Film Festival begins another memorable year.

Once again, Seattle audiences will have the opportunity to immerse ourselves in the cinem atic vision and artistic wizardry of talented film m akers from around the globe.

The reputation of the Seattle International Film Festival has grown through the years, and with good reason. Today, the Festival is regarded as a premier show case for film s which go on to enjoy critical and financial su ccess. Seattle is very proud to host such an important cultural and entertainment event.

On behalf of the citizens of Seattle, I send thanks and congratu­ lations to everyone who has worked so tirelessly to make the Seattle International Film Festival such an eagerly anticipated and long-remembered annual celebration.

Jorman B. Rice

Governor’s and Mayor’s Addresses

The people of Seattle are perfect hosts for an event such as this.

This city takes great pride in its support of art and culture and in particular its International Film Festival. Whetheryou are visiting forthe first time or area fre q u e n t guest to our region, I hope you will take time to experience the warm hospitality and profound natural beauty that make Seattle and Washington State so well known around the world.

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Web Development

Staff • Director’s Message

Darryl M acdonald Festival D irector

Director: Darryl Macdonald Co-Founders: Darryl Macdonald and Dan Ireland Festival Coordinator: Jim Gibbs Marketing Director: Nancy Kennedy Publicity, Promotions and Marketing Coordinator: Carl Spence Development Director: Vivian Norris Financial Administrator: Julie Mullaney Publicist: Kathleen Mclnnis Travel Coordinator: Rose Custer Hospitality Coordinators: Jannat Gargi and Sarah Hansen Filmmakers’ Forum Coordinator: Deena Juras Jury Coordinator and Filmmakers’ Forum Assistant: Shaya Mercer Administrative Assistant: Linda Braxton Special Events Coordinator: Molly Brick Print Traffic Coordinator: Marco Miller Print Traffic Assistant: Bill Bozarth Ticketing Manager: Lorri McGinnis Volunteer Coordinator: Kelly Doyle Promotions and Marketing Assistant: Debbie Girdwood Publicity Assistant: Athena Neff Publicity Intern: Doug Dorton Hospitality Intern: Amy Faber Volunteer Coordinator’s Assistants: Andrea Ramsay and Ann Nelson Screenwriters Salon Coordinator: Molly Brick Festival Webmaster: Greg Barnes Lead Theater Manager: Gail Allman Theater Managers: Camille Schiele and Carlos Walker Shipper: John Zicari Box Office Staff: Andrew Arnett, Ed Brubaker, Erick Erickson, Cara Harris, Tracey Karr, Catherine Minahan, Seth Parker, Linda Robinson, Kim Shillington, Karen Thomas, Suzannah West Programming Committee: Ruth Hayler Dan Ireland Darryl Macdonald Kathleen Mclnnis Vivian Norris Carl Spence John Teegarden Programming Assistants: Rose Custer, Jim Gibbs, Deena Juras, Dale Nash, Dennis West Computer Consultants: Allan Brocka, Dwight Gaut

PROGRAM: Executive Editor: Carl Spence Editor: Sarah Hansen Copyeditor: Barry Foy Editorial Assistants: Grant Janes, Heidi Hubbard, Dana Michaelson Advertising Sales: Marianne Fletcher Design: Art 0 Mat Design Mark Kaufman and Jacki McCarthy Production: Continental Printers, Bill Austin Cover Art: Everard Williams Jr./Cole & Weber Image and Design Consultants/Advertising Agency: Cole & Weber Jon Dietrich, Ron Hawkins, Steve Johnston, Lynn Josephson, Scott McDonald, Austin McGhie, Trish Murray, Niki Polyocan Cinema Seattle Board of Directors: Keneta Andersen Burt Manzari Harolynne Bobis Scott Marshall Freddie-Mae Gautier Lucy Mohl Eric Goodwin Scott Rosenfelt Alison Harris Steve Shippert Ruth Hayler Benjamin F. Stephens Dan Ireland Robert Stevens Donna James Jane Suzick Darryl Macdonald Jeffrey Watts Amanda Lyon Cinema Seattle Lifetime Members/Honorary Board of Directors: Paul Canniff Allen Cohn Christine Cottle Conrad Denke Carrie Gorringe Stephen McCandless Jeff Parsons Deborah Parsons Mina Person Virginia Wright Legal Counsel: Barbara Fielden and Jackie Wood Graham & James/Riddell, Williams, Bullitt and Walkinshaw Accounting Firm: Dale Jarvis, CPA Jacobson, Jarvis & Co.

M ost heartening of all, last year’s world­ wide celebration of 1 0 0 Years of Cinema seem s to have rekindled an interest in our cinem atic heritage, as film m akers and film goers alike have gained a fresh perspective and renewed appreciation for the great works of the past.

If this year’s Festival were built around any theme, this would be it: reinventing the cinema. New talent, new technologi­ cal tools, new energy, and a renewed interest in the landm arks of cinem atic achievem ent are creating a whole new world for those who make independent film s and for the film goers who have come of age in the last two decades. Our lineup this year was put together with an eye to highlighting the innovative new cinem atic voices and visions emerging from around the world, while at the sam e tim e paying homage to our cinem atic heritage. Join us in celeb ratin g th is great contem porary art form and sh are cin em a tic history in the making.

Staff • Director’s Message

Back Row: Linda Braxton, Gail Allman, Kathleen Mclnnis, Marco Miller, Shaya Mercer, Bill Bozarth, Carlos Walker, Julie Mullaney, Marianne Fletcher, Doug Dorton Middle Row: Molly Brick, Nancy Kennedy, Carl Spence, Deena Juras, Lorri McGinnis, Athena Neff, Jannat Gargi, Darryl Macdonald Front Row: John Teegarden, Jim Gibbs, Debbie Girdwood, Vivian Norris, Sarah Hansen, Andrea Ramsay, Kelly Doyle Staff Dogs: Jane Doe and Piper

W hile Hollywood churns out bloated, p re d ic ta b le b lo c k b u s te rs w ith everin c re a s in g budgets, aim ing for a low­ e st com m on denom inator audien ce so that th e se m ovies can hope to make back their m anufacturing and m arket­ ing co sts, the independent film world is quietly reinventing itself. A vast array of new ta le n ts is em erging around the world; in the US, regional film m aking is redefining the ta le n t pool and providing new opp o rtunities for th o se who are not ready for Hollywood. W ashington Sta te its e lf is w itn essin g a surge in production and in the so p h istica tio n of its homegrown film m aking talent.

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Screening and Ticket Information SCREENING INFORMATION Seating is available at all performances on a first-come, firstserved basis. No late seating. All programs are subject to change without notice. No refunds or exchanges can be given, except in the case of a program cancellation. All film s will be shown in their original language with English subtitles. With the exception of the Child’s Play Series, children under six years old or babes in arms will not be admitted, and children six and over will be charged regular ticket prices.

ADVANCE TICKET INFORMATION Tickets for all events are available in person at the Seattle International Film Festival Box Office, at: The Broadway Performance Hall 1 6 2 5 Broadway Monday through Saturday— 11am to 7pm Sunday Noon to 5pm

DAY-OF-SHOW TICKET INFORMATION Day-of-show tickets for all screenings are available only at individual theaters 30 minutes prior to showtime. If a show is sold out in advance, a limited number of tickets may be available 30 minutes prior to showtime.

TICKET AND PASS PRICES Combination Full Series/Filmmakers’ Forum Passes are $ 4 5 0 and include adm ission to all public screenings, press screen­ ings, and all Film m akers’ Forum events. Combination p a sses are not valid for Opening Night or the Secret Festival. They are nontransferable and do not guarantee seating. Combination passholders are strongly encouraged to arrive 3 0 minutes prior to showtime.

Filmmakers’ Forum Passes are $ 2 0 0 for adm ission to all Film m akers’ Forum events.

Full-Series Passes are $ 3 5 0 and include adm ission to all public screenings and press screenings. Full-series p a sses are not valid for Opening Night, the Secret Festival, or the Filmmakers' Forum. They are non transferable and do not guarantee seating.

Full-series passholders are strongly encouraged to arrive 30 m inutes prior to showtime.

Special Events: Opening Night, $40; Closing Night, $25; The Seattle Symphony, $ 1 3 — $30; M an with the M ovie Cam era with the Alloy Orchestra, $12, Crocodile Tears, $ 1 0 (no passes).

INDIVIDUAL TICKET PRICES $ 7 .0 0 Evening screenings (except where noted) $ 6 .50 Evening screenings for SIFF m embers when purchased in advance $ 5 .00 M atinees and Midnights $ 4 .00 Age 16 and under for the Child’s Play Series only No member discount if tickets are purchased at the door!

SEATTLE FILM FESTIVAL MEMBERSHIPS (Cinema Seattle) Membership brochures are available at all Festival venues $25 Goodwill $500 Patron $50 Friend $ 1 5 0 0 Corporate $100 Benefactor $ 2 ,0 0 0 Lifetime FILMMAKERS’ FORUM $200 Full Series Film m akers’ Forum Pass $75 Day Pa ss (June 6, 7, or 8) $20 Individual Sem inar Adm ission AT&T FILM FESTIVAL INFORMATION LINE (206) 32 5-6 828 AT&T WIRELESS SERVICES CUSTOMERS MAY CALL *FILM SEATTLE INTERNATIONAL FILM FESTIVAL SOUVENIRS Limited-edition T-shirts, 1 9 9 6 and past-year posters, and other souvenir item s are available for purchase at the Broadway Performance Hall ticket office and at the various SIFF venues.

THEATER LOCATIONS Egyptian 8 0 1 East Pine Street 323-4978

Broadway Performance Hall 1 6 2 5 Broadway 32 5-6 828

Harvard Exit Theaters 8 0 7 East Roy Street 323-8986

Guild 45th 2 1 1 5 North 45th 6 3 3 .3 3 5 3

Neptune 1 3 0 3 NE 45th Street 633-5545

C A PIT O L HILL

Cinematic Six-Packs are $ 3 5 for SIFF members and $ 3 6 for non­ members, and include adm ission to any six film s priced $7 or less, limited to a maximum of two tickets per film. Films must be selected at the time of purchase. A limited number of tickets are available for each film. Cinem atic Six-Packs are available in person only, at the Broadway Performance Hall ticket office.

Weekly Passes are $ 1 2 5 and grant adm ission to all public screenings with the exception of Opening Night and the Secret Festival. They are nontransferable and do not guarantee seating.

Weekly passholders are encouraged to arrive 3 0 minutes prior to showtime.

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Secret Festival Membership Passes are $25. Mem bers are required to sign the “Oath of Silen ce” promising not to disclose any information about the film s shown in the series. Limit two per

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Screening and Ticket Information

CHARGE BY PHONE: (206) 325-6150 Only individual tickets and Full-Series Passes may be purchased by phone with a Visa or Mastercard during regular box office hours.

Secret Festival Membership Passes, Weekly Passes, Cinematic Six-Packs, and discount tickets must be purchased in person at the Broadway Performance Hall ticket office. All phone orders are subject to a $1 handling charge per order.

person. Secret Festival p a sses are available in person only, at the Broadway Performance Hall ticket office.

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Opening Night Gala THE W HOLE WIDE W ORLD Director: Dan Ireland Producers: Carl-Jan Colpaert, Kevin Reidy, Dan Ireland, Vincent D’Onofrio Screenwriter: Michael Scott Myers, based on the memoir by Novalyne Price Ellis Cinematographer: Claudio Rocha Editor: Louis Colina Music: Hans Zimmer, Harry Gregson-Williams Cast: Vincent D’Onofrio, Renee Zellweger, Ann Wedgeworth, Harve Presnell, Benjamin Mouton, Marion Eaton, Helen Cates, Michael Corbett Print Source: Sony Pictures Classics

Thursday, May 16 ■ Paramount Theatre, 7:00pm

ftfcX ft American Independents

TH E W H O LE WIDE W ORLD USA, 1 9 9 6 The story o f an e p ic love is portrayed in exq u isitely intim ate te rm s in Dan Ireland’s haunting film about love and lo s s s e t in D epression -era Texas. The film is based on author Novalyne Price E llis ’s autobiog raphical m em oir, O ne Who W alked A lon e, w hich tra c e s her turb ulent rom antic re la tio n sh ip with Robert E. Howard, the great pulp fiction w riter o f the 1 9 3 0 s who created su ch c la s s ic s a s C onan the B arb arian and R e d Sonja. A s the film o p e n s, Novalyne is in a tizzy: her current beau, Clyde, is bringing h is b e st friend, a writer, with him for a visit. Novalyne, a pretty sc h o o lte a c h e r and asp irin g author, is excited to be m eeting a “w orking w rite r,” though when the m en arrive, her rom antic n o tio n s are so m ew hat d a sh e d by R o b ert’ s slo venly app earance. During a su b se q u e n t drive through the co untryside, however, Robert proves to be fa sc in a tin g and c h a rism a tic, and N o valyne’s e a rlie s t a ss u m p tio n s about him are rekindled. One year later, sh e still h a s n ’t forgotten about the day sh e sp e n t with Robert Howard, and w hen s h e ’s transferred to a new tea ch in g po st in C ro ss P la in s, w here he lives, sh e w a ste s no tim e in trying to co n ta ct him. Before long, th eir sp o ra d ic m eeting s evolve into a co u rtsh ip o f so rts, but the co u rse of true love is a long and w inding road th a t neither Novalyne nor Bob can negotiate entirely sm oothly.

In th is cynical age, it’ s a rare thing for a scre e n love story to tou ch both your heart and your soul. The W hole W ide W orld is one o f th o se rare and c h e rish e d film s th at a cco m p lish th is feat, th a n k s to su perb direction and brillian tly realized perfor­ m a n ce s by V incen t D ’ O nofrio and Renee Zellw eger. Though the love th a t p a s se d betw een Novalyne Price and Robert E. Howard w a s bright and all too brief, it re so n a te s through tim e with an em otion al pow er a s big a s the w hole w ide world.

The W hole W ide W orld is presented with the kind support of British Airways.

Opening Night Gala

109 minutes

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Closing Night Gala EM M A Director: Douglas McGrath Producers: Patrick Cassavetti, Steven Haft Screenwriter: Douglas McGrath Cast: Gwyneth Paltrow, Greta Scacchi, Jeremy Northam, Toni Collette, Polly Walker Print Source: Miramax Films Inc. i l l minutes

Closing Night Gala

Sunday, June 9 ■ Egyptian, 6:30pm

EMMA G reat B rita in , 1 9 9 5

US Premiere B a sed on Jane A u s te n ’s tim e le s s co m ed ic novel o f love am ong the young, upwardly m obile British gentry, Em m a is se t in the English countryside during the early 1 8 0 0 s . The story fo c u se s on Em m a W oodhouse, a su rp a ssin g ly beautiful young w om an who is so busy m eddling in the lives and ro m ances o f o th ers th at sh e may ju s t m is s out on her own chance to learn about love firsthand. A s the film opens, young Emm a, pretty, clever and ju s t a little se lf-sa tisfied, lives in high style with her widowed father in the sm a ll town of Highbury. W hen her beloved governess, friend, and confidante, M is s Taylor, a nno u nces sh e is leaving to marry th eir neighbor Mr. W eston, Em m a is faced with a great gap in her life, and a great dilem m a: how to help o thers lead a life a s perfect a s her own. S h e quickly turn s to m atchm aking and ta k e s under her wing a young w om an, H arriet Sm ith, who is not too bright and not quite up to sp eed in society. Undaunted, Em m a s e n s e s good m aterial here and s e ts about finding H arriet the perfect husband.

G raced with a brilliant e n sem b le c a s t that fea tu res Gwyneth Paltrow {Seven, The Pallb earer) a s Em m a, Greta S ca cch i {The Player, Je ffe rso n in P aris) a s Anne W eston, Jerem y Northam {The Net, Carrington) a s Mr. Knightley, Toni C o llette { M u rie l’s W edding) a s H arriet Sm ith, and Polly W alker {R estoration, E nchanted A pril) a s Jane Fairfax, Em m a is a sp a rklin g com edy o f m anners that superbly tra n s p o s e s the beloved A usten cha ra cters and story to the screen . Em m a is presented with the kind support o f S ta rb u cks Coffee and M o e ’s M o ’ R o c ’ N cafe.

19

Closing Night Special Presentation K A N SA S CITY Director: Robert Altman Producer: Robert Altman Screenwriters: Robert Altman, Frank Barhydt Cast: Jennifer Jason Leigh, Miranda Richardson, Harry Belafonte, Dermot Mulroney, Steve Buscemi Print Source: Fine Line Features

Closing Night Special Presentation

Sunday, June 9 ■ Neptune, 6:30pm

K A N S A S CITY

Selected Filmography:

USA, 1 9 9 6

M *A*S*H (1970), McCabe and Mrs. M iller {1971),

Robert A ltm a n ’s extraordinary new exploration o f A m ericana is a fitting m etaphor

Nashville (1975),

for the exp lo sio n o f sw ing s e n sib ility th a t thrived d e sp ite the D e p re ssio n in a

Come Back to the Five and Dime Jimmy Dean Jimmy Dean (1982),

sin g u la r tim e and place. K a n s a s C ity \s se t in the 1 9 3 0 s in the wild city dubbed the “ P a ris o f the P la in s ” by th o se who w ere drawn to its freew heeling m ixture of jazz, crooked p o litics, and illic it sa lo o n s, gam bling, and prostitution ra ck e ts run

Fool for Love (1985),

by the mob. The story cen te rs on Blo ndie O 'H ara (Jennifer Ja so n Leigh), a young

Vincent and Theo (1990),

telegraph operator who d e v ise s an absurdly heroic plan to save the life o f her

The Player (1992),

husband, Johnny (Derm ot Mulroney), a sm all-tim e hood who h as run afoul of

Short Cuts (1993), Ready to Wear (1994)

ru th le ss m ob chieftain S eld o m S een (Harry Belafonte). Blo ndie em b arks on her ill-fated o d yssey by kidnapping a drug-dependent s o c ia lite (M iranda Richardson) who is the w ife o f a local po litical bigwig, only to d isco v e r th a t her tough-talking Jean Harlow a ct is no m atch for the ru th le ss gan gster S ee n and h is unique brand o f ju s tic e .

Returning to the city o f h is roots to m ake th is paean to jazz, Altm an has gathered together a phenom enal a sso rtm e n t of 1 9 9 0 s jazz m u sicia n s to re-create the nonstop jam s e s s io n that lit up the legendary Hey Hey Club in its heyday. The result is a sp le ndid and colorful evocation of an era and a sta te o f m ind that could only have existed in Am erica, and could only have been re-created by a director a s gifted a s the great Robert Altm an. K a n s a s C ity is presented with the kind support of S ta rb u cks Coffee and M o e ’s M o ’ R o c ’ N cafe.

21

Filmmakers’ Forum

Seattle

International

Film

Festival

Filmmakers’ Forum

-MMAKERS'

REINVENTING THE CINEMA

Thursday, June 6

THURSDAY, JUNE 6, FRIDAY, JUNE 7 & SATURDAY, JUNE 8

Storyboarding on Your Desktop

BROADW AY P E R F O R M A N C E HALL S E A T T LE C E N T R A L C O M M U N ITY C O LLEG E

Apple Computers and Power Production Software team up to show you how to turn your personal computer into a mini-studio with a demon­ stration of Storyboard Artist.

[programs, tim es and panelists subject to change] L a u n c h e d la s t y e a r in an e ffo rt to p ro v id e film m a k e rs an d N o rth w e s t film g o e r s w ith m o re in -d e p th k n o w l­ e d g e a b o u t th e a rt fo rm a nd c ra ft o f m o v ie m a k in g , th e F ilm m a k e r s ’ Forum w ill be re tu rn in g fo r th re e fu ll d a y s o f in s ig h tfu l and e n te r ta in in g p a n e l d is c u s s io n s , p re ­ s e n t a t io n s , and m a s te r c la s s e s .

9:00am to 11:00am

Digital Editing 11:30am to 1:30pm How digital editing has revolutionized the way an editor works is the focus of this seminar.

The Documentary Film: Truth with an Attitude

■ Full Forum p a s s e s are $ 2 0 0 each ■ Day p a s s e s are $ 7 5 ea ch ■ Individual s e m in a rs are $ 2 0 e a ch

2:00pm to 4:00pm After a decade of unprecedented popular and critical su ccess, documentary filmmaking is finally getting the attention it deserves.

A panel of award-winning documentary film m akers share their special brand of truth. Moderated by Michael Moore (Roger & Me).

On That Note: Composing Music for Films 4:30pm to 6:30pm Sponsored by BMI

f ttMMAKE» ®

MOWING,

King County Arts Commission

The Film m aker's Film M aker

Composers Michael Kamen (Brazil, MrHolland’s Opus) and Stewart Copeland (The Leopard Son) will bejoined by a director, a music supervisor, and a music publisher to explore the many ways musical and visual content are united on film. Moderated by Doreen Ringer-Ross (BMI).

Filmmakers’ Forum Friday, June 7

S a turday, June 8

How to Negotiate a Distribution Deal: A Master Class with Mark Litwak

The Pros and Cons of 16mm film Stock 9:00am to 10:00am

9:00am to 11:00am Veteran entertainm ent lawyer and author Mark Litwak (R eel Pow er and D ealm aking) explores the negotiating ta ctic s and strateg ie s, typical contract term s and p itfa lls of an acquisitio n /d istrib u tio n deal.

The advantages of film versus video origination, availab ility and usage of different film sto cks, and the pros and cons of 16mm and Super 16mm sto ck will be a dd ressed by Richard Bax of Eastm an Kodak.

TBA Master Class

Fade In: The Writer-Director Relationship

11:30am to 1:30pm

10:30am to 12:30pm

Following the Festival’s tradition of having a few secrets up our

The roles of screenwriter and director overlap in many ways, and

sleeve, the Film m akers’ Forum is keeping you in the dark about

collaboration can be fruitful or fraught with peril; luckiest of all are

who we will be featuring in this master class. Rest assured, you won’t be disappointed.

those who can write and direct their own material. This acclaim ed

Coming Soon to a Theater Near You: U.S. Distribution and International Sales

group of writer/directors— David Koepp (Trigger Effect), Rolf de Heer (Epsilon), and Buck Henry (Heaven Can Wait)— d iscu ss how they bring both worlds together. Moderated by John Pierson.

North by Northwest: The Washington Filmmaking Experience

Today’s film market is becoming more and more competitive and

1:00pm to 3:00pm

the financial stakes are high. U.S. distributors Bingham Ray (October Films), Michael Barker (Sony Pictures Classics), and

This year has been a banner year for local filmmaking. Our case

Adam Rogers (CFP), and international sales agents Bill Stephens (Film Four International), Charlotte Mickie (Alliance International),

study brings together an eclectic mix of film m akers and film styles.

Lisanne Dutton (line prod., Hype!), Ted Sod (exec, prod., writer,

and Wouter Barendrecht (Fortissimo Film Sales) share their in­

actor, Crocodile Tears), John Keister (co-writer,dir., That Night),

sights on the innovative tactics neccessary to attain box office

and Suzy Kellett (director, Washington State Film Office) will

su cce ss in the ever-changing marketplace for independent film s.

Moderated by Mark Litwak.

address the ins and outs of filming in Seattle and Washington.

Critical Perspectives

The Director’s Chair: Independent Directors Speak Out!

4:30pm to 6:30pm

3:30pm to 5:30pm

In a wide-ranging panel d isc u s sio n , several of the country’ s top

John Pierson will moderate this spirited panel of directors as they

film c ritic s will exam ine their role as people who are paid to see

discuss their experiences navigating the ever-changing realm of

and evaluate film s. They’ ll air their view s on their power and

independent filmmaking. Danny Boyl e (Trainspotting), Lisa Kreuger

influence, on the involvem ent of c ritic s in the film industry, and on what m ovies they love...and hate.

(M anny & Lo), Todd Solondz (W elcom e to the Dollhouse), Jim McKay (G irls Town) and Dan Ireland (The Whole Wide World) are some of the new breed of indies who have successfully traversed this strange terrain.

23

Filmmakers’ Forum

2:00pm to 4:00pm

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In the spirit of independent thinking embraced by both of our papers, we celebrate independent film-making in America with the Seattle International Film Festival.

Read our special pull-out guide to the Festival in the May 15 issues o f Seattle Weekly and Eastsideweek. Available free at

S A L U T E

various theaters throughout the festival and hundreds o f locations

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in the Puget Sound area.

A M ERI £ A N

INDEPENDENTS

Eastsideweek

SEATTLEWEEKLY 206.467.43 2

Pyramid Ales American Independent Award

Now in its second year, this juried competition was instituted to pro­ vide a spotlight for directors who have made exceptional films with

PAULA NECHAK: Paula Nechak is a freelance writer in the Seattle area whose articles are most frequently featured in The Seattle Post-Intelligencer. She also writes for The Rocket, Seattle Gay News, MovieMaker Magazine, and for the web site film.com.

Nechak has worked with the Seattle International Film Festival in the past as a short-films coordinator and as a co-manager of the Harvard Exit Theatre. She has acted as a consultant to the San Diego International Film Festival for the past four years.

smaller budgets and to recognize Seattle as a city that supports their efforts. The prize package includes approximately $40,000 worth of donated goods and services from local vendors to encourage the win­ ner to film future projects in Wash­

KEN EISNER: Ken Eisner is Variety's critic-at-large in the North­ west and the contributing editor on film for the Georgia Straight, Vancouver’s entertainment weekly. Before moving to Canada, he wrote about movies and music for numerous California publica­ tions, including the San Francisco Bay Guardian. Ken has acted as a story consultant to several Canadian directors and worked in the Southwest on Traveler, a non-narrative feature set to the music of Paul Horn. His commentaries on the arts can be heard on regional and national Canadian television and radio.

American Independent A

ington State. In view of the vast number of talented American inde­ pendent filmmakers, the SIFF pro­ gramming committee has redefined the scope of this competition to focus on emerging filmmakers. We are pleased to have Pyramid Ales

can Independent Director Award.

KATHLEEN MURPHY: Kathleen Murphy is a writer-in-residence at the Film Society of Lincoln Center, where she curated the first comprehensive program of Irish cinema and a retrospective of films by Sam Peckinpah. Her work as a film critic has been collected in a number of book-length studies, including Women and the New Cinema and The Myth o f the West, and has also appeared in Movietone News, Seattle Weekly, Boston Phoenix, Village Voice, Newsweek-Japan and Film Comment (where she is a contributing editor). Murphy headed the cinema studies exten­ sion program at the University of Washington.

THOMAS LEE WRIGHT: Thomas Lee Wright is a prolific screen­ writer who has written for every major Hollywood studio including the screenplay New Jack City for Warner Brothers. He was director/producer of the award-winning documentary about LA gang life Eight-Tray Gangster: The Making o f a Crip, which had its world premiere at SIFF in 1993 and has aired on the Discovery Channel. Wright is also co-author of two Avon books on the craft of screenwriting, Working in Hollywood and American Screen­ writers.

t u a

Award Donors and Donations: Oppenheimer Camera Inc. $5,000 - Toward 16mm, super 16mm, and 35mm camera, crane, radio, and other specialty equipment rental.

Sisu Wireless Consulting $3,000 - Satellite equipment, set-up and consultation.

Alpha Cine $2,500 - 6,000 feet of 35mm color or B&W negative processing, three hours of film-totape transfer, and partial fee for first answer print.

Eastman Kodak Company $2,500 - Color negative film stock.

American Production Services $2,200 - Four-day studio, Chameleon studio dolly rental & power.

Pinnacle Post $2,000 - 8 hours of night telecine services.

Wiggly World Studio $2,000 - Telecine transfer, film synching, 16mm flatbed editing equipment rental and editing time.

Associates Production Services $1,750 - Half-price camera crane, jib, and first week of D-Vision edit equipment rental.

Bad Animals $1,700 - One 8-hour day 16-track synch sound studio rental.

Jonas Jensen Production Services $1,500 - One day in studio with mixed equipment rental.

Seattle 16 Camera Rentai/Optimistic Camera Co. $1,500 - Camera equipment rental.

Pat Barber Editing $1,400 - One month 16mm or 35mm editing equipment rental.

25

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If you think foreign films can be tough to figure out, try hiring an attorney in H o Chi Minh City.

F o r o v er a q u a rte r c e n tu ry , w e have been h elp in g c o m p a n ie s th ro u g h o u t th e w o rld m a ste r th e legal lan d sc a p e fro m th e A tla n tic to th e R ed Sea. We sp eak th e languages o f th e w o rld an d th e w o rld o f b u sin ess.

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Secret Festival • Space Needle Awards

■ '

,

Secret Festival •Space Needle Awards

- -

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S E C R E T FESTIVAL

GOLDEN S P A C E N EED LE A W AR D S

The 13th year of our festival-within-a-festival promises to be as fabulous and controversial as ever. The famous Secret Festival is the only film event of its kind in the world. A Secret Festival membership provides a rare opportunity for passholders to see films they can’t see anywhere else. On the four Sundays of the Festival this unique event will present world premieres, long-lost gems, works-in-progress, films tied up in legal battles, or other special presentations off-limits to regular audiences. Many past years’ films have yet to be publicly screened anywhere else. A perennial sellout, the Secret Festival enjoys a fanatically loyal and exclusive audience.

Queue up with the filmmakers, archivists, distinguished guests, and discerning moviegoers who make the Secret Festival’s famed reputation what it is. Warning: All Secret Festival members are required to sign a document promising not to disclose any informa­ tion about what they’ve seen, under threat of humiliation and permanent excommunication.

The Golden Space Needle Awards provide just one of many examples of the sophisticated tastes of Seattle moviegoers, an audience of mature, well-educated cineasts and seekers of fine cinema whose opinions are heeded by other festivals and industry players. Past winners of the Golden Space Needle Award for Best Picture have gone on to receive international critical acclaim, and in many cases Oscars and Golden Globe Awards. The Awards are voted on solely by Film Festival audiences, who will again have the opportunity to cast their votes for Best Film, Best Director, Best Actor, Best Actress, Best Documentary, and Best Short Film in the Seattle International Film Festival’s 22nd competition. To vote, simply fill out the ballot available in all Festival theater lobbies, choosing films that most impressed you in each of the six catego­ ries. Winners based on your choices will be announced at the Closing Night Gala.

LAST YEAR’S WINNERS: Best Film: The Kingdom, director Lars von Trier Best Director: Bryan Singer, for The Usual Suspects Best Actor: Kevin Spacey, for The Usual Suspects and Swimming with Sharks Best Actress: Nicole Kidman, for To Die For Best Documentary Rim: Crumb, director Terry Zwigoff Best Short Film: Surprise, director Veit Helmer

27

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INTERNET The Seattle International Film Festival officially launched Seattlefilm.com, its dedicated, year-round festival Web site (at http://www.seattlefilm.com), on March 25, 1996. In 1995, SIFF was the first festival to premiere a movie in cyberspace: Party Girl broke all records when it was screened worldwide directly from the Festival on the Net (playing at hundreds of locations, including the American Pavilion in Cannes). In addition, SIFF helped launch the world-renowned film Web site film.com. The new site, devoted solely to the Festival, spotlights the Festival’s ever-rising profile in world cinema.

Seattlefilm.com is building excitement for the 22nd edition of the Seattle International Film Festival, May 16 to June 9, by offering complete access to information about all Festival-related events.

On-line services include a film database, archival information, interviews with filmmakers and directors involved in the Festival, program schedules, ticketing information, a “Who’s Where” fea­ ture, and much more.

Seattlefilm.com is made possible with the kind support of Apple Computer, ComVista, Palazzo deMix, Digital Forest, and Westwind Computing.

W H E N THE S E A T T L E INTERNATIONAL FILM F E S T I V A L F A D E S TO S L A C K , IT D O E S N ' T M E A N T H A T ' S THE E N D .

JOIN C I N E M A SEATTL E C i n e m a Se at t l e is the produc e r of the Seat t l e I n t e r n a t i o n a l Film Fest i val as well as a

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bri ngi ng the best f i l ms and f i l mma k e r s the worl d has to of f er.

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Membership brochures are available at all Festival Venues.

VISI1 Oil WEI SHE: http-.l/www .seattlefilm .com

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requiremeni of satisfying stills and tempting film clips. With over 14,000 hours * of stack foofage and,20,000,000 historical phofos, we’ve go! all Ihe ingredienfs for your nexf film or mulfimedia project Cataloged, copyright-cleared and ready for you ta use. Many images are already available in digital format So give us a call and let’s gef cookin’! *

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Screenwriters Salon

The WGA-West and SIFF present the first annual Screenwriters Salon Well-established screenwriters and new, emerging talents will be available to discuss their work, answer questions, and provide

[Screenwriters (and connected SIFF films) TBA]

Saturday, May 25 lp m & 4pm— Screenwriters Presentations and Q&A

invaluable information for all of you Northwest screenwriters who want to learn more about the craft of writing a great script. You can sip a beer, snack on a sandwich, and take a break between films

Sunday, May 26 lp m & 4pm— Screenwriters Presentations and Q&A

while reading scripts by some of the best screenwriters around.

Screenwriters Salon

Join us downstairs at the Alibi Room on Memorial Day Weekend— May 25, 26 & 27

This is the time and the place to make connections, learn how to get access to agents, and get your screenplay seen on the

Monday, May 27 lp m — Screenwriter Presentation and Q&A

silver screen!

7:30pm— Special Presentation of SIFF’s Script Read-Through Series: D.B. Sweeney’s work-in-progress Flesheaters from Jersey The Alibi Room is located downstairs in Post Alley at the Pike Place Market. The restaurant is open daily from noon until 2am. Scripts will be available at the Alibi Room beginning Wednesday, May 22.

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Benefit Screening

C R O C O D ILE T E A R S USA, Work in progress This inventive seriocom edy, written by award-winning Seattle playwright Ted Sod, tra c e s the exp lo its o f Sim on D eSoto, a high scho o l art te a ch er who g o e s o ff the deep end when he receives an HIV-positive d ia g n o sis after attending the funeral

Benefit Screening

Thursday, June 6 ■ Broadway Performance Hall, 7:15pm

o f good friend and legendary drag' queen Phyllis Dean.

D esperate to avoid the fate o f so many others, Sim on ju m p s at the chance when he gets a v is it from the devi I with an offer he c a n ’t refuse: com plete three sim p le ta s k s and h e ’ ll be free of the d ise a se . Of co urse things a re n ’t quite a s sim p le a s they at first appear... Witty, engrossing, and d e licio u sly eccentric in its approach to contem porary urban life, Croco­ d ile Tears is a true delight. Ted Sod, w hose screen play w as Director: Ann Coppel

a fin a list in the Sun dance Institute’s Screenw riter’ s Lab,

Producers: Sandy Cioffi, Ted Sod

wrote the scrip t in reaction to his own HIV-positive diagn o sis.

Screenwriter: Ted Sod

The resulting film , shown at the Festival a s a work-in­

Cinematographer: Joseph Pontecorvo Editor: Amy Duddleston

progress fun d ra ise r to help finance the postproduction work still required, is a m inor m iracle of film m aking m oxie and independent spirit.

Music: Marjorie Demuynck Cast: Ted Sod, Dan Savage, Joanne Klein, Mark Finley, Wade Madsen, Andrew Tasakos Print Source: Ted Sod 78 minutes No passes will be accepted for this special event.

33

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Special Presentation

TH E M A N WITH TH E MOVIE C A M E R A USSR, 1 9 2 9 Film th e o rist and avant-garde director Dziga Vertov (his selfch o se n nam e m eans “turning c ra n k ”) w as a leading light of So viet cinem a, and The M an w ith the M ovie Cam era is his m asterp iece. M ade at the end o f the sile n t era, th is dazzling disp lay o f m ovem ent is de n se ly edited in m ontages that em ploy the entire vocabulary o f cinem a: jum p cuts, double

Special Presentation

Sunday, June 2 ■ Egyptian, 6:30pm

exposure, s p lit screen, off-kilter angles, variable m otion, and so on. Vertov’s aim w as to m ake the cam era its e lf the hero of his film . The city w a ke s up, traffic flow s, ped estrian s swarm , a sse m b ly lin e s roll, a th le te s train, and fat people are pum m eled by strange weight-reducing m achines. Rem ark­ Director: Dziga Vertov Cinematographer: Mikhail Kaufman Editor: Elizaveta Svilova

ably for a sile n t film , The M an w ith the M o vie Cam era is full of sound: train w h istles, b a b ie s’ cries, dog barks, radio static, a s well a s m usic. Vertov co m p osed the “ m u sic sc e n a rio ” for h is film , but never heard it perform ed after the

Music: Live accompaniment by the Alloy Orchestra

1 9 2 9 prem iere. H is recently rediscovered sco re is re-created

Print Source: George Eastman House

with en th u sia sm by the Alloy O rchestra in a tour de force of

66 minutes

sound. This three-m an e n sem b le is a unique, no-holds-barred group that has been accla im ed w herever it appeared, includ­

Selected Filmography: Enthusiasm (1931) One Sixth o f the World (1926)

ing sold-out sh o w s at the Telluride and S an Francisco film fe stiva ls. We are delighted to w elcom e them for th eir pre­ m iere S e a ttle appearance, and urge you not to m is s w hat will undoubtedly be one o f the high points o f the Festival.

35

Step Up To Broadmay & Enjoy the 1996 Seattle International Film Festival Step up to Broadway, Seattle’s unique neighborhood shopping area located on historic Capitol Hill. Discover Broadway’s 230 original shops, restaurants, theaters and lively street scene.

Walk, bike, cab or take the bus. Driving?

You’ll find off-street and validated parking at these locations: A. Seattle Central Community College Lots, Harvard & Pine, Broadway & Howell B. Key Park, I 6 l8 Broadway C. Diamond Parking, 113 1Oth Ave. East D. Ampco Parking, 10th East & East John St. E. U.S. Bank Parking Lot, East John St. & Harvard Ave. East F. Ampco Parking, 211 1Oth Ave. East G. Diamond Parking, 1Oth Ave. East & East Thomas St. H. Key Park, Harvard Ave. East & East Thomas St. I. Washington Mutual Lot, Broadway East & East Thomas St. J. Broadway Market Garage, enter from East Harrison St. K. Central Parking, Broadway East & East M ercer St. L. Central Parking, 10th Ave. East & Roy St.

Seattle Symphony Goes to the Movies In this exciting and informative concert, the Seattle Symphony and Grammy-winning com poser Michael Kamen will explore the process of scoring major motion pictures, with live orchestral accompaniment. Audience members will see film excerpts as Michael Kamen conducts the Symphony in performances of his best-known work, including ’’Everything I Do (I Do It for You)’’ and “Have You R eally Loved a Woman," (the Oscar nominated song from Don Juan de Marco) and music from Mr. H o llan d ’s Opus, Brazil and The Adventures o f Baron M unchausen .

Afterthe concert, the Seattle Symphony will host a special post­ concert party with Michael Kamen and other special guests.

Patron tickets to the entire evening are available at a special price and include valet parking, premiere concert seating, and the post-concert party.

Michael Kamen has distinguished him self as an orchestrator, composer, conductor, and extraordinary collaborator. He has worked with a vast array of artists, from Luciano Pavarotti to Bob Dylan, written every type of music from rock best-sellers to ballets, and composed scores for film s ranging from Lethal

M arco earned him a Golden Globe nomination for Best Original Score for a Motion Picture. The No. 1 hit song from that film, ’’Have You Ever R eally Loved A W oman,” sung by Bryan Adams, also garnered Kamen an Oscar, Golden Globe, and Grammy nomination for Best Original Song Written for a Motion Picture.

His three other scores were for the highly acclaim ed C ircle o f Friends, Mr. H o llan d ’s Opus and Die Hard with a Vengeance.

Kamen’s upcoming film s include Francis Ford Coppola’s Jack, starring Robin W illiam s and Bill Cosby, and Disney’s live action version of 101 D alm ations.

SEATTLE SYM PH O N Y G O E S TO TH E M O VIES WITH M IC H A E L K A M EN Presented in Partnership with the Seattle International Film Festival Friday, June 7, 8pm Paramount Theatre

Seattle Symphony

Weapon to Brazil. In 1995, Kamen composed the music for four very diverse film s. His lushly romantic score for Don Juan de

With more than 100 concerts during the 1 9 9 5 — 96 season, over 60 compact disc recordings to date, and 10 Grammy Award nominations, the Seattle Symphony continues to be hailed as an artistic success. Historically, the symphony has been among the most daring in its programming, with strong recognition of 20th-century com posers, a tradition consistently upheld by Music Director Gerard Schwarz. In his 13 years here, Maestro Schwarz has initiated several concert series, has conducted award-winning recordings, and has introduced many new works to the Seattle Symphony’s repertoire. The orchestra’s pursuit of artistic excellence will continue with the opening of its acoustically outstanding Benaroya Hall.

37

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O fficia1 Sponsor of the Seattle International Film Festival and the Women in Cinema Festival Call Alaska Airlines at 1-800-426-0333 or catch us on the internet at http://www.alaskaair.com

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On Sunday, June 2 ,1 9 9 6 , film e n th u sia sts will gather for our ever-popular annual Movie Poster Exhibition and Auction.

home— m agnificent and rare posters from all over the world.

Throughout the year, Film Festival program m ers attending other international film fe s tiv a ls search for exceptional,

LOVE K ILLS

unique posters and prom otional m aterials. These are beau­ tiful c o lle c to r’ s item s, with inventive graphics rarely d is­ played in the m ass-produced, com m ercialized po sters that come out of Hollywood. Over 10 0 po sters will be auctioned, ranging from sm all, elegant, lobby-style pieces to enorm ous, high-quality, much sought-after banners from European and Asian p resses. H ighlights include French, British, Italian, Sp anish, and German posters from som e of the best film s of recent y e a rs’ world fe stiv a ls. Auctioneer Gary Tucker will host th is do n ’t-m iss event. The Po ster Exhibition opens for viewing at 11am , and bidding begins promptly at 2:30pm .

Light refreshm ents will be offered.

Location: M aso nic Temple, 4th Floor.

Poster Auction

This is a great opportunity to peruse— and perhaps take

Archival Presentations

Wednesday, May 22 ■ Harvard Exit, 7:15 pm

TH E LA ST STO P (Ostatni Etap) Poland, 1948 Director: Wanda Jakubow ska Screenwriters: W anda Jakubow ska,

Archival Presentations

Gerda Schneider

Cinematographer: B oris M onastyrski Music: Roman Palestar Cast: Barbara D rapinska, Wanda Bartowna, Tatiana Gorecka

Print Source/lntemational Sales: Rim Polski

Thursday, May 30 ■ Egyptian, 5:00pm

TH E LOST GARDEN Canada, 1995 Director: M arquise Lepage Producer: Josee Beaudet Screenwriters: M arquise Lepage, Solange Collin

Cinematographer: Jean-Pierre Lachapelle Editor: France Pilon Music: Robert M. Lepage Print Source: National Film Board of Canada 53 minutes

1 1 3 m inutes Unavailable in the United States for decades, The Last Stop provides one of the m ost distinc­ tive and chillingly authentic depictions of the Holocaust in cinem a history. An epic re-cre­ ation of life in the wom en’s section of the Auschwitz-Birkenau concentration camp, it was actually made on location at that notorious cam p during the sum m er of 1 9 47 by people who had, only a few years before, lived through the experience. Those included director Wanda Jakubowska, screenwriter Gerda Schneider, and many of the m ovie’s 3 ,5 0 0 extras. The result, on one hand, dram atizes Nazi brutality with unsurpassed conviction and terror, and, on the other, te lls an inspiring story of the extraordinary resilience and solidarity of the fem ale prisoners who survived it. A documen­ tary film m aker in the 19 3 0 s, Jakubowska went on to a long career as a director and screen­ writer, making her last film in 1988. Here, her raw, som etim es deliberately disorienting style recalls the neorealist movement then flourish­ ing in Italy. The Last Stop’s “terrifying realism ” reportedly stunned viewers at the time and has lost none of its disturbing power today. This is an unforgettable film about a horrific history that should not be forgotten. “Perhaps you think Steven Spielberg has exhausted this imagery. Jakubowska represents Auschwitz as if for the first time— which was, in fact, exactly what she w as doing . . . Nearly a half century after It w as shot, The Last Stop still conveys a sense of incredulous urgency.”— J. Hoberman,

The Village Voice

Alice Guy-Blache (1873-1968) was one of the first film m akers to bring a story to the screen, and certainly the first woman director. Y etth is remark­ able cinem a pioneer has been unjustly ignored and is alm ost completely unknown today. Mar­ quise Lepage’s fascinating documentary exam­ ines Guy-Blache’s amazing career, shows many tantalizing scenes from her few surviving films, and includes interviews with her daughter-in-law and granddaughter. Young Alice was secretary to Leon Gaumont in 1 8 9 4 when she persuaded him to let her direct a film. He agreed, as long as it didn’t interfere with her secretarial work! She immediately demonstrated a flair for cinem atic storytelling and went on to direct, write, and/or produce 7 0 0 film s in twenty-five years, many of which were falsely credited to her male assistant directors or even her leading actors. She experi­ mented with slow motion, fast motion, fadeouts, double exposures, and the development of film stock; she w as also one of the first directors to use natural locations in fiction films. Moving to America in 1 9 07 with her husband and two-yearold daughter, she founded her own studio, which becam e the largest in America before World War I. After the war she lost both her husband (to a leading lady) and her studio, and stopped making films, but she should always be remembered for her trailblazing achievem ents. Showing with the documentary are two short film s by Alice GuyBlache, preserved by the Museum of Modern Art: Matrimony’s Speed Limit and A House Divided (both 1913).

Selected Filmography:

Saturday, May 25 I Egyptian, 3:30pm-Program 1 Monday, May 27 I Egyptian, 3:30pm-Program 2

POLITICALLY IN C O R R EC T CARTOONDAZE USA, 1 9 3 0 s-5 0 s Program 1: 75 minutes Program 2: 75 minutes Sexist, racist, violent— we are delighted to offer two programs of very un-PC cartoons with som e­ thing to offend, enlighten, and, we hope, am use everyone! In the interest of social scholarship as well a s ju st plain rude fun, anim ation expert Jerry Beck has graciously consented to share with us his secret stash of toons the Big Brothers of political correctness don’t want you to see. “We ca n ’t com pletely erase the past," Beck has said.

“I think it’s important to se e where we were in history, the attitudes, and the trends of the day.

This kind of ethnic hum orw as a staple of Am erican humor for m ost of the century. This w as not in its day thought of as offensive; it w as the style at the tim e.” We wish we could give you titles and name names, but we don’t want to get him in too much trouble! Suffice it to say you’ ll be seeing charac­ ters from som e of anim ation’ s biggest stud ios on their worst behavior. What will be seen here is presently unavailable in any form. Program 1 will be devoted to the propaganda of the World War II era, and Program 2 to racial and sexual sterotypes.

Mr. Beck (who m ost recently authored the lively 50 Greatest Cartoons) will be on hand at both shows to offer insight and field your com m ents. No o ne ’s sensibilities will be spared, so please check your indignation at the door and enjoy this funny, fascinating glim pse into the warped m indset of yesteryear. Says Beck, “ I think h um o rw as richer when som e of the gloves were taken off. These cartoons are offensive if you read them that way, but if you look at them from ace rta in point of view, they’re acknowledging the diversity in our society.

They were acknowledging these groups did exist and they were different.”

Mon Amerique a Moi

(1992), Un Soleil Entre Deux Nuages (1989)

Selected Filmography: The Soldier of Victory (1953), Farewell to the Devil (1956), The End o f Our World ( 1964), Ludwik Warynski (1978), The Colors o f Loving (1988)

CARLE

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Archival Presentations

Friday, May 17 ■ Guild 45th, 5:00 pm Sunday, May 19 ■ Guild 45th, 3:30 pm

Sunday, May 26 ■ Harvard Exit, 3:30 pm

Thursday, June 6 ■ Guild 45th, 7:15 pm

TOKYO DRIFTER (Tokyo Nagaremono) Japan, 1966

TH E U M B R E L L A S OF CHERBOURG France, 1 9 6 4

Director: Rene Clem ent Producers: Robert Hakim, Raymond Hakim Screenwriters: Rene Clem ent, Paul

Director: Seijun Suzuki Producer: Tetsuro Nakagawa Screenwriter: Yasunori Kawauchi,

Director: Ja cq u e s Demy Producer: M ag Bodard Screenwriter: Ja cq u e s Demy Cinematographer: Jean Rabier Editor: Anne-Marie Cotret Music: M ichel Legrand

Gegauff, based on the novel by Patricia Highsm ith Cinematographer: Henri Decae Editor: Francoise Javet Music: Nino Rota Cast: Alain Delon, M arie Laforet, M aurice Ronet Print Source: M iram ax Film s Inc. 1 1 8 m inutes

from his novel

Cinematographer: Shigeyoshi Mine Editor: Shinya Inoue Music: So Kaburagi Cast: Tetsuya Watari, Chieko Matsubara, Hideaki Nitani, Ryuji Kita, Tsuyoshi Yoshida, Hideaki Esum i, Tamio Kawachi, Hiroshi Cho Print Source: ICA Projects International Sales: Kinowelt Filmverleih

83 minutes Based on Patricia Highsm ith’s novel The Incred­ ible Mr. Ripley, Rene C lem ent’s c la s sic psycho­ logical thriller w as first released in 19 60 , and yet it retains in every way a taut, contemporary edge suffused with keen insights into the ways in which greed can turn ordinary men into amoral creatures. Alain Delon sta rs a s Tom Ripley, a resourceful young drifter who is hired by a wealthy Am erican b u sin e ss mogul to bring his errant son back from an extended stay in Europe. Arriving in Paris, where he befriends his hedonistic charge, Ripley soon team s up with the young man to travel and enjoy the good life in Italy. Things progress nicely, with Ripley enjoying the com panionship and financial free­ dom of his new friend, until a letter arrives from the father threatening to cut off Ripley’s money unless his son returns home immediately. With this new tw ist in the relationship, Ripley is forced into a more sin iste r way of m aintaining his newfound lifestyle.

Selected Filmography: The Walls o f Malapaga (1949), Forbidden Games (1952), Gervalse (1956), Knave o f Hearts (1954), Is Paris Burn­ ing? (1966), Rider on the Rain (1970)

This Peckinpah-esque script about the last honor­ able yakuza in a world of corporate domination and corruption is one of Seijun Suzuki’s m ost memo­ rable and visually stunning works. A man out of his time, Hondo Tetsuya (aka “Phoenix” Tetsu) drifts around Japan, stoically awaiting his own extinc­ tion, while a conflict between the Kurata gang (his employers) and the rival Otsuka gang com es to a head. Tetsu is summ oned back to Tokyo and helps lead a preemptive strike against the Otsuka gang in their nightclub, but soon finds him self being pursued by the unholy alliance of both the Kurata and Otsuka gangs. The barrage of aestheticized violence, visual gags, giggling comic-book-reading secretaries, hairdryers, and mind-warping color effects (thanks to som e of the m ost splendid lighting ever seen, by Takeo Kimura) pulls us into this voyage to yakuza never-neverland, taking the genre to its lim its and beyond. Spatial disorienta­ tion, monochrome im ages studded with color de­ tails, and shots from below and above the action push the visuals to the heights of expressionism and toward pure abstraction. Tokyo Drifter is one of the Festival’s m ost visually intense and memo­ rable experiences.

Selected Filmography: The Bastard (1963), Down with the Wicked (1963), Gate of Flesh (1964), Story o f a Prostitute (1965), Yumeji (1991)

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Cast: Catherine Deneuve, Nino Castelnuovo, Anne Vernon, M arc M ichel, M ireille Perrey Print Source: Ze itge ist Film s International Sales: Cine Tam aris, Paris

91 minutes This absolutely unique and delightful film w as thought irretrievably lost: all prints had faded disastrously, and the m aster negative w as dam­ aged beyond repair. Fortunately, director Jacques Demy had had a 3-part black-and-white negative made at the original release, and from that the film w as arduously restored to its full colorful glory, and remixed in Dolby Stereo. Though unfa­ m iliar to many of today’s film goers, The Umbrel­ las o f Cherbourg w as a huge hit when first released, winning the Palm e d ’Or at the Cannes Film Festival and five Academ y Award nomina­ tions. It made a star of 20-year old Catherine Deneuve (three years before Belle de Jour, a revival hit at SIFF ’95). Umbrellas is a bittersweet romance about the perm anence (or otherwise) of true love. Genevieve (Deneuve), who works at her m other’s um brella shop, desperately loves Guy (Nino Castelnuovo), a handsom e auto mechanic; but when Guy is called to military service, they are forced to part. This film is truly one-of-a-kind— every word is sung, and the jazzy m usic of Michel Legrand m akes it seem natural rather than oper­ atic. Demy w as in love with color, and, throughout the shooting on location in Cherbourg, colored every frame extravagantly. The result is magical, as fresh today as when it first appeared 3 2 years ago.

Awards: Palm e d ’Or, C annes Film Festival, 1 9 6 4

CARLE

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-W e are dedicating this year’s Archival Series to William K. Everson. His appearances at many Seattle International Film Festival functions were always a delight and the films he brought and screened from his personal collection were not available anywhere else. His presence will be sorely missed.

41

Archival Presentations

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Child’s Play This year’ s C h ild ’ s Play S e rie s fea­ tures five film s that will appeal to children of any age. Several involve young people using their ta le n ts and im agination to develop frien d sh ip s, help their fa m ilie s, and make life an adventure. There’ s a 10-year-old chef improving the gastronom ic standards of his boarding school, a young extra­ terrestrial studying life on earth with his dog Max, and two brothers hunt­ ing rats for the Bangkok m arket. In addition, one of the w orld’ s greatest c la s s ic s ,

The Wind in the W illows,

film. These imaginative and thoughtful film s will fill even the most grown-up filmgoer with whimsy.

TH E B O Y FR O M M ERCURY Ireland/France/Great Britain, 1996 US Premiere Director: Martin Duffy Producer: Marina Hughes Screenwriter: Martin Duffy Cinematographer: Seamus Deasy Editor: John Victor Smith Music: Stephen McKeon Cast: James Hickey, Rita Tushingham, Tom Courtenay, Hugh O’Conor Print Source: Mercurian Productions International Sales: Le Studio Canal 87 minutes Dublin, circa 1960. Eight-year-old Harry Cronin has only one explanation for his troubled exist­ ence: he is an extraterrestrial from Mercury! After all, his father is dead, his mother seems much too old, his teenage brother wants nothing to do with him, and, for some unknown reason, the school bully is after him. Harry can only conclude that he and his sidekick dog, Max, have been sent from the planet Mercury to study life on earth. His fantasy world is inspired in no small way by Flash Gordon, whose films mesmerize him every Satur­ day afternoon at the local cinema. Seeing the flashing lights of Mercurian spacecraft as they race across the sky each night, Harry is secure In the knowledge that with his flashlight as a bea­ con, he will be protected if the going gets tough.

His youthful misadventures and dilemmas drive his mother to such distraction that she turns to Harry’s decidedly bizarre Uncle Tony for help. A warm and funny family film for all ages.

Monday, May 27 ■ Guild 45th, 12:30pm

A F E A S T AT MIDNIGHT Great Britain, 1995 Director: Justin Hardy Producer: Yoshi Nishio Screenwriters: Justin Hardy, Yoshi Nishio Cinematographer: Tim Maurice-Jones Editor: Michael Johns Music: David A. Hughes, John Murphy Cast: Christopher Lee, Robert Hardy, Freddie Findlay, Edward Fox Print Source: Live Entertainment International Sales: Beyond Films 105 minutes This wry, charming film should delight viewers of all ages who ever felt left out by the in-crowd and longed for sweet revenge. Ten-year-old Magnus Gove is the new boy in school. This being a British boarding school, it’s not the most hospitable place, and Magnus, being a small, precocious boy, is easily picked upon.

Adding insult to injury, the food is terrible!

Magnus has been raised in France and has rather definite ideas about proper cuisine.

Banding together with several of the other misfit boys, he decides to take matters into his own hands, forming a secret “Scoffers” soci­ ety to prepare and share culinary delicacies.

But will they be able to keep their scrumptious late-night banquets hidden with so many sus­ picious minds lurking about? These include the school’s chef, who specializes in inedible health foods, a spoiled star athlete who rou­ tinely steals the smaller boys’ treats, and the ominous Latin master who’s popularly known— with good reason— as “Raptor.” Christopher Lee plays the latter part with his trademark steely menace, especially in the witty send-up of Jurassic Park’s kitchen-search sequence.

But personable newcomer Freddie Findlay, as Magnus, proves a more resourceful match than he first appears. In the confident hands of first-time director Justin Hardy, A Feast at Midnight provides delicious instruction on the way to win friends and gain self-respect through cooking.

43

Child’s Play

com es to life in a beautifully animated

Tuesday, June 4 ■ Broadway Performance Hall, 7:15pm Saturday, June 8 ■ Harvard Exit, 12:30pm

Child’s Play

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Saturday, June 1 ■ Guild 45th, 12:30 pm

Saturday, May 25 I Guild 45th, 12:30 pm Tuesday, May 28 I Harvard Exit, 5:00 pm

Saturday, May 18 I Guild 45th, 12:30 pm Monday, May 20 I Harvard Exit, 5:00 pm

M Y FRIEND JOE Ireland, 1995 US Premiere

TH E RIVER CH AO PHRAYA Thailand, 1996

TH E WIND IN TH E W ILLOW S Great Britain, 1995

Director: Chris Bould Producer: Gerhard Schm idt Screenwriter: David Howard, based on

Director: Sam pson W illiam s Producer: Pongthorn Bejrajati Screenwriter: Sam pson W illiam s Cinematographer: Pongthorn Bejrajati Editor: Sam pson W illiam s Music: Tom Hite, Tom McDerm ott Cast: Eak Natilocksana,

Director: Dave Unwin Producer: John C o a te s Screenwriter: Ted Walker, based on the

the novel Janne, Min Van by Peter Pohl Cinematographer: M ichael Faust Editor: Rodney Hollan Music: Ronan Hardiman Cast: Schuyler Fisk, John Cleere, Stephan M cH attie, Joel Grey Print Source: Gemini Film produktions GmbH

101 minutes In this wonderfully entertaining and suspense­ ful film, 13-year-old Chris (John Cleere) tries to join a school buddy gang, but d oesn’t succeed until he m eets Joe, who can do the m ost awesome stunts on his mountain bike and who can get him in. Chris has never had a real friend before, and they become best buddies. We soon find out that Joe is actually a girl, who d re sse s up a s a boy In order to conceal the fact that she is from a traveling circus, where she is being exploited by her trainer, Curt, a s part of a high-wire act. Her only friend is the circus clown (Joel Grey), who used to be Curt’s own trainer. Escaping from Curt’s surveillance during the 10 days that the circus is in town, Joe enjoys herfriendship with Chris more and more. They become good friends and she wants to share everything with him. But the circus w on’t stay in town forever, and som etim es it’s hard to tell se­ crets even to your best friend. Suitable for children of all ages, this superbly crafted fam ily film is an absorbing tale about the power of friendship.

Awards: Blue G la ss Bear (Best Childrens Film), Berlin International Film Festival, 1 9 9 6

B r it is h

A irways

Krissana Rattanakul, Diyanuch Ongalor, Charn Varanurangsri, S a k e sa k Vorasin Print Source: Sam pson W illiam s

book by Kenneth Graham e

Animator: TVC Anim ation Studio Editor: Andy Kem p Narrator: V an e ssa Redgrave Cast: Alan Bennett, Rik M ayall, M ichael Palin, M ichael Gam bon

86 minutes

Print Source: Good Tim es Entertainm ent 78 minutes

Set against the exotic and incredibly beautiful backdrop of contemporary rural Thailand, The River Chao Phraya follows the exploits of two well-meaning young brothers who se t out for the big city in hopes of helping their mother, only to find them selves in need of som e help when the realities of city life overwhelm them. As the film begins, two young boys return from a day spent frolicking by the river to find that their mother has taken ill and m ust give up her work in the fields to undergo a forced regimen of three w eek’s rest.

Struggling to raise them alone after the recent untimely death of her husband, the boys’ mother frets that without work the family will soon starve. As the brothers go to bed that night, they hatch a plan to solve the family crisis. Building a crude raft, they rise early one morning and set off downriverfor Bangkok, in hopes of earning enough money as rat-catchers to solve their mother’s problems. Having left her a note “so she won’t worry,” the boys embark on a series of colorful adventures that lead them toward a happy and quite unexpected return to their rural home.

This delightful animated feature is based on the universally loved ta le s created by Kenneth Grahame. The film begins with a peaceful boat ride along a river, with V anessa Redgrave telling a story to her three children. A sm ooth transition to the animated and m agical riverbank intro­ duces the film ’s central characters. The impetu­ ous and naive mole is eagerfor new experiences, which usually lead him toward danger and calam ­ ity. His companion, Rat, is intensely practical and well-versed in the ways of the river, but he is a romantic dreamer. These two are contrasted with the huge, awesom e Badger, the scourge of rascals in the wild woods, and the recklessly flamboyant, outrageously irresponsible Toad. But true to Graham e’s enduring 1 9 0 8 m asterpiece, the m ost powerful and mem orable character is the river itself, a mythical presence that is, as the narrator says, “always changing, always the sa m e .” The quartet of actors use their rich theatrical voices to good dram atic effect, and Redgrave’s narration adds the right touch to this engaging animated classic.

Awards: Audience Award for B est Film, Santa Barbara Film Festival, 1 9 9 6

We salute the

Seattle International Film Fe&tival the largest film festival in the U.S. On behalf of the men and women who write the movies...

Join us at the

Screenwriters’ Salon Festival Screenplays * Q & A Sessions with Screenwriters * Food and Drink * Good Conversation

Located at the Alibi Room, Pike Place Market Open Noon-6:00 p.m., May 25-27 Screenwriters are scheduled to speak about their films and the craft of writing at the following times: Saturday, May 25 at 1 p.m. and 4 p.m.

Sunday, May 26 at 1 p.m. and 4 p.m.

Monday, May 27 at 1 p.m.

On Monday, May 27 at 7:30 p.m., join us for a script reading of D.B. Sweeney’s work-in-progress “ Flesheaters From Jersey.”

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Documentaries: Truth with an Attitude

Friday, May 17 ■ Harvard Exit, 5:00pm Sunday, May 19 ■ Egyptian, 3:30pm

A N A TO M Y O F D ESIRE Canada, 1995 US Premiere

Ever think of what makes us gay? Straight? Bisexual? Is sexual orientation a lifestyle choice, as many insist? Or is scientist Simon LeVay correct when he argues that there is a part of the brain that determines sexual preference? Anatomy o f Desire dishes the dirt on this long-standing debate as well as the history of science, which has attempted to define, control, and eradicate same- sex desire.

Incisive interviews with leading historians, psychiatrists, and aca­ demics are artfullyjuxtaposed with rare archival footage— from ’60s drag queens to Stonewall activists to filmed psychotherapeutic “treatment.” This provocative documentary examines the growing debate on the origins of sexual preference and how it affects the lesbian and gay civil rights movement. With style and wit, Anatomy o f Desire comes out laughing— and fighting.

JIM LOVES JACK: THE JA M E S EGAN STO R Y Canada, 1995 Director/Producer: David Adkin Cinematographer: Ali Kazimi Editor: Ricardo Acosta Music: Andre Vincelli, David Adkin Print Source/lnternational Sales: David Adkin Productions Inc. 53 minutes This documentary, produced and directed by award-winning film­ maker David Adkin, tells the remarkable story of Jim Egan, an outspoken champion of gay rights who broke the conspiracy of silence around homosexuality in the late 1940s and early 1950s.

Recently, Egan and his life-partner, Jack Nesbit, took the Canadian government to court in a historic attempt to win legal recognition for same-sex relationships. An intimate portrayal of a relationship that spans nearly 50 years of gay history in North America, Jim Loves Jack is both an inspiring story of heroism, and a moving testimony to the dignity of gay and lesbian relationships.

Selected Filmography: Out: Stories o f Lesbian & Gay Youth (1993)

BELLY TA LK ER S USA, 1995 Director: Sandra Luckow Producers: Eve Chilton, Maude Chilton Cinematographer: William Rexer II Editor: Ann Collins Music: Jack Maeby Featuring: Candice Bergen, Edger Bergen and Charlie McCarthy, David Copperfield, Shari Lewis and Lamb Chop, Dolores Luckow, Sandra Lucknow and Juanito Print Source: Elegant Films Inc. 69 minutes Some people have so much to say that they need a hand. In Belly Talkers, Sandra Luckow’s comic documentary about the lives, loves, and tribulations of ventriloquists, the real stars are the fascinating puppets who vocalize words their “other halves” are too shy to share. Luckow interviews famous and not-so-famous belly talkers (an ancient Egyptian term for ventriloquists) and embarks on a personal odyssey into her own devotion to the art. Belly Talkers is a wonderful celebration of the characters— both wooden and hu­ man— who people the modern-day ventriloquist circuit. From bornagain Christian ventriloquists to child psychologists, from master dummy-crafters to trade-show pros, the film’s subjects all convey the art’s playful and joyous enthusiasm. Sandra Luckow balances the presentation with archival material and clinical explorations, both of which have been known to characterize ventriloquists as schizophrenic. Belly Talkers revels in an arcane art form, embracing its merits and its unique brand of humor.

Documentaries

Directors: Jean-Francois Monette, Peter T. Boullata Producers: Kenneth Hirsch, Jean-Francois Monette Editors: Donna Read, Jean-Francois Monette Print Source: National Film Board of Canada International Sales: Telefilm Canada 51 minutes

Monday, May 27 ■ Harvard Exit, 12:30pm

Documentaries: Truth with an Attitude

Documentaries

Thursday, May 23 ■ Harvard Exit, 9:30pm

Saturday, May 18 ■ Egyptian, 12:30pm Sunday, May 19 I Guild 45th, 9:15pm

DADETOW N USA, 1995

TH E GATE O F HEAVENLY P E A C E USA, 1995

Director: Russ Hexter Producer: Jim Carden Screenwriters: Russ Hexter, John Housely Cinematographer: W.J. Gorman Editor: David Kirkman Music: Tim Carden Cast: Bill Garrison, David Phelps, Jim Pryor, Jonathan Shafer, Stephen Beals, Valerie Gilbert, Frankie Earle Print Source/lnternational Sales: Tuba City Inc. 93 minutes

Directors: Richard Gordon, Carma Hinton Producers: Richard Gordon, Carma Hinton, Peter Kovler, Orville Schell, Use Yasui Screenwriters: Geremie Barme, John Crowley Cinematographer: Richard Gordon Editors: David Carnochan, Charles Phred Churchill Print Source: Long Bow Group 190 minutes

Paper clips and staples used to be the products that helped bring home the bacon in this small industrial town, but then a corporate giant moved in and brought with it country clubs, suburbs, and conflict. High-tech types and metal workers never seem to cross paths in any of the cappuccino bars that begin popping up around town. Even the new, corporate-sponsored playground is empty, eventually vandalized by local ruffians. This “documentary” appears to be an authentic telling of an increasingly common story, the story of a global economy that has forgotten its roots in the small towns of the world and is tearing those towns apart. With seemingly close ties to films such as Roger and Me, Dadetown also makes us angry, but for very different reasons. We begin to really care about the townspeople: the local historian, the soon-to-be mayoral candidate, the grocer, the out-of-work guys and gals from the plant. Where are the days when Dadetown was white picket fences and a stable economy? Who are these yuppies with their beauty bark and cappuccinos? And why are they taking over? This movie makes you wanna smack the Corporate PR man and down a beer with the guys at the b a r . . . or does it?

Six years in the making, The Gate o f Heavenly Peace is a riveting and explosive portrait of the events surrounding the Tiananmen Square uprising. Over 250 hours of historical and contemporary archival footage were collected and analyzed in order to construct the most complete and accurate picture to date of the 1989 events and their historical context. The archives from which the film draws include Western and Chinese newsreels and footage from the 1920s to the present, contemporary news coverage from Japan, Taiwan, Hong Kong, China, France, The Netherlands, Spain, Canada, and the United States, and home video footage shot by local Chinese and foreigners who observed the movement. The film delves into historical background, looking back to college student protests in 1919, and comments on political habits and attitudes that have come to inform public life in China over the past century. In contrast to the over simplified dichotomy often presented by Western media, it presents a wide range of Chinese views concerning the struggle for a better society. The Gate o f Heavenly Peace documents in depth the development of the 1989 protest movement and reflects the drama, tension, humor, absurdity, heroism, and many tragedies of those six weeks in April and June. This film became a cause célèbre when the Chinese government objected to its showing at the New York Film Festival last year and canceled the scheduled visit by Zhang Yimou for the premiere of Shanghai Triad.

Selected Filmography: S tilt Dancers (1981), First Moon (1987), One Village in China (1987), Abode o f Illusion (1992)

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Documentaries: Truth with an Attitude

Sunday, May 26 ■ Egyptian, 6:30pm Saturday, June 8 ■ Egyptian, Midnight

Friday, May 17 ■ Harvard Exit, 5:00pm

HAITI, UNTITLED Denmark, 1996 US Premiere

Internationally acclaimed documentary filmmaker Jorgen Leth turns his camera on the tumultuous country of Haiti, exploring both its recent past and the current predicament of its people. This is a fascinating study of a country that is struggling to come to grips with a history of repression, a culture steeped in voodoo, and a level of poverty that is unthinkable among industrialized nations in the western hemisphere. What emerges from the impressionistic collage of images, interviews, and in-your-face footage is a portrait of a society that is both harrowing and highly exotic, a place where myth, magic, and mayhem combine to create a country that is impossible to live in and equally impossible to leave. “I feel hypnotized by life in Haiti. Every time I come back I have the feeling of a personal submersion under the surface, into chaos. But a chaos which fascinates me with its mysteries, its horrors, its sensuality, and its surreal scenes. Haiti is a peculiar mix of tragedy and comedy. It has been like this to me for many years. A fascination that I had to confront. Something I wanted to under­ stand.”— Jorgen Leth

Director: Doug Pray Producers: Steven Helvey, Lisa Dutton, Pette Vogt Cinematographer: Robert Bennett Editors: Doug Pray, Joan Zapata Music: Soundgarden, Pearl Jam, Nirvana, Mudhoney, The Posies, The Young Fresh Fellows, The Fastbacks, Seaweed, 7 Year Bitch, The Gits, Flop, Gas Huffer, The Supersuckers, Love Battery, The Monomen, The Melvins, Coffin Break, Dead Moon, Hammerbox, Some Velvet Sidwalk, Zipgun, Crackerbash Print Source: Doug Pray 84 minutes A fascinating exploration of the birth and international emergence of the grunge music scene, Hype! cleverly exposes the ways in which media attention turns art into a marketable commodity. The film delves under the surface of the Seattle musical phenomenon to present an incisive and riveting portrait of its culture, its community, and its cleverly exploited commercial appeal. Juxtaposing local scenery with spectacular concert footage and interviews with the central players, Hype! is an insightful and endlessly engaging musical documentary.

That Night (USA, 15 minutes) Directed by John Keister. The passage to adulthood is never entirely smooth, as Princess discovers when her longtime friends return from touring Europe with their band and drag her out for a night of partying.

Selected Filmography: Life in Denmark (1971), Stars and Water Carriers (1973), A Sunday in H ell (1976)

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Documentaries

Director: Jorgen Leth Producer: Dino Raymond Hansen Cinematographers: Tomas Gislason, Dan Holmberg, Alexander Gruszinski, Jorgen Leth Editors: Camilla Skousen, Jacob Thuesen Music: Hilmar Orn Hilmarsson Print Source/lnternational Sales: Danish Film Insti tute-Wo rks ho p 79 minutes

H YPE! USA, 1995

Documentaries: Truth with an Attitude

Friday, May 17 ■ Egyptian, 5:00pm

Documentaries

JANE: AN ABORTION SER V IC E USA, 1995 Directors/Producers/Cinematographers/Editors: Kate Kirtz, Nell Lundy Music: Seth Geltman Print Source: Filmcraft 60 minutes JANE was the name of a collective established to provide safe abortions for women prior to their being made legal in 1972. Before 1972 a woman took her life in her hands if she sought out an abortion in what was known as the “back alley.” Male practitioners offering these services were often not only inconsiderate and cruel to women seeking help, but they frequently did not take the hygienic measures necessary to ensure that this relatively simple practice was carried out safely. This extraordinary documentary tells the story of female activism in a time when women needed all the help they could get simply to have their voices heard. Their bodies were in the uncaring hands ofjudgmental and often cruel people who were in the business of providing abortions simply to make money. JANE began as a counseling and referral service within the University of Chicago community. Women who had become frustrated with their treatment by male practitioners learned how to perform abortions themselves and provide services to women who needed them. By the time of its dissolution in 1972, JANE had grown to include 125 woman acting as counselors and practitioners. This documentary depicts the bravery of these women and celebrates their success and the impact their activism had on their lives. Through ironic and often humorous archival clips from B-movies and educational films, Jane: An Abortion Service conveys the stifling antifeminist environ­ ment of the late 1960s. But the film also draws strong parallels and provides important reminders that today’s right-wing political cli­ mate is very much like it once was, with practitioners being killed and states attempting to turn back the clock, forcing women once again into the back alleys.

Bound (USA, 15 minutes) Directed by Kimi Takesue An exquisitely realized Zen meditation on woman’s desire to throw off the trappings of racial, sexual, and historical oppression, Bound speaks volumes with very few words.

Wednesday, June 5 ■ Broadway Performance Hall, 7:15pm

TH E LAND IS W HITE, TH E S E E D IS B L A C K France, 1995 US Premiere Director: Koto Bolofo Producers: Didier Creste, Catherine Mathis Story Outline: Koto Bolofo, Claudia Mapula Bolofo Editor: Karina Mitrecey Print Source: Homemade Productions, with Molotof Film Cocktail 67 minutes Enlightening and supremely engaging, this touching personal account of the effect of South Africa’s apartheid on one man skillfully weaves photos, present-day footage, and narration by award-winning short filmmaker Koto Bolofo in his first documentary feature. Some 30 years ago, a history teacher was accused of communist infiltration. A quotation from Karl Marx had been found in one of his textbooks, and that was criminal under the Bantu education system set up by the apartheid government exclusivelyfor blacks— “an inferior system to maintain the black people in the lowest strata of society,” as the history teacher described it. So, though he was totally innocent, he fled. Returning in 1994, after Nelson Mandela has been elected to the presidency, the teacher searches for his people, his rights, and what remains of his past. His family house has been destroyed and his father’s land confiscated; all he can discover is his abandoned car. The history teacher starts to remember. . .

The Killers (USA, 20 minutes). Directed by Tanya Hamilton. A 12year-old Jamaican girl decides to catch some lizards with her brother because she firmly believes that a sacrifice is all that’s needed to solve her problems.

Documentaries: Truth with an Attitude

Tuesday, June 4 ■ Broadway Performance Hall, 5:00pm

A LE A P O F FAITH USA, 1996

First-time filmmakers Jenifer McShane and Tricia Regan worked five years on this labor of love. A rich and engrossing documentary narrated by Liam Neeson, A Leap o f Faith follows the lives of four families in Belfast, Northern Ireland, who dedicate themselves to building a school that will bring together Catholic and Protestant children. The Cranmore Integrated Primary School opened in 1993 thanks to the commitment and hard work of the parents. Many meetings with school boards, government officials, builders, and funders led to the creation of what stands as a symbol of the yearning for peace in a war-torn country. Images of the hope embodied by the school are juxtaposed with archival footage of Northern Ireland’s troubled history, expressing a variety of view­ points in an impartial manner. The parents are not only from different religious backgrounds, but also reveal a cross-section of Belfast’s socioeconomic realities. Interracial couples, single par­ ents, and others who are searching for new ways to raise and educate their children come together to offer some kind of promise for future generations. Although violence could erupt at any time, A Leap o f Faith celebrates the courage of those who come together and look forward.

TH E LEO PAR D SON Great Britain, 1996 World Premiere Director/Producer/Cinematographer: Hugo van Lawick Music: Stewart Copeland Print Source/lnternational Sales: Discovery Channel Pictures 82 minutes The Leopard Son is sure to delight and fascinate animal lovers of all ages. It is the story of the birth, growth, and coming of age of a leopard cub In Africa’s Serengeti. Beautifully filmed by acclaimed naturalist Hugo van Lawick, it’s the tale of how any child learns the lessons of life at his mother’s side, struggles to grow into adulthood, and begins to find his place in the wild world. Defining a new breed of wildlife features, The Leopard Son is entirely true— these are most definitely wild, not trained, animals! Van Lawick spent three years on location in Africa closely tracking a mother leopard and her cub. The film follows the leopard son as he learns the skills of survival through play, tests his skills in a dangerous adventure far from home, and finally returns to his mother’s territory for a climax so dramatic it could have been scripted. Only the director’s passion as a filmmaker and rare knowledge of African wildlife could have made possible such an intimate view of the elusive leopard in its own habitat. Van Lawick has lived and worked in Africa for more than 30 years. His films, books, and still photography, devoted to furthering an appreciation of nature (sometimes created in collabo­ ration with his wife, Jane Goodall), have won him numerous awards, including six Emmys. This colorful, captivating film is surely his finest achievement yet. Featuring a lively score by former Police­ man, Stewart Copeland.

Documentaries

Directors: Jenifer McShane, Tricia Regan Producers: Jenifer McShane, Tricia Regan, Dr. J. Brian Sheehan Screenwriters: Jenifer McShane, Tricia Regan Cinematographer: Eugene McVeigh Editor: Toby Shimin Narrator: Liam Neeson Print Source/lnternational Sales: Parallel Lines Productions 87 minutes

Sunday, June 2 ■ Guild 45th, 6:30pm Wednesday, June 5 ■ Harvard Exit, 5:00pm

Documentaries: Truth with an Attitude

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■ i Tuesday, June 4 ■ Harvard Exit, 9:30pm

Documentaries

M AN OF TH E Y E A R USA, 1995 Director: Dirk Shafer Producer: Matt Keener Screenwriter: Dirk Shafer Cinematographer: Stephen Timberlake Editors: Barry Silver, Ken Solomon Music: PeitorAngell Cast: Dirk Shafer, Vivian Paxton, Michael Ornstein, Claudette Sutherland, Cal Bartlett, Mary Stein, Cynthia Szigeti, Rhonda Dotson, Fabio Print Source: Seventh Art Releasing 87 minutes This mock-documentary is based on the experiences of director Dirk Shafer, and his reign as Playgiris 1992 Centerfold of the Year.

There’s only one catch: Dirk is gay and has no clue about what women really want. He quickly investigates women’s fantasies and desires and plays it straight, all the while worrying he will be discovered and lose hisjob portraying “the ideal man forall women.”

During his tenure Dirk must deal with the pursuit of a neurotic stripper, harassment from a militant gay organization, and the starry-eyed winner of a Valentine’s Day dream date, constantly juggling the differences between his image and his true identity.

Using re-created events and documentary footage, Man o f the Year dramatizes many of the essential conflicts all gay people face today, from coming out and finding one’s own identity to being forced to act straight in a heterosexual society, to dealing with love and loss. Man o f the Year is a parable with a surprisingly powerful message.

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Tuesday, May 21 ■ Harvard Exit, 7:15pm

M O TH ER DAO, TH E TU R TLELIK E (Moeder Dao de Schildpadgelijkende) The Netherlands, 1995 Director: Vincent Monnikendam Producer: Rade Milicevic Cinematographers: Tassilo Adam, Piet Beltjens, Simon Buis et al.

Editors: Albert Markus, Licky Zydower Music: Djumila Arps, Suhardi Djojoprasepyo, I. Gde Parimartha, Meira Setiawati Print Source: Zeitgeist International Sales: IAF/NFM 90 minutes This exquisite documentary by Vincent Monnikendam is composed entirely of Dutch colonial film footage from 1912 through 1933 of what was then the Dutch East Indies, now Indonesia. Monnikendam begins the film with a legend from the island of Nias, west of Sumatra, that tells how Mother Dao created the earth by collecting the dirt off her body and kneading it into a ball. Later she became pregnant, giving birth to a girl and a boy who were the first people.

They named the creator Mother Dao “The Turtlelike” because the earth’s horizon is curved like a turtle’s shell. Omitting the usual narration, Mother Dao incorporates traditional music, poetry, and text to depict Nias’s rich culture. Originally, the Dutch colonists filmed the scenes to promote economic growth in the area and to prove that the inhabitants of the islands needed “civilizing” and Dutch administration. Pure propaganda, the archival films record the unequal balance of power between the Europeans and the native population, and unflinchingly capture the unabashed superi­ ority the Dutch felt toward the people of Nias. At the time, the images did not seem racist; now they serve as a time capsule, showing the injustices of the colonists.

Awards: Grand Prize, International Documentary Festival, Marseilles, 1995; Grand Prize, “Golden Centaur,” International Documentary, Short and Animation Film Festival, St. Petersburg, 1995; Grand Prize (“Golden Calf”), Grolsch Award for Best Film, Film Festival of the Netherlands, 1995 Selected Filmography: The Illegals (1991), The Ten Token (1985)

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Sunday, May 26 ■ Egyptian, 3:30pm Wednesday, June 5 ■ Broadway Performance Hall, 9:30pm

M Y KN EES W ER E JUMPING: R EM EM BER IN G THE KINDERTRANSPORTS USA, 1995

This poignant World War II—period documentary was inspired by vivid personal experience. Director Melissa Hacker’s mother was one of the 10,000 Jewish, Gypsy, or otherwise “undesirable” children saved from Hitler’s concentration camps by the Kindertransport movement. Between December 1938 and August 1939, these few fortunates were allowed to leave theirthreatened homes in Germany, Austria, Poland, and Czechoslo­ vakia to take refuge in Great Britain. Ninety percent of them would never again see their families. Accompanied by vintage film clips and photo­ graphs, survivors movingly recall the experience— the initial excitement of the adventure, the loneliness and confusion of being separated from their parents, and the eventual guilt of having survived the war when so many others did not. The film also offers surprising insights into the lives of the survivors’ children, who suffer their own guilts and anxieties.

Awards: Oscar nominee, Best Documentary, 1995

NOTHING B U T TH E SUN USA, 1 996 Director: Mark Gordon Producers: Mark Gordon, D. Shone Kirkpatrick Screenwriter: D. Shone Kirkpatrick Editor: Ned Bastille Music: Carter Burwell With the voices of: Kirsten Dunst, Gabriel Olds, Nina Siemaszko, Casey Siemaszko, Cynthia Nixon Print Source: Cloud Nine Entertainment 40 minutes This starkly eloquent, heartbreaking short serves as a perfect companion to My Knees Were Jumping. It tells the chilling story of the many children who did not manage to escape the horrors of Nazi Germany. In text taken from letters and diaries, their sobering, articulate voices speak to us of the unimaginable terrors they witnessed. “Iknew it. We’re not people anymore.

We’re animals going in cattle cars.” Director Mark Gordon and his crew accompany the children’s words with impeccably chosen period film clips and photographs. The result is one of the most touching and powerful documents of the Holocaust.

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PARADISE LOST: THE CHILD M URDERS AT ROBIN HOOD HILLS USA, 1995 Directors/Producers: Joe Berlinger, Bruce Sinofsky Cinematographer: Robert Richman Editors: Joe Berlinger, Bruce Sinofsky Music: Metallica Print Source: Creative Thinking International 150 minutes The new film by Joe Berliner and Bruce Sinofsky, makers of the acclaimed Brother’s Keeper (SIFF ’92), is an astounding and revealing portrait of the aftereffects of a horrible crime in the small town of West Memphis, Arkansas. It follows the arrest and trial of three misfit teenagers (they like Metallica and wear black) for the mutilation murders of three young boys. The arrests unleashed a wave of cathartic hatred from the victims’ families, who became instant local celebrities (the stepfather of one of the victims is shown shooting holes in a pumpkin, addressing it as the accused killers). Paradise Lost probes the case in depth. The filmmakers gained remarkable access to all sides; their cameras are in the courtroom, in jail, in lawyers’ conferences, with the families of both the victims and the accused killers, and with the defendants themselves. Presenting the evidence— some of it dynamite— and leaving the viewers to draw their own conclusions, Berlinger and Sinofsky prove once again that there are no more fascinating stories told by filmmakers than those that are true.

Selected Filmography: Brother’s Keeper (1992)

Documentaries

Director/Producer: Melissa Hacker Cinematographers: John Foster, Kevin Keating, Jill Johnson, Eric Schmidt Editor: Melissa Hacker Narrator: Joanne Woodward Music: Joel Goodman Print Source: Melissa Hacker International Sales: F For Him, Paris 76 minutes

Saturday, June 1 ■ Egyptian, 3:30pm Thursday, June 6 ■ Broadway Performance Hall, 9:30pm

Documentaries: Truth with an Attitude

Documentaries

Friday, May 17 ■ Harvard Exit, 7:15pm Sunday, May 19 ■ Harvard Exit, 12:30pm

Tuesday, May 28 ■ Guild 45th, 9:30pm

PARIS W AS A W O M AN Great Britain, 1995

A P E R F E C T CANDIDATE USA, 1995

Director: Greta Schiller Producers: Frances Berrlgan, Greta Schiller, Andrea Weiss Cinematographers: Nurith Aviv, Greta Schiller, Renato Tonelli, Fawn Yacker Editor: Greta Schiller Music: Janette Mason Print Source: Zeitgeist 75 minutes

Directors/Producers: R.J. Cutler, David Van Taylor Cinematographer: Nicholas Doob Editor: Mona Davis Print Source: Seventh Art 81 minutes

“During the early decades of this century in particular, Paris enjoyed the reputation of being the cultural capital of the world. It was here that artists from many different countries flocked, especially from America, to let themselves be inspired by the city and its atmo­ sphere. However, the film does not focus on virile geniuses like Picasso and Hemingway but creative women such as the writers Colette, Djuna Barnes, and Gertrude Stein; painters like Romaine Brooks and Marie Laurencin; photographers Berenice Abbott and Gisele Freund; publishers and booksellers Sylvia Beach and Adriene Monnier, and, finally, the journalist Janet Flanner. It is hard to imagine the legendary milieu of the Left Bank of the Seine without these and other women artists. The research for this film brought to light hitherto unknown material such as amateur footage and other visual sources. In a combination of interviews and well-kept anecdotes, the filmmaker documents the very special atmosphere of this period.” — Berlin International Film Festival Selected Filmography: Before Stonewall (1983), Maxine Sullivan: Love to be in Love (1991), Age o f D issent (1994)

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“This behind-the-scenes look at the 1994 Virginia Senate race between Oliver North and incumbent Charles Robb confirms our worst suspicions: Getting elected is an ugly, calculated, and, by definition, unethical process that tends to weed out leaders of high moral fiber...The documakers’ uncanny ability to capture backroom shenanigans on film, and the pic’s slyly humorous editing, keep the documentary engrossing throughout. Using the same fly-on-the-wall approach as the presidential campaign documentary The War Room— for which Candidate co-producer R.J. Cutler received a 1993 Oscar nomination— the film flip-flops from the candidates’ public appearances to closed-door strategy sessions. The focus is mainly on Oliver North, the smooth-talking lieutenant colonel who ran covert operations out of the White House and later managed— incredibly— to reinvent himself as a Washington outsider. Demo­ crat Charles Robb is seen mostly denying accounts of his personal indiscretions. A Perfect Candidate manages to get past obvious leftright stereotypes to offer a more subtly shaded look at the campaigns’ secondary players. North strategist Mark Goodin, who comes off at first as just another swaggering good ol’ boy, is caught later in quiet moments of disillusioned reflection. Meanwhile, cynical Washington Post reporter Don Baker grapples with his longing to recapture his lost political faith.”— Andrew Hines, Variety

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Documentaries: Truth with an Attitude

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Sunday, May 26 ■ Harvard Exit, 9:15pm

Tuesday, May 21 ■ Guild 45th, 7:15pm

SY N TH ETIC P L E A S U R E S USA, 1995

TRINITY AND BEYO N D USA, 1995

Director: lara Lee Producer: George Gund III Cinematographers: Marcus Hahn, Kramer Morgenthau, Toshifumi Furusawa Editors: Andreas Troeger, Stacia Thompson Music: Mike Kandel, Single Cell Orchestra, Haruami Hosono, Tranquility Bass and others Print Source: Caipirinha Productions 85 minutes

Director: Peter Kuran Producers: Peter Kuran, Alan Munro Cinematographer: Barbu Marion Music: William Stromberg Narrator: William Shatner Print Source: Visual Concept Entertainment 92 minutes

This mind-expanding trip through the brave new world of artificial reality and cyberspace is both enticing and scary. The documentary focuses on the human need to adapt the environment to us, rather than vice versa, and how the boundaries between the artificial and the natural are being blurred. Consider Japan’s giant Ocean Dome, where bathers in a huge indoor controlled environment needn’t worry about pollution or sharks and can always count on a sunny day. Or French performance artist Orlan, whose work-in-progress is her own body, which she is having reshaped every few months by plastic surgery. Enthusiasts of body piercing and “smart" drugs explain their appeal. Subjects explored in lara Lee’s wide-ranging tour also include cryonics (freezing the body in an attempt at immortality), transhumanism, artificial intelligence and artificial life, cybersex, and nanotechnology— the manipulation of matter at the atomic level, a likely area for future medical breakthroughs and unknown other possibilities. Many fascinating thinkers are inter­ viewed, including virtual reality pioneers Jaron Lanier and Howard Rheingold, editor of Mondo 2000 magazine R.U. Sirius, Grateful Dead lyricist and Electronic Frontier Foundation co-founder John Perry Barlow, andthegranddaddyof all alternative reality theorists, Timothy Leary. Less known but equally intriguing characters include Steve Roberts, a self-styled high-tech nomad who pedals around the country on his computer-laden 105-speed recumbent bicycle.

The dazzling visuals are backed by a hypnotic techno soundtrack by Hard Floor, Peter Namlook, Tranquility Bass, Human Mesh Dance, and Young American Primitive. Overflowing with a rich barrage of information and imagery, Synthetic Pleasures offers a look at the future— or rather a world of possible futures here today.

Half a century after the unleashing of the most destructive manmade force ever known, director Peter Kuran has assembled the definitive work on atomic bombs. Crammed with spectacular, never-beforeseen footage, Trinity is chilling and eerily beautiful. Between the end of World War II and the 1962 nuclear test ban treaty, the United States set off 331 above-ground nuclear explosions. Trinity shows bombs being suspended from a balloon, detonated in outer space, exploded under the ocean, and shot from a cannon. The two big blasts at Bikini Atoll in July 1946, for example, are documented in detail. Three tests were scheduled, but after an aerial and then an underwater test obliterated a ghost fleet of 185 derelict ships, the third test— planned for deep water— was canceled. From the former Soviet Union comes film of the detonation of the 57-megaton Siberia-exploded monster bomb, the largest in history. From China there is nightmarish footage, almost beyond belief, of Chinese soldiers brandishing swords, riding horses outfitted with gas masks and radiation goggles, chargingground zero. Filmmaker Peter Kuran, a special effects expert (he has worked on Star Wars, Total Recall, Robocop, and Nixon), spent years tracking down rare footage in obscure Defense Department archives. Much of it is being shown publicly for the first time and was declassified as a result of Kuran’s persistence. The 50-year-old film stock had often discolored, but Kuran invented a process that restores color negatives so that the film looks remarkably new. Apocalyptic scenes of nuclear destruc­ tion are presented in a straightforward manner; Kuran has chosen to let them speak for themselves, and they are most eloquent.

Documentaries: Truth with an Attitude

Monday, June 3 ■ Harvard Exit, 5:00pm Wednesday, June 5 ■ Egyptian, 9:30pm

Documentaries

TRO UBLESO M E CREEK: A M IDW ESTERN USA, 1995 Directors/Producers/Screenwriters: Jeanne Jordan, Steven Ascher Cinematographer: Steven Ascher Editor: Jeanne Jordan Music: Sheldon Mirowitz Print Source/lnternational Sales: West City Films Inc. 88 minutes Troublesome Creek: A Midwestern is the insightful and heartbreak­ ing story of director Jeanne Jordan’s family and their fight to save the farm where they have lived for over one hundred years. From crossing the Mississippi by covered wagon in 1867 to driving to Daddy Date Night in 1967, from Jordan’s great-grandfather fighting off the Crooked Creek Gang in the 1880s to her father fighting off foreclosure in the 1990s, Troublesome Creek stands as a powerful testimony to the current fragile state of rural communities. It speaks to the humor, love, and devotion not only in the family’s struggle to keep the farm, but also in the filmmakers’ commitment to making the film. Jordan and Steven Ascher made four filming trips, and since they couldn’t afford to process the negative, they had to freeze it— for over a year, Troublesome Creek hibernated in the basement, between the chicken and the frozen peas. There was no script; they simply filmed life as it took place. The resulting work is a pivotal piece of storytelling, a moment captured on film that will move and inspire its audience.

Awards: Grand Jury Prize (Documentary), Sundance Film Festival, 1996; Audience Award (Documentary), Sundance Film Festival, 1996; Oscar nomination, Best Documentary Feature (1995)

Saturday, May 18 ■ Guild 45th, 3:30pm

WILD BILL: HOLLYWOOD M A V ER IC K USA, 1995 Director: Todd Robinson Producer: Kenneth Carlsen Screenwriter: Todd Robinson Cinematographers: Theodor M. Angelí, Christian Sebaldt Editor: Leslie Jones Music: David Bell Print Source: Kino International 95 minutes Alec Baldwin narrates this documentary on the impressive and sometimes stormy career of William A. Wellman (1896-1975). This is a tribute— executive-produced by his namesake son— to one of Hollywood’s finest directors, a true maverick with over 76 films to his credit, including Wings, The Public Enemy, The High and the Mighty, Yellow Sky, and A Star Is Born. Interviews with family, co­ workers, and a host of stars, including Clint Eastwood, Robert Redford, Robert Mitchum, Gregory Peck, Sidney Poitier, Nancy Reagan, and Martin Scorsese, portray Wellman as a technical genius with strong convictions, as well as being stubborn, arrogant, and hot-tempered. Wellman received the highest honors from his peers, 34 Academy Award nominations (including 4 for best picture and 3 for best director), and was the recipient of the D.W. Griffith Award for Lifetime Achievement from the Directors Guild. The story of his life is recounted from his birth in Brookline, Mass., through his distinguished service during World War I as a flier, followed by his rise from mailboy to director at Goldwyn Studios, his five marriages, and his long underrated career as a filmmaker. Wild Bill: Hollywood Maverick is a straightforward yet delightful collection of home videos, interviews, and movie clips through which we get to know a man who despised authority and the Hollywood studio system— through which he made some of his best pictures— and yet was loved and respected by many.

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multiplex or video store.

New Directors Showcase * « J u r y For the sixth year our New Directors Showcase will jury international fea­

SHEILA BENSON: Sheila Benson is a film critic for The Microsoft Network’s Cinemania Online. Sheformerly worked as the Los Angeles Times film critic and was the Times

ture film debuts from emerging di­ rectors around the world. The 14 films selected have been collec­

Critic at large, covering entertainment and the arts. She is a prolific writer who has written for the Academy Awards and has contributed to numerous periodicals, including Premiere, Film Comment, Variety, and the New York Times.

Benson is affiliated with the National Society of Film Critics

tively curated by the SIFF program­

and the Los Angeles Film Critics Association and has

ming committee. These films intro­

taught critical writing at UCLA.

duce the fresh vision and deft cinematic technique of each of their first-time directors. The jury, com­

RICK STEVENSON: Rick Stevenson is a filmmaker who made his directorial debut in 1995 with a film he co-wrote,

posed of film industry profession­

Magic in the Water. That film won two Canadian Genie

als and critics, will select the direc­

Awards (in addition to a Best Film nomination) and has

tor whose work represents the most

on video. Other films he has produced are Arctic Blue,

become the most successful Canadian film ever released

case is made possible with the

Crooked Hearts, Some Girls, Prom ised Land and R estless Natives. While earning his doctorate in international stud­ ies at Oxford University, Stevenson began his film career with Privileged, which was made for $40,000 and intro­

generous support of The Indepen­ dent Film Channel.

duced a number of notable English actors, including Hugh Grant, to the big screen.

BILL FOSTER: Bill Foster is the Director of Portland’s Northwest Film Center. In addition to its eclectic, yearround film exhibition activities, the Center operates the largest media arts education program in the Northwest, provides a variety of service programs for regional artists and circulates programs of regionally made work. Foster is also director of the Portland International Film Festival and the Northwest Film and Video Festival, an annual juried survey of new work produced in Oregon, Washington, Idaho, Montana, Alaska, and British Columbia.

SUSAN JEFFORDS: Susan Jeffords is a professor of film and popular culture professor at the University of Washing­ ton, where she is also divisional dean of the social sciences. She is author of several books on film and media, including Hard Bodies: Hollywood M asculinity in the Reagan Era, The Rem asculinization o f America: Gen­ der and the Vietnam War, and Seeing Through the Media: The Persian G ulf War.

New Directors Showcase

promising debut. The 1996 Show­

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New Directors Showcase

Friday, May 17 ■ Harvard Exit, 7:15pm Saturday, May 18 ■ Harvard Exit, 3:30pm

New Directors Showcase

Saturday, May 18 ■ Egyptian, 9:15pm Tuesday, May 21 ■ Guild 45th, 9:30pm

A N G EL B A B Y Australia, 1995

M A N N EK EN PIS Belgium, 1994

Director: Michael Rymer Producers: Timothy White, Jonathan Shteinman Screenwriter: Michael Rymer Cinematographer: Ellery Ryan Editor: Dany Cooper Music: John Clifford White Cast: John Lynch, Jacqueline McKenzie Print Source: Cinepix Film Properties International Sales: Southern Star Film Sales 105 minutes

Director: Frank Van Passel Producers: Dirk Impens, Rudy Verzyck Screenwriter: Christophe Dirickx Cinematographer: Jan Vancaiilie Editor: Karin Vaerenberg Music: Noordkaap Cast: Frank Vercruyssen, Antje De Boeck, Ann Petersen, Guy Demul Print Source/lnternational Sales: Seawell Films 90 minutes

An exhilarating love story of two people who exist on the edge of “normal” society, Angel Baby is the tale of a young man whose life has been turned upside down by bouts of psychosis. At the medical center where he gets medication, Harry meets Kate, a high-strung and impulsive young beauty who draws him into her private, magical world. Starring John Lynch (In the Name o f the Father, M oll Flanders) as Harry and Jacqueline McKenzie (Romper Stompei) as Kate, the film follows the couple as they risk everything by falling in love— and ironically, love may be their only shot at salvation. Infused with passion, humor, and aching moments of despair, their relationship roller-coasters through a chaotic environment of courtship, drugs, and, ultimately, responsibility. When news comes that Kate is pregnant, they decide to stop their medications so their baby will be born healthy. Facing a torrent of opposition, they embark on an odyssey through emotional states that teeter between egoistic insanity and raw, exposed moments of true love. Writer/director Michael Rymer has created a street-smart tableau of captivating imagery in this searing portrait of intimacy.

Awards: Best Film, Australian Film Institute, 1995; Best Original Screenplay, Australian Writers Guild Award, 1995; Best Film, Best Director, Best Screenplay, Best Actress, Australian Film Critics Circle Award, 1995; Most Popular Film, International Film Festival Rotterdam, 1996

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An offbeat love story with a delightful romantic edge, Manneken Pis boasts director Frank Van Passel’s special combination of straightfaced humor and quirky surrealism. Twelve-year-old Harry (Frank Vercruyssen) is on a family car trip when the need to urinate overtakes him. Flash forward 18 years: with Harry in the midst of a timid and dysfunctional love affair, we find out his family was mowed down by a train at the railroad crossing where they stopped so he could pee. His last words to his mother were, “I love you,” and since then he’s been unable to say the same to anyone else. The new woman in his life is Jeanne (Antje De Boeck), the young driver of a Brussels streetcar. She lives in the same drab building as Harry, who, as luck would have it, arrives there just as a tenant who has committed suicide is being carted out. Harry persuades the elderly janitor, Denise (Ann Petersen), to rent him the newly vacated apartment. Convinced that she should shoot for the stars and force Harry to say those three little words for the second time in his life, Jeanne enlists the help of Denise and Harry’s co-workers (in a tacky restaurant that looks fresh out of Delicatessen) in a delightful game of conceit. Her gently smoldering plain-Jane character and the grouchy but warmhearted Denise do what they can to liberate Harry from his painful past.

Awards: Official Oscar submission, Best Foreign Language Film, 1995; Prix de la Jeunesse, Critics’ Week, Cannes Film Festival, 1995

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Thursday, May 23 ■ Egyptian, 7:15pm Friday, May 24 ■ Guild 45th, 5:00pm

Sunday, May 26 ■ Harvard Exit, 12:30pm Wednesday, May 29 ■ Harvard Exit, 9:30pm

M A TTER O F FAITH (Cuestion de Fe) Bolivia, 1995

Director: Juan Carlos Valdivia Producer: Luz Maria Rojas Screenwriter: Juan Carlos Valdivia, based on a novel by Jose Wolfango Montes Vanucci Cinematographer: Henner Hofmann Editor: Sigfrido Barjau Music: Jose Stephens Cast: Dino Garcia, Maria Renee Prudencio, Julieta Egurrola, Guillermo Gil, Claudia Lobo, Milton Cortez Print Source: William Morris Agency 94 minutes

Director: Marcos Loayza Producer: Jean-Claude Eiffel Screenwriter: Marcos Loayza Cinematographer: Cesar Perez Editor: Nelson Rodriguez Music: Oscar Garcia Cast: Jorge Ortiz Sanchez, Elias Serrano, Raul Beltran, Gina Portugal Print Source/lnternational Sales: Iconoscopio SRL 88 minutes

A startling blend of romance, comedy, crime melodrama, and magic realism, this official Oscar submission for Best Foreign Language Film follows the exploits of Jonah Larriva, a handsome teacher at a private girls’ school who has married into a wealthy eccentric family only to find himself frustrated by his frigid wife and constantly berated by her domineering father. Jonah becomes an object of lust for Julia, his wife’s gorgeous sister, who seduces him, sparking a torrid affair that the two carry on in Jonah’s studio situated beneath the family's living quarters. Before long, however, the couple’s adultery is discovered by a vengeful family patriarch, and the story takes a turn into altogether unexpected territory. Director Juan Carlos Valdivia infuses this tale of passion and vengeance with remarkable visual panache and a highly original sensibility, marking his as one of the brightest new talents to emerge in Latin American cinema in recent years.

Awards: Official Oscar submission, Best Foreign Language Film, 1995

“Fat women do not fall in love, they only feel desire," are the last words a saint carver and his compadre hear as they leave the bar.

This award-winning first feature creates a world in which Domingo and his friend Pepelucho travel from a smoky, music-filled urban world to the lost jungle village of San Mateo. The trip becomes a sentimental journey that includes the fabrication of a life-size statue of the Virgin and the theft of a truck named Ramona. M atter o f Faith also serves as a humorous commentary on Bolivia’s political and social picture. The characters the two men meet along the way are as different as the geographic locales they travel through. The world views of Pepelucho and Domingo are revealed through their respec­ tive beliefs about God and secular games of life. As the two men come to terms with unforeseen events, they lose their understand­ ing of reality. This comedy/drama by Bolivian-born, Cuban-educated director Marcos Loayza is a treat from a country as complicated as it is beautiful.

Awards: Best First Film, Latinamerican New Film Festival, Havana, 1995; Best First Film, Cartagena International Film Festival, 1995; Best First Film, Montevideo International Film Festival, 1995; Special Jury Award, Biarritz International Film Festival, 1995

New Directors Showcase

JONAH AN D TH E PINK W H A LE (Jonas y la Ballena Rosada) Bolivia/M exico, 1995

New Directors Showcase

Saturday, June 1 ■ Guild 45th, 6:30pm Wednesday, May 29 ■ Harvard Exit, 5:00pm

TH E INTERVIEW (Jenipapo) Brazil, 1996 Director: Monique Gardenberg Producers: Alan Poul, Flavio R. Tambellini Screenwriters: Cyrus Nowrasteh, Monique Gardenberg Cinematographer: Pedro Farkas Editor: Dan Rae Music: Philip Glass Cast: Henry Czerny, Patrick Bauchau, Marilia Pera, Miguel Lunardi, Ana Beatriz Nogueira, Julia Lemmertz, Daniel Dantas Print Source/lnternational Sales: Boku Films 100 minutes Set amid political turmoil in Brazil, The Interview stars Henry Czerny and Patrick Bauchau as two men who have reached a moment in their lives where personal desires are at cross-purposes with larger issues. The two engage in a dance of inevitability: Czerny as Michael Coleman, a reporter whose sole desire is to get an interview with the beatific and humanitarian priest Father Stephen Louis (Bauchau), who is determined to deny him. First-time feature film director Monique Gardenberg developed The Interview while she was a student at NYU Film School. Drawing upon stories of struggles for justice against landowners and police, she used the personal experiences of Brazilian natives whose families were killed in the fight for better living conditions to bring life to the script. Known for his fearless oratory in support of land reform, Father Stephen suddenly turns silent on the eve of the upcoming congressional vote on the bill to stop the reform. Determined to discover why, Michael takes advantage of certain relationships to force the issue into the open. Denied access to the priest, convinced he will never get his exclusive interview, and caught in a web of deceit and misdeeds, he lets his reporter’s instinct lead him to a greater truth. This one solitary act sets forces in motion so powerful that they change the fate of the Brazilian people.

Friday, June 7 ■ Harvard Exit, 9:30pm Saturday, June 8 ■ Egyptian, 3:30pm

TH E C O N FESSIO N AL (Le Confessional) Canada/Great Britain/France, 1995 US Premiere Director: Robert Lepage Producers: Denise Robert, David Puttnam, Philippe Carcassonne Screenwriter: Robert Lepage Cinematographer: Alain Dostie Editor: Emmanuelle Castro Music: Sacha Puttnam Cast: Lothaire Bluteau, Patrick Goyette, Kirstin Scott Thomas Print Source: Artificial Eye Film Company Inc. International Sales: Polygram Film International 100 minutes In 1952, Alfred Hitchcock came to Quebec City to shoot his clerical murder mystery, / Confess. Onto this bit of historical background, director Robert Lepage overlays fictional intrigue for his debut feature film, The Confessional. Lothaire Bluteau (Jesus o f Monteal) stars as Pierre Lamontagne, a solitary young man who returns to his Quebec home to attend his father’s funeral. Once at home, he is unable to get on with the present until he makes peace with his past, which involves tracking down his adoptive brother, Marc (Patrick Goyette), and searching for his real father, who may or may not be a parish priest. It is here where the filming of / Confess begins to collide with the story in The Confessional, as real-life events mirror cinematic ones. Finding the sexually conflicted Marc proves difficult, until Pierre uncovers him in a gay sauna in a visual tour de force that includes numerous tips of the hat to famed Hitchcock scenes. A stunning, eye-popping visual treat with a cool rock score including music from Depeche Mode, The Confessional returns director Lepage to his roots and to the undercurrents that haunt Quebec society. Famed for his dazzling work in the theater, Lepage effortlessly shifts to the screen with his rich themes and deep resonances intact.

Awards: Official Oscar submission, Best Foreign Language Film, 1995; Genie for Best Film, Genie for Best Director, Canada, 1995; Claude Jutra Award for First Feature, Canada, 1995; Best Canadian Screenplay, Vancouver International Film Festival, 1995

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New Directors Showcase

Tuesday, May 21 ■ Egyptian, 7:15pm Thursday, May 23 ■ Egyptian, 5:00pm

Saturday, May 18 ■ Harvard Exit, 9:15pm Monday, May 20 ■ Guild 45th, 5:00pm

B U TTER FLY KISS Great Britain, 1995

Director: Matthias Glasner Producer: Bernd Medek Screenwriter: Matthias Glasner Cinematographer: Sonja Romm Editors: Miles Fender, Marcel Peragine Music: Oliver Probst Cast: Juergen Vogel, Jasmin Tabatabei, Dani Levy, Andreja Schneider, Benjamin Barge Print Source: JACK Film & Musikproduktion 84 minutes

Director: Michael Winterbottom Producer: Julie Baines Screenwriter: Frank Cottrell Boyce Cinematographer: Seamus McGarvey Editor: Trevor Waite Music: John Harle Cast: Amanda Plummer, Saskia Reeves, Freda Dowie, Ricky Tomlinson, Paul Brown Print Source: Cinepix Film Properties 85 minutes

Taking place entirely in kitchens, beds, cars, and on telephones, this fresh, angst-free, wonderfully quirky relationship comedy cen­ ters on the directionless lives of four twentysomethings. It is the former West Germany in 1989, after the fall of the Berlin Wall, and the four are struggling with their identities as Germans. Precocious, disillusioned, morally eroded, politically bored, and sexually ob­ sessed, they spend most of their time playing out variations on the theme of love. Robin (Jasmin Tabatabei) doesn’t want children and believes everything she reads; her boyfriend Leo (Juergen Vogel) wants children, but refuses to sleep with her to procreate (he only has sex with women he doesn’t love); Jost, Leo’s buddy, /'ssleeping with Robin; and Anna, Jost’s sister and a single parent, is after Leo. One day the ugly suspicion arises that one of them might be a closet "Eastie”— a liar, an undercover agent, and an informer, or at the very least a Stalinist. Suddenly, bigotry invades their liberal world, since being East German is even worse than being German. An absurd spiral of ridiculous accusations, suspicion, angst, sweat, and tears ensues as the film veers toward spy-thriller terrain and the group journeys into the uncharted East to find out the truth— with disastrous results. This astonishing Hal Hartley-esque, neo­ romantic, fast-food directorial debut by Matthias Glasner features a top-notch ensemble cast. It pinpoints the problems of integrating two ideologies after the initial euphoria over Germany’s reunifica­ tion has dissipated.

Preceded by Travelling at The Speed of Light (Great Britain, 4.5 minutes). Directed by Traicee Evison-Griffith. A disconcerted hus­ band finds himself repeatedly whisked through time and space to unexpected and inopportune places.

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Amanda Plummer gives a terrific performance (eclipsing her memo­ rable work in Pulp Fiction) as Eunice, a lesbian serial killer prowling the freeways of northern England, wrapped in chains under her clothes (‘What’s that clinking?’ asks the unsuspecting truck driver who gives her a lift). Eunice picks up naive salesgirl Miriam (Saskia Reeves, of Antonia and Jane and Close My Eyes), who is mesmerized by herfree spirit. Atender and disturbing relationship grows between the two women, who embark on an impulsive and passionate road trip riddled with murder. Miriam tries to reform Eunice’s regrettable homicidal tendencies, but it is Miriam ratherthan Eunice who begins to change. Director Michael Winterbottom (Family, SIFF ’95) brings a macabre humor to this startling love story. “Breathtakingly original! One of the most memorable off-the-wall performances in memory.”— Daily Variety Awards: Aluminum Horse for Best Picture, Stockholm International Film Festival, 1995

New Directors Showcase

DIE M ED IO C R EN Germany, 1995

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Wednesday, May 29 I Guild 45th, 7:15pm Wednesday, June 5 I Broadway Performance Hall, 5:00pm

Friday, June 7 ■ Egyptian, 7:15pm Saturday, June 8 ■ Harvard Exit, 3:30pm

New Directors Showcase

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INTIMATE RELATIONS Great Britain/Canada, 1996 World Premiere

GUILTRIP Ireland, 1995 US Premiere

Director: Philip Goodhew Producers: Lisa Hope, Angela Hart, Jon Sian Screenwriter: Philip Goodhew Cinematographer: Andres Garreton Editor: Pia Di Ciaula Music: Lawrence Shrag Cast: Julie Walters, Rupert Graves, Laura Sadler, Matthew Walker, Les Dennis, Holly Aird, Liz McKechnie Print Source: Fox Searchlight 105 minutes

Director: Gerard Stembridge Producer: Ed Guiney Screenwriter: Gerard Stembridge Cinematographer: Eugene O’Connor Editor: Mary Finlay Music: Brendan Power Cast: Andrew Connolly, Jasmine Russell, Peter Hanly, Michelle Houlden, Frankie McCafferty, Pauline McLynn, Mikel Murfi, Fintan Lee Print Source: Temple Films International Sales: Intra Films 90 minutes

This explosive, surprising, and at times very funny drama of passion and jealousy is set in the stifling quiet of a 1954 English suburb and is based on a true story. Julie Walters {Sister My Sister, Educating Rita) gives a powerful performance as Marjorie Beasley, the appar­ ently perfect housewife. She may be a little bossy, but she runs her spotless tract house flawlessly. Underneath the facade, though, Marjorie is bored and dissatisfied. The excitement is gone from her marriage to an aging war hero, an easygoing chap who makes bad jokes about his missing leg (“Best foot forward!”). And Marjorie may not be paying enough attention to her precocious 14-year-old daughter, a sweet girl with a penchant for morbid stories and an overactive curiosity about sex. What Marjorie wants is more spice in her life, so she decides to take in a lodger, and lands a handsome drifter with hints of a troubled past (Rupert Graves). She showers the lonely young man with home cooking and motherly affection, before proceeding to a more insistently intimate approach. Events rapidly get out of hand and escalate to unforeseen extremes. Unpredictable and fascinating, Intimate Relations is a terrific debut by writer/ director Philip Goodhew.

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In this first feature, a dramatic tale of a married couple with a young child evolves into a nightmarish series of flashbacks that chronicles one day in the life of Liam and Tina. The couple lives on a housing estate on the outskirts of a small Irish town. Tina doesn’t know what she’s doing in a marriage she hates; Liam is an army corporal who arrives home drunk one night, starting a fight with Tina that continues until dawn. Through flashbacks we learn how each has spent the day: Tina flirting with the owner of an electronics shop, sharing a chatty lunch, and arriving home with a new CD player; Liam spending his time pursuing a woman he wants to seduce (he also seems somewhat obsessed with everyone washing his hands). The ambiance created istense, even paralyzing at times. What gradually emerges is that each partner has something to keep from the other.

Their personalities match their hidden actions, with Tina naively feeling guilty for her innocent flirtation while Liam, on the other hand, has brought about nothing less than a disaster. In a dramatic and shocking climax, their secret actions prove to have hugely different consequences. A well-directed first feature full of magnifi­ cent performances.

linitependent {channel

New Directors Showcase

Wednesday, May 29 ■ Harvard Exit, 7:15pm Saturday, June 1 ■ Guild 45th, 3:30pm

Director: Hirokazu Kore-eda Producer: Naoe Gozu Screenwriter: Yoshihisa Ogita, based on the story

by Teru Miyamoto Cinematographer: Masao Nakabori Editor: Tomoyo Ohshima Music: Chen Ming-chang Cast: Makiko Esumi, Takashi Naitoh, Tadanobu Asano, Gohki Kashiyama Print Source: Milestone Films and Video 109 minutes It’s remarkable to realize that this is director Hirokazu Kore-eda’s first film— M aborosi\s such a cinematically accomplished, themati­ cally mature work. Visually, Kore-eda keeps us at a distance from his characters, using only a handful of close-ups. With its decep­ tively simple story and spare, handsome imagery, this film casts a haunting emotional spell. The early scenes draw the happy picture of a contented young couple with a small child. Then word arrives that the husband is dead. To all indications it was a suicide: he chose to cross railroad tracks directly in front of a speeding train.

The stunned wife can find no clues to the riddle of this sudden, violent action. Several years later, she remarries and moves to a remote seaside town to be with a kindly second husband, but the mystery of her husband’s death prevents her from finding complete joy in this new life. M aborosi suggests both the perceptive humanity of Ozu and the elegant existentialism of Antonioni. Like those master filmmakers, Kore-eda is the rare director who actually uses the medium of cinema to convey a distinctive world view. Maborosi— Japanese for “mirage”— is a unique and unforgettable movie experience. “A pictorial tone poem of astonishing visual intensity and emotional depth.”— Stephen Holden, The New York Times

LITTLE SISTER The Netherlands, 1995 Director: Robert Jan Westdijk Producers: Clea de Koning, Robert Jan Westdijk Screenwriters: Robert Jan Westdijk, Jos Driessen Cinematographer: Bert Pot Editor: Herman P. Koerts Cast: Kim van Kooten, Hugo Metsers III, Roeland Fernhout, Ganna Veenhuysen Print Source/lnternational Sales: Fortissimo Film Sales 91 minutes Winner of three Dutch Film Festival awards, and beating out Antonia’s Lineforthe 1995 Best Dutch Picture award, this fresh and often funny debut is shot almost entirely using the dramatically compelling device of the subjective camera. Daantje’s weird brother, Martijn, turns up after many years and starts obsessively filming her every move on video. For most of the film the sister-fixated protago­ nist is represented by his video camera. Constantly filming, he dances frenetically around the object of his affections, after bullying his way back into her life following a long absence. Through psychological manipulation and some deceptive tactics, Martin manages to alienate Daantje’s best friend and new boyfriend, Ramon. But when she wises up to his game, she takes control of the camera and turns the tables on him, ultimately revealing the true nature of their childhood past. The film’s tone is playful at first, but a vaguely menacing tension creeps in as hints of sexual frisson between the two of them darken to reveal a shared secret.

Awards: Golden Calf, Best Dutch Feature Film, 1995; Special Jury Prize & Audience Award, Turin Film Festival, 1995

Awards: Best Cinematography, Venice Film Festival, 1995; Drag­ ons and Tigers Award for Young Cinema, Vancouver Film Festival, 1995; Gold Hugo, Chicago Film Festival, 1995

Independent annel

Independent Him channel

New Directors Showcase

M A BO R O SI (Maborosi No Hikari) Japan, 1995

Tuesday, June 4 ■ Harvard Exit, 7:15pm Thursday, June 6 ■ Harvard Exit, 5:00pm

New Directors Showcase

Contemporary World Cinema

Wednesday, June 5 ■ Guild 45th, 7:15pm Thursday, June 6 ■ Egyptian, 5:00pm

Friday, June 7 ■ Broadway Performance Hall, 9:30pm Sunday, June 9 ■ Broadway Performance Hall, 3:30pm

PREM EDITATED M U R D ER (Ubvistvo S Predumisljajem) Serbia, 1995 US Premiere

THESIS (Tesis) Spain, 1995 US Premiere

Director: Gorcin Stojanovic Producer: Ljubisa Samardzic Screenwriter: Slobodan Selenic Cinematographer: Radoslav Vladic Editor: Petar Markovic Music: Zoran Eric Cast: Branka Katie, Nebojsa Glogovac, Ana Sofrenovic Print Source: Cinema Design 97 minutes

Director: Alejandro Amenabar Producer: Jose Luis Cuerda Screenwriter: Alejandro Amenabar Cinematographer: Hans Burmann Editor: Maria Elena Saenz de Rosas Music: Alejandro Amenabar, Mariano Marin Cast: Ana Torrent, Fele Martinez, Eduardo Noriega, Nieves Harranz Print Source/lnternational Sales: SOGEPAQ 125 minutes

Based on an acclaimed novel by Slobodan Selenic, this haunting story of love amid the chaos of war introduces us to two star-crossed lovers who come together in the relative safety of Belgrade at the height of the Serbo-Croation conflict, only to find that mere distance from the front lines is not enough to spare their love from the tragedy of war. Young Bulika is an attractive, rebellious student whose striking photographic work for a hip young publisher allows her to maintain the apartment she has inherited from her grandmother in an upscale district of Belgrade. Walking her dog one night in a city park, she comes across a young soldier named Bogdan, who is on leave from the front while his wounded leg heals. Bulika invites the handsome young soldier back to her apartment to sleep on her couch, as he has nowhere to stay but the bench she found him on.

Thus begins a halting and humorous relationship between the mismatched pair, which soon blossoms into full-fledged romance.

Bulika is also working on a book about her grandmother Jelena, a glittering personality in Belgrade society before World War II, who fell into an ill-fated relationship with a shadowy partisan leader, leading to a long-covered-up family scandal. As these paralleled stories are interwoven in the film’s plot, Premeditated Murder evolves into an emotionally gripping overview of the ways in which war wreaks havoc on individual lives far from the front lines.

Not for the faint of heart, this troubling and accomplished directorial debut by 23-year-old Spaniard Alejandro Amenabar may cause hip young sociologists considering research into video and TV violence to head for safer pastures like cookery or poetry. Research student Angela is worried about the effects of video violence on people. She asks her tutor, Figueroa, to find some violent films for her— purely for research purposes— and he complies. The next morning, Angela finds the professor dead in the university screening room. She steals the video he had been watching. But what sort of film could cause his death? Searching for answers, she hooks up with the long-haired and twitchy Chema, who collects violence and porn and is one of those people whose intellect seems to have outrun theiremotions. Figueroa’s video turns out to be a snuff movie, in which an innocent victim is murdered and dismembered. Angela and Chema become detectives and manage to identify the girl who was killed in the video. When Angela sees Bosco, a good-looking classmate of the dead girl, wielding a camera in the university canteen, the plot shifts into high gear.

Suddenly we are watching early de Palma, with enough fast twists and turns to make a rattlesnake jealous. Thesis treats the viewer to a few unpleasantly realistic glimpses of scenes of the type that have made Henry: Portrait of a Serial Killer a cult movie among young people who prefer massacres to The Sound o f Music. But this is not Henry, nor is it a snuff movie; at its heart it is a straightforward thriller. This exploration of the murky moral waters of video, voyeurism, and violence keeps us on the edge of our seats until the chilling climax.

Although there isn’t an explicit moral in Thesis, there is a slap in the face for a public that eats up the current wave of real-life-suffering shows under the guise of social concern. Says Amenabar, “Tarantino uses violence with a smile. TV uses violence in a purely morbid way.”

Preceded by Meet Jonny Real (Great Britain, 4.5 minutes). Directed

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digital.forest When the Seattle International film Festival went online they chose digitaLforest as their venue. By placing their Macintosh" World Wide Web server on digital.forest's network, the Seattle International film Festival is reaping the rewards of an Internet presence w ithout high costs, risks, or frustrations. Businesses around the world look to digital.forest to provide an inexpensive stage to present their vision to the Internet. For more inform ation about what d igital.forest can do for your business, attend a free screening at http://www.forest.net/server/server.htm l or contact the box office at infofiforest.net or (206) 836- 4272.

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Australia • Austria

Thursday, June 6 ■ Egyptian, 7:15pm Sunday, June 9 ■ Harvard Exit, 3:30pm

Wednesday, May 22 ■ Harvard Exit, 9:30pm Thursday, May 23 ■ Harvard Exit, 5:00pm

AN A L M O S T P E R F E C T AFFAIR (Ein Fast Perfekter Seitensprung) Austria, 1996

Director: Rolf de Heer Producers: Domenico Procacci, Rolf de Heer Screenwriter: Rolf de Heer Cinematographer: Tony Clark Editor: Tania Nehme Music: Graham Tardif Cast: Syd Brisbane, Ulli Birve Print Source: Vertigo Pictures 93 minutes

Director/Producer/Screenwriter: Reinhard Schwabenitzky Cinematographer: Walter Kindler Editor: Ingrid Koller Music: Arthur Lauber Cast: Elfi Eschke, Andreas Vitasek, Claudia Kment, Nicola Etzelstorfer, Heinz Peters, Kitty Speiser, Ernst Konarek, Sebastian Koch, Hans Clarin Print Source: Austrian Film Commission International Sales: Star Film Production 102 minutes

From Rolf de Heer, the director of SIFF audience favorite Bad Boy Bubby, comes a love story set against extraordinary backdrops created by time-lapse and motion control photography. A woman from another star system, Epsilon, falls to Earth and encounters a man alone, camping in the desert. She invades the man’s life, dragging him into other time spaces to convince him of who she really is. Using innovative techniques, de Heer fits the characters into stunning manipulated backgrounds. “The challenge in this process,” he recently wrote, “was to match the unfolding drama to the images themselves, making the characters strong enough to support the amazing visual material and vice versa. Perhaps one could best say that the making of the film was much like the love story itself, often difficult, but ultimately rewarding.” De Heer was inspired by the craft of the motion control artists at Digital Arts, and set out to reinvent certain aspects of cinema. Like an explorer testing the limits of the visual and narrative elements of film, he takes us on a journey outside ourselves and into our world, while hinting at the possibilities that lie beyond. In Epsilon, a woman from the stars encounters a man from Earth; inevitably, their very different realities must collide. Epsilon is both a love story and a romance about planet Earth. “This film really did start with a vision, that came to me one night like a bolt of lightning," writes de Heer.

“The challenge was . . . to entrance the audience with both visual and intellectual ideas, to move them, to entertain them."

This charming romantic comedy from one of Austria’s most ac­ claimed directors introduces us to two eccentric characters who seem destined for each other despite all of the obstacles in their path. Henny, a thirtysomething small-town girl, isn’t quite sure what she wants from life, but she knows what she doesn’t want. Dumping her staid fiancé, who's the son of a local bigwig, she sets off to see the world in hopes of landing a rich, charming man with a sense of adventure and a need to share it with someone. Checking into a hostel in Vienna, Henny soon encounters Siegfried— a henpecked (and already married) underdog who, while not quite the man of her dreams, nevertheless becomes the object of her affections.

Siegfried’s wife constantly accuses him of cheating on her, and between her constant carping and her relentlessly unpleasant parents, he is looking for any escape route. Henny proves to be the answer to his prayers. Endearingly eccentric and brimming with charm and wit, this funny valentine to the possibilities of last-minute love was Austria’s biggest domestic hit last year. Engaging perfor­ mances by its two unlikely lovers make it easy to see why.

Selected Filmography: Der Experte (1987), Summertime Blues (1988), Ilona und Kurd (1991), Verlassen Sie Bitte Ihren Mann (1993)

Selected Filmography: Tail o f a Tiger (1984), Incident at Raven’s Gate (1987), Dingo (1990), Bad Boy Bubby (1993), The Quiet Room (1996)

Consulate of Australia in Washington, D.C.

Mountain

BRITISH

AIRWAYS

Contemporary World Cinema

EPSILON Australia, 1 996 World Premiere

Austria • Belgium

Contemporary World Cinema

Wednesday, May 29 ■ Harvard Exit, 7:15pm Saturday, June 1 ■ Broadway Performance Hall, 12:30pm

Y E A R N U M B E R TEN (Das Zehnte Jahr) Austria, 1995 Director: Kathe Kratz Producer: Lukas Stepanik Screenwriter: Kathe Kratz Cinematographer: Jurgen Jurges Editor: Andreas Kopriva Music: Alexander Kukelka Cast: Maria Bill, Matthias Habich, Susi Nicoletti Print Source: Austrian Film Commission 100 minutes Ten years into their relationship, middle-aged couple Marie (Maria Bill) and Max (Matthias Habich) have finally decided to set up house together. As the moving day arrives, Marie’s mother (Susi Nicoletti) points out their lack of a marriage certificate and warns of impending doom. Marie ignores her, however, feeling that this new chapter in her life will bring credibility to her existence. But the riverfront warehouse home that the couple has chosen still lacks some basic conveniences— there’s no hot water, food supplies seem danger­ ously low— and each new drawback provokes accusations and recriminations. Determined that they should spend the night there anyway, Marie locks the doors from the inside and hides Bill’s keys.

As the two lovers warily circle each other, they begin to dredge up all the hurts and doubts of their 10 years together. Children, abortion, philandering— all become weapons that are hurled with ever-increasing ferocity. Finally, a multi-volume diary of Bill’s infideli­ ties and unflattering comments about Marie provides the fuel for a remarkable and inevitable conflagration. A riveting relationship drama from award-winning TV director Kathe Kratz.

Thursday, May 30 ■ Guild 45th, 7:15pm Saturday, June 1 ■ Egyptian, 12:30pm

B ETW EEN TH E DEVIL AND TH E D EEP B LU E S E A Belgium, 1995 Director: Marion Hansel Producers: Marion Hansel, Eric Van Beuren, Mark Forstater Screenwriters: Marion Hansel, Louis Grospierre Cinematographer: Bernard Lutic Editor: Susana Rossberg Music: Wim Mertens Cast: Stephen Rea, Ling Chu, Adrian Brine Print Source/lnternational Sales: Seawell Films 92 minutes Based on the Nikos Kawadias short story “Li,” Between the Devil and the Deep Blue Sea stars Stephen Rea (The Crying Game) as a withdrawn, opium-addicted radio operator on a commercial freighter.

When his ship is stranded in Hong Kong harbor, he finds himself slipping away from the world— until the day when a young girl enters his life. The girl, named Li, has lived her whole life on a sampan, never stepping on dry land. As she begins her work cleaning the ship, Nikos (Rea) begins to open up to her and a strange, unspoken friendship arises. As Nikos learns of Li’s tragic past, he comes to see her as a bright little girl who won’t let herself be defeated, who keeps her innocence in spite of the chaos of her life. Touched by her intuitiveness, he finds himself letting the girl into his heart, where she shows him the value of sharing and the strength of their relationship. Except for a brief foray into Hong Kong in search of the girl’s long-lost parents, the film takes place almost exclusively in the rusty, shadowy spaces of the old boat. As with its two characters, it inhabits a world of silences, expectations, and sorrow.

Selected Filmography: Atemnot (1984) Selected Filmography: The Bed(1982), Dust(1984), Cruel Embrace (1987), II Maestro (1989), On Earth as in Heaven (1991)

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Brazil

Burkina Faso

Monday, May 20 ■ Harvard Exit, 5:00pm Wednesday, May 22 ■ Harvard Exit, 9:30pm

Directors: Walter Salles, Daniela Thomas Producer: Flavio R. Tambellini Screenwriters: Walter Salles, Daniela Thomas, Marcos Bernstein Cinematographer: Walter Carvalho Editors: Walter Salles, Felipe Lacerda Music: Jose Miguel Wisnik Cast: Fernanda Torres, Fernando Alves Pinto, Luis Melo, Alexandre Borges Print Source/lnternational Sales: Rio Filme 100 minutes Shot in striking black-and-white, Foreign Land is a noirish, intercon­ tinental thriller about young people striving to find their place in the world. Director Walter Salles has collaborated with theater and opera director Daniela Thomas to create an engrossing film set during the onset of a chaotic national depression in Brazil. Parallel subjects Paco (Fernando Alves Pinto) and Alex (Fernanda Torres) find themselves in different countries, both desperate for an opportunity to change their lives. As the Brazilian president’s stringent economic policies are announced and an entire nation’s savings accounts are seized, Paco flees Sao Paulo as a courier for a shady antiques dealer. Landing in Lisbon with a violin full of uncut diamonds, he is drawn into a series of events that include murder.

He takes flight with Alex, an expatriate from Brazil, clinging reck­ lessly to love and hope as his only means of redemption. Foreign Land is a seductive, well-played road movie with a gripping mystery at its heart. Depicting a country and a generation caught in crisis, it is a powerful metaphor for the search for hope.

HARAM UYA Burkina Faso/France, 1995

Contemporary World Cinema

FOREIGN LAND (Terra Estrangeira) Brazil/Portugal, 1995

Thursday, May 23 ■ Harvard Exit, 7:15pm Friday, May 31 ■ Egyptian, 5:00pm

Director/Producer/Screenwriter: Drissa Toure Cinematographer: Francois Kahnel Editor: Kahena Attia Music: Cheik Tidiane Seek Cast: Abdoulaye Kaba, Abdoulaye Komboudri, Ali Malagouin, Sidiki Sanogo, Fatogoma Konate, Francois de Salle Naba Print Source/lnternational Sales: 3B Productions 86 minutes Burkina Faso’s capital city, Ouagadougou, a town where wealth and poverty exist side by side, is the backdrop for this tale of conflict between the modern world and the traditional ways of several generations of a Muslim family. This, Drissa Toure’s second feature, focuses on the family’s existence as the city’s rapidly changing ways bring a dangerously seductive future to their doorstep. Fousseni (Fatogoma Konate) tries to instill faith and honor in his sons, but the city and its distractions offer many temptations. One of the sons is a projectionist, supporting the family with a job that is inextricably tied to the modern world. Against the wishes of his wife, the projectionist continues to work while his brother spends his days wandering the streets searching for his love, the woman he wants to marry. This immensely powerful depiction of city life is enriched by a seemingly endless stream of characters, both bizarre and sublime. The city is at a cultural and historical crossroads, and the family must redefine itself in orderto maintain its integrity. Haramuya provides a rare glimpse into a world that is at once alluring and confusing. In a country where film equipment is scarce and funding even scarcer, Toure has created a miracle both on the screen and behind the camera.

Selected Filmography: Laada (1991)

77

Contemporary World Cinema

Sunday, May 19 I Harvard Exit, 6:30pm Tuesday, May 21 I Harvard Exit, 5:00pm

LIVE BAIT Canada, 1995

M A R G A R E T ’S M U S E U M Canada, 1995

Director/Producer/Screenwriter: Bruce Sweeney Cinematographer: David Pelletier Editors: Ross Weber, Bruce Sweeney Music: Sweet Dick Willie Cast: Tom Scholte, Kevin McNulty, Babz Chula, David Lovgren Print Source/lnternational Sales: Cypher Productions 84 minutes

Director: Mort Ransen Producers: Mort Ransen, Christopher Zimmer, Claudio Luca, Steve Clark-Hall Screenwriter: Gerald Wexler Cinematographer: Vic Sarin Editor: Rita Roy Music: Milan Kymlicka Cast: Helena Bonham Carter, Clive Russell, Craig Olejnik 118 minutes

Spinning an elegantly simple tale of a dysfunctional and dissatisfy­ ing suburban world of barbecues, begonias, and overprotective moms, first-time feature filmmaker Bruce Sweeney gracefully cap­ tures the elusive absurdity of contemporary life in this impeccably composed and irresistibly funny film. Twenty-three-year-old Trevor Macintosh is having a hard time with the adult world. His dad wants him to join the family business, his mom wants him tugging at her apron strings, and women seem to just want him. Unfortunately, Trevor is too sensitive for the business, too independent to stay at home, and too “erectionally challenged” to connect with the oppo­ site sex. His disarming and cynical manner draws women to him, but his persistent sexual dysfunction is starting to cause him serious concern. Unexpectedly, Trevor finds himself awakening to life’s potential when he takes a job as an assistant to Charlotte Peacock, a vibrant, irrepressible, and seductive 65-year-old installation artist.

Between Charlotte and his new roommate (a scrawny boxer-intraining), Trevor discovers that society’s rumblings have nothing on his happiness.

Awards: Canadian Feature Prize, Toronto Film Festival, 1995 Preceeded by Femme Fatale (Great Britain, 8 minutes) Directed by Philip llson. Jimmy has an alter ego he’s kept hidden from his wife for many years; her name is Jessica and tonight she’s coming out of the closet....

Canadian Consulate General

78

Friday, May 24 ■ Guild 45th, 9:30pm Tuesday, May 28 ■ Egyptian, 7:15pm

M argaret's Museum is a profoundly stirring film set among the mines of Cape Breton. Helena Bonham Carter plays the role of Margaret MacNeil, a moody and friendless woman who wants nothing to do with the mines: they have killed her father and one of her brothers, and embittered her mother. When she meets the tall, gruff newcomer Neil Currie (Clive Russell), she assumes he is also a miner and initially pays no attention to him. But soon she realizes that Neil also hates the mines, and has vowed never to set foot in the shaft again. After a passionate courtship, in which he woos Margaret with poetry and moonlit bagpipe playing, the two marry.

Their happiness is short-lived, however: when Neil loses his job as a dishwasher, he is forced to descend into the mines for work. The effect on Margaret is nothing short of devastating. Helena Bonham Carter is wonderful as an angry woman with an indomitable will.

Awards: Golden Shell Award, San Sebastian International Film Festival, 1995; Most Popular Canadian Film, Vancouver Interna­ tional Film Festival, 1995; Canada’s Genie Award for Best Actress, 1995 Selected Filmography: (1990)

Bayo (1984), Falling Over Backwards

C h in a

Saturday, May 25 ■ Harvard Exit, 6:30pm Tuesday, May 28 I Egyptian, 9:30pm

Director/Producer: Wu Tianming Screenwriter: Wei Minglun, from a story by Chen Wen'gui Cinematographer: Mu Dayuan Music: Zhao Jiping Cast: Zhu Xu, Zhou Renying, Zhang Zhigang Print Source/lntemational Sales: Shue Kei’s Creative Workshop Ltd. 90 minutes Wu Tianming, mentor to the Fifth Generation of mainland Chinese directors, returns to the screen with a masterful drama of epic scope. Wang is a master of Sichuan opera who can change masks so fast that it seems like magic. Abandoned by his wife 30 years ago, he is a lonely man whose only companion is a monkey. He longs for an heir, not for the sake of his material wealth but for his art: tradition requires that its secrets be passed on to a direct heir, and only a boy. In search of one, Wang discovers a cute, lively boy whom a desperate father gladly sells to him. The boy, nicknamed “Doggie," is thrilled and offers Wang the affection he craves. Wang’s life takes on new meaning, and he even pawns a family heirloom when Doggie falls sick. To his horror, however, he finds out that Doggie is actually a girl. Only after she begs to stay does he agree to train her as an acrobat— he will not, however, teach herthe mask technique, which must be taught to a male. When Doggie accidentally sets fire to Wang’s boat, she flees into town. There she rescues the baby son of a wealthy family from kidnappers, secretly depositing him with Wang. After the delight of receiving a male “heir,” Wang is then charged with the kidnapping. Doggie steps forward to clear his name. This sumptuously shot cinematic treasure features an engag­ ing portrayal of resilience and dignity by Zhu Xu as Wang. The young and talented Zhou Renying (Doggie) exhibits an exceptional feisty spirit that’s both tough and funny. Wu Tianming’s last film, Old Well (1987), starred the now famous director Zhang Yimou. During the Tiananmen Square events, Wu happened to be in the United States, where he had chosen to reside after being regularly investigated by Chinese authorities. In 1994 he returned to China. The King of M asks is his first film after a hiatus of eight years.

Selected Filmography: Reverberations o f Life (co-director, 1979), Kith and Kin (co-director, 1979), Uncharted River (1983), Life (1984), Old Well (1987)

A DEEMAIR LINES

A MONGOLIAN TALE (Hei Ma) China, 1995 Director: Xie Fei Producers: Jin Jiwu, Du Yongling Screenwriter: Zhang Chengzhi Cinematographer: Fu Jingsheng Editor: Xie Fei, Zhao Xiuqin Music: Tengger Cast: Narenhua, Tengger Print Source: Cinema Esperanca International 100 minutes Filmed on location amid the spectacular scenery of the Mongolian steppes, this Montreal Film Festival award winner is a moving story of lifelong love between two motherless children raised by the same foster mother. This is a deeply romantic film clothed in stern Mongolian realism. The story begins when the children are six years old. Orphaned Somiya is living with the weathered and wise orphanage owner Nai Nai when Bayinbulag is left by his father to be raised by the same woman. His paternal duty done, the careeroriented father permanently disappears, sending only an occasional letter over the years. When a black colt appears shortly after Bayinbulag’s arrival it is taken as a sign of divine intervention: in Mongolia a boy m ust have a horse. Eventually, the two children grow up, and Nai Nai suggests that they marry so the family can always be together. But Bayinbulag is too shy and is pressed by his father to go to school. He returns unannounced three years later, hoping to reunite with Somiya. She, however, has been seduced and is now pregnant and Bayinbulag leaves in despair. Years later he will return with his black stallion again in search of Somiya. This beautifully made picture, from the director of Women o f the Lake o f Scented Souls, is a tale for those who would like to explore a remote part of the world and aren’t afraid of shedding a few tears.

Awards: Best Director, Best Artistic Contribution for Music, Montreal World Film Festival, 1995 Selected Filmography: Ben Ming Nian (1990), Black Snow (1989)

Contemporary World Cinema

TH E KING O F TH E M A S K S (Bian Lian) China/H ong Kong, 1996 US Premiere

Wednesday, May 22 ■ Guild 45th, 7:15pm Friday, May 24 ■ Egyptian, 5:00pm

China • Cuba

Thursday, June 6 ■ Harvard Exit, 9:30pm Saturday, June 8 ■ Broadway Performance Hall, 9:15pm

Contemporary World Cinema

TH E SUN H AS EA R S (Taiyang You Er) China, 1996 US Premiere Director: Yim Ho Producers: Zhang Yu, Yan Minjun Screenwriters: Yim Ho, Yi Ling Cinematographer: Zhao Fei Editor: Qian Lingling Music: Otomo Yoshihide Cast: Zhang Yu, You Yong, Gao Qiang, Ma Jing Wu Print Source: China Stars Inc. International Sales: Moon Hill International Ltd. 104 minutes The Sun Has Ears stars Zhang Yu as Youyou, a peasant woman who falls for a small-time warlord in impoverished northern China, 10 years after the fall of the Qing dynasty. The relationship opens her eyes to some home truths about her country, and this forces her to make a choice between love and her newfound values. When the impoverished young bride Youyou collapses from hunger at the door of handsome buccaneer Pan Hao, he immediately decides to have her, much to the chagrin of his current love interest. Youyou’s canny husband makes a deal with Pan to loan him Youyou for 10 days.

Unwillingly she complies, but— in an erotically charged sequence involving a noodle-making machine— her resistance blossoms into true sexual attraction. At the end of 10 days she returns to her husband. However, after government forces surround their village, Youyou manages to escape with Pan, leading to a complex series of betrayals and counter-betrayals in which all parties find their lives changed. Featuring a distinguished number of accomplished talents, including a screenplay by the author of Red Sorghum, cinematogra­ phy by Raise the Red Lantern’s Zhao Fei, and music by the composer of The Blue Kite, The Sun Has Ears features the return to the screen of Zhang Yu, one of China’s most popular stars of the 1970s and 1980s.

Awards: Silver Bear (Best Director), International Critics’ Prize, Berlin International Rim Festival, 1996 Selected Filmography: The Extras (1978), Wedding Bells (1980), Red Bust (1990), The Day The Sun Turned Cold (1995)

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Thursday, May 23 ■ Harvard Exit, 7:15pm Saturday, May 25 ■ Harvard Exit, 12:30pm

M ADAGASCAR Cuba, 1994 Director: Fernando Perez Producer: Santiago Llapur Screenwriters: Fernando Perez, Manuel Rodriguez Cinematographer: Raul Perez Ureta Editor: Julia Yip Cast: Zaida Castellanos, Laura de la Uz, Elena Bolanos, Jorge Molina Print Source/lnternational Sales: ICAIC 49 minutes

LOVE M E AND YOU WILL S E E ...

(Quiereme y Veras...)

Cuba, 1994 Director: Daniel Diaz Torres Producer: Ricardo Avila Screenwriters: Guillermo Rodriguez Rivera, Daniel Diaz Torres Cinematographer: Raul Perez Ureta Cast: Reinaldo Miravalles, Rosa Fornes, Raul Pomares, Litico Rodriguez Print Source/lnternational Sales: ICAIC 56 minutes The more things change, the more they stay the same. Madagascar and Love Me and You Will See... are both set in Havana, and both depict people who want to change things from the past in order to reconcile them with the present. Both are also brilliantly photographed

by Raul Perez Ureta. Madagascans the story of a mother and daughter who don’t understand each other anymore. Laurita longs for stability in hertumultuous life as hertwice-divorced university professor mother moves the family from place to place. She seeks escape in a dream world, where she fantasizes about going to Madagascar. But just as she finds the security she desires, her mother begins to grow more restless. The two eventually change roles completely. In the end, mother and daughter both set out for the Madagascar of their imagination. In Love Me and You Will See..., three petty criminals break into a bank, but their heist turns sour when the sudden appearance of a beautiful woman delays the operation. Thirty-five years later, one ofthe thieves, Juventino, sees an elegant woman drop a parcel of money in the street. To his surprise, the woman bears an uncanny resemblance to the one who foiled the robbery years ago. He embarks on an obsessive quest to find her, which takes him to a clairvoyant. Fate, it appears, will deal Juventino a bad hand, and only the clairvoyant can provide a better ending to his story.

Selected Filmography: (Fernando Perez) Clandestinos (1987), Hello Hemingway (1990); (Daniel Diaz Torres) Libertad para Luis Corvalan (1975), Jibaro (1985), Otra Mujer (1986), Alicica en el Pueblo de Maravillas (1990)

Czech Republic • Denmark

Wednesday, May 22 ■ Harvard Exit, 7:15pm Thursday, May 23 ■ Harvard Exit, 5:00pm

Sunday, May 26 ■ Egyptian, 9:15pm Sunday, June 2 ■ Guild 45th, 12:30pm

JUST A GIRL (Kun en Pige) Denmark, 1995 US Premiere

Director: Milan Steindler Producer: Eliska Sekovova Screenwriter: Halina Pawlowska Cinematographer: Jiri Krejcik Editor: Vera Flakova Music: Petr Ulrych Cast: Ivana Chylkova, Franciszek Pieczka, Alena Vranova, Bara Hrzanova Print Source/lnternational Sales: Czech Republic Ministry of Culture 98 minutes

Director: Peter Schroder Producer: Regner Grasten Screenwriters: Peter Bay, Jurgen Kastrup Cinematographer: Dirk Bruel Editor: Jurgen Kastrup Music: Jan Glaesel Cast: Waage Sando, Inge Sofie Skovbo, Birthe Neumann, Puk Scharbau, Sophie Engberg, Amalie Dollerup, Kristian Halkan Print Source: Danish Film Institute International Sales: Nordisk Film Distribution 165 minutes

A vivid and intimate portrait of 20 years in the life of a warm but volatile family amidst the Czech political strife of 1968 and 1989, I Thank You for Each New Morning stars Ivana Chylkova as a young girl often dominated by her expansive and sometimes tyrannical father (Franciszek Pieczka), a Ukrainian poet. Olga’s father spends several years collecting signatures in a campaign to refute an anonymous letter that keeps her from entering the university. It seems as if each of the 150 friends and relatives who sign up makes the trek from Ukraine. Meanwhile, Olga grows into adulthood, her friendships and romances affected by a society going through a period absurdly known as “normalization.” There are numerous opportunities to laugh at and with the reluctant heroes, whose characters are painted with swift, broad strokes but accented with the minutest of detail. I Thank You for Each New Morning is a sly, wry comedy infused with an unmistakable sense of dignity.

Based on author/journalist Lise Norgaard’s two best-selling vol­ umes of memoirs of her childhood, Peter Schroder’s second feature is a witty and satirical drama. The film is a tale of Norgaard’s early youth as one of two daughters of a wealthy, provincial merchant father who would have preferred a son. Outspoken and sexist, the father looks down on his daughter’s desire to become a journalist.

She proves to be both clever and defiant, however, and begins work as a journalist at the outbreak of World War II. Success comes only after a painful detour through marriage and motherhood. Director Schroder’s background in theater adds to this adaptation, creating a strong and focused epic picture of Denmark during the war years.

This clever interweaving of an extraordinary life with a singular time and place made this one of Denmark’s best-loved films of the year.

Selected Filmography: Stolen Spring (1993)

Awards: Official Oscar submission, Best Foreign Language Film, 1995; Best Director, Milan Steindler, Moscow International Film Festival, 1995

B r it is h A ir w a y s

Contemporary World Cinema

I T H A N K YOU FOR EA C H N EW MORNING (Diky Za Kazde Nove Rano) Czech Republic, 1 995

Contemporary World Cinema

Thursday, May 30 ■ Harvard Exit, 5:00pm Monday, June 3 ■ Broadway Performance Hall, 9:30pm

BYE-BYE France, 1995 Director: Karim Dridi Producer: Alain Rozanes Screenwriter: Karim Dridi Cinematographer: John Mathieson Editor: Lise Beaulieu Music: Steve Shehan, Jimmy Oihid Cast: Sami Bouajila, Nozha Khouadra, Ouassini Embarek, Phillipe Ambrosini, Frederic Andrau, Sofiane Mammeri, Moussa Maaskri, Jamila Darwich-Farah Print Source: Turbulent Art International Sales: Flach Pyramide International 107 minutes This is the France of today, the music and ethnic mix of Marseilles, the nightmare of the frighteningly fascistic right-wing National Front.

With Bye-Bye, Karim Dridi, the French-born son of North African immigrants, continues the tradition he began with Pigalle, uncover­ ing the hidden, “real” France. His vital and volatile characters find themselves confronted by a harsh world of violence and drugs even as, behind closed doors, they live a more traditional North African family life. Two brothers, left in Marseilles with relatives when their parents return to North Africa, must confront their own identities.

The older of the two still has ties to the homeland, but both he and his brother feel themselves to be French. Their encounters with racism, crime, and poverty are intermixed with scenes of the family life that serves as their safety net. Emotional secrets and longings manifest themselves, sometimes violently, and the Marseilles that tourists never see is revealed in both inviting and intimidating slices of life. Excellent performances by all enhance Karim Dridi’s reputa­ tion as one of France’s most important young talents. “Bye-bye is to say things too heavy to bear. To go on with life, it is necessary to be able to say good-bye to a city, to a friend, to parents, to a part of one’s s e lf . . . I wanted to make a film that would show Arabs as I know them, without trying to prove a point. . .”— Karim Dridi

Saturday, May 25 ■ Egyptian, 6:30pm Tuesday, May 28 ■ Egyptian, 5:00pm

C ELES TIA L C L O C K W O R K (Mécaniques Celestes) France, 1995 Director: Fina Torres Producers: Fina Torres, Naoyuki Kibe, Oscar Benedetti, Eddy Cherki Screenwriters: Fina Torres, Daniel Odier, Blanca Strepponi, Telsche Boorman, Chantal Pelletier, Yves Delaubre Cinematographer: Ricardo Aronovich Editors: Christiane Lack, Catherine Trouillet Music: Alma Rosa Castellanos, Francois Farrugia, Michel MusseauCast: Ariadna Gil, Arielle Dombasle, Evelyne Didi, Frederic Longbois, Luis Homar Print Source: October Films 85 minutes This giddily inventive modern-day reworking of the Cinderella fairy tale introduces usto ambitious young Ana, an aspiring opera singer who leaves her jilted fiancé at the altar in Caracas and impetuously boards a flight to Paris, where she hopes to find fame as an opera star. Once in the City of Light, she ends up sharing a cramped apartment with four other Latino illegals, including a pushy, diaboli­ cal video artist named Celeste. Undaunted by her strange new surroundings, Ana manages to gain the interest of an eccentric Russian vocal teacher, and pursues an Italian movie director who is searching for a new leading lady to sing the lead in his upcoming production of Rossini’s Cinderella. Unfortunately for Ana, the evil Celeste is determined to do everything in her power to ensure that if anyone gets the part of Cinderella it will be her and not her upstart new roommate. Director Fina Torres, who won a Cannes Camera d’Orfor her first film, Or/'ana(SIFF’86), has created an infectiously enjoyable romp that is crammed full of outrageous characters, bizarre visual effects, striking musical numbers, and sly tips of the hat to every Parisian cliché in the book. The result is a wonderfully entertaining and highly original work from a singular talent who should be making movies much more often.

Selected Filmography: Oriana (1985)

Awards: Un Certain Regard, Cannes Film Festival, 1995 Selected Filmography: Pigalle (1995)

Preceded by Brooms (Great Britain, 14 min.) Directed by Luke Cresswell. From the "Stomp!” creative team, a moving musical romp through the life of a sweeper. Rivals the chimney sweep dance sequence in Mary Poppins for sheer excitement and toe-tapping, foot-moving action.

BRITISH A irways

France

Friday, May 17 ■ Egyptian, 9:30pm Sunday, May 19 ■ Guild 45th, 12:30pm

Friday, May 24 i Harvard Exit, 9:30pm Sunday, May 26 I Harvard Exit, 12:30pm

I C A N ’T S L E E P (J’ai Pas Sommeil) France, 1995

Director: Jean-Paul Rappeneau Producer: Rene Cleitman Screenwriters: Jean-Paul Rappeneau, Nina Companeez, Jean-Claude Carriere Cinematographer: Thierry Arbogast Editor: Noelle Boisson Music: Jean-Claude Petit Cast: Olivier Martinez, Juliette Binoche, Francois Cluzet, Jean Yanne, Isabelle Carre, Paul Freeman, Pierre Arditi Print Source: Miramax Zoe 127 minutes

Director: Claire Denis Producers: Fabienne Vonier, Ruth Waldburger Screenwriters: Claire Denis, Jean-Pol Fargeau Cinematographer: Agnes Godard Editor: Nelly Quettier Music: John Pattison Cast: Katherina Golubeva, Richard Courcet, Alex Descas, Line Renaud, Beatrice Dalle Print Source: New Yorker Films International Sales: Pyramide International 110 minutes

This full-blooded adventure romance by the director of Cyrano is set in the picturesque landscape of Provence. It’s 1832, and Angelo, a young cavalry officer (charismatic newcomer Olivier Martinez) gallops through the countryside trying to save his fellow exiled Italian patriots from the secret police of the Austrian Empire. A cholera epidemic is raging, and quarantine halts all travel except by the most daring. Angelo is chased by a mob and escapes over the tiled rooftops. Dropping through a window, he encounters a beau­ tiful countess (Juliette Binoche of Three Colors: Blue). Shejoins him on his trek, accepting his escort while she searches for her missing husband. Silently loving her, Angelo protects her as they face many dangers together. This beautiful production is exciting storytelling in the grand manner.

Selected Filmography: Bergerac (1990)

La Vie de Chateau (1966), Cyrano de

/ Can 'tSIeep was inspired bya real-life Parisian crime wave, a string of murders of more than 20 elderly women that ended in 1987 with the arrest of a gay black man and his white lover. In the distinctive vision of director Claire Denis— best known for her African-set memoir, Chocolat— this is neither mystery-thriller nor sensational horror film. What emerges is an unsettling picture of the menacing unease and insecurity of modern life. The Paris that Denis shows us is certainly not the glamorous place we’re used to seeing in the movies. Other strands of her story involve a pretty Lithuanian girl who arrives in the city hoping to make a new life for herself, and a black musician who conversely dreams of leaving for Martinique, where he imagines a safer, simpler life for his family (it’s his son who has trouble sleeping). Denis’s attitude toward her characters’ behavjor__both moral and murderous— is strikingly evenhanded and nonjudgmental, as if all really share the same circumstances and fate. What makes her film memorable is the resonance of many small moments, beautiful, funny, chilling, and sad: a child put to sleep on a rooftop with the city lights glistening below, old ladies defiantly drilling in martial arts, the callous casualness of the murders, two women who barely know each other finding a common­ ality in drink. On the surface, / Can’t Sleep may not appear to add up to much, but its impact lingers most hauntingly. “A rich and startling noir that manages to evoke Wenders and Jarmusch at the same time as Chabrol and Hitchcock. One of 1 995’s ten best.”— Georgia Brown, The Village Voice Selected Filmography: Chocolat (1988), No Fear, No Die (1990) Preceeded by 15th February (USA, 6 minutes) Directed by Tim Webb. A witty little ditty about a date that will live in infamy: February 15, “when love turned rotten.”

B r it is h

A irw ays

Contemporary World Cinema

T H E H O R S E M A N ON TH E ROOF (Le Hussard sur le Toit) France, 1996

Contemporary World Cinema

Saturday, May 18 ■ Guild 45th, 6:30pm Monday, May 20 ■ Harvard Exit, 9:30pm

Sunday, May 19 ■ Harvard Exit, 12:30pm

LU M IER E AND C O M P A N Y (Lumiere et Compagnie) France/Spain/Sw eden, 1995 Director: Sarah Moon Producer: Fabienne Servan-Schreiber Screenwriter: Based on an idea by Philippe Poulet of the Musee du Cinema de Lyons Cinematographers: Philippe Poulet, Didier Ferry, Sarah Moon, Frederic Le Clair Editors: Roger Ikhlef, Timothy Miller Music: Jean-Jacques Lemetre Directors of New Lumiere films include: Merzak Allouache, Theo Angelopoulos, Vincente Aranda, Gabriel Axel, John Boorman, Youssef Chahine, Alain Corneau, Raymond Depardon, CostaGavras, Francis Girod, Peter Greenaway, Lasse Hallstrom, Michael Haneke, Hugh Hudson, James Ivory and Ismail Merchant, Gaston Kabore, Abbas Kiarostami, Cedric Klapisch, Andrei Konchalovsky, Patrice Leconte, Claude Lelouch, Spike Lee, Bigas Luna, David Lynch, Claude Miller, Idrissa Ouedraogo, Arthur Penn, Lucian Pintilie, Jacques Rivette, Helma Sanders, Jerry Schatzberg, Nadine Tritignant, Fernando Trueba, Liv Ullmann, Jaco Van Dormael, Regis Wargnier, Wim Wenders, Kiju Yoshida, Zhang Yimou Print Source: Cineteve 88 minutes Some of the biggest names in cinema combined theirtalents to create this unique hundredth-anniversarytribute to pioneering filmmakers the Lumiere brothers. Philippe Poulet, a researcher at the Museum of Cinema in the brothers’ home of Lyons, asked contemporary filmmakers to make their own “Lumiere” films. For the project, he painstakingly restored one of the Lumieres’ original cameras and created an authentic facsimile of the filmstock used at the time. The ground rules were rigidly enforced: one continuous shot to last no more than 52 seconds, captured in a maximum ofthree attempts, withoutthe use of an artificial light source or synchronized sound. Forty directors from around the globe agreed to participate. The results are as delightfully varied and ingenious as the roster of artists promises. Zhang Yimou’stimeless gag takes us to the Great Wall of China; Patrice Leconte updates the Lumieres’ classic Train Cominginto the Station at La Ciotat, Spike Lee and Lasse Hallstrom immortalize family members; and David Lynch’s elaborate showstopper crams his entire creepy/ wholesome universe into a single take. Lively connecting footage is provided by director Sarah Moon, who records the directors at work and probes their thoughts on questions such as, “Will film endure as a means of expression?” and, “Why did you agree to do this?” Lumiere and Company is a fascinating, sometimes astonishing entertainment no film buff can afford to miss!

Selected Filmography: Mississippi One (1990), Contacts (1994), Henri Cartier-Bresson, Point d ’interrogation (1995) gb

I

British airways

M A D A M E B U TTER FLY France, 1995 Director: Frederic Mitterrand Producers: Daniel Toscan du Plantier, Pierre-Olivier Bardet Cinematographer: Philippe Welt Music: Based on Giacomo Puccini’s opera, libretto by Luigi lllica and Giuseppe Giacosa Cast: Ying Huang, Ning Liang, Richard Troxell, Richard Cowan Print Source: Sony Pictures 135 minutes Opera lovers have a real treat in store for them. This brand-new bigscreen version of Giacomo Puccini’s romantic tragedy is everything one could wish for: splendidly sung, gorgeously photographed, emotionally captivating. And for those unfamiliar with this operatic classic, there couldn’t be a more accessible way to experience it for the first time. Set in Nagasaki at the end of the 19th century, the storytells of a proud American lieutenant who, looking for an exotic love affair, purchases a young Japanese bride. For Lieutenant Pinkerton, the marriage is just a romantic diversion. But in order to marry the foreigner, the beautiful Cio-cio-san— or “Butterfly”— has had to break all ties with her noble family, her culture, and her religion. Her vows are absolutely sincere and sacrosanct. When Pinkerton’s leave ends and he returns to sea, she resolutely refuses to believe he has abandoned her. Rising star Ying Huang is especially fine as Puccini’s courageous heroine. Her performance of the opera’s most famous aria, “One Fine Day,” is, as it should be, a heartbreaking showstopper. Director Frederic Mitterrand, clearly a passionate music lover himself, has spared no effort to make this the definitive screen Butterfly. The result is a picture that can stand proudly beside the great opera films: Bergman’s The Magic Flute, Losey’s Don Giovanni, and Rosi’s Carmen. “This opera film is without a doubt the most successful and moving of any previously made . . . A story of love between the director and his cast, between the director and the opera itself, between the music and the image.”— Telerama Selected Filmography: Lettres d ’Amour en Som alie (1981)

ff B ritish A irways

France

Saturday, May 25 ■ Harvard Exit, 9:15pm Monday, May 27 ■ Guild 45th, 3:30pm

Germany

Friday, May 17 ■ Guild 45th, 7:15pm Sunday, May 19 ■ Egyptian, 6:30pm

BR O TH ER O F S L E E P (Schlafes Bruder) Germany, 1995

Director: Benoit Jacquot Producers: Philippe Carcassone, Brigitte Faure Screenwriters: Benoit Jacquot, Jerome Beaujour Cinematographer: Caroline Champetier Editor: Pascale Chavance Cast: Virgine Ledoyen, Benoit Magimel, Dominique Valadie Print Source: Strand Releasing 90 minutes

Director/Producer: Joseph Vilsmaier Screenwriter: Robert Schneider, based on his novel Cinematographer: Joseph Vilsmaier Editor: Alex Berner Music: Hubert von Goisern, Norbert J. Schneider Cast: Andre Eisermann, Dana Vavrova, Ben Becker, Angelika Bartsch, Michael Mendl, Eva Mattes Print Source: Sony Pictures Classics 129 minutes

Benoit Jacquot’s bittersweet contemporary comedy is likely to be remembered as one of the most distinctive and audacious films of the Festival. Except for the brief opening and closing sequences, A Single Girl is shot entirely in real time— a challenge only the bravest filmmakers dare to accept. The heroine is a pretty, self-centered young woman who in the first scene announces to her boyfriend that she is pregnant. We follow her during the course of the film’s concise 90 minutes as she starts a new job delivering room service at a large hotel, engages in both friendly and antagonistic encounters with hotel staff and guests, is almost struck by a car, and ponders whether to keep the baby or even maintain her relationship with its father. This is, in short, the drama of everyday life. Not to suggest that it is at all ordinary or dull— Jacquot has a keenly observant eye for both the humor and sadness underlying his heroine’s seemingly mundane encounters. The film also benefits from the appealing, if enigmatic, presence of star Virgine Ledoyen, who is literally in every frame. She perfectly embodies the spirit of a young working woman who, like so many others, isjust trying to survive emotionally intact.

A poignant epilogue, set a few years later, in which the girl and her mother discuss love, loneliness, and their regrets confirms that there is more going on here than may first meet the eye. A unique and singularly affecting movie experience.

From the director of Stalingrad(SIFF ’94) comes a very different kind of epic— a deeply passionate, profoundly romantic tale of love and music and the mysteries of the universe. Set in a remote Alpine village in the early 19th century, the story has as its hero a strange, dreamy boy with rare talents. Not only does Elias possess remark­ able musical ability, but he is gifted with supernatural hearing that seems to put him in tune with the world in a way others cannot be.

Shunned by the villagers as the illegitimate son of their priest, he finds his only friends in a brother and sister, Peter and Elsbeth. As they reach adulthood, however, sexual tension among the three turns destructive. Elias is so caught up with his music that he fails to recognize the desperate strength of Elsbeth’s feelings for him.

Meanwhile, Peter, who’s also secretly in love with Elias, lets his jealousy get the best of him, with catastrophic results for the entire village. Director Joseph Vilsmaier’s background as a cinematogra­ pher is highly evident here in the often thrilling combination of music and imagery— most particularly at the film’s soaring climax, when Elias pours all the joy and pain of his life into a single musical performance. Andre Eisermann, who made such a strong impres­ sion as Kasper Hauser (SIFF ’94), again proves an engaging, sympathetic hero. A quintessential tale of tormented genius, Brother o f Sleep was Germany’s submission for this year’s Best Foreign Language Film Oscar. Visually spectacular, emotionally resonant, it’s impossible to understand why it wasn’t even nominated.

Selected Filmography: L'A ssassin M usicien (1975), Les Enfants du Placard (1977), Les A iles de la Colombe (1981), Corps et Bien (1986), Les Mendiants (1987), Les Desenchantee (1990), Marianne (1994)

Awards: Official Oscar submission, Best Foreign Language Film, 1995; Golden Globe nominee, 1995 Selected Filmography: Autumn M ilk (1988), Rama Dama (1990), Stalingrad (1992), Charlie and Louise (1993)

BRITISH A irways

BRITISH AIRWAYS

r S R f iB IW U iM

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Contemporary World Cinema

A SINGLE GIRL (La Fille Seule) France, 1995

Germany • Great Britain

Contemporary World Cinema

Tuesday, May 28 ■ Harvard Exit, 7:15pm Thursday, May 30 ■ Harvard Exit, 5:00pm

TALK O F TH E TOWN (Stadtgesprach) Germany, 1995 Director: Rainer Kaufmann Producer: Henrik Meyer Screenwriter: Ben Taylor Cinematographer: Klaus Eichhammer Editor: Ursula Mai Music: Stefan Traub Cast: Katja Riemann, Martina Gedeck, August Zirner, Kai Wiesinger Print Source/lnternational Sales: ZDF Enterprises 89 minutes Monika (Katja Riemann) is slightly hard-edged, and herjob as a callin advisor to the lovelorn amplifies that. When she turns 30 her gay brother, Rene (Kai Wiesinger), convinces her that her disastrous loveife can be helped by a good, old-fashioned personal ad. He may be right: Monika’s ad produces the man of her dreams. Erik is a handsome and charming dentist who gives her everything she has ever dreamed of. Unfortunately, he also gives her a few things she didn’t dream of— including a wife and two children who show up on her doorstep. To further complicate things, Monika’s brother has developed a crush on Erik and has decided to leave his partner!

Instead of an unmanageable love triangle, the characters dive into a frank, funny, and explicit sex-for-all. Monika’s “Monika in the Morning” show begins to live up to its call letters: “Kicks 96."

Awards: Best Film, Munich Film Festival, 1995 Selected Filmography: Salt for Life (1989), One o f My Oldest Friends (1993), The Dressed Chicken (1994)

86

Friday, May 24 ■ Egyptian, 9:30pm Monday, May 27 ■ Harvard Exit, 3:30pm

B R O TH ER S IN T R O U B L E Great Britain, 1995 Director: Udayan Prasad Producer/Screenwriter: Robert Buckler Cinematographer: Alan Almond Editor: Barrie Vince Music: Stephen Warbeck Cast: Om Puri, Angeline Ball, Pavan Malhotra, Pravesh Kumar Print Source/lnternational Sales: Jane Balfour Films 102 minutes A superbly made and very moving new film from the director of Femme Fatale (SIFF ‘94), this haunting immigrant saga set in contemporary London received rave reviews at the recent Berlin Film Festival, and heralds director Udayan Prasad as one of the most gifted young directors to emerge from the new field of British talents. From the moment that Amir arrives illegally in England from Pakistan hidden in a vegetable crate, nothing is as he had expected.

Instead of streets paved with gold, he finds himself living in a rundown flat with 17 other illegals, whose only means of entertain­ ment are their weekly forays to a neighborhood theater for Indian movie matinees, and the occasional visit from a local prostitute who services the entire household in one marathon session. Joining his housemates in the drudgery of their arranged jobs working long hours for low pay in a dingy factory, Amir is befriended by a sensitive young man who lives in the flat and manages a cheerful optimism despite the dire circumstances. When the house leader, Hussein, brings a young white woman home to live with him, complications arise, setting in motion a chain of events with wholly unexpected consequences.

Selected Filmography: They Never Slept (1990), Running Late (1992), Femme Fatale (1993)

Great Britain

Saturday, May 25 ■ Guild 45th, 9:15pm Wednesday, May 29 ■ Egyptian, 9:30pm

Saturday, May 25 ■ Harvard Exit, 9:15pm Saturday, June 1 ■ Broadway Performance Hall, 6:30pm

LOVED UP Great Britain, 1995

Director: Scott Michell Producers: Matthew Vaughn, Scott Michell Screenwriter: Ray Villis Cinematographer: Alan Dunlop Editor: Derek Trigg Music: Mark Ayres Cast: Rupert Graves, Annabella Sciorra, Michael Gambon, Franco Nero Print Source/lnternational Sales: Trident Releasing Inc. 110 minutes

Director: Peter Cattaneo Producer: Elinor Day Screenwriter: 01 Parker Cinematographer: Ivan Strasburg Editor: David Gamble Cast: Ian Hart, Lena Headey, Linda Bassett, Milly Gregory, Jason Isaacs, Rick Warden Print Source: BBC Television, Drama Group 70 minutes

Filmed in larger-than-life Cinemascope and set in a distinctly film noir atmosphere, The Innocent Sleep is director Scott Michell’s gritty feature film debut. This old-fashioned thriller about corruption in high places exposes London for the brooding, menacing city that it is, a city deep into whose bowels the hero must flee to find safety.

Homeless drunk Alan Terry (Rupert Graves) is doing his best to survive in a very inhospitable London. When he beds down for the night near Tower Bridge, he inadvertently witnesses the execution of one Italian by another. He takes the advice of a fellow derelict and reports the killing (officially listed as a suicide), only to recognize the cop in charge of the investigation as one of the killers. On the run, Terry enlists the help of street-tough American journalist Billie Hayman (Annabella Sciorra), who is working for a London tabloid and trying to put her own murky past behind her. She manages to keep Terry one step ahead of the murderers, but for how long?

Corrupt bankers, cops, newspaper publishers, and a witness who has seen more than he should all cast their nets around the seedier side of London, some in order to reveal the truth, some merely to protect themselves, and some to do both.

Oscar-nominated director Peter Cattaneo’s new feature is a love story set in the British world of raves and Ecstasy, in which the lovely 18-year-old Sarah falls in love with 21-year-old Tom (Ian Hart, from Land and Freedom and Backbeat). There is much that is seductive in Tom’s world and much in Sarah’s own that she would like to escape, including her teenage sister and her alcoholic mother.

Sarah moves in with Tom the day after they meet, and their first days are idyllic. Initially she is impressed with his friends, the all-night parties, the state of being perpetually “loved up.” But when she loses her job she is unable to tell Tom, whose daytime world is carefully structured to support his drug-enhanced nightlife, and she is forced to make a choice. “All we wanted to do was explore a love story in a situation where people take Ecstasy and feel as if they love everybody,” explains producer Elinor Day. “That’s an intriguing dynamic because the question is, ‘Where does the drug stop and the real emotion begin?”’ GraduallyTom’s and Sarah’s worlds collide as the line between real emotions and drug-induced ones blurs in this beautifully performed and affecting film about the dilemma of accepting life’s responsibilities or remaining arrested in youth forever.

Contemporary World Cinema

T H E INNOCENT S L E E P Great Britain, 1995

Preceded by Vampire Condom (USA, 1 minute). Directed by Paul Street. New meaning is given to the art of safe-sex in this frightening yet hilarious short.

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Great Britain

Contemporary World Cinema

Saturday, May 25 ■ Egyptian, 9:15pm Monday, May 27 I Harvard Exit, 9:15pm

Sunday, May 19 ■ Guild 45th, 6:30pm Tuesday, May 21 ■ Harvard Exit, 9:30pm

N ER VO U S EN ER G Y Great Britain, 1995 US Premiere

S O M E O N E E L S E ’S A M E R IC A (L’Amerique des Autres) Great Britain/France/Germ any, 1994

Director: Jean Stewart Producer: Ann Scott Screenwriter: Howard Schuman Cinematographer: Nic Knowland Editor: Arden Fisher Music: Stephen Warbeck Cast: Alfred Molina, Cal Macaninch, Siobhan Redmond, John McGlynn, Annette Crosbie Print Source/lnternational Sales: BBC Television, Drama Films 108 minutes

Director: Goran Paskaljevic Producers: Antoine de Clermont-Tonnerre, David Rose, Helga Bahr Screenwriter: Gordan Mihic Cinematographer: Yorgos Arvanitis Editor: William Diver Music: Andrew Dickson Cast: Tom Conti, Miki Manojlovic Print Source: October Films 96 minutes

Frank, blackly funny, and emotionally charged, Nervous Energy deals with unconditional love in the age of AIDS. Tom (Cal Macaninch), a young man from Glasgow, is living in London with his partner, Ira (Alfred Molina), an American radio journalist. Tom is HIV-positive and the disease has exaggerated his natural energies, making him sporadically manic and extreme. Seized with the idea that he must make things right, he decides to return home to the family that rejected him and the friends he once was close to. He ends up staying with his brother and sister-in-law, who try very hard to be understanding— until Tom spirals out of control. Only when he returns to London do his feelings for his chosen family and friends allow him to come to terms with his life. Featuring impressive performances by the two leads, Nervous Energy is a profoundly moving and bittersweet story of love, loss, and the reality of living without the most important person in one’s life. This film will stay with you long after the credits are over.

Goran Paskaljevic’s last film, Tango Argentino, was an audience favorite in 1993, and once again we find ourselves mixed up in the “Euro-pudding" of existence in this delightful comedy starring veteran actor Tom Conti as the owner of a scuzzy Brooklyn bar.

Directed and written by two Serbs, shot mostly in a Hamburg studio by a Greek, produced by a Franco-British-German collaboration, and featuring an amazing mix of international actors, this tale of a friendship between two Euro-clowns in Brooklyn is a charming and chaotic fairy tale in which the unreal takes over the senses and we enter into a comical world. Bayo (Miki Manojlovic) is an illegal alien from Montenegro who is living in New York, working construction jobs, and cleaning up at the bar owned by Alonso, the Tom Conti character. The Spaniard Alonso and Bayo become friends. Their friendship, which is often strained, becomes the focal point of this ensemble piece. The shortcomings of the characters are their most charming and endearing traits, portrayed as they are with the genial sympathy that has become Paskaljevic’s trademark. The enormous sets designed to look like Brooklyn’s backstreets are actually in a Hamburg studio, making for a slightly surreal and even more intriguing atmosphere that matches the charm of the characters’ personalities.

Selected Filmography: The Dog Who Loved Trains (1977), And the Days Passed (1979), Special Treatment (1980), Guardian Angel (1987), Tango Argentino (1993)

BRITISH A irw ays

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Sheraton Seattle HOTEL & TOWERS

Great Britain

11

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56

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Friday, May 31 I Harvard Exit, 9:30pm Monday, June 3 I Guild 45th, 9:30pm

Saturday, June 8 ■ Egyptian, 9:15pm Sunday, June 9 ■ Harvard Exit, 9:15pm

Director: Nigel Finch Producer: Christine Vachon Screenwriter: Rikki Beadle Blair Cinematographer: Chris Seager Editor: John Richards Music: Michael Kamen Cast: Guillermo Diaz, Fred Weller, Brendan Corbalis, Bruce MacVittie Print Source/lnternational Sales: Strand Releasing 99 minutes Just in time to commemorate the Stonewall riots and the annual gay pride day comes this compelling, semifictional account of the battle that ushered in the modern gay rights era: the 1969 New York City police raid on the Stonewall Inn, the locus of gay life in 1960s Greenwich Village. In 1969 homosexuality was illegal and police harassment was frequent. In Nigel Finch’s Stonewall, gay country boy Matty Dean arrives on a Greyhound and heads downtown, where he falls into the wild world of fabulous drag queens and underground gay culture. But his affections are split between a sassy drag-queen diva, La Miranda, and asobergay politico, Ethan.

Ethan’s white-bread, clean-cut image and his angling for gay tolerance through sympathy and staid protest contrast sharply with La Miranda’s outrageous exhibitionism and confrontational style.

Not surprisingly, it is La Miranda who faces down the cops during the eponymous riot. Stonewall creates a vivid perspective on the seminal event of the gay rights era, and will most definitely provoke discussion. Director Finch, who died of AIDS-related illnesses before the film was completed, said, “I hope the film will be recognizable to people as their Stonewall... People lost sight of how brutal Stonewall was, how people got the shit kicked out of them.

But what interests me is how history is fictionalized in memory.”

Director: Danny Boyle Producer: Andrew MacDonald Screenwriter: John Hodge Cinematographer: Brian Tufano Editor: Masahiro Hirakubo Cast: Ewan McGregor, Ewen Bremner, Kelly MacDonald, Jonny Lee Miller, Robert Carlyle Print Source: Miramax Films Inc. 94 minutes Based on the cult novel by Scottish authorlrvine Welsh, Trainspotting follows the hallucinogenic adventures of five junkies who live in the rundown Edinburgh suburb of Leith in the late 1980s. The story centers on MarkTenton, an unlikely hero and on-again-off-again user who hangs out with his former school friends more through habit than choice, drifting in and out of heroin addiction and a series of surreal urban experiences. Finally, determined to kick his habit, Mark moves to London and a new job, where life begins to resemble normal reality— until longtime pal Begbie turns up with the promise of participation in a highly lucrative drug deal, causing Mark to once again return north. Though the story sounds downbeat, Trainspotting is infused with wildly inventive visuals and scabrously funny scenes.

Hip, edgy, and hilariously irreverent, this twisted treat from the creative team that gained wide acclaim with its debut picture, Shallow Grave, has turned into one of the biggest hits of the year in Britain, earning unanimous rave reviews from British critics, who liken it to a Clockwork Orange for the ’90s.

Awards: Best Screenplay Adaptation, BAFTA Awards, 1996 Selected Filmography: Shallow Grave (1994)

T H Ee a d

m m fi

British Consulate

BRITISH AIRWAYS

Contemporary World Cinema

TRAINSPOTTING Great Britain, 1996 US Premiere

STO N EW A LL Great Britain, 1995

Great Britain • Hong Kong

Contemporary World Cinema

Saturday, June 1 ■ Guild 45th, 9:15pm Monday, June 3 I Harvard Exit, 9:30pm

Friday, May 17 ■ Egyptian, Midnight Monday, May 20 ■ Guild 45th, 9:30pm

TH E YOUNG PO ISO N ER ’S HAN D BO O K Great Britain/Germ any/France, 1994

FULL TH R O TTLE Hong Kong, 1995

Director: Benjamin Ross Producer: Sam Taylor Screenwriters: Jeff Rawle, Benjamin Ross Cinematographer: Hubert Taczanowski Editor: Anne Sopel Music: Robert Lane, Frank Strobel Cast: Hugh O’Conor, Antony Sher, Ruth Sheen, Roger Lloyd Pack, Charlotte Coleman Print Source: Cinepix Film Properties 106 minutes

Director: Derek Yee Producer: Alexander Chan Screenwriters: Yee Tung Sing, Derek Yee Cinematographers: Ma Chor Shing, Chung Chi Man Editor: Kong Chi Leung Music: Frankie Chan, Roel A. Garcia, Richard Yuen Cast: Andy Lau, Gigi Leung, David Ng Print Source/lnternational Sales: Win’s Entertainment Inc. 114 minutes

This blackest of black comedies, a tale of genius gone wrong, presents a perfectly monstrous hero. Fourteen-year-old Graham is obsessed with toxic substances and decides to dabble in experi­ mental murder— using his family as his first test subjects. Hugh O’Conor, so good as the young Christy Brown in My Left Foot, gives an astonishing performance as Graham. He seems so confident and dedicated to his lethal quest for knowledge that the viewer is forced to share his perspective, which sees the killer as normal and everyone else as peculiar. Graham shows a remarkable aptitude for his chosen career, but eventually (rather late) the authorities catch on and arrest him. The strangely compelling inmate’s brilliance proves a challenge to the jail doctor (Antony Sher), who tries to rehabilitate him. Will he be allowed another chance atfreedom?This twisted tale, like Heavenly Creatures, is based on a true story.

Director/co-screenwriter Benjamin Ross makes an impressive de­ but. “Astonishingly bold! Its assured style, malevolant wit, and uncompromising intelligence should fascinate.”— Janet Maslin, The New York Times

Filled with scenes that put the viewer in the driver’s seat, Full Throttle stars Andy Lau as a motorcyclist who lives for racing. He rides his bike furiously around the streets of Hong Kong, narrowly avoiding police road traps. When he’s not in the saddle he spends most of his time bonding with his like-minded pals in a biker bar.

After a serious crash he is presented with an ultimatum by his attractive girlfriend: he must choose between bikes and her. Full Throttle thrives in presenting the allure of drag racing: burning rubber, smoking engines, roaring convoys, and designer racing suits. However, the film goes beyond the hot-wheeling romps and delves into a subculture that enthusiasts have forged for them­ selves. The sport captures the essence of Hong Kong in all its glory— fast, dangerous, on the fringe, and run on its own terms by its own people. Much different than Jackie Chan’s Thunderbolt, which focuses on regular races, Full Throttle rises above the usual doldrums of action pictures by offering strong characters and a wellcrafted story. For all you adrenaline junkies out there, however, don’t worry: the blood-boiling races will make you want to check for bugs in your teeth.

Selected Filmography: The Lunatic (1986), People’s Hero (1988), C ’est la Vie, Mon Cheri (1993)

90

Hong Kong

Monday, May 27 ■ Egyptian, 6:30pm

Director: Stanley Kwan Producers: Wong Hoi, Benny Wong Screenwriter: Edward Lam, based on the novella by Eileen Chang Cinematographer: Christopher Doyle Editor: Brian Schwegmann Music: Johnny Chen Cast: Winston Chao, Joan Chen, Veronica Yip, Zhao Chang Print Source/lnternational Sales: First Distributors Ltd. 123 minutes The wonderfully expressive art direction alone would make this film a treat, but we are doubly fortunate to find its boldly decorative style in the service of a droll, bittersweet parable about love and sex and marriage. The hero (handsome Winston Chao from The Wedding Banquet) is, from head to toe, the archetypical post-World War II man. “Red Rose” is the married woman he loves with youthful passion but finally spurns as unworthy of a man in his position. Joan Chen (The Last Emperoi) plays her with an exuberant good fun— listen to her purr, “I love doing the wrong thing!”— that gives way to a sober sadness all the more affecting for the contrast it provides.

The beautiful Chen has never before had such a richly satisfying role. Her Red Rose character is further delineated by rich, deep colors and jagged lines that run through the clothes she wears, the angular tiles in the walls of her apartment, and even the cobbled streets and winter trees outside her door. “White Rose” (Veronica Yip) is the meekly proper wife Chao dutifully weds but has no feeling for whatsoever. Her parallel lines and sterile pastels reflect the emptiness of their marriage. Stanley Kwan’s film is a brilliantly ironic tragedy about a man who, true to the moral codes of his time, seeks to be master of his emotions and his world— with devastating results for himself as much as for the unfortunate women who love him. “Stanley Kwan’s Red Rose, White Rose is his most emotion­ ally resonant and deeply realized work since his name-making Rouge some seven years ago.”— Derek Elley, Variety Selected Filmography: Women (1984), Love unto Waste (1986), Rouge (1988), Full Moon in New York (1989), Actress (1991) Awards: Golden Horse Award, Hong Kong, 1995

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Wednesday, May 29 ■ Egyptian, 7:15pm Friday, May 31 ■ Guild 45th, 5:00pm

A G N ES Iceland, 1996 Director: Egill Edvardsson Producer: Snorri Thorisson Screenwriters: Jon Asgeir Hreinsson, Snorri Thorisson Cinematographer: Snorri Thorisson Editor: Steingrimur Karlsson Music: Gunnar Thordarson Cast: Maria Ellingsen, Baltasar Kormakur, Egill Olafsson, Hilmir Snaer Gudnason Print Source: Icelandic Film Fund International Sales: Pinnacle Pictures Ltd. 106 minutes Set in ruggedly beautiful Iceland, this thrilling tale of passion, betrayal, and bloody revenge is based on a real-life love affair between a servant and a doctor that led to the last public execution in that country in 1830. The film introduces us to the servant, Agnes, a free-spirited, beautiful unwed mother who is trying to take control of her life in a world dominated by men. The sexually harassed young woman falls in love with the dashing doctor Natan— she’s unaware that his second profession is thievery— and while Agnes and Natan rendezvous, his two brothers rob her employer. As a result, Agnes is fired, her daughter is taken from her, and Natan buys her as a servant. At first it seems that her days of unhappiness will be over in Natan’s household. However, Natan is addicted to hallucinogenic herbs that trigger violent mood swings, and furthermore, he has no plans to fetch Agnes’s daughter for her. The mistreated woman seeks revenge, with disastrous results. Director Egill Edvardsson has created a poetic and heartbreaking portrayal of a period when powerful men could easily crush, and even eliminate, a woman who tried to stand up for her rights.

Selected Filmography: The House (1983)

Contemporary World Cinema

RED R O SE, W HITE R O SE (Hong Meigui, Bai Meigui) Hong Kong, 1995

Iceland

One credit worth checking out . ..

Internet Integration

ComVista, Inc.

www.seattlefilm.com

W hen the Seattle International Film Festival needed technical expertise in redesigning their In tern et presence, they tu rn ed to ComVista. Visit www.seattlefilm.com and find live Internet broadcasts, video clips, RealAudio™ and an on-line m ovie database.

ComVista, Inc. provides a full range o f Internet and Intranet solutions for com panies like Alaska Airlines, Im m unex C orporation, Apple C om puter, Inc., Q uarterdeck C orporation Inc., 3M, and MacTech M agazine. We can help you integrate the Internet into your business for better productivity an d w ider exposure w ith custom solutions for Web site developm ent, on-line com m erce, secure com m unication, video conferencing, Java program m ing, and studio-quality graphics. You can’t afford n o t to check it out.

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C o n g r a t u l a t i o n s t o S I F F on B r i n g i n g

Sa n

Jo s e

S e a t t l e 22 Y e a r s o f F i n e

Film

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Grammy award winning composer

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Robin Hood Prince of Theives

Michael Kamen will conduct the Seattle Symphony and explain the process of scoring major motion

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pictures. As you see film clips from

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Mr. Holland's Opus

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these diverse movies, the Seattle Symphony will perform the musical scores created by Michael Kamen.

You'll hear

his m ulti-Gram m y

w inning song E verything 1 D o

Don Juan de Marco

(I Do for You) from Robin Hood: Prince of Thieves and Have You Really Loved

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A Woman the Oscar nominated song !

from Don Juan de Marco, plus other

Brazil

movie greats by Michael Kamen.

With the purchase of a special Patron

•Ticket, you will receive valet parking,

The Adventures of Baron Munchausen

Seattle Symphony Goes to the Movies with Michael Kamen

p rem ier c o n c e rt se a tin g and a post-concert party with Michael Kamen and other special guests.

Concert Tickets:$ 13-30 Patron Tickets:$75 (call the Symphony Ticket Office at 443-4747)

For concert tickets call Seattle Symphony at 443-4747, Ticketmaster at 292-ARTS or in person at the Paramount T heatre Box Office.

Friday, June 7, 8pm P aram ount T h e a tre SLA Presents

Iceland

Sunday, June 2 ■ Egyptian, 9:15pm Tuesday, June 4 ■ Egyptian, 7:15pm

Director: Fridrik Thor Fridriksson Producer: Jim Stark Screenwriters: Jim Stark, Fridrik Thor Fridriksson Cinematographer: Ari Kristinsson Editor: Steingrimur Karlsson Music: Hilmar Orn Hilmarsson Cast: Masatoshi Nagase, Lili Taylor, Fisher Stevens, Gisli Halldorsson Print Source: Artistic License Films 83 minutes Atsushi Hirata (played by Japanese actor and rock star Masatoshi Nagase) dreams of spending his annual one-week vacation golfing in Hawaii. His grandfather, however, persuades him to perform a sacred memorial service for his parents at the site of their death.

Since they died in Iceland, Hirata must forgo his tropical holiday for the remote vastness of the Icelandic outback. Producer Jim Stark (Mystery Train, Down by Law) and director Fridrik Thor Fridriksson (Movie Days, Children o f Nature) have created an extraordinary cross-cultural road movie with the strangest of experiences along the way. As Hirata motors out of Reykjavik in the general direction of his parents’ death site, he partakes in a colorful sampling of Icelandic heritage: he drinks Black Death (the national drink), eats sheep’s head and fermented shark, mistakenly views the country’s main tourist site (the hot-water runoff pond at Reykjavik’s power plant), crosses the wintry wastes, and speeds by the most alarming of all road signs— “DOES ANYBODY KNOW YOU ARE GOING THIS WAY?” Reminiscent of the best off-kilter comic adventures the movie screen has to offer, Cold Fever is profoundly odd and strangely spiritual. Most of all, it is the story of one young man’s very difficult journey to find out something important about himself.

Selected Filmography: White Whales (1987), Children o f Nature (1991), Movie Days (1994)

T E A R S OF STO N E Iceland, 1995 Director: Hilmar Oddsson Producer: Jona Finnsdottir Screenwriters: Hilmar Oddsson, Hjalmar H. Ragnarsson, Sveinbjorn I. Baldvinsson Cinematographer: Sigurdur Sverrir Palsson Editor: Kerstin Eriksdotter Music: Jon Leifs Cast: Throstur Leo Gunnarsson, Ruth Olafsdottir, Heinz Bennent, Ulrich Tukur, Bergthora Aradottir, Johann Sigurdarson, Ingrid Andree, Sigrun Lilliendahl, Thomas Brasch, Benedikt Erlingsson Print Source: Icelandic Film Fund International Sales: Telepicture Marketing, Ltd. 114 minutes It is said that a young troll who has lost his way cries a single tear, which, as it hits the ground, turns to stone. This mythological belief is integral to this film about the life of composer Jon Leifs. Born in rural Iceland in 1899, he left to study music in Europe, but brought the spirit of his native landscape with him. Persecuted and forced to leave Germany, he returned to the country of his birth, with its icy landscapes and its primal energy. The flowing lava, ice-encrusted cliffs, and frostbitten wastes of this isolated and beautiful island country all come together in the spiritual music created by this musician who followed no trends and, finally, stood alone with his work. Leifs’s music is terrifying in its magnitude and heavenly in its simplicity. Woven into its sturdy composition is sorrow deep and painful, beauty pure and clear. Nature and music become one as we delve into the life of a man who expressed his love and sadness through his art. Director Hilmar Oddson says, “ Tears o f Stone is a film about people. On the inside they are driven by contradictions and confusion, while the world outside is one of insanity and distortion. The inner contradictions have a power of their own, but under pressure from the surrounding lunacy it becomes a force of disruption and destruction.”

Contemporary World Cinema

C O LD F E V E R (A Koldum Klaka) Iceland/USA/Germ any/Sw itzerland, 1 994

Monday, June 3 ■ Harvard Exit, 7:15pm Wednesday, June 5 ■ Guild 45th, 5:00pm

Awards: Official Oscar submission, Best Foreign Language Rim, 1995 Selected Filmography: The Beast (1986)

95

India • Indonesia

Contemporary World Cinema

Sunday, May 26 Monday, May 27

Guild 45th, 3:30pm Harvard Exit, 9:15pm

Sunday, May 26 I Guild 45th, 12:30pm Tuesday, May 28 I Harvard Exit, 9:30pm

TARGET

AND THE MOON DANCES

India, 1995

(Bulan Tertusuk Malang) Indonesia, 1995

Director/Producer: Sandip Ray Screenwriter: Satyajit Ray, based on the novel by Prafulla Roy Cinematographer: Barun Raha Editor: Dulal Dutt Music: Sandip Ray Cast: Om Puri, Mohan Agashe, Champa Islam, Anjan Srivastava Print Source/lnternationai Sales: Filmopolis 120 minutes Life is not fair, especially for those who find themselves shunned as members of the caste of “untouchables” living in poverty in India.

Written by director Sandip Ray’s father, the late Satyajit Ray, this epic tale follows a western-style structure and introduces us to an engrossing lineup of characters whose castes determine theirfates.

The arrogant landowner lords over his workers, but because of alcoholism is no longer proficient in his former passion, hunting. He is forced to hire a man of the lowest caste, an untouchable, to work as a sharpshooter for him. When the workers organize to rise up against their master and protest their poor working conditions, the young sharpshooter refuses to join them. But he soon finds himself humiliated as his master takes credit for his shooting. The young man’s awareness of his position and the horrific treatment of those around him grows as he falls under the influence of a young woman (Champa Islam), who further uncovers the master’s unfair ways.

When a young woman is pursued by the master and the sharp­ shooter loses the use of his hunting arm in the process of defending her, a spaghetti-western-style showdown between the lord and the untouchables ensues. This finely crafted film contains well-devel­ oped characters and excellent performances, from the shy, inexpe­ rienced Bharosa (Om Puri) to the wonderfully terrible villain, played

by Mohan Agashe.

Selected Filmography: The Broken Journey (1994)

Director: Garin Nugroho Producers: H. Turino Junaidy, Garin Nugroho Screenwriters: Garin Nugroho, Armantono Cinematographer: Nur Hidayat Editor: Arturo G. Pradjawisastra Music: Ki Sutarman Cast: Ki Soetarman, Paquita Wibowo, Norman Wibowo Print Source/lnternationai Sales: SET Filmproduction 125 minutes This third feature by Garin Nugroho is an intensely emotional meditation upon relationships between generations, and the role of music in the search for recovery from a traumatic past and for an identity in an unstable present. The relationship between 65-yearold Waluyo, a teacher of traditional song, and his two students, both 25, gives birth to an intense quest for guidance. The young man, llalang, a composer, has suffered greatly from his father’s mental and physical abuse. The young woman, Bulan, who appears to be rootless and ever-searching, becomes an object of love. Relation­ ships among the three shift and evolve, developing into complex yet meaningful emotional bonds. The unique blending of traditional culture and modern-day love in this tale of three individuals finding a way to communicate and express themselves, through both music and emotions, carries us along as we marvel at the beautiful imagery that is life in this gorgeous corner of the world. Yet an undercurrent of refined sadism is ever-present, even as we are lured into the supernatural world of Javanese culture. This study of violent forces and aesthetic obsession is set in a country we see all too rarely in film, a landscape in which refinement confronts violence, tradition is juxtaposed against modernity, and youth is face-to-face with old age.

Awards: International Forum of Young Cinema, Berlin Film Festival; NETPAC Award, Berlin Film Festival, 1996 Selected Filmography: Love on a Slice o f Bread (1991), Letter for an Angel (1993)

96

Ireland • Israel

Tuesday, June 4 Saturday, June 8

Broadway Performance Hall, 7:15pm Harvard Exit, 12:30pm

SAINT CLARA (Clara Hakdosha) Israel, 1996 US Premiere

Dublin, circa 1960. Eight-year-old Harry Cronin has only one explanation for his troubled existence: he is an extraterrestrial from Mercury! After all, his father is dead, his mother seems much too old, his teenage brother wants nothing to do with him, and, for some unknown reason, the school bully is after him. Harry can only conclude that he and his sidekick dog, Max, have been sent from the planet Mercury to study life on earth. His fantasy world is inspired in no small way by Flash Gordon, whose films mesmerize him every Saturday afternoon at the local cinema. Seeing the flashing lights of Mercurian spacecraft as they race across the sky each night, Harry is secure in the knowledge that with his flashlight as a beacon, he will be protected if the going gets tough. His youthful misadventures and dilemmas drive his mother to such distraction that she turns to Harry’s decidedly bizarre Uncle Tony for help. A warm and funny family film for all ages.

BRITISH A ir w a y s

Directors: Ori Sivan, Ari Folman Producers: Marek Rozenbaum, Uri Sabag Screenwriters: Ori Sivan, Ari Folman, based on the novel by Yellena and Pavel Kohout Cinematographer: Valentin Belanogov Editor: Dov Steuer Music: Barry Saharof Cast: Lucy Dubinchek, Halil Elohav, Jhony Pitterson, Maya Meron Print Source: Kino International International Sales: Fortissimo Film Sales 85 minutes Set in a mythical time and place, Saint Clara is the story of the rebellious outbursts of a pretty 13-year-old Russian girl named Clara and her mischievous friends, all of whom are caught up in gang rivalries in the surrealistic landscape of an isolated industrial town.

The film is shot with dreamlike, eye-catching visuals and backed with an impressive soundtrack of new groups that music fans will appreciate. Clara, played by the exceptionally talented newcomer Lucy Dubinchek, is a new arrival at the town school where she meets up with the class rebels Tikel and Rosenthal. Thanks to her ESP, the whole class gets perfect scores on their math exam. While the oddly eccentric teacher and principal scream and search for the cheat, Tikel and Rosenthal plot to use Clara’s supernatural powers to foment a school revolution. Her abilities, however, do not surprise her Russian immigrant parents, since her mother had similar powers until she found her first true love. As Clara becomes closer to Tikel and Rosenthal the potential for romance develops, and Clara provokes widespread panic amongst the townsfolk when she pre­ dicts that an earthquake is imminent. Oblivious herself to this potential natural disaster, Clara has a more immediate problem to solve. Should she pursue her feelings of love with Tikel and risk losing her ESP? This seriously twisted, disturbing, and uproarious film is an impressive directorial debut by Ori Sivan and Ari Folman, and one of the major finds of the Festival this year. It succeeds in capturing with wit and charm a time to which we would all like to return: the age of adolescence.

Awards: Best Film, Haifa Film Festival, 1995

Contemporary World Cinema

THE BOY FROM MERCURY Ireland/France/Great Britain, 1996 US Premiere Director: Martin Duffy Producer: Marina Hughes Screenwriter: Martin Duffy Cinematographer: Seamus Deasy Editor: John Victor Smith Music: Stephen McKeon Cast: James Hickey, Rita Tushingham, Tom Courtenay, Hugh O’Conor Print Source: Mercurian Productions International Sales: Le Studio Canal 87 minutes

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Monday, May 27 ■ Harvard Exit, 12:30pm Wednesday, June 5 ■ Harvard Exit, 9:30pm

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Sunday, May 26 I Harvard Exit, 6:30pm Tuesday, May 28 I Harvard Exit, 5:00pm

Contemporary World Cinema

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Israel • Italy

Sunday, May 26 ■ Harvard Exit, 6:30pm Wednesday, May 29 ■ Egyptian, 5:00pm

UNDER THE DOMIM TREE

L’AMORE MOLESTO

(Etz Hadomin Tafus) Israel, 1995

Italy, 1995

Director: Eli Cohen Screenwriters: Gila Almagor, Eyal Sher Producers: Gila Almagor, Eitan Evan Cinematographer: David Gurfinkel Editor: Danny Shik Music: Benny Nagari Cast: Kaipo Cohen, Juliano Mer, Gila Almagor, Riki Blich, Jeniya Catzan, Orli Perl, Ohad Knoller, Aya Stiftel Print Source: Strand Releasing International Sales: Curb Entertaiment International 102 minutes Under the Domim Tree continues Gila Almagor’s autobiographical story that began with 1988’s The Summer o f Aviya and portrays the anguish of the Holocaust through the eyes of its most helpless victims: the children. This sequel explores the lives of a group of teenage orphans living on an Israeli work farm in 1953. Their lives are seemingly normal throughout the day, filled with studies, laughter, and song. But as night falls, the painful memories of concentration camps emerge and the only refuge is underthe domim tree. The film focuses primarily on the stories of four teenagers, each story distinct and yet all interwoven to reveal the mutual process of regaining their own lives. Aviya, 15, a native-born Israeli, searches for clues to her deceased father’s identity. Jurek, 16, tries to kindle love between himself and Aviya while struggling with his war-haunted soul. Yola, 15, hopes that the news of her father being alive and well in Warsaw is true. Mira, 15, sullen and withdrawn and with no recollection of the past, finds the other children rallying to her defense when her parents show up to claim her and she spurns them as imposters. Afine ensemble of young actors leads the viewer to the film’s dramatic, surprising conclusion.

Selected Filmography: Ricochets, (1986), The Summer o f Aviya (1988), The Quarrel (1992), The Soft K ill (1994)

Director: Mario Martone Producers: Angelo Curti, Andrea Occhipinti, Kermit Smith Screenwriter: Mario Martone, based on the novel

by Elena Ferrante Cinematographer: Luca Bigazzi Editor: Jacopo Quadri Music: Steve Lacy, Alfred Schittke Cast: Anna Bonaiuto, Angela Luce, Carmela Pecoraro, Licia Maglietta, Gianni Cajafa, Anna Calato, Giovanni Viglietti, Peppe Lanzetta Print Source/lnternational Sales: SACIS 104 minutes This strong, character-driven story takes us on a woman’s journey into her own memory and into the secret life of Amalia, her mother.

Amalia’s body is found washed up on the seashore, her trip to Bologna to celebrate her daughter Delia’s birthday brutally cut short. Delia returns to Naples for the funeral, and attempts to trace her mother’s last movements and reconstruct the days leading up to her death. In doing so, she must face the skeletons in her mother’s closet, as well as her own, and confront a relationship that was more often controlled by jealousy and mutual resentment than by love ortenderness. The men in Amalia’s life— her brother Filippo, her lover, Caserta, and his son, Antonio, as well as the estranged husband (and father of Delia)— all appear dubious and domineer­ ing. Delia begins to see her mother in herself as she uncovers the immensely troubling memories of abuse and the sordid circum­ stances surrounding her mother’s death. Anna Bonaiuto gives a stellar performance as Delia, the strong, intelligent, unapologetic female lead. Her performance is as fascinating for its reserve as it is for its sensuality. Visually beautiful and emotionally disturbing, L ’Amore Molesto depicts a psychological wasteland where sexual pleasure and perverted emotions cling from the skin and bones of both the dead and the living. “The memory of the past, through which we interpret the present, is inherited, and this includes the idea of Naples I evoke in my films. Naples is a city driven by senses, not feelings. It is a city that can upset moral order and convicions.”— Mario Martone.

Awards: Best Director, Italy’s Donatello awards; Best Actress, Anna Bonaiuto, Italy’s Donatello awards; Best Supporting Actress, Angela Luce, Italy’s Donatello awards Selected Filmography: Death o f a Neapolitan Mathem atician (1991)

Italy

Tuesday, May 28 ■ Guild 45th, 5:00pm Sunday, June 2 ■ Harvard Exit, 9:15pm

Monday, May 20 ■ Harvard Exit, 7:15pm Tuesday, May 21 ■ Harvard Exit, 5:00pm

THE DELEGATION

(Celluloide) Italy, 1 995 US Premiere

(II Delegazione) Italy/Russia, 1995

Director: Carlo Lizzani Producers: Pio Angeletti, Adriano De Micheli Screenwriters: Furio Scarpelli, Ugo Pirro, Carlo Lizzani Cinematographer: Giorgio Di Battista Editor: Alberto Gallitti Music: Manuel De Sica Cast: Massimo Ghini, Giancarlo Giannini, Anna Falchi, Lina Sastri, Massimo Dapporto, Christopher Walken Print Source/lnternational Sales: FilmExport Group 110 minutes For movie lovers everywhere, Celluloid provides an opportunity to experience a glorious moment in film history past. Veteran director Carlo Lizzani and company bring vividly to life all the colorful personalities who came together shortly after the end of World War II to create what became the first masterpiece of Italian neorealism, Roberto Rossellini’s Rome, Open City. Characters include director Rossellini, the vaudeville comic Aldo Fabrizi, who became the film ’s star, tempestuous actress and cabaret singer Anna Magnani, and the young Federico Fellini as a production assistant. Giancarlo Giannini has one of his best roles in many years as Sergio Amidei, thefiery-tempered screenwriter with an unwavering commitment to art. It’s impossible not to be swept up in the world of the adventurous director and his crew— the independentfilmmakersof their day— as they face and overcome one obstacle after another.

The actors are smooth-talked into working for peanuts, the pro­ ducer walks out in midproduction horrified by the rushes, and the US Army almost brings the whole shaky enterprise to an end when it discovers that electricity is being stolen from a USO center. In other words, film business as usual. In Celluloid, Carlo Lizzani convincingly and vividly re-creates a period he knows inside and out from personal experience.

Selected Filmography: Achtung! Bandit! (1951), Chronicle o f Poor Lovers (1954), The Hunchback o f Rome (1960), The Dirty War (1965), The Last Four Days (1974), Kleinhoff Hotel (1977)

BRITISH A ir w a y s

Director: Alexander Galin Producers: Luca Barbareschi, Sergei Baev Screenwriter: Alexander Galin Cinematographer: Mikhail Agranovich Editor: Enzo Meniconi Music: Kaballa Cast: Inna Churikova, Luca Barbareschi Print Source/lnternational Sales: SACIS 92 minutes Moscow great Inna Churikova stars in this delightful tale as Chloya, the multilingual translator for a group of Russian women who have won a European holiday tour that is wrapping up in Venice. A breed apart from the extremely large and excessively boorish diver, two novice materialists, and set-in-stone party member who accompany her, Chloya easily evades her compatriots and sets off to partake of the heady intoxications of Venice on her own. Her style and presence are impossible to hide, however, and soon she has attracted the notice of a very charming and persuasive gigolo (Luca Barbareschi).

Chloya and the gigolo spend a lovely day surveying the city’s watersoaked sights, as the rest of the ladies try desperately to spend their lire and stock up on gifts fortheirfamilies. With great mistranslations and soulful cross-cultural observations, the group (who start to regret that they “saved Europe from the Tartars”) get as many laughs at the Italians’ expense as the Italians do at theirs. Meanwhile, Chloya continues to enjoy the affections of her gigolo while continu­ ing to deny she has entered into a business contract— a situation not likely to be solved with a few traveler’s checks.

Contemporary World Cinema

CELLULOID

Italy

Wednesday, June 5 ■ Harvard Exit, 7:15pm Sunday, June 9 ■ Broadway Performance Hall, 6:30pm

Contemporary World Cinema

LAMERICA Italy, 1 994 Director: Gianni Amelio Producers: Mario & Vittorio Cecchi Gori Screenwriters: Gianni Amelio, Andrea Porporati, Alessandro Sermoneta Cinematographer: Luca Bigazzi Editor: Simona Paggi Music: Franco Piersanti Cast: Enrico Lo Verso, Michele Placido, Carmelo DiMazzarelli, Piro Milkani Print Source: New Yorker Films 116 minutes Lamerica is deservedly one of the most acclaimed foreign films of recent years. Socially conscious director Gianni Amelio (Stolen Children) has created a sobering, darkly comic reminder for the world’s “haves" about how easily they can become “have-nots.”

Present-day Albania teeters on the brink of complete social collapse after the fall of communism. Two slick Italian businessmen (Michele Plácido and Enrico Lo Verso) arrive in the crumbling country with plans for a shoe factory— a shady enterprise that in reality is nothing but a get-rich-quickfraud. Forced to select an Albanian partner, they choose a slow-witted political prisonerwho inconveniently gives them the slip.

The film follows the younger Italian’s journey through the devastated land in a desperate attempt to find this reluctant official and return him to his post. This unplanned road trip becomes a kind of spiritual odyssey during which the arrogant youth is systematically stripped of everythingthatonce identified him as aforeigner. Bytheend,he’sjust one more refugee dreaming of escape to a better land— “Lamerica!”

Director Amelio has created some eerily authentic sequences— including a little girl expertly mimicking dancing girls she’s seen on Italian TV— that seem snatched from real life. Exceptional perfor­ mances flow from the largely non-professional cast, including the 80year-old former fisherman who plays the poignantly deluded runaway.

Lamerica found its way onto numerous 1995 ten-best lists, including those of Janet Maslin (The New York Times), Andrew Sarris (New York Observer), and Molly Haskell (Film Comment).

Awards: Best Director, Venice Rim Festival, 1995; Official Oscar submis­ sion, Best Foreign Language Rim, 1995; Best Cinematography, Italy’s Donatello Awards, 1995 Selected Filmography: A Blow to the Heart (1982), The Guys from Via Panispema (1988), Open Doors (1990), Stolen Children (1992)

Sunday, June 2 I I Harvard Exit, 3:30pm Saturday, June 8 I Broadway Performance Hall, 6:30pm

NEXT YEAR...W E’LL GO TO BED BY TEN (L’Anno Prossim o...Vado a Letto alle Dieci) Italy, 1995 US Premiere Director: Angelo Orlando Producer: Fulvio Lucisano Screenwriter: Angelo Orlando Cinematographer: Luca Santini Editor: Pierluigi Leonardi Composer: Roberto Ciotti Cast: Angelo Orlando, Ricky Memphis, Ninetto Davoli, Claudia Gerini Print Source/lnternational Sales: SACIS International 90 minutes Next Year...W e’II Go to Bed by Ten is a nightmarish fable about a New Year’s Eve gone very wrong. Thirtysomething Poldo is preparing to enjoy the evening’s festivities when his best buddy, Rosario, arrives on the scene, despondent because his girlfriend has left him. In an effort to cheer his friend up, Poldo convinces Rosario to accompany him to a party. The giddy celebration fails to improve his mood, however, and Rosario insists that the two leave as midnight approaches. In a last attempt to find some happier company with which to see in the New Year, Poldo picks up a hitchhiking couple.

From that moment on, none of their lives will ever be the same! What follows is a series of surreal, even grotesque encounters, each more unpredictable and dangerous than the previous one and making Poldo and Rosario resolve more firmly, “Next year...we’ll go to bed by 10.” As writer, director, and star, Angelo Orlando here demon­ strates an impressive— and unsettling— triple-threat talent. Pasolini fans will be interested to note the presence of Ninetto Davoli (Hawks and Sparrows, Arabian Nights) in a key role. Next Year... is a harrowing, provocative movie adventure that casts a knowing eye upon our troubled modern world.

Italy

Sunday, May 26 I Harvard Exit, 9:15pm Thursday, May 30 ■ Guild 45th, 5:00pm

VITE STROZZATE

(L’ Estate di Bobby Charlton) Italy, 1995

Italy, 1995 US Premiere

Director: Massimo Guglielmi Producers: Massimo Guglielmi, Claudio Grassetti Screenwriters: Luca D’Ascanio, Massimo Guglielmi Cinematographer: Gianni Fiore Editor: Massimo Guglielmi Sound: Mario lacquone Cast: Giuio Scarpati, Agnese Nano, Carlotta Natoli, Enrico Guglielmi, Francesco Saverio Guglielmi, Roberto De Francesco, Gian Marco Tognazzi, Francesco Carnelutti Print Source/lnternational Sales: Nemo Distribuzione 100 minutes

Director: Ricky Tognazzi Producers: Vittorio Cecchi Gori, Rita Cecchi Gori Screenwriters: Simona Izzo, Graziano Diana, Giuseppe Manfridi, from an idea by Francesco Taurisano Cinematographer: Alessio Torresi Gelsini Editor: Carla Simoncelli Music: Ennio Morricone Cast: Vincent Lindon, Sabrina Ferilli, Luca Zingaretti, Ricky Memphis, Lina Sastri, Francesco Venditti, Violante Plácido Print Source: Cecchi Gori Group 108 minutes

This third feature by Massimo Guglielmi is the emotional story of a father and his two sons on a journey from the north of Italy to the south during a fateful summer that changes all of their lives. It is 1966, the year footballer Bobby Charlton captured the imagination of soccer fans in Italy. After years spent in an unhappy marriage, the father and mother have finally decided to divorce, with the mother receiving custody of the children. The father, distraught at losing his sons, kidnaps them and drives to his parents’ home in the south, a trip in the old VW Bug that is spent remembering happier times.

We also see the sons as adults, looking back at their childhood and at that pivotal summer. With a wonderful soundtrack of period music, this film will capture the hearts of all who see it. The performances are warm and honest, especially those of the two small boys. Most of the film is shot in black-and-white and is similar in feel and style to mid-’60s Italian films. The tension between the mother and father is juxtaposed with flashbacks to when they first met in a manner that is both moving and upsetting. This film reminds us that the events of our lives are simply a chain of what happens to us and those we love.

Selected Filmography: Rebus (1988), Gangsters (1992)

From one of Italy’s most innovative filmmakers comes a dramatic tale of a man’s life being tom apart. Francesco is an architect who has a fairly normal life, living contentedly with his wife and his children. But when he accepts an offer to supervise the construction of a building project, his carefree existence comes to an end. Francesco uncovers discrepancies in the building’s finances and finds himself entangled with moneylenders from the Mafia. All of this happens as a result of running into an old school friend, Sergio. Francesco receives an offer of help from Sergio, not suspecting that he has ulterior motives. It seems that he has been longing to get his hands on Francesco’s lovely wife and also has an old debt with heryounger brother.

Enter Claudio, Sergio’s cousin, trained in the brutal art of debt collection.

When Sergio finds himself trapped by his female Mafia boss, we feel little pity at his violent end. It is then that Francesco begins to piece together the conspiracy around him and realizes that in order to save his wife and his family, he must take them far away and begin a new life. RickyTognazzi once again takes us on a journey into the darker realms of human nature, only to shine a hopeful light towards a more promising future. This amazing directorial talent, who won many prizes for his previous films, La Scorta and Ultra, has a talent for drawing the audience into what appears to be a straightforward tale of human existence, and then forcing us to question the horror that takes place in an amoral world. In a milieu of Mafia violence and financial game-playing, the only things that can save us are ourselves and our love forthose who truly mean something to us. As secrets are uncovered and the truth becomes evident, Francesco must make the kinds of choices rarely faced in a lifetime. And where cruelty turns in on itself, crushing everyone it traps, love somehow manages to escape and provide a route to a better world and a new life.

Selected Filmography: Ultra (1991), La Scorta (1993) BRITISH AIRWAYS

Consulate of Italy in San Francisco

Contemporary World Cinema

THE SUM M ER OF BOBBY CHARLTON

Thursday, May 30 ■ Egyptian, 7:15pm Tuesday, June 4 ■ Guild 45th, 5:00pm

Italy • Japan

Friday, May 17 ■ Harvard Exit, 9:30pm Saturday, May 18 ■ Harvard Exit, 12:30pm

Contemporary World Cinema

WHO KILLED PASOLINI? (Pasolini, un Delitto Italiano) Italy/France, 1995 Director: Marco Tullio Giordana Producers: Vittorio Cecchi Gori, Claudio Bonivento, Rita Cecchi Gori Screenwriters: Marco Tullio Giordana, Stefano Rulli, Sandro Petraglia Cinematographer: Franco Lecca Editor: Cecilia Zanuso Music: Ennio Morricone Cast: Carlo de Filippi, Nicoletta Braschi, Tony Bertorelli, Giulio Scarpati Print Source: Roxie Releasing 100 minutes “Enthusiasm, irritation. They were feelings that coexisted, that fed from one another,” comments director Marco Tullio Giordana. “I alternated between them, I forced myself to reflect: it was impossible to remain indifferent.” Pier Paolo Pasolini’s life was one of almost constant contro­ versy. His contentious views on religion, politics, and culture aroused the full spectrum of emotions in Italian society. His gritty, visceral work was simultaneously hailed as brilliant and condemned for its generous use of sex, violence, and anti-establishment “blasphemy.” Two of his films, 1972’s The Canterbury Tales and 1975’s Salo: The 120 Days of Sodom, were declared obscene by the courts and their releases delayed for months. Everything about him aroused scandal— even his death. The 17year-old youth who bludgeoned him to death, then ran him over with the director’s own Alfa Romeo, claimed Pasolini had made homosexual advances toward him. Whether this was the true motive was never satisfactorily determined. Pasolini’s vociferous opposition to the ruling class may well have played a part— but so could countless other sensational declarations he made, against industry, the banks, the Mafia, the media, every branch of Italian society. Now, nearly 20 years after his murder, many of Pasolini’s outrageous statements have proven to be surgically accurate; his words still inspire and upset countless Italians. He has also become something of a martyr, and his death, along with that of Aldo Moro, is seen as a defining moment in modem Italian history. In Who Killed Pasolini?, director Giordana examines the investigation and trial that followed his death— not to reveal the truth, but, in Giordana’s words, “at leastto know why the truth was never unveiled and probably never will be.”

Awards: President of the Italian Senate’s Gold Medal, Venice Film Festival, 1995 Selected Filmography: Maledetti ViAmero(1980), La CadutadegliAngeli Ribelli (1981), Appuntamento a Liverpool (1988)

102

Sunday, June 2 ■ Guild 45th, 3:30pm Friday, June 7 ■ Egyptian, Midnight

GAMERA: THE GUARDIAN OF THE UNIVERSE (Gamera: Daikaiju Kuchu Kessen) Japan, 1995 US Premiere Director: Shusuke Kaneko Producer: Tsutomu Tsuchikawa Screenwriter: Kazunori Ito Cinematographers: Junichi Tozawa, Kenji Takama Editor: Shizuo Arakawa Music: Koh Ohtani Cast: Tsuyosi lhara, Akira Onodera, Ayako Fujitani, Shinobu Nakayama Print Source: A.D. Vision International Sales: Daiei Co. Ltd. 96 minutes Everyone’s favorite jet-propelled super-turtle is back in this actionpacked monster mash! Afabulous revival of the Japanese megabeast, Gamera has spectacular special effects without losing the charm of a traditional monster movie. Second only to Godzilla in popularity, Gamera frequented Japanese screens from 1965 to 1971. This allnew adventure commemorates the original’s 30th anniversary. In the past, a variety of destructive and fearsome beasts with supernatural powers have terrified the citizens of Tokyo. Time and time again, Gamera has come to their rescue. Although just as terrifying and destructive as other post-nuclear Japanese monsters, Gamera has always stood up for the human race, and his most recent mission is to protect Tokyo from its most dangerous threat yet. The Gyaos are enormous flying lizards whose eggs hatch after being irradiated by a massive dose of environmental pollution. The Gyaos screech over Tokyo, wreaking havoc on the city and making a nest out of the Tokyo Tower. The military is quickly overwhelmed, so, rising from the sea, Gamera awakens to defend earth from the villainous monsters. Gamera and the Gyaos take to the skies forthe ultimate rumble in the most impressive monster movie to emerge from Japan in 20 years.

Selected Filmography: Sum m er V acation 1 9 9 9 (1988), Necronomicon (1993)

Japan

Sunday, May 19 Monday, May 20

I Harvard Exit, 6:30pm Egyptian, 5:00pm

Saturday, May 25 ■ Harvard Exit, 3:30pm Monday, May 27 ■ Harvard Exit, 6:30pm

VILLAGE OF DREAMS (Eno Nakano Bokuno Muro) Japan, 1996

Director: Ishii Takashi Producers: Niitsu Taketo, Motoki Katsuhide Screenwriter: Ishii Takashi Cinematographer: Sasakibara Yasushi Editors: Hasegawa Keiishi, Yamaura Katsumi Music: Yasukawa Goro Cast: Sato Koichi, Motoki Masahiro, Nezu Jinpachi, Shiina Kipperi, “Beat” Takeshi Print Source/lnternational Sales: Shochiku Company 109 minutes

Director: Yoichi Higashi Producers: Tetsujiro Yamagami, Koshiro Sho Screenwriters: Yoichi Higashi, Takehiro Nakajima Cinematographer: Yoshio Shimizu Editor: Yoichi Higashi Music: Caterina Ancient Music Ensemble Cast: Keigo Matsuyama, Shogo Matsuyama, Meiko Harada, Kyozo Nagatsuka, Hosei Komatsu, Kaneko Iwasaki, Koichi Ueda Print Source/lnternational Sales: Brussels Ave 112 minutes

Gonin is some kind of great action flick— violence and angst and shades of Sam Peckinpah. Visually, this brutal neo-noir is as slick and dazzling as they come, featuring the incomparable “Beat” Takeshi as the Yakuza’s deadly arm of vengeance. Action fans will definitely not be disappointed, but they’re also in for a few surprises, particularly the daringly explicit homoeroticism of Gonin’s male bonding. In one provocative scene, a flamboyantly dressed young man (who claims he only pretends to be gay in order to attract rich, gay victims) casually proceeds to strip and flirt with the hero, and this proves to be the beginning of a deep and lasting friendship.

As the plot unfolds, five men, all down on their luck in one way or another, band together to rob a local Yakuza gang. They’re unlikely partners: the debt-ridden owner of a disco, a transvestite rent-boy, a bleach-blond pimp, a cop turned bouncer, and a middle-aged businessman who’s lost his job. Their plan is bold, highly danger­ ous, and, of course, finally completely hopeless. The Yakuza will not soon forgive or forget. Still, for each of the men, the robbery is not so much a way to put their hands on some badly needed cash as a last, desperate shot at regaining self-respect or even love. See this film and you’ll understand why Ishii Takashi is fast gaining a reputation as Japan’ s answer to Quentin Tarantino. Gonin is a genuine discovery.

Winner of the Silver Bear Award at the Berlin Rim Festival for “outstanding single achievement,” this enchanting and magical evo­ cation of childhood joys and terrors chronicles the adolescence of two twin brothers whose only obvious talents are painting and vandalizing their neighbors’ fields. Elements of fantasy constantly invade reality in this deceptively simple portrayal of a small Japanese village one long-ago summer, as the brothers share visions of strange supernatu­ ral creatures and gradually start to build magical worlds of their own.

The events depicted in the film are taken from the autobiographical book by Seizo Tashima, an artist who, with his identical twin brother, Yukihiko, is seen at the beginning and the end of the film in their Kyoto studio. Keigo and Shogo Matsuyama are perfectly cast as typical little boys living in a dream world of their own, often up to mischief and fiercely protective of each other. The twins’ civil-servant father is initially absent; their mother works as a teacher in their school. Both boys suffer from tonsillitis this summer; one nearly drowns in the river; the other accidentally stabs his own hand. But these seemingly unconnected incidents combine to create a magical narrative. Add to this the strange, haunting scenes in which the village activities are observed by three elderly witches who wait in a tree, watching passersby and occasionally conjuring up spells. This sophisticated Freudian perspective on puberty implicitly critiques Japanese society today by reasserting values that much of Japan has lost.

Selected Filmography: Tenshi no Harawata, Akoi M em ai (1988), O riginal Sin (1992), A Night in the Nude (1993), Alone in the Night (1994)

Awards: Silver Bear, Outstanding Single Achievement, Berlin, 1996 Selected Filmography: A Boy Called Third Base(1978), LoveLetter( 1981)

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Contemporary World Cinema

GONIN Japan, 1995 US Premiere

Mali • Mexico

Contemporary World Cinema

Tuesday, May 28 ■ Guild 45th, 7:15pm

Saturday, May 18 ■ Harvard Exit, 6:30pm Tuesday, May 21 ■ Guild 45th, 5:00pm

GUIMBA

NO SENDER

(Guimba— un Tyran, une Epoque) M ali/Burkina Faso/Germany, 1995

(Sin Remitente) Mexico, 1994

Director: Cheich Oumar Sissoko Producer: Idrissa Ouedraogo Screenwriter: Cheich Oumar Sissoko Cinematographer: Lionel Cousin Editors: Kahena Attia, Joelle Doufour Music: Michel Risse, Pierra Sauvageot Cast: Falabo Issa Traoré, Bala Moussa Keita, Habib Dembele, Lamine Diallo, Mouneissa Maiga, Helene Diarra, Fatourmata Coulibaly Print Source: Kino International 93 minutes

Director: Carlos Carrera Producer: Gabriela Obregon Screenwriters: Ignacio Ortiz, Silvia Pasternac Cinematographer: Xavier Perez Grobet Editor: Sigfrido Barjau Music: Juan Cristobal Perez Grobet Cast: Fernando Torre Laphame, Tiare Scanda, Luisa Huertas, Luis F. Tovar, Guillermo Gil Print Source/lnternational Sales: Televicine 95 minutes

Guimba is an epic in the best sense of the word. Cheich Oumar Sissoko has surpassed even his past successes with a strong, exciting film that sets a story of sexual power against the grand sweep of a pre-colonial empire. Guimba Dunbuya (Falaba Issa Traore) rules over the town of Sitiakili, which today is a part of Mali.

He executes or banishes his opponents, and offers his favorites every lavish indulgence. Chief among his favorites is his perverted dwarf son, Jangine, who spends his days satisfying every desire.

Jangine is engaged to the beautiful Kani, but he prefers her overweight and overbearing mother, Meya, who is already married.

The tyrant Guimba attempts to resolve the situation by removing Meya’s husband from the scene and taking advantage of his son’s preferences by taking Kani for himself. His despotic efforts incur the wrath of his people, who violently rebel. But Guimba has a secret: he is a magician who has subverted his powers for self-interest. In an exhilarating showdown, the good magician battles Guimba at the gates of town. Director Sissoko has always been concerned with how power affects the powerless. The government of Mali was so rattled by this portrait of despotism that it tried to block the film’s production. Fueled by the talents of Sissoko and producerOuedraogo, Guimba tells its story with the lushest of images. The architecture is remarkable, the colors vibrant, the costumes electric. Sissoko is not so much interested in recounting legend in an exciting way as in giving it a metaphoric dimension that celebrates a popular uprising against tyranny.

Awards: Grand Prize, FESPACO, 1995 Selected Filmography: The Garbage Boys (1986), Finzan (1989)

Mexican director Carlos Carrera displays an innovative eye for the unusual in this dark and occasionally twisted film that has the fascinating quality of a quiet thriller. This strong, character-driven drama focuses on loneliness in one of the world’s largest urban landscapes— Mexico City— with gritty, bittersweet realism. Andres, an elderly postal worker, lives in a desolate building in the city’s center. He is constantly disturbed by the comings and goings at his neighbor’s apartment. The neighbor, Mariana, is young, comely, and prone to bringing home boyfriends and blasting rock music. Andres complains and scolds her one too many times, and to retaliate she begins sending love letters that play on the hopes of the old man, who, behind his closed door, longs for love. The letters represent a door to paradise or to misery . . . “It’s three o’clock in the morning and I can’t sleep, because the memory of you weighs on me. Forthis reason I have decided to go to sleep forever___ ” Afraid the sender will actually kill herself, Andres wanders the streets in search of her, entangling himself in a web of lies because of his secret love. The deceitful promise of fulfillment finally drives him to desperation.

Tragedy lurks just around the corner in this macabre story of a prank gone terribly awry.

Selected Filmography: M usica para Dos (1990), La Mujer de Benjamin (1990), Los Mejores D eseos (1991), La Vida Conyugal (1992), El Heroe (1993)

Mexico • Norway

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Egyptian, 7:15pm Egyptian, 3:30pm

SHADOW OF THE PEPPER TREE Directors/Producers/ Screenwriters: Francesca Fisher, Taggart Siegel Cinematographer: Alex Phillips Jr. Editors: Dermot McNeillage, Sonya Polonsky Music: Willie & Lobo Cast: Mayra Serbulo, Thom Vernon, Greg Sporleder, Zaide Gutierrez Print Source: Berton & Donaldson 90 minutes A visually dazzling tale of lust and revenge, Shadow o f the Pepper Tree blends earthy sensuality and magic realism in its story of a gorgeous young shaman who turns the tables on her lover, a carefree expatriate American, when he betrays her love to pursue a wealthy señorita from a well-connected Mexican family. Set in rural Mexico in the 1960s, the film centers on Luna, the daughter of a revered shaman healer who forbids her to practice the gift Luna obviously inherited from her. Frustrated by her mother’s disapproval and repeated refusal to teach her how to use her mystic powers, Luna leaves the family home, becoming an outcast who takes up resi­ dence on an abandoned farm outside a small rural village. Once alone, she begins to develop her mystical gifts through practice and soon is well-known to the villagers, who come to her seeking help with their problems. A young American hippie shows up at her abode one day, and before long the two are carrying on a torrid affair, though her newfound lover seems to come and go as he pleases. When a pregnant Luna discovers where her lover has been spending his time, she sets about using her forbidden powers to even the score.

ZERO DEGREES KELVIN (Kjaerlighetens Kjotere) Norway, 1995 US Premiere Director: Hans Petter Moland Producer: Bent Ronglien Screenwriters: Lars Bill Lundholm, Hans Peter Moland, based on a novel by Peter Tutein Cinematographer: Philip Ogaard Editor: Einar Egeland Music: Terje Rypdal Cast: Stellan Skarsgard, Bjorn Sundquist, Gard B. Eidsvold, Camilla Martens Print Source: Kino International International Sales: Swedish Film Institute 113 minutes This second feature by the Norwegian director who brought us The Last Lieutenant is a story of a man’s confrontation with other men and with himself. With a passionate love letter from his beloved Gertrude in his pocket, young Larsen arrives on the east coast of Greenland in 1925. Glorious, open icescapes are juxtaposed with the cramped interior of the isolated cabin where Larsen will spend the winter. The young man meets up with Randbek and Holm, two unpolished but experienced hunters who take the city boy with them to a wilderness cabin to hunt for the fur-trading companies. What begins as an interesting mix of personalities soon becomes a struggle for survival. Randbek, played by the marvelous Stellan Skarsgard, is a strong yet sometimes violent old pro given to bouts of cabin fever. Bits of humor creep into this intense tale as the men try to create some semblance of “normal” life, be it a Christmas celebration or pissing naked in the snow. Beautiful visuals of the winter landscape contrast magnificently with the escalating psycho­ logical tension inside the cramped, isolated cabin.

Awards: Best Director, Cancún Film Festival, 1995; Special Men­ tion, San Sebastian Film Festival, 1995 Selected Filmography: The Last Lieutenant (1993)

BRITISH A ir w a y s

Contemporary World Cinema

Mexico, 1 995

Saturday, June 1 ■ Harvard Exit, 3:30pm Tuesday, June 4 I I Guild 45th, 7:15pm

Palestine • Phillipines

Contemporary World Cinema

Saturday, May 18 ■ Harvard Exit, 3:30pm Monday, May 20 ■ Harvard Exit, 7:15pm

Wednesday, May 29 ■ Harvard Exit, 5:00pm Sunday, June 2 ■ Broadway Performance Hall, 6:30pm

TALE OF THE THREE JEWELS

HARVEST HOME

(Hikayat al-Jawaher al-Thalatha) Palestine/Belgium /G reat Britain, 1995

The Philippines, 1995

Director: Michel Khleifi Producers: Michel Khleifi, Omar Al-Qattan Screenwriter: Michel Khleifi Cinematographer: Raymond Fromont Editors: Ludo Troch, Marie Castro Music: Abed Azarieh Cast: Mohammad Nahhal, Hana’ Ne’meh, Ghassan Abu Libda, Makram Khouri, Bushra Qaraman Print Source: Sindibad Films Limited International Sales: Celluloid Dreams 107 minutes No two young people have ever been more destined to be together than the couple in this beautiful story of magical first love in a wartorn land. From the director of the magnificent film Wedding in Galilee comes a timeless work that inspires while remaining rooted in the harsh reality of the Middle East conflict. Twelve-year-old Youssef (Mohammad Nahhal), a Palestinian living in Gaza with his mother and sister, is as innocent and imaginative as any child.

When his friend Aida relates a story involving three jewels missing from a necklace brought by her parents from South America, the boy becomes determined to find them and win her heart. In the background churns a conflict between Yo ussefs brother and father, who has just been let out of prison after nine long years.

Consciously avoiding political posturing, writer-director Michel Khleifi opts instead for a magical approach, underscored by supreme confidence and tremendously appealing performances by the young leads. This film is vivid, memorable proof that artistic sensibilities can, with determination, rise above the temporal world. Truly one of the “jewels” of the festival.

Selected Filmography: Wedding in Galilee (1988)

Director: Carlos Siguion-Reyna Producer: Armida Siguion-Reyna Screenwriter: Bibeth Siguion-Reyna Cinematographers: Romeo Vitug, Nap Jamir Editor: Jess Navarro Music: Ryan Cayabyab Cast: Maricel Soriano, Snooky Serna, Eric Quizon, Tirso Cruz III Print Source: Reynafilms/Ray Cuerdo 103 minutes “Harvest Home is a film director Carlos Siguion-Reyna was bound to make. His previous films were elegantly executed, with finely observed emotion and character. They were, indeed, the cream of Filipino popular romantic melodrama, in the tradition of SiguionReyna’s mentor Lino Brocka, Mel Chionglo, and, reaching further back, Gerry De Leon. With this new film, however, he has moved to another level: much of the “melo” has been removed from the drama. The story is well-bedded in Filipino life, which means it begins with the family. In a northern village all is sunshine and happiness as priests bless a rich harvest. Jacinta seems a dutiful daughter, model wife, and contented woman. The community views her sister, Clarita, as exactly the opposite: she ran off to the city, found a rich husband, and even stayed away from her father’s funeral. Her mother, the perfect religious role model, has grown somewhat deranged from age and the loss of her husband. When Clarita and her husband arrive in the village to clear up some property deeds, the family begins to shatter, revealing a dark secret that has kept everyone in silent misery behind the happy facade.

Under Siguion-Reyna’s direction, past and present flow together, and bit by bit the surface is scratched away to reveal the resentment lurking beneath. Incest is, perhaps unsurprisingly, a part of the secret— but that’s just the beginning. Siguion-Reyna’s polished direction is still intact, but he also exhibits a newfound subtlety.

This control comes out most of all in Harvest Home’s perfor­ mances— and every actor is better for it.”— Toronto International Film Festival, 1995 Awards: Official Oscar Submission, Best Foreign Language Film, 1995 Selected Filmography: Your Wife, My Wife (1988), Only Love (1992), Wherever You Are (1993)

106

ii

Poland • Scotland

Saturday, June 1 ■ Harvard Exit, 12:30pm Monday, June 3 ■ Broadway Performance Hall, 7:15pm

Friday, May 24 ■ Harvard Exit, 9:30pm Saturday, May 25 ■ Egyptian, 12:30pm

SMALL FACES

(Wrony) Poland, 1 994

Scotland, 1995 US Premiere

Director: Dorota Kedzierzawska Producer: Foko Film Studio Screenwriter: Dorota Kedzierzawska Cinematographer: Arthur Reinhart Editors: Dorota Kedzierzawska, Arthur Reinhart Music: Wlodek Pawlik Cast: Karolina Ostrozny, Kasia Szczepanik, Anna Prucnal Print Source: New Yorker Films 68 minutes

Director: Gillies MacKinnon Producers: Billy MacKinnon, Steve Clarke-Hall Screenwriters: Billy MacKinnon, Gillies MacKinnon Cinematographer: John de Borman Editor: Scott Thomas Music: John Keane Cast: Clare Higgins, lain Robertson, Ian McElhinney Print Source: October Films International Sales: The Sales Company 108 minutes

A haunting story of innocence unprotected, Crows is a small gem of a movie replete with stunning imagery and a brilliant central performance by its young protagonist. The story is of a lonely girl driven to kidnap a younger child by her desperate desire for a family.

The girl is a loner and a dreamer, unpopular at school, unfazed by her male classm ates’ sexual taunts, and left to her own resources by a young mother who is always away at work. Wandering through the village one day, she witnesses an idyllic scene: through the window of a charming home, a mother comforts her infant daughter.

Lying in wait outside the gate of the house, the schoolgirl lures the younger child away when the mother lets her out into the yard to play.

In the course of the day the two spend together, she tells the young child she is her real mother, and that they are running away to a land where true happiness awaits. A moving story that reflects both the alienation endemic in post-Cold War Eastern Europe and our own society’s abandonment of its young.

Set in working-class Glasgow during the late 1960s, Gillies MacKinnon’s striking story of an adolescent boy’s struggle to choose between the wildly differing lifestyles of his two brothers and role models— one a hedonistic gang member and the other an aspiring art student— is a deeply moving tale of ill-fated innocence.

The story centers on a widow who is struggling to raise three teenage sons. Youngest son Lex, a 13-year-old self-styled “genius,” is happiest when he’s drawing in his own bedroom, but must daily cope with the violent gang culture that permeates the lives of the youths who live in the tenements of Glasgow’s Govanhill area. Lex finds himself inadvertently drawn into the escalating violence around him through an innocent accident that turns out to have dire conse­ quences. MacKinnon’s superb direction of Sm all Faces, which is based on an original screenplay written by his brother Bill, won him a Young Tiger award at the recent Rotterdam Film Festival.

Awards: Official Oscar submission, Best Foreign Language Film, 1994; Special Jury Prize, Polish Film Festival, 1994 Selected Filmography: Devils, Devils (1991)

BRITISH AIRWAYS

Awards: Young Tiger Award for Promising New Director, Rotterdam Film Festival, 1996 Selected Filmography: Conquest o f the South Pole (1989), Needle (1990), The Grass Arena (1991), The Playboys (1993), A Sim ple Twist o f Fate (1995)

Contemporary World Cinema

CROWS

Slovakia • South Africa

Contemporary World Cinema

Friday, May 24 ■ Harvard Exit, 7:15pm Monday, May 27 ■ Harvard Exit, 3:30pm

THE GARDEN (Zahrada) Slovakia, 1995 Director: Martin Sulik Producer: Rudolf Biermann Screenwriters: Martin Sulik, Martin Loscak, Ondrej Sulaj Cinematographer: Martin Strba Editor: Dusan Milko Music: Vladimir Godnar Cast: Roman Luknar, Marian Lubuda, Zuzana Sulajova, Jana Svandova Print Source/lnternational Sales: Barrandov Biografia 110 minutes The third film from Slovak director Martin Sulik, The Garden is an eccentric view of a world where miracles seem natural and the ordinary becomes miraculous. Outlined novel-style with satirically titled chapters (“Chapter 3: Jakub decides to fix things up, is bitten by a cruel dog, and meets the Virgin Miraculous”), The Garden stars Roman Luknar as Jakub, a 30-year-old schoolteacher banished to his grandfather’s garden when his father catches him in the act with a married woman. Although his father has ordered him to sell the garden, Jakub discovers his grandfather’s journal, written in mirrorimage script, and a map leading to a hidden old bottle of wine. Too intrigued to leave, he makes friends with Helena (Zuzana Sulajova), a young neighbor girl taught to write by Jakub’s grandfather and whose backward script is dismissed as scribbling by her abusive mother. Jakub and Helena share with each other their vision of the tenderness of life and the oddities of their garden world. While nature wins in the end, the victory isn’t without conflict, and penetrating performances by all involved conspire to make Jakub a reluctant hero of Sorts while adding to the film’s gently comic touch.

Awards: Official Oscar submission, Best Foreign Language Film, 1995; Special Prize of the International Jury, Karlovy Vary Film Festival, 1995; Czech Lion for Best Film, 1995

Sunday, May 19 ■ Harvard Exit, 3:30pm Tuesday, May 21 ■ Harvard Exit, 9:30pm

HEARTS AND MINDS South Africa, 1995 Director: Ralph Ziman Producers: Benjamin Howell, Ralph Ziman Screenwriters: Ralph Ziman, Patrick Shai Cinematographers: Buster Reynolds, Solly Mbele Editors: Richard Mardin, Chris Dickens Music: Alan Lazar Cast: Danny Keogh, Sepulta Sebagodi Print Source: Alternative Cinema Company 105 minutes This remarkable directorial debut takes us back to the mean old days of South Africa in the late 1980s, when the brutal, hated white regime was breathing its last violent breaths. Death squads were rampant on both sides, and the infiltration and annihilation of the African National Congress (ANC) was one of Pretoria’s top priorities.

Johannesburg-born Ralph Ziman has written, directed, and co­ produced this absorbing story of a renegade security police officer’s attempt to infiltrate the ANC. Based on the real-life activities of a white policeman and incorporating real footage, Hearts and Minds stars Danny Keogh as Fourie, a brutal, racist member of the elite group within the notorious South African police force. He and his plainclothes colleagues are regularly sent into the townships in unmarked cars, their faces blackened, to kill and cause havoc.

Fourie is so committed to the dominance of white South Africa that he is constantly willing to put his life on the line, even to the point of sacrificing relations with his family. Hearts and M inds is an uncompromising look at the lengths many whites were willing to go to in order to maintain the status quo. Yet the character of Fourie manages to be sympathetic as he undergoes torture and imprison­ ment to achieve his ends. One of the first films to be shot in the changing days of a new South Africa, Hearts and M inds captures both the hope and the harshness of an earlier time.

Selected Filmography: Tenderness (1991), A ll the Things I Like (1992)

108

C89£

South Korea • Spain

Sunday, May 19 ■ Harvard Exit, 9:15pm Wednesday, May 22 ■ Guild 45th, 5:00pm

A HOT ROOF

Saturday, May 25 ■ Guild 45th, 6:30pm Monday, June 3 ■ Guild 45th, 7:15pm

(Cancion de Cuna) Spain, 1995

Director: Lee Min-Yong Producer: Kim Eun-Joo Screenwriters: Lee Kyoung-Sik, Cho Min-Ho, Chang Jin, Lee Min-Yong Cinematographer: Seo Jung-Min Editor: Park Kog-Ji Music: Lee Young-Hoon Cast: Ha You-Mi, Chung Sun-Kyoung, Son Sook, Chung Bo-Suk, Moon Sue-Jin, Lee Jae-Rak Print Source: Korean Motion Picture Promotion Corp.

International Sales: Soon Film Co. 108 minutes

Director/Producer: Jose Luis Garci Screenwriter: Jose Luis Garci, Horacio Valcarel Cinematographer: Manuel Rojas Editor: Miguel G. Sinde Music: Manuel Balboa Cast: Fiorella Faltoyano, Amparo Larranga, Maria Massip, Virginia Mataix, Diana Penalver, Maria Luisa Ponte, Maribel Verdu Print Source: August Entertainment 100 minutes

In this deliriously funny black comedy, fraying tempers during an unbearably hot Seoul summer lead to a bizarre standoff on an apartment roof. A group of women has rescued a battered wife, but the husband dies from injuries inflicted by them, so they face arrest.

As they hold their position for four days and four nights they learn they have more to deal with than the small army of riot police swarming below— they must also deal with each other: a divorced woman has been sleeping with someone else’s husband, another is hiding the fact that she is really a transvestite. Thanks to inventive TV coverage by a woman reporter, the incident becomes a national sensation, bringing issues of wife-battering and women’s rights into clear view. Women around the country march to the apartment building in a show of solidarity. Meanwhile, this noble struggle is wittily contrasted with the plight of two male burglars who are forced to “bond” when the police trap them in the apartment they are robbing. Wildly funny one minute, tearful the next, A Hot Roof brings women’s rights issues into sharp focus.

Awards: Reporters Guild of Korea Award for Best Film, 1995; Choonsa Award for Best Screenplay and Best New Director, 1995

fttiU M im affram ing

In a quiet Spanish village toward the end of the 19th century, a newborn baby girl is abandoned at the imposing door of a cloistered convent. This simple act causes an awakening of the maternal instinct in each of the nuns inside the convent, and they lavish the child with attention. The village doctor, Don Jose, is— due to his profession— the only man allowed regular visits to the convent.

Arriving after the child is found, he senses that the baby’s presence has upset the sheltered emotional states and simple lives of the women who dwell within the hallowed walls. Generously, he offers the nuns a solution to their dilemma: he’ll adopt the baby so that they may raise and educate her. Now, eighteen years have gone by; the foundling is all grown up. . .

Contemporary World Cinema

CRADLE SONG

(Gyae-Got-Un Nalui Ohu) South Korea, 1995

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Contemporary World Cinema

Thursday, May 30 ■ Guild 45th, 9:30pm Sunday, June 2 ■ Harvard Exit, 12:30pm

GYPSY SOUL (Alma Gitana) Spain, 1996 US Premiere Director: Chus Gutierrez Producers: Antonio Conesa, Juan Vicente Cordoba Screenwriters: Antonio Conesa, Juan Vicente Cordoba, Joaquin Jorda Cinematographer: Arnaldo Catinari Editor: Fernando Pardo Music: Adolfo Rivero Cast: Amara Carmona, Pedro Alonso, Peret, Loles Leon, Sandra Ballesteros Print Source/lnternational Sales: Samarkanda 97 minutes A highly charged, passionate, offbeat retelling of the Romeo and Juliet story, Gypsy Soul moves powerfully between the cross-cultural love of Lucia and Antonio and Antonio’s struggle to find his gypsy soul. Directionless, skirt-chasing, and talented, Antonio (Pedro Alonso) moonlights as a flamenco dancer in a club frequented by tourists and the curious. Although his deepest desire is to be a successful dancer, he lives as a payo (non-gypsy), unable to commit to his gypsy heritage— a heritage that died when he was young and his parents were killed in a car crash. When he meets the gypsy Lucia (Amara Carmona), he discovers his potential buried deep in the commitment of a lasting love. Unfortunately, Lucia is from a rigid and unyielding culture, and her father forbids her to have anything to do with any payo, especially not Antonio. A remarkable portrayal of the changing gypsy world, Gypsy Soul contrasts the maledominated traditions of the culture with the determination of some of its women to chart their own destiny. Scenes of seduction and resistance, in which Antonio’s raw sexuality comes up against Lucia’s shyness and confusion, are driven by an unrelenting pacing.

And a remarkable footnote: Amara Carmona was the only gypsy actress to audition who was prepared to kiss a payo.

Selected Filmography: Sublet (1991), Sexo Oral (1994)

BRITISH A ir w a y s

Thursday, May 23 I Egyptian, 9:30pm Saturday, May 25 I Harvard Exit, 3:30pm

MOUTH TO MOUTH (Boca a Boca) Spain, 1 996 Director: Manuel Gomez Pereira Producers: Ceasar Benitez, Joaquin Oristrell, Manuel Gomez Pereira Screenwriters: Manuel Gomez Pereira, Joaquin Oristrell, Juan Luis Iborra, Naomi Wise Cinematographer: Jaun Amoros Editor: Guillermo Represa Music: Bernardo Bonezzi Cast: Javier Bardem, Aitana Sanchez-Gijon, Josep Maria Flotats, Maria Barranco, Myriam Mezieres Print Source: Miramax Films Inc. 105 minutes Sexy Javier Bardem (Jamon, Jamon) plays Victor, an actor on the rise who comes to Madrid seeking his breakthrough role. His ambitious agent (Maria Barranco, of Women on the Verge o f a Nervous Breakdown) is determined to get him to Hollywood. In the meantime, however, he’s broke and takes a job at an erotic phone service. Among his callers are Ricardo, a repressed gay plastic surgeon, and Amanda (Aitana Sanchez-Gijon, of A Walk in the Clouds), who says she’s his wife. Victor is attracted to Amanda, and agrees to help her divorce Ricardo by getting him into a compromis­ ing situation. Needless to say, not everyone is being truthful, and hilarious complications ensue. All of Victor’s fantasies are about to come true, as he is caught up in a wild series of events. Quick pacing and fresh performances by a talented cast buoy this funny, sexy romp.

Spain • Sweden

Saturday, June 1 ■ Egyptian, 9:15pm Wednesday, June 5 ■ Guild 45th, 9:30pm

Saturday, May 18 ■ Egyptian, 6:30pm Sunday, May 19 ■ Egyptian, 9:15pm

ALL THINGS FAIR

(La Pasion Turca) Spain, 1 994

(Lust Och Fagring Stor) Sweden, 1995 US Premiere

Director: Vincente Aranda Producer: Andres Vincente Gomez Screenwriter: Vincente Aranda, adapted from the novel by Antonio Gala Cinematographer: Jose Luis Alcaine Editor: Teresa Font Music: Jose Nieto Cast: Ana Belen, Georges Corraface, Ramon Madaula Print Source/lnternational Sales: SOGEPAQ 116 minutes The acclaimed director of The Lovers (SIFF ’92) draws us— with consummate assurance— into an erotic adventure hotter than a Turkish bath, diagramming the fatal logic of desire and the cata­ strophic beauty of sexual fulfillment. Desi is a woman with every­ thing— an understanding husband, a comfortable home, and good friends. By consensus she is “happily married”; he’s impotent and sterile, admittedly, but you can’t have everything. On vacation in Turkey, she is swept away by the heady sensuality of Istanbul and, more importantly, by the foxy tourist guide, Yaman. Immediately a passionate, obsessive love affair begins, and Desi surrenders to Yaman, to her instincts, to Yaman’s undercover black market activities, and to the hellish heaven of sexual desire. Back in Spain she compares and contrasts Yaman with all other men— they pale before the swarthy Turk. Returning to Istanbul to become Yaman’s mistress, Desi revels in the immense pleasure of discovering herself. Lush and sumptuous photography, a flavorful, rhapsodic score, and outstanding performances make Turkish Passion a celebration of exotic delight.

Selected Filmography: Sex Change (1976), El Lute (1987), El Lute II: Manana Sera Libre (1988), The Lovers (1991) Preceded by Four Letter Heaven (USA, 2 minutes) Directed by Cecily Brown. A very explicit animated meditation on sexual ecstasy...done in the best of taste, naturally!

Director: Bo Widerberg Producer: Per Holst Screenwriter: Bo Widerberg Cinematographer: Morten Bruus Editor: Bo Widerberg Music: Mahler, Beethoven, and others Cast: Johan Widerberg, Marika Lagercrantz, Tomas von Bromssen, Karin Huldt Print Source: Swedish Film Institute international Sales: Nordisk Film-TV Distribution 130 minutes Famed Swedish director Bo Widerberg (Elvira Madigan) returns to filmmaking after a nine-year absence with this sensuous, partly autobiographical coming-of-age story. Set in the Swedish town of Malmo in 1943, the plot turns on a teenage boy’s sexual involve­ ment with a pretty schoolteacher. One day she seduces young Stig in a storage closet among the rolled maps. Their giddy, teasing affair begins comically with jokes about the boy’s clumsy attempts to avoid the teacher’s husband, a middle-aged underwear salesman who usually appears too drunk to notice what’s going on right under his nose. But the easy laughs gradually give way to something more serious and unexpected. Stig feels himself more and more drawn to the lonely, sensitive husband and is forced to recognize his own part in the older man’s suffering. In a typically tragicomic scene, the boy lends a comforting ear to the weary salesman’s lament that his beloved silk hosiery is about to be made obsolete by nylon.

Widerberg gets strong performances from his cast— most particu­ larly his son Johan (an accomplished actor in his own right) as Stig.

A ll Things Fa/rtriumphs in making potentially familiar material seem fresh, personal, and deeply affecting. It is a moving, memorable film about passion— and its price.

Awards: Silver Bear and Blue Angel awards, Berlin Film Festival, 1996; Oscar nominee, Best Foreign Language Film, 1995 Selected Filmography: Raven’s End(1963), Elvira M adigan(1967), Adalen 31 (1969), Joe H ill(1971), The Man on the Roof(1975), The Man from Majorca (1984) Preceded by Leaning Backwards (Sweden, 2 minutes). Directed by Eva Lindstrom. In this animated short He wants Her to lean backwards. She doesn’t want to. Who will win?

BRITISH A ir w a y s

BRITISH A ir w a y s

Contemporary World Cinema

TURKISH PASSION

R o b e r t M o n d a v i F a m i l y of W i n e s

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ALC. 12% BY VOL.

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C H A R D O N N AY CENTRAL COAST ALC 13.5% BY VOL.

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See the latest info on independent and foreign language films. Showtimes for Landmark/Seven Gables and other select theatres. Exclusive Film Finders'" Buzz page.

Ongoing prize giveaways.

Sweden « Taiwan

Contemporary World Cinema

Wednesday, May 22 ■ Egyptian, 7:15pm Saturday, May 25 ■ Guild 45th, 3:30pm

Thursday, May 23 ■ Guild 45th, 7:15pm Saturday, May 25 ■ Harvard Exit, 12:30pm

SEBASTIAN

MAHJONG

(Nar alia Vet) Sweden/Norway, 1995 US Premiere

(Majiang) Taiwan, 1996 US Premiere

Director: Svend Warn Producers: Svend Warn, Petter Vennerod, Hansi Mandoki Screenwriter: Svend Warn Cinematographer: Per Kállberg Cast: Hampus Bjorck, Nicolai Cleve Broch, Ewa Froling, Hedge Jordal Print Source: Norwegian Film Institute 88 minutes

Director: Edward Yang Producer: Yu Wei-yen Screenwriter: Edward Yang Cinematographers: Li Yi-hsu, Li Lung-yu Editor: Chen Powen Music: Forward Records Cast: Virginie Ledoyen, Tang Tsung-sheng, Ko Yu-lun, Chang Chen Print Source/lnternational Sales: Atom Films 121 minutes

Sebastian, a fresh, good-natured coming-out story, boasts the irresistible appeal of Scandinavian beauty and open-mindedness.

Its hero is a 16-year-old boy who slowly comes to realize that he is gay. Disturbed by his deep love for his best friend, Ulf, Sebastian worries what the other kids will think of him if they discover his secret. Confusing matters, U lf s behavior towards him seems to be more than just friendly. A sequence of wild horseplay between the boys includes bubble bath and eye makeup, a rashly stolen kiss, and the eventual confrontation. Director Svend Warn has been movingly successful in conveying the first thrill and bittersweet poignance of young love. Following a Scandinavian tradition that reaches at least as far back as You Are Not Alone (SIFF ’80)— the message is entirely in support of Sebastian’s happy acceptance of his homosexuality. “You can’t fool your friends, if they really are your friends.” Film buffs will recognize Ewa Froling (Fanny and Alexander) as Sebastian’s trying-very-hard-to-be-understanding mom. Slim, long-haired Hampus Bjorck, as Sebastian, touchingly portrays sweet innocence and the beginning of its loss.

Selected Filmography: Five Days in August (1972), Them and Us (1975)

Edward Yang’s dark comedy feels like a dangerous game in progress; one of skill, bluff, confidence, and potential disaster. It revolves around a motley crowd of Chinese and foreigners in gogetting present-day Taipei. We arejntroduced to a gang of kids on a car-wrecking mission, a couple of flaky hoods on the trail of an absconding entrepreneur, and Marthe, a French teenager who has turned up in Taipei to look for the Englishman who claimed to love her. These stories intertwine when Marthe finds herself hiding from her boyfriend and gr&wing close to one of the gang members. The strange collection of characters orbiting them includes triggerhappy thugs, a love-struck schoolteacher, and a phony mystic known as Little Buddha. With at least a third of the film’s dialogue in rapid-fire English, Mahjongcovers a lot of social and moral ground on the way to its tremulous, sweet conclusion. Yang, who has analyzed Taipei’s past in A Brighter Summer Day and the tragicom­ edy of the city’s present and future in Taipei Story and A Confucian Confusion, here delivers his most sardonic account yet of a world in which too many people need to be told what they really want.

Awards: Best Director, Hong Kong Film Festival, 1996; Special Mention, Berlin Film Festival, 1996 Selected Filmography: That Day, on the Beach (1983), Taipei Story (1985), The Terrorizer (1986), A Brighter Sum mer Day (1991), A Confucian Confusion (1994)

^D E H A AIRLINES

Taiwan

Friday, May 24 I Harvard Exit, 5:00pm Sunday, May 26 I Guild 45th, 6:30pm

Friday, May 31 ■ Broadway Performance Hall, 5:00pm Sunday, June 2 ■ Broadway Performance Hall, 9:15pm

VIVE L’AMOUR (Aiqing Wansui) Taiwan, 1 994

Director: Sylvia Chang Producer: Jiang Feng-chyi Screenwriters: Sylvia Chang, Yan Geling Cinematographer: Joe De Salvo Editor: Mei Feng Cast: Joyin Liu, Daniel J. Travanti, Tou Chung-hua Print Source/lnternational Sales: Central Motion Picture Corporation 104 minutes

Director: Tsai Ming-liang Producer: Hsu Li-kong Screenwriters: Tsai Ming-liang, Yang Pi-ying, Tsai Yi-chun Cinematographer: Liao Pen-jung Editor: Sung Shin-cheng Cast: Yang Kuei-mei, Lee Kang-sheng, Chen Chao-jung Print Source: Strand Releasing 119 minutes

Siao Yu examines the conflicts between the bonds of love and personal independence in a story of cross-cultural confusion, illegal immigration, and the search for green cards in the Chinese and Italian communities of lower Manhattan. Siao Yu and her boyfriend, Jiang, are illegal immigants in New York— she a seamstress in a sweatshop and he a student working in a fish market. Fate deals them a lucky hand when Italo-American Mario, strapped by gam­ bling debts, agrees to a green-card marriage to Siao Yu for a quick 10 grand. But after the marriage a myriad of complications arise.

Jiang starts to get jealous after the two newlyweds start to grow close to one another, and his relationship with Siao Yu begins to show its weaknesses. Mario’s wife, Rita, isn’t too pleased with the situation either. After a surprise visit by the INS, during which Rita actually comes to the rescue, Siao Yu must choose whether her future is with Jiang or otherwise. Featuring a most remarkable performance by Joyin Liu as Siao Yu, this is Sylvia Chang’s best film in years. Siao Yu is far superior to higher-budgeted, highly touted films on the same subject, creating a fresh and surprising take on the topics of immigration and green cards and love.

Selected Filmography: The Game They Called Sex (1987), Mary from Beijing (1992), Conjugal Affairs (1993)

It would be a mistake to approach Tsai Ming-liang’s haunting, beautiful film with conventional expectations. Tsai is clearly not so much concerned with plot or character development as with how his characters variously connect— or fail to connect. Vive I’Amour is about the longing for love and the impossibility of finding it. Though the vision could be described as existential, the tone is often surprisingly light, even playfully comic. The story revolves around three characters, each of whom takes up residence in the same vacant apartment. One is a female real estate agent who’s trying to sell the place, another a cocky, handsome market vendor she picks up for a casual rendezvous, and the last a boy who sneaks in looking for a place to flop and appears to be gay. In a typically wry scene, the boy is shown passionately kissing and caressing a melon as if it were his longed-for lover. He then cuts three holes in it, slams it down the hall like a bowling ball— and eats it! Later, he finds himself awkwardly trapped under the bed while the other two make love.

Once the woman has left, he creeps up on the bed to steal a secret, yearning kiss from the sleeping man. Tsai, who first attracted critical attention with Rebels o f the Neon God (SIFF ’94), reconfirms his promise as a filmmaker with an unforgettable film that is at once pessimistic about love and profoundly romantic.

Awards: Golden Lion, Venice Film Festival, 1994 Selected Filmography: Rebels o f the Neon God (1992)

Contemporary World Cinema

SIAO YU (Shaonu Xiao-Yu) Taiwan, 1995

USA

Thursday, May 30 ■ Harvard Exit, 7:15pm

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Monday, May 20 ■ Harvard Exit, 9:30pm Friday, May 24 ■ Egyptian, Midnight

Contemporary World Cinema

American Independents

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AmencanIndependents

ALCHEMY

BACK TO BACK

USA, 1995

USA, 1996

Director: Suzanne Myers Producers: Sarah Vogel, Kelley Forsyth Screenwriter: Suzanne Myers Cinematographer: Tami Reiker Editors: Cecily Rhett, Laurie Shearing Music: Georgia Hubley, Ira Kaplan Cast: Rya Kihlstedt, D.V. deVincentis, Jeff Webster, Erica Chahoy, Marian Quinn, Jessica Stone, Maggie Estep Print Source: Seneca Falls Productions 94 minutes

Director: Roger Nygard Producers: W.K. Border, Aki Komine Screenwriters: Roger Nygard, Lloyd Keith Cinematographer: Mark W. Gray Editor: Roger Nygard Music: Walter Werzowa Cast: Michael Rooker, Ryo Ishibashi, Danielle Harris, John Laughlin, Bobcat Goldthwait Print Source: Overseas Film Group 92 minutes

An exquisitely crafted story about a young women’s voyage of selfdiscovery after the death of her longtime live-in lover, Alchemy introduces us to Louisa, a sculptor whose art — pieced together from ‘found’ objects — bears more than a passing resemblance to her own fractured life. The film is structured as three interlocking stories, tracing Louisa’s journey from heartbreak to ultimate fulfill­ ment. Along the way she encounters people and situations which enable herto shed her preconceived notions of virtue and gain a new understanding of what life’s true value is. Director/screenwriter Suzanne Myers has crafted a romantic and highly original first feature with the richness and resonance of the finest works of short fiction.

Two Japanese hit men arrive at a Los Angeles restaurant to assassinate a Mafia boss and find themselves faced with a psycho wired with explosives and ready to blow up the building. As their plans literally explode, the assassins escape into the City of Angels, looking for a way to honortheir contract and collect their money. One of them is injured and barely makes his way to a safe restaurant, while the other, through a strange twist of fate, finds himself teamed up with a renegade cop, Bob, and his teenage daughter, Chelsea. Locked in unusual and desperate situations neither can escape, they decide to make a stand on their own terms, even thought they’re fighting the Mafia, the Yakuza, and bad cops on the LA police force. Further complicating the race to win is Chelsea, who has had enough of her dad and wants to assert her independence a little. There’s just never enough time to expose the rogue cops, beat the evil Yakuza, and cheat the Mafia when you’ve got to give your daughter some quality time!

Selected Filmography: High Strung (1992)

116

USA

Friday, June 7 ■ Broadway Performance Hall, 7:15pm Sunday, June 9 ■ Harvard Exit, 12:30pm

ft American Independents

USA, 1996 World Premiere Director: Marcus DeLeon Producers: Zane W. Levitt, Mark H. Yellen, Liz McDermott Screenwriter: Marcus DeLeon Cast: Lara Flynn Boyle, Peter Dobson, Danny Nucci, Luca Bercovici, Teresa Dispina Print Source: First Look Pictures 98 minutes This modern-day fable of love, lust, and larceny stars Lara Flynn Boyle as Tanya, a devoted wife who’s been working for years as a barmaid to support her husband, Henry, a once promising baseball player disabled by a freak injury to his knee. Home alone one day while Henry is off pursuing his newfound interest in religion, Tanya opens a letter addressed to her husband and discovers that he maintains a secret bank account with over $130,000 that he received in an insurance settlement for his injury. Shocked and hurt that he has been holding out on her after she nursed him back to health and supported him for all this time, Tanya sets about getting her share. Enter Benny, a slick and handsome hustler who’s just landed— literally— in town after being thrown off a train for cheating at cards. Newly vengeful Tanya sizes up Benny for the right man to con Henry out of her share of the loot; what she doesn’t figure on is that Benny is hoping she’s part of the payoff. Setting up an elaborate scam involving an innocent young gardener with a crush on Tanya, a neighborhood church with a need for fast cash, and a minor modern-day miracle, Benny succeeds beyond his wildest dreams, though things don’t go quite the way he had planned.

Blending a Capra-esque sensibility with a highly enjoyable cast of characters, The Big Squeeze is a whimsical delight.

Selected Filmography: K iss Me a K iller (1992) Preceded by Gamalost (USA, 7 minutes). Directed by Erik Jambor.

Henry and his wife are having his new assistant and her husband over for dinner for the first...and maybe the last time.

Eastsideweek

ft American Independents

CADILLAC RANCH USA, 1995 Director: Lisa Gottlieb Producers: J. Todd Harris, Harvey Kahn Screenwriter: Jennifer Cecil Cinematographer: Bruce Douglas Johnson Editor: Dan Loewenthal Music: Christopher Tyng Cast: Renee Humphrey, Suzy Amis, Caroleen Feeney, Christopher Lloyd Print Source: Davis Entertainment Classics International Sales: Trident 100 minutes CJ, Frances, and Mary Katherine are three Texas sisters who share a fascination with their long-lost father, but deal with it in different ways. The rebel sister, CJ (Suzy Amis), is a stripper at a club owned

by Wood (played with delicious sliminess by Christopher Lloyd), the man who may have framed their father for a lifetime jail term.

Frances is the conservative cynic who keeps every man at arm’s length since she’s sure they’ll leave her anyway. Mary Katherine is the soon-to-be-married lawyer who dreams of a red-hot garter outfit instead of the traditional white dress for her walk down the aisle.

She also dreams of reuniting her feuding sisters, which is precisely why she and Francis bail CJ out of jail and head out on the road to expose the wicked Wood. The ensuing wild ride across Texas nets Frances a poetry-spouting gas jockey and lands all of them at Cadillac Ranch, the great state’s tribute to Stonehenge. A funny and honest look at three strong women trying to find their destinies, bury their demons, and clear their father’s name, Cadillac Ranch is the perfect girls-night-out movie.

Selected Filmography: Just One o f the Guys (1985) Preceded by Bra-dyssy (USA, 4.5 min.) Directed by Alyssa Brandt. One woman’ s search for a bra that does what a bra is supposed to do.

Contemporary World Cinema

THE BIG SQUEEZE

'SEATTLEW EEKLY,

Friday, May 31 ■ Broadway Performance Hall, 7:15pm Tuesday, June 4 ■ Guild 45th, 9:30pm

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USA

Contemporary World Cinema

Friday, May 31 ■ Harvard Exit, 7:15pm Sunday, June 2 ■ Broadway Performance Hall, 12:30pm

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Saturday, May 18 ■ Guild 45th, 9:15pm Monday, May 20 ■ Egyptian, 7:15pm

American Independents

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American Independents

C O L O R O F A B R IS K A N D LE A P IN G DAY USA, 1995

DEAD M AN USA, 1 996

Director: Christopher Munch Producer: Andrea Sperling Screenwriter: Christopher Munch Cinematographer: Rob Sweeney Editor: Christopher Munch Music: Eric Satie, Charles Ives, Alexander Scriabin, J.S. Bach Cast: Peter Alexander, Jeri Arredondo, Henry Gibson, Michael Stipe Print Source: Blurco 85 minutes

Director: Jim Jarmusch Producer: Demetra J. Macbride Screenwriter: Jim Jarmusch Cinematographer: Robby Muller Editor: Jay Robinowitz Music: Neil Young Cast: Johnny Depp, Mili Avital, Gary Farmer, Lance Henriksen, Michael Wincott, Iggy Pop, Billy Bob Thornton, Crispin Glover, Gabriel Byrne, John Hurt, Alfred Molina, Robert Mitchum, Cecil Cheeka Print Source: Miramax Films Inc. 127 minutes

Inspired by a true story, Color of a Brisk and Leaping Day deals with the coming of age of a nation and a young man, and the decline of America’s once-mighty railroads after World War II. Twenty-three-year-old John Lee, a misfit and a dreamer, learns that the Yosemite Valley Railroad is being scrapped. A lover of trains, he can’t help but throw himself into finding the money to buy the railroad. He soon meets a tycoon, Pinchot, a seemingly altruistic sort who helps him find the money he needs. John forms a close friendship with the railroad’s superintendent and its quirky traffic manager, played by REM’s Michael Stipe. At the same time, his love for a young woman, Angela, is doomed by her marriage to another man, and John’s sister, with whom he shared a fiery and intense relationship, must also move on, leaving him with only his obsession with trains to guide him. John’s parents can only look on as their son follows in reverse the trail that was blazed by his emigrant grandfather many years earlier as a railway laborer.

On the eve of departure for Washington, D.C., to lobby for his railroad, he meets a young Native American woman who truly appreciates his head­ strong, determined ways and leads him towards a passion such as he has never known. The affair ends in rejection and the dreams of his railroad crumble, but John still has more in his life to resolve. He heads back to his hometown to reconcile with his father and the young man ultimately finds a peace to stave off self-destruction. Director Christopher Munch’s own childhood fascination with railroads and his obvious love for the past, as illustrated in his amazing first feature on John Lennon, The Hours and the Times, come through in a brilliantly executed work that invites us to share in the protagonist’s passions and defeats. Funded with help from the Sundance Institute, the Guggenheim Foundation, the American Film Insti­ tute, and many other nonprofit resources, Munch’sfilm is truly a labor of love that proves that the spirit of independent filmmaking is alive and well in the United States.

Awards: Cinematography award, Sundance Rim Festival, 1996 Selected Filmography: In Laura’s Garden (1987), The Hours and the Times (1992)

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“It is preferable not to travel with a dead man.” So spoke Henri Michaux, in a sentence that captures the essence of Dead Man with complete sincerity. In this latest feature from stalwart independent film director Jim Jarmusch, Johnny Depp plays William Blake, a prim accountant from the eastern city of Cleveland, who has used his life savings to cross the American frontier of the late 1880s in pursuit of a new life in the town of Machine. His new job at the Dickinson Metalworks has been given away before he arrives, however, and as Blake’s despair and despondency overcome him, he heads to a local saloon for solace. His ensuing encounter with the beautiful Thel (Mili Avital) leads to a bullet being lodged near his heart, and soon Blake is mistaken for the English poet of the same name by the Native American who rescues him. Shot in roving Jarmusch fashion, Dead Man depicts a young man’s physical and spiritual journey into very unfamiliar terrain. The film’s portrait of the Makah village was faithfully created while shooting on Washington’s Olympic Peninsula, and its inhabitants are all played by Native American actors, who include Cecil Cheeka of Olympia.

Selected Filmography: Permanent Vacation (1980), Stranger than Paradise (1984), Down by Law (1986), Mystery Train (1989), Night on Earth (1991)

USA

Sunday, May 19 I Harvard Exit, 9:15pm Thursday, May 23 I Guild 45th, 5:00pm

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Saturday, June 1 ■ Harvard Exit, 6:30pm Monday, June 3 ■ Broadway Performance Hall, 5:00pm

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American Independents

ED’S NEXT MOVE USA, 1995

Director: Peter Cohn Producers: Shireen Meistrich, Burtt Harris Screenwriter: Gary Lennon, based on his play Blackout Cinematographer: Peter Hawkins Editor: Hughes Winborne Music: Joe Delia Cast: Richard Lewis, Dianne Wiest, Faye Dunaway, Spalding Gray, Parker Posey, Amanda Plummer, Howard Rollins Print Source: Shooting Gallery 90 minutes

Director: John Walsh Producer: Sally Rose Screenwriter: John Walsh Cinematographer: Peter Nelson Editor: Pamela Martin Music: Ed’s Redeeming Qualities Cast: Matt Ross, Calliope Thorne, Kevin Carroll, Ramsey Faragallah, Nina Shevaleva, Jimmy Cummings Print Source: Orion Classics 86 minutes

The debut feature film from director Peter Cohn, Drunks is a riveting look at the inner workings of an Alcoholics Anonymous meeting, propelled by deeply moving and emotional performances by each of the actors. At the center of the film is Jim (Richard Lewis), sober for a while after the death of his wife, but now starting to slip. As he drifts toward the abyss of that first drink, the film continually returns to an AA meeting in progress. One by one, those attending the meeting present their complicated histories: Howard Rollins as a man who almost killed his son in an auto accident, Faye Dunaway as a divorcée with a tragic family story, Dianne Wiest as an overworked doctor with all-too-easy access to drugs and booze.

Emotionally engaging, Drunks adds depth and drama to the standard 12-step pitch that so often seems gimmicky and con­ trived. Rarely has such a broad range of talent been so readily agreeable to discarding their egos in favor of detailing their characters so completely.

Eddie Brodsky is a rice geneticist and native of Wisconsin who now lives in Manhattan. He’s trying to get a fresh start since being dumped by his fiancée, and he thinks New York may be just the place, although the city is a little hard on awkwardly charming men like him. Ed wants to meet the right girl, and indeed thinks he has when he meets Lee, first at a crowded party and later at a neighborhood coffee shop. Dark, striking, and guarded, Lee seems perfect, even if she is involved with someone else. Still, it seems a minor difficulty, as she can’t help but be intrigued by Ed and his sincere advances. Their relationship unfolds with complete honesty, in stark contrast to the infinite obstacles of life in the big city (everything from apartment hunting to dealing with the public-waste authorities). A charming directorial debut by John Walsh, who worked with Nancy Savoca and Rich Guay on their films True Love and Dog Fight, Ed’s Next Move shows remarkable restraint and boasts refreshingly genuine performances by all involved.

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Contemporary World Cinema

DRUNKS USA, 1995

USA

Monday, May 2 7 1I Guild 45th, 6:30pm Tuesday, June 4 1 IHarvard Exit, 5:00pm

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American Independents

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EDIE & PEN

EDEN USA, 1996 Director: Howard Goldberg Producers: Harvey Kahn, Chip Duncan Screenwriter: Howard Goldberg Cinematographer: Hubert Taczanowski Editor: Steve Nevius Music: Brad Fiedel Cast: Joanna Going, Dylan Walsh, Sean Patrick Flanery, Edward O’Blenis Jr. Print Source: Water Street Pictures 109 minutes Lushly photographed, this shot-in-Seattle film is a dramatic delicacy not typical of Hollywood fare. A lyrical mood is set as Eden opens at a boys’ prep school in the mid-1960s. Helen (Joanna Going) is the wife of one of the teachers, a woman who dreams of flying to something she can’t quite define and that seems just barely out of her reach. Her husband, Bill (Dylan Walsh), is more worried about her health— she has multiple sclerosis— and about the crush on her that one of his students seems to have developed. As Helen contends with her illness, at times she appears to be slipping away mentally: she becomes convinced that her soul is leaving her body at night. The out-of-body flights clash dramatically with Helen’s physical state as she suddenly lapses into a coma. Lost to those around her, she finally allows her heart and spirit to reach what was previously so elusive, while her husband and his student lash out at each other. A vivid and extraordinarily rich narrative is strongly underscored by the mood of the times, an explosive decade in which the boundaries of society are being tested and crossed.

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Friday, May 31 I Guild 45th, 7:15pm Monday, June 3 I Guild 45th, 5:00pm

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USA, 1996 World Premiere Director: Matthew Irmas Producers: Matthew Irmas, Victoria Tennant Screenwriter: Victoria Tennant Cinematographer: Alicia Weber Editor: Michael Ruscio Music: Shawn Colvin Cast: Stockard Channing, Jennifer Tilly, Scott Glenn, Randy Travis Print Source: Emby Eye Productions 97 minutes Pen (Stockard Channing) has a Park Avenue husband who no longer wants her, and Edie (Jennifer Tilly) is getting rid of her meaningless past to marry the man of her dreams. The two arrive at the same time in Reno for their fast-as-lightning divorces and end up sharing a strange night of misadventures. First they meet Harry (Scott Glenn), a heartbroken pharmacist whose ex-wife has stolen his dog.

The two women dance and drink with Harry and his friends, and the end of the night finds the group stranded in the middle of nowhere.

As morning finally breaks, so do a few hearts, and Edie and Pen find they have more than bad love and second chances in common. In this wonderfully, optimistic tale of true romance, writer/producer Victoria Tennant lays open the oddity of love in all its strange glories, and wipes clear that false front we call polite society.

Selected Filmography: When the Party’s Over (1993)

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USA

Sunday, May 26 ■ Guild 45th, 9:15pm Friday, May 31 ■ Harvard Exit, 5:00pm

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Thursday, June 6 ■ Guild 45th, 9:30pm Friday, June 7 ■ Egyptian, 5:00pm

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GIRLS TOWN USA, 1995

Director: Hal Hartley Producer: Ted Hope Screenwriter: Hal Hartley Cinematographer: Michael Spiller Editor: Hal Hartley Music: Ned Rifle Cast: Bill Sage, Parker Posey, Martin Donovan, Dwight Ewell, Geno Lechner Print Source: Cinepix Film Properties 90 minutes

Director: Jim McKay Producer: Lauren Zalaznick Screenwriters: Jim McKay, Anna Grace, Bruklin Harris, Denise Hernandez, Lili Taylor Cinematographer: Russell Fine Editors: Jim McKay, Alex Hall, Kate Williams Cast: Lili Taylor, Bruklin Harris, Anna Grace, Asia Minor, Aunjanue Ellis, Michael Imperioli Print Source: October Films 88 minutes

Hal Hartley, America’s premiere independent filmmaker, has taken his remarkably successful 1993 short film, Flirt, and expanded it into a deconstructed narrative featuring three variations on atheme.

New York, February 1993: Bill (Bill Sage) is a good-natured but spoiled guy who is served an ultimatum by his girlfriend, Emily (Parker Posey) on the eve of her three-month trip to Paris. Com­ manded to give Emily a commitment in the few hours remaining before she leaves, Bill desperately tries to exhaust all the other romantic possibilities in his life. Unfortunately, his lack of faith does not serve him well. Now move to Berlin, September 1994: Dwight this time, a precocious young American, is living with Johan, an older German art dealer. When Johan has to fly to New York for a threemonth business trip, he demands to know what intentions Dwight has, if any, regarding their relationship. And finally, Tokyo, March 1995: Miho (a butoh dance student) finds herself in the midst of a deteriorating marriage triangle that leads her to the— by now— inevitable finale. Hartley has zipped his signature cinematic detail­ ing into a coolly intriguing and often delightful look at the effect of locality and Zeitgeist, the elasticity of narrative, and the musical possibilities of cinematic structure. An entertaining showcase for Hartley’s deft stylizations.

A huge audience favorite at this year’s Sundance Film Festival (where lead Lili Taylor won Sundance’s first ever Jury Award for acting), Girls Town gained critical raves for the naturalness of Its performances and script as well as its exhilarating portrayal of emerging female empowerment. The story centers on four disparate female high school seniors who are close friends despite the differences in their backgrounds and personalities. Each of the girls is struggling to come to terms with approaching adulthood, but when Patti (Taylor), Emma, and Angela are confronted with the wholly unexpected news that best friend Nikki has committed suicide, they are shattered and at a loss to understand the reasons for her death.

When they discover that Nikki has taken her own life because of a rape she suffered at the hands of an older white man, they are goaded into action, and it is at this point that Girls Town becomes much more than just a tale of four smalltown friends. Director Jim McKay developed the script in a workshop with all of the lead actresses involved in the writing process. The resulting story, with its three strongly independent heroines, provides one of the most original and provocative directorial debuts of the year.

Selected Filmography: The Unbelievable Truth (1990), Trust (1991), Sim ple Men (1992), Amateur (1994)

Contemporary World Cinema

FLIRT USA/Germ any/Japan, 1995

Awards: Special Jury Award for Acting (Lili Taylor), Sundance Film Festival, 1996; Filmmakers Trophy (Jim McKay), Sundance Film Festival, 1996

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USA

Contemporary World Cinema

Thursday, May 30 ■ Harvard Exit, 9:30pm Saturday, June 1 ■ Broadway Performance Hall, 9:15pm

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GRAVESEND USA, 1995 World Premiere Director: Sal Stabile Producer: Allen Black Screenwriter: Sal Stabile Cinematographer: Joseph Dell’Olio Editor: Miranda Devin Music: Harmonic Ranch Cast: Tony Tuccl, Michael Parducci, Tom Malloy, Tom Brandise Print Source: Brooklyn Wood Productions 84 minutes An astonishing debut film from 19-year-old Sal Stabile, Gravesend is a taut and twisted tale of four friends cruising down a one-way road to ruin. The film traces the ominous course of one night in the life of four teenaged buddies whose idea of entertaining themselves generally revolves around hanging out and talking trash. On this particular night, one of the boys, Zane, has brought a gun to the house of buddy Ray’s older brother, where the rest of his pals, Ray, Chicken, and Mikey, are making like zombies in front of the TV. An argument breaks out, and Ray’s brother comes storming downstairs to kick the group out of the house, setting in motion a chain of events that spells tragedy for all who are present. While many recent American independent feature film debuts have relied upon the plot device of a group of friends forced to deal with extraordinary circumstances, Gravesend is remarkable not just because of the youth, stylistic sophistication, and obvious cinematic talent of its 19-year-old director. The authentic feel of the film’s setting and characters shows a grasp of cinematic language and technique that goes far beyond the work one would expect of any tyro director. The end result is a film that is as viscerally affecting as it is audacious, causing us to care about characters we would normally cross the street to avoid, and to become an integral part of their rarefied world and their self-created plight.

Monday, May 20 ■ Guild 45th, 7:15pm Wednesday, May 22 ■ Harvard Exit, 5:00pm

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H IT T IN G T H E G R O U N D USA, 1 996 Director: David P. Moore Producers: H. Dennis Moore, Desmond P. Garrison, David P. Moore Screenwriter: Paul Mullin Cinematographer: Alfred 0. Padilla Editors: Louis Bertini, David P. Moore Music: Gordon Gano Cast: Neal Huff, Anney Giobbe, Paul Mullin, Rik Walter, Mark Douglas Print Source: Living Pictures International Sales: Raven Pictures 102 minutes Director David P. Moore marks his feature film debut with Hitting the Ground, a surprisingly quirky yet moving look into exploitation, gonzojournalism, and a generation’s desperate search for identity.

Howard (Neal Huff) has a knack for shooting pictures. As the campus newspaper’s top photographer, he seems to spend more time looking at the world through his viewfinder than he does with his naked eyes. When he inadvertently photographs a girl jumping out of a dorm window, however, his talent for being in the wrong place at the right time sends him over the edge. There’s a race to publish the roll of film, and afterwards Howard becomes trauma­ tized. He soon loses his ability to enter buildings, a strange phobia that drives him onto the campus lawn in a sleeping bag, where he contemplates his role as a photojournalist. Howard’s attempts to solve his crisis do nothing but exacerbate the problem, as does a complicated backdrop of racial tension, punk-rock politics, and freshly discovered passion. Hitting the Ground explodes in a clash between morality and sensationalism, between truth and titillation.

Music by Gordon Gano, of Violent Femmes, sets a breakneck pace for this fast, furious, and funny first film.

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USA

Friday, May 31 ■ Egyptian, 9:30pm Thursday, June 6 ■ Guild 45th, 5:00pm

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Tuesday, May 28 ■ Harvard Exit, 9:30pm Wednesday, May 29 ■ Guild 45th, 9:30pm

American Independents

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JOINT ADVENTURE

USA, 1996

USA, 1995

Director: Mary Harron Producers: Tom Kalin, Christine Vachon Screenwriters: Mary Harron, Daniel Minahan Cinematographer: Ellen Kuras Editor: Keith Reamer Music: John Cale Cast: Lili Taylor, Jared Harris, Martha Plimpton, Stephen Dorff, Tahnee Welch Print Source: The Samuel Goldwyn Company 106 minutes

Director: John Foran Producers: Michael and Kristin Macdermott Screenwriter: John Foran Cinematographer: Mark Petersen Editors: Keith Markinson, Lisa Rosin Music: Raymond Loewy Cast: James Brinkley, David Haley, Biz Lyon, Paul Moore, Vicky Starks, Walter Benedict Print Source: Electric Mountain Films 90 minutes

Director Mary Harron’s feature film debut is a vital, riveting portrait of Valerie Solanas, the woman made famous by her quote, “I shot Andy Warhol,” uttered moments after gunning down the artist and almost killing him. As much as a study of the arch-feminist Solanas (she was the founder and sole member of SCUM, the Society for Cutting Up Men), the film is a paean to Warhol and his infamous studio, the Factory. Solanas (portrayed brilliantly by Lili Taylor) lives her feisty, apocalyptic life with a combination of razor-sharp wit and out-of-control intelligence. Her world is peopled by transvestites, johns, hipsters, her dead-end toughness and angry isolationism a thin veneer over a disturbed and delusionary mind. Vulnerable and overwhelmingly unable to fit in— much like Warhol himself— she is naturally drawn to his eccentric and fascinating underground. With unparalleled attention to detail, the actors in the film transform themselves into the real-life characters they portray. Jared Harris provides an eerie déjà-vu as a monosyllabic, deadpan, and soft Warhol. Stephen Dorff’s Candy Darling is easily the most remark­ able performance from the young actor to date; his whispery take on Candy is full of the original’s tragic vulnerability. The attack’s impact on Warhol and the Factory was profound; Warhol gave up direct involvement with films, and he barely painted at all for the next four years. Valerie Solanas had, at last, made her point.

Awards: Special Jury Award for best actor (Lili Taylor), Sundance Film Festival, 1996 Preceded by Pig! (USA, 2 minutes). Directed by Francine McDougall.

A quiet country lane, a simple summer day— a man, a woman, a swine...tragedy or triumph?

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A very funny story about very little at all, Joint Adventure follows the odyssey of three penniless friends without prospects — Pete, Zack and Claudia — on a mission to find some grass in order to help out Pete’s uncle, a cancer patient suffering intense nausea from his chemotherapy. While this quest merely provides the rational for why these three hedonistic friends should get ambitious enough to go anywhere at all, the lead characters, along with all the people they encounter along the way provide the most engaging and amusing collection of souls we’ve seen on screen since Richard Linklater’s Slacker. Chock-full of acerbic dialogue and delirious incidents, Joint Adventure is a true delight.

Contemporary World Cinema

I SHOT ANDY WARHOL

USA

Contemporary World Cinema

Monday, May 27 ■ Harvard Exit, 6:30pm Wednesday, May 29 ■ Guild 45th, 5:00pm

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Thursday, May 30 ■ Harvard Exit, 7:15pm Monday, June 3 ■ Egyptian, 5:00pm

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American Independents

K IL L E R : A J O U R N A L O F M U R D E R USA, 1 996

LATE B L O O M E R S USA, 1 995

Director: Tim Metcalfe Producers: Janet Yang, Mark Levinson Screenwriter: Tim Metcalfe, based on the book by Thomas 0. Gaddis and James 0. Long Cinematographer: Ken Kelsch Editor: Richard Gentner Music: Graeme Revell Cast: James Woods, Robert Sean Leonard, Ellen Greene, Cara Buono, Robert John Burke, Steve Forrest Print Source: Spelling Films 90 minutes

A Film by Julia Dyer and Gretchen Dyer Producers: Gretchen Dyer, Stephen Dyer, Julia Dyer Cinematographer: Bill Schwarz Editors: Julia Dyer, Gretchen Dyer Music: Ted Pine Cast: Connie Nelson, Dee Hennigan, Cary Carter, Lisa Peterson, Esteban Powell, Joe Nemmers, T.A. Taylor Print Source: One Mind Productions International Sales: Circle of Confusion Ltd. 104 minutes

Set in Leavenworth prison in 1929, this emotionally charged story focuses on the complex interaction— and ultimate unlikely friend­ ship— between a reform-minded novice prison guard and an unre­ pentant serial murderer (a riveting performance by James Woods) who welcomes his approaching death upon the gallows. Henry Lesser (Robert Sean Leonard) begins his career as a prison guard at notorious Leavenworth prison with lofty ideals and hopes of reforming the prisoners he will be in charge of on a day-to-day basis.

His ideals run up against a brick wall when he encounters Carl Panzram, a self-proclaimed reprobate who has no remorse for his actions and no regard for the system that turned him into a pathological murderer. Despite their enormous differences, Henry believes that even Carl can be redeemed as a human being, but his long-held convictions about moral right and wrong are put to the test by the harsh realities of penitentiary life. Slowly, Henry comes to the realization that the prison system itself is riddled with corruption and the brutality of the prisoners is mirrored by that of the guards who keep them in line. Determined to help Panzram make something worthwhile of his seemingly pointless existence, he conspires with the man to help him write his memoirs, in hopes that he will be judged insane and escape his fate at the hands of the hangman.

Presented by Oliver Stone and based on a book co-authored by Thomas 0. Gaddis, who scripted the prison classic The Birdman of Alcatraz, K iller presents a compelling complement to the issues raised in Tim Robbins’s Dead Man Walking.

Eleanor B. Roosevelt High School is pretty much like any other suburban American high school: teachers are nerdy, students are horny, and the hallowed halls hardly seem a likely setting for true love. Yet when Carly Lumpkin, the school secretary, suspects her husband, Rom, of having an affair, she looks immediately to his relationship with geometry teacher and basketball coach Dinah Groshardt. Benton exposing the relationship, she confronts Dinah, who not only disproves her theory but unexpectedly becomes a friend. As Dinah teaches Carly the finer points of basketball during a series of one-on-one games, the two women find themselves getting physically and emotionally closer and closer, until at last a particularly heated game ends in a kiss. Confused and retreating into denial, the two appear to have shaken off the momentary lapse of judgment, only to run into each other in the teachers’ lounge one day and fall into each other’s arms. Ready to admit they’re in love, they commit to their relationship and begin to make the necessary adjustments in their lives. Unfortunately, those adjustments aren’t nearly as easy for everyone else: teachers start to whisper; parents pull their girls off the basketball team; members of Carly’s family either reject her feelings or simply scoff in amusement. As the anti­ love movement gathers momentum, the boys’ athletic coach, Rick Musso, tries to solve the whole problem by seducing Dinah. Before long, a mudslinging PTA meeting gets out of hand with a series of flung Oreos (no one admits throwing the first cookie), and the two women are ostracized. Unemployed and outcast, they see their relationship begin to crumble, until a moment on the court con­ vinces them that they must take love any way it wants to come.

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USA

Thursday, June 6 ■ Egyptian, 9:30pm Sunday, June 9 ■ Harvard Exit, 6:30pm

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Friday, May 17 ■ Guild 45th, 9:30pm Wednesday, May 22 ■ Egyptian, 5:00pm

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American Independents

LOSING CHASE

USA, 1996

USA, 1995

Director: John Sayles Producer: Maggie Renzi, Paul Miller Screenwriter: John Sayles Cinematographer: Stuart Dryburgh Editor: John Sayles Music: Mason Daring Cast: Kris Kristofferson, Chris Cooper, Elizabeth Pena, Joe Morton, Ron Canada, Clifton James, Miriam Colon, Matthew McConaughy Print Source: Sony Pictures Classics 137 minutes

Director: Kevin Bacon Producer: Milton Justice Screenwriter: Anne Meredith Cinematographer: Dick Quinlan Editor: Alan Baumgarten Music: Michael Bacon Cast: Kyra Sedgwick, Helen Mirren, Beau Bridges Print Source: Showtime 92 minutes

Past and present flow smoothly back and forth in this finely crafted film by indie director John Sayles. The border town of La Frontera is full of stories and passions as big as Texas. From secrets kept hidden for years that are being slowly uncovered by the sheriff, Sam Deeds (Chris Cooper), to relationships that provoke more than one character to action, this thoroughly engrossing drama ranks with Sayles’s most important work. The past has a haunting hold over the lives of the sheriff, his father (the former sheriff), his ex-lover, and others, but the present becomes equally haunting when the skeletal remains of Deeds’s father’s rival are uncovered on the outskirts of town. Of course, this film could not be set in Texas without subplots involving the ever-present racism of a border town and the ruthless ambitions and chains of family ties that pervade most of the characters’ lives.

Deeds’s rekindled interest in his high-school love (a schoolteacher, superbly acted by Elizabeth Pena) and his own relationship with his father are intertwined with his unrelenting pursuit of the answertothe mystery surrounding Charlie Wade (powerfully portrayed by Kris Kristofferson). Deeds learns that some people prefer secrets to remain just that, and that his own memories of his father do not match the legend in the minds of the townsfolk. As he uncovers pieces of the truth about the past, he also uncovers much about himself. Excellent performances and character-driven stories invite us to follow the citizens of this small Texas town as they remember— and create— their common history. Sayles proves with this work that he is as capable of capturing the Tex-Mex twang of life on the border as he was the Irish brogue in The Secret o f Roan Inish.

Director Kevin Bacon’s feature film debut, Losing Chase, is a beautifully captured and keenly realized tale of a woman in emotional crisis. Helen Mirren stars as Chase Phillips, who is recovering from depression and emotional exhaustion at the family house on Martha’s Vineyard. Her husband, Richard (Beau Bridges), has hired a helper to take care of Chase and their two sons. But the arrival of Elizabeth (Kyra Sedgwick) triggers a combativeness in Chase that challenges the young woman. To her credit, Elizabeth seems to be made of stern stuff— she has dealt with madness in members of her own family.

Still, Chase descends upon her with unrelenting ferocity, until one rainy evening when Elizabeth loses control and explodes. Instead of distancing the two women, the confrontation seems to draw them closer together, and in that closeness Chase begins to regain the soul she had thought was lost to her. Helen Mirren is luminescent as a conflicted and struggling woman who longs for a moment of the happiness that seems just out of her grasp; Kyra Sedgwick’s Elizabeth provides not only the inspiration for Chase but the strength Chase needs to defeat her demons.

Selected Filmography: Return o f the Secaucus Seven (1980), Lianna (1982), The Brother from Another Planet (1984), Matewan (1987), City o f Hope (1991), Passion Fish (1992), The Secret o f Roan Inish (1994)

A D E H A A IR U N E S

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Contemporary World Cinema

LONE STAR

11

USA

Contemporary World Cinema

Saturday, June 1 ■ Harvard Exit, 9:15pm Wednesday, June 5 ■ Egyptian, 7:15pm

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Thursday, May 30 ■ Harvard Exit, 9:30pm Tuesday, June 4 ■ Egyptian, 9:30pm

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American Independents

NOTES FROM UNDERGROUND

MANNY & LO USA, 1995

USA, 1 995

Director: Lisa Krueger Producers: Dean Silvers, Marlen Hecht Screenwriter: Lisa Krueger Cinematographer: Tom Krueger Editor: Colleen Sharp Music: John Lurie Cast: Mary Kay Place, Scarlett Johansson, Aleksa Palladino, Glenn Fitzgerald, Angie Phillips Print Source: Sony Pictures Classics 97 minutes

Director: Gary Walkow Producers: Frank J. Gruber, Alicia A. Dollard, Chris Beckman Screenwriter: Gary Walkow, based on the novella

by Fyodor Dostoevsky Cinematographer: Dan Gillham Editor: Peter B. Ellis Music: Mark Governor Cast: Henry Czerny, Sheryl Lee Print Source: Walkow/Gruber Pictures 88 minutes

This film by first-time director Lisa Krueger is a story about how we all need to feel like we’re part of a family, even if it means redefining that word. Amanda is 11 and her sister Laurel is 16. After years in foster homes, they decide they’ve had enough and take off together, living by stealing and sleeping in vacant houses, checking the sides of milk cartons for their photographs. When Laurel discovers that she is pregnant, the girls decide they need a more permanent and stable existence. They happen upon a middle-aged woman named Elaine, who, like the girls, is also adrift in life without anyone who cares for her.

The girls kidnap her and hold her hostage as they prepare for the birth of Laurel’s baby. Elaine is the most inappropriate woman they could have chosen to help them with their predicament as she knows nothing at all about childbirth. But she develops a soft spot for the two girls, and something akin to a family begins to be created out of the most unexpected circumstances. Lisa Krueger has presented us with a modern-day fairytale, albeit chaotic, in which misfits find solace in one another’s presence. Mary Kay Place is wonderful as Elaine, who seems to have loads of advice on raising infants although she has no experience with babies. She is cast as a kind of “good witch” who is ultimately forced to admit that she needs the girls as much as they need her. The nonjudgmental presentation of the three characters is both unique and satisfying, incorporating all of the bizarre, humorous, and moving emotional perspectives on what it means to need and be needed. Family is, after all, what it is all about. The crisp and lyrical cinematography by Tom Krueger and John Lurie’s enraptured musical score add to the film's overall impact. The performances are extremely honest, and the chemistry created between the three actresses leads to a most satisfying conclusion. Lisa Krueger’s unique storytelling makes a lasting impression that bodes well for her future work.

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This surprisingly comic and remarkably powerful film opens with a confession before a video camera. A man, the underground man (we never learn his name), is seeking to exorcise the memory of an event that occurred 12 years prior, an event that haunts this unlikely antihero like a tongue worrying a loose tooth. Henry Czerny (The Boys from St. Vincent, When Night Is Falling) plays the lonely, alienated, nameless civil servant who survives his meaningless, demeaningjob only by torturing those who are forced to interact with him. With his oddly appealing mix of madness and misanthropy, the underground man is a contradictory man: he is shunned and despised by his friends, yet he insists upon imposing himself on them. He survives on pride and spite yet aches for acceptance. In one twisted evening, his desire to prove his intellectual superiority over his college buddies proves disastrous, leaving him broken and vengeful in a local brothel. There he encounters a prostitute who takes his sadistic emotional toying as a sign of warmth and caring.

She moves into his apartment the next day. The stage is set for rescue and redemption, but the underground man seethes instead with torment and anger. Czerny and Sheryl Lee (as the prostitute) take considerable risks in two definitive performances that are darkly, humanely, uncommonly commanding.

Selected Filmography: The Trouble with Dick (1987)

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Saturday, May 18 ■ Harvard Exit, 6:30pm Tuesday, May 2 1 1 Egyptian, 9:30pm

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Friday, May 31 I Guild 45th, 9:30pm Tuesday, June 4 I Egyptian, 5:00pm

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American Independents

OTHER VOICES OTHER ROOMS

USA, 1995

USA, 1995

Director: Eric Bross Producers: H.M. Coakley, Eric Bross Screenwriters: Tom Cudworth, Eric Bross Cinematographer: Horacio Marquinez Editor: Keith Reamer Music: Chris Hajian Cast: Adrien Brody, Michael Gallagher, Sybil Temshen, Tony Gillan, James E. Moriarty, Frank Vincent Print Source: Dove Entertainment international Sales: TransAtlantic Entertainment 98 minutes

Director: David Rock Savage Producer: Peter Wentworth Screenwriter: Sara Flanigan Cinematographer: Paul Ryan Editor: Cynthia Schneider Cast: David Speck, Lothaire Bluteau, Anna Thomson, Frank Tayler, April Turner Print Source: Golden Eye Productions 100 minutes

A surprise hit at both the Los Angeles Indie Fest and the Taos Film Festival, Eric Brass’s Nothing to Lose is a strikingly effective first feature about three onetime childhood friends who team up to overcome the harrowing circumstances that one of them finds himself trapped in. The story revolves around Ray, a charismatic and ambitious 23-year-old who is dreaming of making a big score so he can open his own business and marry his childhood sweetheart, Joanne. Biding his time in a dead-end job as a slicktalking shoe salesman, Ray figures he knows all the angles. So when a seemingly sure-thing tip on a big payoff at the horse races presents itself, he borrows a huge sum of money from a Mafia loan shark, thinking he will wind up with a fortune in winnings and avoid the fate of his father, a small-time former mob rackets runner who now makes his living as a phone salesman at home. Of course things are never as easy as they seem; when Ray winds up in a situation way beyond his control, it is up to his two longtime friends— each of whom is confronting a crisis of his own— to come to his aid. Raw, streetwise, and brimming with creative energy, Nothing to Lose marks director Eric Bross as a major new directorial talent.

'SEATTLEW EEKLY, Eastsjdeweek

Other Voices Other Room s is based on Truman Capote’s semiautobiographical first novel about a resourceful boy’s coming of age in the rural South during the late 1930s. The film traces the sojourn of 12-year-old Joel Knox, who is summoned by the father who abandoned him at birth, from his aunt and uncle’s New Orleans home after the death of Joel’s mother. Upset at the prospect of leaving familiar surroundings, the boy travels by train to the small community where his father lives, arriving at a decaying Southern mansion in remote Skully’s Landing. There he is introduced to the eccentric denizens of the crumbling manor, but receives no re­ sponse to his repeated requests to see his father. His stepmother (a faded, slightly loony Southern belle named Amy) and his Uncle Raymond (a world-weary and much-traveled “artiste") seem to avoid the subject of his father whenever it comes up. When at last Joel comes face-to-face with his long-lost father, he is stunned to find that the man is not at all what he had imagined. But this is only the first of a series of revelations that will change Joel’s perceptions of life in profound and unexpected ways.

Contemporary World Cinema

NOTHING TO LOSE

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USA

Friday, May 24 ■ Egyptian, 7:15pm Tuesday, June 4 ■ Broadway Performance Hall, 9:30pm

Friday, May 17 I Egyptian, 7:15pm Sunday, May 19 I Harvard Exit, 3:30

PALOOKAVILLE

USA, 1 9 9 6

USA, 1 9 9 5

World Premiere Director: Richard LaBrie Producer: Richard Hahn Screenwriter: Bob Comfort Cinematographer: Maximo Munzi Editor: Neal Grieve Music: Tim Truman Cast: Vincent D’Onofrio, Gregory Hines, Max Gail, James Earl Jones, Joe Theismann Print Source: East West Film Partners 98 minutes When Tony “O le” Olezniak, star Seahawk football player and allaround fast-moving stud, gets hit in a freak tackle during a Sunday NFL football game, his life is changed forever. The hit costs him his sight, and sends him into a painful spin of self-pity that m akes him lash out at everyone— especially his ex-girlfriend, who is now making the big bucks on her “life with Ole” exposé. Lemley (Gregory Hines) is a wheelchair-bound manufac­ turer of dental plates, whose dream s of being a dentist were cut short ju st days from graduation by his own freak accident. When Ole gets sent to jail for disturbing the peace (something about tossing his apartment furniture over the third-floor balcony onto a parked BMW), Lemley hatches an idea that could just bring Ole back to life. Anxious to launch SOAR, an organization for the disabled that focuses on adventurous outdoor sports and activities, Lemley proposes to Ole that they run a Whitewater raft race on the Rogue River in Oregon to raise the needed SOAR budget. Using his eyes and O le’s brawn, Lemley is convinced, the two of them will take the race by storm and raise the aw areness of all about the abilities of the disabled. Ole is less convinced but needs the trip even more, as he has a few things to prove to himself. Shot entirely on location throughout Wash­ ington and Oregon, The Ox and The Eye is a heartwarming story of su cce ss, failure, and a few crabs in between.

Director: Alan Taylor Producers: Uberto Pasolini, Scott Ferguson Screenwriter: David Epstein Cinematographer: John Thomas Editor: David Leonard Music: Rachel Portman Cast: William Forsythe, Vincent Gallo, Adam Trese, Gareth Williams, Frances McDormand Print Source: The Samuel Goldwy-n Company 93 minutes When Sid (William Forsythe), Russ (Vincent Gallo), and Jerry (Adam Trese) embrace crime as the ultimate solution to unem­ ployment, it’s not a career move, “just a momentary shift in lifestyle.” These three guys from the neighborhood convince themselves that THE PLAN can’t fail and they can’t lose. Too bad they’ re just a bunch of softies whose hearts keep getting in the way. First the jewelry store heist ends up in a bakery— great for snacks but bad forthe big-money haul. Then a surefire scam with a taxi delivery service for old folks at the grocery store ends up a comedy of errors with no profit involved. In the meantime the girlfriends are itchy, the wives are struggling, and even next-door neighbors seem to be getting in the way. When an armored car goes out of control on its way to the bank with a huge payload, the boys become heroes as they save the driver (who has suffered a heart attack) and rescue the money. Rescue the money, instead of stealing it! These guys are having a hard time.

Inspired by Italo Calvino’s volume of short stories Ultimo Vlene il Corvo, about his Italian countrym en’ s struggle to m ake ends m eet in econom ically devastated postw ar Italy, the directorial debut Palookaville is a w him sical and striking com ic m isadventure.

Awards: Best First Feature, Venice Film Festival, 1995

Selected Filmography: Joe’s Rotten World, (1995)

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Contemporary World Cinema

TH E O X AND TH E EYE

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American Independents

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USA

Contemporary World Cinema

Friday, June 7 I Egyptian, 9:30pm Sunday, June 9 ■ Egyptian, 9;15pm

Monday, May 27 ■ Guild 45th, 9:15pm

P H EN O M EN O N

TH E R E G G A E M OVIE

USA, 1 9 9 6

USA, 1 9 9 5

Director: Jon Turteltaub Producers: Barbara Boyle, Michael Taylor Screenwriter: Gerald DiPego Cinematographer: Phedon Papamichael Editor: Bruce Green Music: Thomas Newman Cast: John Travolta, Kyra Sedgwick, Forest Whitaker, Robert Duvall Print Source: Buena Vista Pictures Distribution 117 minutes

Director: Randy Rovins Producers: Randy Rovins, Ricardo Chin Music: Dean Fraser, Shaggy and Rayvon, Buju Banton and Wayne Wonder, Luciano, Garnett Silk, Inner Circle, Steel Pulse, Shinehead, Mystic Revealers, Burning Spear, Beres Hammond, Carlene Davis, Freddie McGregor, Ziggy Marley and the Melody Makers, Chaka Demus and Pliers, Dennis Brown, Apache Indian, Yami Bolo, Maxi Priest Print Source: Trimedia Productions 90 minutes

Fullofwarmth and enthusiasm, Phenomenon stars John Travolta as an ordinary joe who experiences the extraordinary. Unsure as to the direct cause— som e say lightning, som e say alien abduc­ tion— Travolta’s character is reluctantly thrust into the limelight when a mysterious blinding flash he encounters leaves him with astonishing intelligence and an unquenchable thirst for learn­ ing. His notoriety and intelligence seem to grow exponentially, and so do the threats against this quiet m an’s life: he becom es a curiosity to the scientific community, a security risk to the government, and an uncertainty to the townsfolk. It’s only the support of a few loyal friends (Forest Whitaker and Robert Duvall) and the gentle care of a woman (Kyra Sedgwick) that help him deal with his increasingly inexplicable situation. A wonderful story about the joy and pain of things that are not what we think they are.

The Reggae Movie captures the soul of reggae m u sic, from sm ooth b a lla d s to ja m m in ’ dance tunes. Im m ersing the audience in steady rhythms and a driving backbeat, th is bigscreen concert film fe a tu re s the legendary Steel Pulse perform ing before a live audien ce in Jam aica, the birthplace of reggae m usic. Captured at various m ajor reggae co ncerts in several co untries, including Japan, A ustralia, Jam aica, and the United S ta tes, the m u sic sh in e s through. Ziggy M arley and the M elody M a kers are hypnotizing; other a rtists in the film include Dean Fraser, Shaggy and Rayvon, Buju Banton and Wayne W onder, Luciano, G arnett S ilk , Inner C ircle, Steel Pulse, Shineh ead, M ystic R evealers, Burning Spear, and Maxi Priest. There are a lso cam eo ap p earances

by Sandra Bernhard and others. Reggae is a m u sic about people and for people; the way it sp e a k s of love is beautifully illustrated in The Reggae Movie. D on’t m iss one of the hottest concert film s of the fe s tiv a l— it will have you dancing in your seat.

Selected Filmography: Cool Runnings (1993), While You Were Sleeping (1995)

132

USA

Thursday, May 30 ■ Egyptian, 9:30pm Saturday, June 1 1 Egyptian, Midnight

American Independents

USA, 1 9 9 5

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SISTER ISLAND USA, 1 9 9 6

World Premiere Director: Brian Cox Producer: Anant Singh Screenwriter: Brian Cox Cinematographer: Nancy Schreiber Editor: Steve Nevius Music: Lalo Schifrin Cast: Alfred Molina, Ruben Blades, Esai Morales, Patrick McGaw, Kevin Tighe, Angel Aviles Print Source: Distant Horizon 92 minutes This contemporary, neo-noir thriller plays like a cross between Reservoir Dogs and a spaghetti western, marking its debuting writer/director Brian Cox as one of the hottest new talents on the American independent film scene. As the film opens, a young, sensitive drifter is mugged when he com es to the aid of a prostitute. The episode leaves him stranded in a sm all desert diner with no money and few resources save for his beat-up Buick convertible. Sensing an opportunity when another cus­ tom er in the diner (Alfred Molina) gets ditched by his irate m istress and is left to walk to Los Angeles, he offers the displaced Frenchman a ride in return for gas and food money.

Together the two hit the road for the big city. But a stop to help a man and woman they find stum bling out of the desert along the way begins a seriously twisted thriller, shot through with dark com ic undertones.

Director: Avery Crounse Producers: Michael W. Barnard, Nancy Nickerson Screenwriter: Avery Crounse Cinematographer: Michael W. Barnard Editors: Avery Crounse, Michael W. Barnard Music: Nigel Holton Cast: Kathleen York, Karen Black, Guy Boyd, DeVere Jehl Print Source/lnternational Sales: William Morris Agency 109 minutes In August of 1969, Hurricane Camille, the most powerful storm in North American history, destroys coastal M ississippi. In its wake, rescue workers find a 15-year-old girl lying comatose in the mud of a leveled fishing community on a small coastal island. Unable to communicate with anyone and completely unresponsive, she is an enigma to the local doctor, Dorrie Walsh (Kathleen York), who takes the girl into the home she shares with her mother. The girl, whom Dr. Walsh names Camille, sits in a catatonic stupor under a table in the living room. Only slowly do both the doctor and her mother realize that Camille does respond to certain stimuli; in fact, her behavior becomes increasingly peculiar. As Dr. Walsh scours the island in vain to learn who the girl is, a powerful mystery begins to develop: how could someone grow to adolescence on a sm all and inacces­ sible island without encountering anyone who would later be able to identify her? The wary islanders respond only grudgingly to Dr. W alsh’s inquiries and seem to want to dissuade her from her m ission. The medical authorities are equally unmoved by Dom e’s attempts to help Camille— they want to institutionalize the young girl and close the case. With its remarkably strong and passionately committed approach to storytelling, Sister Island unfolds as a powerful portrait of the force of nature.

Selected Filmography: Eyes o f Fire (1984), The Invisible Kid (1988)

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Contemporary World Cinema

SCO RPIO N SPRING

Thursday, June 6 ■ Harvard Exit, 7:15pm Friday, June 7 ■ Harvard Exit, 5:00pm

USA

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Friday, May 24 ■ Guild 45th, 7:15pm Monday, May 27 ■ Egyptian, 12:30pm

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SU D D EN M ANHATTAN USA, 1 9 9 6 Director: Adrienne Shelly Producer: Marcia Kirkley Screenwriter: Adrienne Shelly Cinematographer: Jim Denault Editor: Jack Haigis Music: Pat Irwin Cast: Adrienne Shelly, Tim Guinee, Roger Rees, Louise Lasser, Hynden Walch Print Source: Homegrown Pictures 83 minutes Hal Hartley’s favorite actress, Adrienne Shelly, Is also an accom plished theater director and writer, having worked in New York productions for a number of years. With Sudden Manhat­ tan, she has written and directed her first feature film, a quirky, black comedy about the very good and the really evil. Donna (Shelly) is a twentysomething who has recently been fired from her job at a Soho Gallery and immediately finds herself involved in a string of murders she can’t comprehend. Convinced she must be going mad, she turns to a fortune-teller for help in understanding the road signs of life— a decision that only confuses the issue, with talk of magicians, bearded men, and lurking evil. In the meantime sh e ’s trying everything she can think of to dump her teacher-landlord, Murphy, who is so in love with her that he can hardly breathe. To com plicate matters even further, before the first dead body is cold, Donna finds a new love who may or may not be the man of her dream s— or maybe just a really good liar. When her Prozac-popping friend, Georgie, decides to mend a broken heart with a se t of leather-wearing twins, the stage is set for a showdown of magic at the boundaries of fantasy and reality.

THE W A I T B E T W E E N SEATTLE INTERNATIONAL F I L M F E S T I V A L S S H O U L D OE MOH E T H A N J U S T ONE LONG INTERMISSION. 10IN CINEMA SEATTLE Ci nema Seattle is the producer of the Seattle I nternational Film Festival as well as a series of year-round film e v e n t s . Your Support enables us to continue a tradition of bringing the best films and filmmakers the world has to offer.

Membership brochures are available at all Festival Venues.

VISIT m WEI SITE: http.// w w w . Seattle film .com

134

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USA

Wednesday, May 22 ■ Guild 45th, 9:30pm Saturday, May 25 ■ Egyptian, Midnight

Saturday, May 18 ■ Harvard Exit, 9:15pm Tuesday, May 21 ■ Harvard Exit, 7:15pm

TATTOO BOY

USA, 1 9 7 5

USA, 1 9 9 5

Director: Jack Hill Producer: John Prizer Screenwriter: F.X. Maier Cast: Robbie Lee, Joanne Nail, Monica Gayle, Kitty Bruce, Janice Karman, Marlene Clark, Michael Miller Print Source: Miramax Films Inc. 91 minutes

Director: Larry Turner Producer: Shelly Sinclair Screenwriter: Larry Turner Cinematographer: David Litz Editor: Jon Menell Music: Daren Bell Cast: C.J. Barkus, Amandda Tirey, Mathew James, Howard Shook Print Source/lnternational Sales: Gotham Entertainment Group 72 minutes

This hilarious camp classic, first released in 1976, follows the adventures of a girl gang, the Dagger Debs, as they terrorize their high school, cause a jailhouse riot, and finally hook up with a group of black revolutionaries for a battle royale with a rival gang, before two of the Debs (who once were friends) square off for a clim actic showdown. Directed by Jack Hill, the man behind such drive-in c la s sic s as Foxy Brown and The Sw inging Cheerleaders, Sw itchblade S iste rs defines the word “exploitation” in the best possible sense. The roller-rink rumble alone is worth the price of adm ission.

Selected Filmography: The Terror ( 1963), Blood Bath (1966), Foxy Brown (1974)

A startling and accomplished feature film debut by 21-year-old Larry Turner, Tattoo Boy covers sim ilar territory to that of such acclaimed stories about street life as Streetw ise and Kids. The difference here is that the young people involved have innocent aspirations and the story carries hope for redemption. The film introduces us to Sam and Rebecca, two aging child prostitutes who protect each other’s interests on the cold city streets where they ply theirtrade. Rebecca, who calls herself Arizona (after the state her father moved to when he left her mother years before), is trying to save enough money from her work to buy a car and head west in search of her father. Sam, meanwhile, has grown tired of the life, and aspires to leave with Arizona so he can make a fresh start somewhere far from here. Into their arms falls a 14year-old boy, who’s desperate to avoid being placed in an orphanage after the death of his parents. In the course of the week that follows, the three hard-pressed teenagers struggle through the labyrinth of obstacles that stands between them and their road to a better life.

Contemporary World Cinema

SWITCHBLADE SISTERS

Awards: Honorary Mention, Best American Independent Film, Hamptons International Film Festival, 19 95 Preceded by Stickes and Stones (USA, 10 minutes) Directed by Larry Turner. A true story about childhood sexual abuse.

135

Thursday, May 23 ■ Guild 45th, 9:30pm

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Friday, May 24 ■ Harvard Exit, 5:00pm

THROW ING DOWN Contemporary World Cinema

American Independents

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TH E TRIGGER E F F E C T USA, 1 9 9 6

USA, 1 9 9 5

World Premiere Director: Lawrence O’ Neil Producer: David Schaye Screenwriter: Lawrence O’Neil Cinematographer: Tim McCann Editor: Marisa Bendetto Cast: Jeffrey Donovan, Kevin Pinassi, Colleen Werthmann, Timothy Wheeler Print Source: Nightlight Films 90 minutes

Throwing Down has to rate as the m ost weirdly entertaining film of this year’s Festival. Its darkly comic story of two small-time con artists who get much more than they bargained for when they seize on the chance to make a huge, unexpected score com­ bines pitch-black humor, an eccentric convoluted plot, a bizarre cast of characters, and razor-sharp dialogue that rings alm ost too true to be made up. The story concerns two young scam m ers, A J . and Pete, who always seem ju st one step ahead of disaster.

A.J.’s philosophy involves seizing on the “split-second window of opportunity” that life occasionally offers, though this invariably involves something illegal. After ripping off a car full of young Virginians who have come to New York City to score drugs, A J . is off to put the finishingtouches on a schem e he’s been working on for weeks. Pete, meanwhile, is supposed to be watching A.J.’s back, but instead stum bles upon the chance to hijack a large shipm ent of drugs being sent by a mob functionary through the mail to a waiting customer. This “golden opportunity” ends up involving both young men in a surrealistic nightmare beyond their w ildest imaginings.

Director: David Koepp Producer: Michael Grillo Screenwriter: David Koepp Cinematographer: Newton Thomas Seigel Editor: Bud Smith Cast: Elisabeth Shue, Dermot Mulroney, Kyle MacLaughlan, Richard T. Jones, Michael Rooker Print Source: Gramercy Pictures 98 minutes

The Trigger Effect is a fast, furious, and darkly humorous thriller that can aptly be described as the ultimate urban nightmare for the nicest, most unsuspecting suburban couple. Matt (Kyle MacLaughlinj and Annie (Elisabeth Shue) return home from the movies to find that their infant daughter has an ear infection.

Matt phones a pediatrician, who says he’ ll call in a prescription the next morning. A power outage then blankets the town, putting the sleeping neighborhood into a chaotic and hilarious frenzy. The young couple slips into a series of m isfortunes and misunderstandings, and soon their lives begin to unravel. Those who saw Apartment Zero, also written by David Koepp, are aware that he not only knows paranoia, he celebrates it! This world premiere is so wonderfully complex, thought-provoking, and entertaining that it is hard to believe this is Koepp’s first feature film.

Awards: Golden Starfish Award, Hamptons International Film Festival, 19 95

136

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Eastsideweek

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USA

Saturday, June 8 ■ Harvard Exit, 6:30pm Sunday, June 9 ■ Broadway Performance Hall, 12:30pm

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American Independents

Sunday, June 2 ■ Harvard Exit, 6:30pm Wednesday, June 5 ■ Egyptian, 5:00pm

American Independents

WALKING AND TALKING

USA, 1 9 9 6

USA, 1 9 9 6

World Premiere Director: Roger Christian Producers: Robert Vince, William Vince Screenwriter: Larry Bishop Cast: Denis Leary, Joe Mantegna, Annabella Sciorra, Abe Vigoda Print Source: Trimark Pictures 90 minutes Johnny Crown (Denis Leary) has ju st been released from a seven-year prison term and has only one thing on his mind: hunting down the man who brutally attacked his mobster father exactly two years ago tonight and left him in a coma. Johnny’s first order of bu siness is to pick up his longtime buddy Frank Galivan (Joe Mantegna), owner of trendy nightclubs and purveyor of beautiful women, insisting that Frank join him for this very special night. Next on the agenda is a visit to the home of his estranged wife, Leah (Annabella Sciorra), a psychiatrist, for som e conjugal counseling, followed by a visit to the home of Frank’s father (Abe Vigoda), where it becom es clear that this is all part of a larger plan. While Johnny and Frank carry out their appointed rounds, longtime foe Ned Lynch is conducting his own hunt for the elusive Johnny, and in the paranoid mob world that these men all inhabit, a series of events is put in motion that carries unexpected consequences for all who are involved. A devilish mix of dark humor and riveting suspense drives this unpredictable thriller toward its surprising conclusion.

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Director: Nicole Holofcener Producers: Ted Hope, James Schamus Screenwriter: Nicole Holofcener Cinematographer: Michael Spiller Editor: Alisa Lepselter Music: Billy Bragg Cast: Catherine Keener, Anne Heche, Todd Field, Liev Schreiber, Kevin Corrigan, Randall Batinkoff, Joseph Siravo, Vincent Pastore, Lynn Cohen Print Source/lnternational Sales: Miramax Films Inc. 86 minutes Friends since the sixth grade, Amelia and Laura are fast approaching 30, and for the first time, their lives have begun to drift in different directions. Laura is a therapist-in-training, whose reaction to her impending marriage to longtime lover Frank is an unsettling attraction to som e of her patients. Amelia, on the other hand, has been through a succession of failed romances and is undergoing therapy herself, though she has finally committed to ending the practice just as soon as she can get it together. Torn by their loyalties to each other and their need to move on to a new independence in life, the two women take unpredictable and often very funny first steps toward looming adulthood. A remarkably assured filmmaking debut by writer/director Nicole Holofcener, Walking and Talking gains immeasurable strength through the performances of Catherine Keener and Anne Heche as the two longtime friends and camerawork by Hal Hartley regular Michael Spiller.

WLEWEEKH,

Eastsideweek

Contemporary World Cinema

U N D ER W O R LD

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, Saturday, June 1 ■ Egyptian, 6:30pm Friday, June 7 ■ Harvard Exit, 7:15pm

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American Independents

Contemporary World Cinema

W E L C O M E TO T H E D O LLH O U SE

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American Independents

W ITHOUT EV ID EN CE

USA, 1 9 9 5

USA, 1 9 9 6

Director/Producer/Screenwriter: Todd Solondz Cinematographer: Randy Drummond Editor: Alan Oxman Music: Jill Wisoff Cast: Heather Matarazzo, Brendan Sexton Jr., Daria Kalinina, Matthew Faber, Angela Pietropinto Print Source: Sony Pictures Classics 87 minutes

Director: Gill Dennis Producer: Eric R. Epperson Screenwriter: Phil Stanford Cinematographer: Victor Nunez Editors: Eric Whitmyre, Jay Miracle Music: Franco Piersanti Cast: Scott Plank, Anna Gunn, Andrew Prine, Angelina Jolie, Paul Perri, Alan Nause, Ernie Garrett Print Source/lnternational Sales: MFD Ltd. 123 minutes

“In junior high school everything looks like life or death,” says director Todd Solondz. A vicious suburban black comedy that takes us through the most hideous moments of adolescence, Welcome to the D ollhouse stars an amazing young actress, 11year-old Heather Matarazzo, as Dawn Wiener, the hated, homely middle child of a New Jersey Jewish family. In limbo between childhood and adulthood, Dawn doesn’t fit in at home or work. Life is all struggles for the tackily clothed, unattractive, slump-shoul­ dered, pubescent girl who wears thick glasses. Dawn endures the nickname her classm ates bestow upon her— “Wiener Dog”— and desperately casts about the lunchroom for someone who will tolerate her sitting beside them. We are plunged into the pain of a grim life that promises only to get grimmer. Home isn’t any better. Her pretty little sister pirouettes through the room in her pinktutu, obviously the mother’s favorite. Her older brother, Mark, is a computer whiz who has his own garage band. Solondz is a master at creating a world both slightly askew and totally familiar.

Unlike the typical TV sitcom character, Dawn never takes off her glasses and becomes suddenly beautiful. Welcome to the Dollhouse deals with universal truths that will send you reeling to your own memories. Neither sentimental nor condescending, this portrait of Dawn’s trek through the middle years is funny yet poignant. “ Not all children experience the extremities, but those who do— both the persecuted and the persecutors— are damaged and warped, maybe for life. What interests me is the struggle to survive and to find the moments of grace that enable one not to jump out of the window.”— Todd Solondz

Based on a recent true-life murder in Oregon, W ithout Evidence is a suspenseful thriller that delves critically into the heart of the American justice system. Its story is set in Salem , where idealistic lawman Michael Francke has recently been hired as the director of Oregon’s Department of Corrections. During a vacation visit to his brother Kevin’s home in Florida, the two men go for a walk in the woods and, in passing, Michael mentions that he’s concerned about a suspicious operation he’s uncov­ ered involving drugs in prison. Soon after Michael returns to Salem, Kevin receives a call from the police informing him that his brother has been murdered. Shocked by the news, Kevin immediately heads for Oregon looking for som e answers. What he discovers upon his arrival is an unsettling “official version” of the case, filled with artful evasions and outright lies about the circum stances surrounding his brother’s death— evasions that ominously point to an official cover-up and deep-rooted corrup­ tion within the department.

Awards: Grand Jury Prize, Sundance Rim Festival, 1996; Cicae Prize of the International Federation of Art Cinema, Berlin Rim Festival, 1996; Metro Media Award, Second Place, Toronto Rim Festival, 1996 Selected Filmography: Fear, Anxiety, and D epression (1989)

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Wednesday, May, 22 ■ Egyptian, 9:30pm Friday, May 24 ■ Harvard Exit, 7:15pm

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Friday, May 17 ■ Harvard Exit, 9:30pm Tuesday, May 21 ■ Egyptian, 5:00pm

American Independents

C Y C LO (Xich Lo) V ie tn a m /F ra n c e , 1 9 9 5

Director: Rachel Reichman Producers: Rachel Reichman, Susan Stover, Tina Kacandes Screenwriter: Rachel Reichman Cinematographer: Steven Giuliano Editors: Rachel Reichman, Jessie Weiner Music: Eve Beglarian Cast: Cynthia Kaplan, Sonja Sohn, Peter Sprague, Patt Franklin Print Source: Distract Pictures 90 minutes It is typical of Rachel Reichm an’s eloquently understated fea­ ture debut that no big deal is made out of the fact that the central relationship is both interracial and lesbian. But then, issu es of race and sexuality aren’t really w hat’s important here. Work is about a trapped spirit who briefly finds hope and happiness in an unlikely love affair. Jenny is the film ’s trem endously likable young heroine. Living in one of those sm all American towns that seem to be dying on the vine, she finds herself married to a doting but dull husband. Her repeated attem pts to find a job inevitably end in failure, even though she freely reinvents her credentials to fit the needs of each application. In her bright, down-to-earth next-door neighbor, June, she finds a kindred spirit. Their heart-to-heart talks lead to picnics in the woods, and from there to som e fairly hot and heavy sexual encounters. But June’s future lies elsewhere. Obvious com parisons might be made betwwen W o rk, Go Fish, and Incredibly True Adventures o f Two G irls In Love (SIFF ’95), and, perhaps m ost strongly, Truffaut’s 4 0 0 Blow s. Shaped by Reichm an’s sensitive handling of her characters and her freely expressive visual style, the film clim axes in a beautiful series of images that suggests freedom finally achieved, or at least imagined. A genuine discovery!

“Reichman has a penetrating sense of place and a way of finding what’s haunting in the m ost no-nonsense images. S h e ’s gotten good performances from an inexperienced ca st and an extraor­ dinary one from her leading actor, Cynthia Kaplan.”— Amy Taubin, The Village Voice

Director: Tran Anh Hung Producer: Christophe Rossignon Screenwriter: Tran Anh Hung Cinematographer: Benoit Delhomme Editors: Nicole Dedieu, Claude Ronzeau Music: Ton That Tiet Cast: Le Van Loc, Tran Nu Yen Khe, Tony Leung Chiu-Wai, Nguyen Nhu Quynh Print Source: Cinepix Film Properties 105 minutes Tran Anh Hung’s follow-up to his acclaimed Scent o f Green Papaya immediately callsto mind the visual bravura and passionate social conscience of the young Bernardo Bertolucci. A rooftop murder scene and near-death experience in blue paint reflect a similar taste for the theatrical. Cyclo is set in contemporary Ho Chi Minh City— a Vietnam much changed from the delicate pre-war world of Papaya. Its boy hero ekes out his meager living as a “cyclo,” peddling a rickshaw through the city’s bustling streets. Disaster strikes when his rig is stolen, leaving him not only crushingly indebted to the family that owns it, but also without a means of making a living (further Italian influence— De Sica’s Bicycle Thief— \s obvious here). Forced to pay back the vehicle’s value, he takes on assignments from a band of petty criminals led by a young poet (Hong Kong heartthrob Tony Leung Chiu-Wai). What follows is a startlingly authentic tour of the city’s underworld, surely as shocking as that of any western metropolis: drugs, prostitution, theft, extortion, murder. Cyclo’s story of the ruthless corruption of innocence steadily builds a poignant, unsettling power. The climactic aerial pan, from the poorest parts of town to the luxury hotels where the rich play, oblivious to the poverty and suffering around them, pretty much says it all. “Made with the same jewel-like meticulousness and very Gallic sense of style that set Tran’s debut so far apart from other Asian offerings, the new feature again boasts boldly creative craftsmanship in every frame.”— David Rooney, Variety

Contemporary World Cinema

W ORK USA, 1 9 9 6

Awards: Grand Prize, Venice Film Festival, 1995 Filmography: The Scent o f Green Papaya (1993)

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ill4eetì/ot/ùm^É MoiithßMvm Saturday, May 25 ■ Harvard Exit, 6:30pm Tuesday, May 28 ■ Harvard Exit, 7:15pm

Contemporary World Cinema

S T R EET LIFE W ale s, 1 9 9 5 Director: Karl Francis Producer: Ruth Caleb Screenwriter: Karl Francis Cinematographer: Nigel Walters Editor: Roy Sharman Music: John Hardy Cast: Helen McCrory, Rhys Ifans, Christine Tuckett, Donna Edwards Print Source: BBC Television, Drama Group International Sales: Jane Balfour Films 98 minutes Tough, humorous, moving, and truthful, Streetlife is a slice-oflife drama in the style of Ken Loach. A gutsy single mom, with a young daughter and a sister addicted to heroin, is working in a sweatshop in South W ales as well as moonlighting as a model and at a phone-sex service. Life is complicated, but has its good points: Jo is studying to improve herself and is well taken care of by her married lover, Kevin. But things begin to spiral downward when she finds out that she is 15 weeks pregnant.

Forgetting all the prom ises he made, Kevin backpedals when he hears the news. Too far along for a legal abortion, Jo has no option but to have the baby. When, on top of this, her mother falls seriously ill and her sister is nearly arrested, she is forced to make painful choices, with powerful, intensely disturbing repercussions. In spite of everything, Jo remains defiantly optim istic, in a most superb performance as a proud single mother by Helen McCrory. The mostly fem ale cast is engaging as they talk dirty in the sweatshop. S tre e tlife ’s uncompromising commitment to truth and its tragic yet funny script combine to create an endearing drama of the real working-class world.

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Saturday, May 18 ■ Harvard Exit, 12:30pm Monday, May 20 ■ Egyptian, 9:30pm

This ye a r’s crop of sh o rt film s — culled from a record num ber of su b m is s io n s —

TH E B ES T OF BRITISH SH O R TS

M a kers of short

This selection of superb new short films from Great Britain provides ample proof of the new talent emerging in British filmmaking.

film s are n ’t pressed to conform to sta n ­ dard narrative ta ctic s , and personal ex­

th e se sh o rts pack more w allop than many big-budget features! These film s are the vanguard output of new directo rs every­ where. W e’ve grouped th ese sharp, funny, so m e tim e s illo gical film s into cate go ries for easy digestion. From “G irl’s Night O ut” (a c o lle c tio n o f le s b ia n sh o rts) to

8 2 m in u te s Five talented new film m akers explore the diversity of the gay male experience in remarkably varied ways. Each of these film s is provocative, superbly crafted, and very original.

The Bug (L. Kan/G. Hodgson, 11 min.) Bugs are threatening to overrun the city as a daunt­ less exterminator is sent to fumigate the home of an old and rather unpleasant woman.

One fearless bug escapes, setting the stage for a showdown between man and bug?

Achilles (Barry J.C. Purves, 11 min.) An extremely sensual claymation rendering of the relationship between the great warrior Achilles and his young soldier lover Patroclus during the Trojan War.

Dancing (Stevan Rimkus, 2 min.) Dreading her imminent move to an old folks hospice, one very special senior citizen takes matters into her own hands. A haunting memoir of youthful love.

Central Park (Ethan Silverman, 13 min.)

After receiving the results of his AIDS test, a young man heads for Central Park, where he confronts the images of each of his partners.

Fridge (Peter Mullan, 20 min.) A young boys’ game in a rundown tenement block goes awry, leaving a homeless alcoholic couple as the only hope for a young child trapped in an abandoned fridge.

Must Be the Music (Nickolas Perry, 20 min.) It’s Friday night and four gay teen­ age friends head for the hottest club in town, where young Jason m eets the boy of his dreams. A totally fabulous short.

Half a Shave (Andrew Gunn, 15 min.) A peace­ ful Sunday morning is transformed into a hilarious nightmare as the “sisters from hell” ask their next-door-neighbor Jim to perform their father’s usual morning shave.

Twilight of the Gods (Stewart Main, 14 min.) A young Maori warrior discovers a handsome British soldier near death in the midst of the forest. As he nurses the man back to health, an attraction grows between the two sworn enemies, despite their obvious differences.

“ Live! From th e O ther End o f the U ni­ v e r s e ” (a c o lle c tio n o f o d d itie s g u a ra n ­ te e d to a lte r your reality) to “ North by N o rth w e st” (N o rth w estern film m a k e rs only), SIFF h a s it a ll. Enjoy!

Hello Hello Hello (David Thewlis, 10 min.)

David Thewlis shows unexpected directorial talents in this hallucinogenic trifle featuring a vagrant and a policeman who discuss their love of art.

It’s Not Unusual (Kfir Yefet, 10 min.) A female taxi driver’s dream comes true when she is asked to deliver a package to her longtime idol at a London hotel. Will fate get in the way of her big chance?

Two (Tommy O’Haver, 20 min.) Over the course of one wildly erotic night, a naive young man is drawn into the more deca­ dent side of gay life by the amorous object of his affections.

Same Dog...Whitewashed (Simon Hook, 9 min.) A visit from the milkman turns a sweet old lady into a psychopath in this hilariously twisted story of unexpected events.

143

Shorts Programs

pressio n is param ount. Even so, som e of

B O Y S ’ NIGHT OUT

9 8 m in u te s

once again d e fie s genre sta n d a rd s and easy categorization.

Monday, May 27 ■ Egyptian, 9:15pm Friday, May 31 ■ Broadway Performance Hall, 9:30pm

Shorts Programs

w a rn

Wednesday, May 29 ■ Harvard Exit, 9:30pm

Monday, June 3 ■ Egyptian, 9:30pm

A DATE WITH FATE

G IR LS’ NIGHT OUT

1 1 1 m in u te s

8 5 m in u te s

If you have ever wondered about the wild cards life has dealt you, this collection of shorts revolving around destiny and unex­ pected events should make it clear you are not alone.

Further evidence, if any were needed, that lesbian film m akers are at the forefront of a new wave of brilliant film s by women and about the fem ale experience.

Saturday, June 1 ■ Broadway Performance Hall, 3:30pm

LIVE! FR O M TH E O TH ER END O F TH E U N IVER SE

Shorts Programs

8 5 m in u te s These six twisted tales, which bear little resemblance to life as we know it, are alter­ nately haunting and hilarious.

Memento (Antonia D. Carnerud, 15 min.)

An enigmatic meditation on life and loss, war, and the ultimate peace of death, as a mother remembers her son.

Bathing Boxes (Ann Turner, 5 min.) The director of Celia rem inisces about one fate­ ful summer on the beach with a teenage boyfriend when she came upon an unex­ pected sight.

Abductees (Paul Vester, 11 min.) Live! Talk­ ing heads tell their stories about being ab­ ducted by alien visitors as an animator por­ trays what they’ve seen. Uh-Huh.

Ripple (Jonathan Segal, 20 min.) Events that at first seem unconnected turn out to have more than cosm ic links in this strik­ ing short featuring a number of very wellknown young actors.

Disgraceful Conduct (Eva D.A. Weber, 17 min.) Ayoung lesbian officer in the RAF finds her career in jeopardy when a colleague accuses her of sexual assault. Based on a true story.

The Acting Thing (Amy Tinkham, 19 min.)

This hilariously ironic riff on the life of a frustrated actor in Hollywood features a hys­ terical cameo by Andrea Martin as a psychiat­ ric patient who’s determined to change her life.

Skin Deep (Lorenzo Gabriele, 18 min.)

Waking up to discover that he’s turned blue overnight, a young man finds that more than ju st the color of his skin has changed in his life.

Linger (Bille Eltringham, 13 min.) Trapped in an unsatisfying marriage and the mother of two children, Donna-Marie receives a post­ card from the woman she had a brief affair with years before.

The Taming Power of the Small (Wayne Powers, 2 8 min.) Treat W illiam s stars in this dazzling short story about a young boy who is kidnapped by two men, only to have his ultimate fate decided by the / Ching.

Meeting Magdalene (Marilyn Freeman, 30 m in.) A chance meeting between two women becom es a dance with destiny, at once amusing, enticing, disruptive, and divine.

The Water Trilogy (Garry Lane, 3 0 min.)

Three brilliant, interconnected short sto­ ries revolve around their protaganists’ prox­ imity to bodies of water.

No Pussyfooting (Yael Russcol, 20 min.)

Chaos turns into opportunity when a young woman’s boss, a driven Hollywood execu­ tive, returns unexpectedly from Cannes fol­ lowed by her outrageous fem ale lover, who’s convinced the other two women are having an affair.

George and Ramona (Mika Kallw ass, 20 min.) Determined to cheat destiny, Ramona finds a way to ensure that she and George won’t go through the inevitable winding-down of their relationship. Or is this all ju st a bad dream?

The Next BigThing(Mark W ilkinson, 16 min.)

In a perfect society, virtual reality escapism would be useless. In our society, it may be the only thing we have to relieve our tedious existence. But if you go under forever, who takes care of the body you leave behind?

Nonstop Pyramid Action (Ari Gold, 15 min.)

This way-twisted tale about a pair who are pushing pyramid schem es out of a borrowed house in LA is fabulously stupid, but it rocks!

Stationery (Gavin White, 14 min.) Howard, the office worker thinks “ ...the tools of the trade are what matter the most...the 2B pencil, correctly sharpened, is keener than a sword— and can leave no grammatical error unchallenged...”

144

Shorts Programs

Saturday, May 18 ■ Egyptian, 3:30pm

Sunday, June 2 ■ Broadway Performance Hall, 3:30pm

Sunday, May 26 ■ Harvard Exit, 3:30pm

TR U E R O M A N C E

1 0 0 m in u te s

W O M EN IN SH O R TS

1 0 5 M inutes

8 0 m in u te s

This incredibly varied selection of films byemerg­ ing Northwest filmmakers proves that geography is just a state of mind. Or could it be the coffee?

Love in all its guises forms the basis forthis highly entertaining collection of shorts focusing on the yin and yang of romance.

Eggs and Soup (David Russo, 3 min.) This experimental and captivating short is an eclec­ tic mix of visual styles and an original poetic narrative.

Depth Solitudes (Joachim Solum/Thomas Lien, 12 min.) Beautifully shot entirely underwater, this unique love story becomes a bizarre and twisted tale of obsession. A man in a diving suit lives at the bottom of a swimming pool. He is taken with a young woman who comes to swim every day.

Wanting herto join him in his underwater world, he decides to pull her down and keep her forever.

This winner of Best Short Rim at the 1995 Venice Rim Festival is hauntingly narrated by Max von Sydow.

Bound (Kimi Takesue, 15 min.) An exquis­ itely realized Zen meditation on woman’s desire to throw off the trappings of racial, sexual, and historical oppression, Bound speaks volumes with very few words.

Huffy (Doug Aberle, 5 min.) A simple little twist of the door handle would certainly make Fluffy happy. Too bad the handle’s out of reach. Fluffy wants to do what every dog wants to do...but can he cover it up? | FromAfar (Gerald Donahoe, 5 min.) Love across the cappuccino foam isn’t always as easy as it looks. But if you don’t take a chance with coffee romance in Seattle, what’s left?

Lost Momentum (Scott Sona Snibbe, 6 min.) In the private confines of home, a father is trapped in his struggle to create a perpetual motion machine.

November Stranger (Andrew Tobias, 15 min.)

A cold autumn day triggers the oddest of infatu­ ations as a lonely young widower is struck by a woman’s resemblance to his wife.

The Painting (Stephen Sullivan, 14 min.)

A man’s art holds him in a strange and perverse grip; whatever tragedy he paints seems to come true.

Pangaea’s Brood (Thomas Edward, 10 min.) A kaleidoscope of images swirls in and out of the frame in this cinematic unfolding.

The Red Bali (Stephen Les, 26 min.) Can a crime solve a mysterious couple’s identity crisis and bring them closer together?

Smells the Lonely Man (Rob Lundsgaard, 19 min.) Have you ever wondered, when you couldn’t seem to get a date to save your life, if it was because of the “lonely m an” smell you might be emitting? In Smells, one guy does what he can to rid himself of the dreaded and discouraging smell.

■1996

Frog Crossing (Jamie Babbit/Ari Gold, 12 min.) eco-boy meets psychogirl in this endearing story about a boy and his frog.

AUttle Loving(Oliver Parker, 15 min.) Aftera spat with her mismatched boyfriend, a young woman (Helena Bonham Carter) accidentally stumbles into a bar, only to discover a group of Greek gods ready to help her get her man.

Mr. McAllister’s Cigarette Holder (John Allen, 20 min.) A Southern man working on a road crew in rural Georgia holds one object dear, his one-of-akind cigarette holder. What is important to Mr. McAllister is that he have unique things and people in his life. He falls in love with an albino woman and feels privleged to find himself living side-by-side with such a rare being. Then, one day the couple goes into town and discovers that Mr. McAllister’s cigarette holder Is not so unique after all...or is it?

Emily’s Last Date (Michael Clancy, 24 min.) Emily hasn’t been having a lot of su ccess with her love life, and her analyst from hell is, quite frankly, tired of hearing about it— sh e’s got her own problems!

First Love, Second Planet (David Munro, 17 min.) Truly original in every way, this otherworldly short by Portland’s David Munroe focuses on Crystal, a young woman whose inability to control her feelings causes everything she touches to burst into flames.

Shorts Programs

NORTH B Y N O R TH W EST

Hinekaro (Christin Parker, 14 min.) Rena Owen (Once Were Warriors) narrates this fantastical tale about a woman who gains empowerment through Maori myths.

Take Pity (Daniel Kleinmann, 10 min.) A young, proud widow can’t seem to make it clear to an overbearing man that she neither needs nor wants his help, but he keeps on trying anyway.

Quina (Sarah Knight, 18 min.) An older couple, barely tolerating each other after too many years of married routine, are tom apart when a striking widow who has moved into the area steals the husband’s misplaced affections.

Such a Night (Leslie Iwerks, 28 min.) Kate works as a bartender at a local cocktail bar, long inured to the assorted hard-lucktales and come-onsthat she receives from the revelers that pass through— until one fateful night, when Prince Charming shows up just in the nick of time.

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Bedtime Stories: The Midnight Series ____________________•

Monday, May 20 ■ Harvard Exit, 9:30pm

Saturday, May 18 ■ Egyptian, Midnight

Friday, May 24 ■ Egyptian, Midnight

TH E R EG G A E MOVIE

USA, 1 9 9 6

USA, 1 9 9 5

Director: Roger Nygard Producers: W.K. Border, Aki Komine Screenwriters: Roger Nygard, Lloyd Keith Cinematographer: Mark W. Gray Editor: Roger Nygard Music: Walter Werzowa Cast: Michael Rooker, Ryo Ishibashi, Danielle Harris, John Laughlin, Bobcat Goldthwait Print Source: Overseas Film Group 92 minutes

Director: Randy Rovins Producers: Randy Rovins, Ricardo Chin Music: Dean Fraser, Shaggy and Rayvon, Buju Banton and Wayne Wonder, Luciano, Garnett Silk, Inner Circle, Steel Pulse, Shinehead, Mystic Revealers, Burning Spear, Beres Hammond, Carlene Davis, Freddie McGregor, Ziggy Marley and the Melody Makers, Chaka Demus and Pliers, Dennis Brown, Apache Indian, Yami Bolo, Maxi Priest Print Source: Trimedia Productions 90 minutes

Two Japanese hit men arrive at a Los Angeles restaurant to a ssassin ate a Mafia boss and find them selves faced with a psycho wired with explosives and ready to blow up the building.

As their plans literally explode, the a ssa ssin s escape into the City of Angels, looking for a way to honor their contract and collect their money. One of them is injured and barely makes his way to a safe restaurant, while the other, through a strange twist of fate, finds him self teamed up with a renegade cop, Bob, and his teenage daughter, Chelsea. Locked in unusual and desper­ ate situations neither can escape, they decide to make a stand on their own term s, even thought they’ re fighting the Mafia, the Yakuza, and bad cops on the LA police force. Further complicat­ ing the race to win is Chelsea, who has had enough of her dad and wants to assert her independence a little. There’s just never enough time to expose the rogue cops, beat the evil Yakuza, and cheat the Mafia when you’ve got to give your daughter som e quality time!

The Reggae Movie captures the soul of reggae m usic, from sm ooth b allads to ja m m in ’ dance tunes. Immersing the audience in steady rhythms and a driving backbeat, th is bigscreen concert film features the legendary Steel Pulse performing before a live audience in Jam aica, the birthplace of reggae m usic. Captured at various major reggae concerts in several countries, including Japan, A ustralia, Jam aica, and the United S ta tes, the m usic sh in e s through. Ziggy M arley and the M elody M akers are hypnotizing; other artists in the film include Dean Fraser, Shaggy and Rayvon, Buju Banton and Wayne Wonder, Luciano, Garnett Silk, Inner C ircle, Steel Pulse, Shinehead, M ystic Revealers, Burning Spear, and Maxi Priest. There are a lso cam eo appearances

by Sandra Bernhard and others. Reggae is a m usic about people and for people; the way it sp e a k s of love is beautifully illustrated in The Reggae Movie. D on’t m iss one of the hottest concert film s of the fe stiva l— it will have you dancing in your seat.

Bedtime Stories: The Midnight Series

B A C K TO B A C K

Selected Filmography: High Strung (1992)

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Friday, May 17 ■ Egyptian, Midnight

Sunday, June 2 ■ Guild 45th, 3:30pm

Monday, May 20 ■ Guild 45th, 9:30pm

Friday, June 7 ■ Egyptian, Midnight

FU LL TH R O TTLE Hong Kong, 1 9 9 5 Director: Derek Yee Producer: Alexander Chan Screenwriters: Yee Tung Sing, Derek Yee Cinematographers: Ma Chor Shing, Chung Chi Man Editor: Kong Chi Leung Music: Frankie Chan, Roel A. Garcia, Richard Yuen Cast: Andy Lau, Gigi Leung, David Ng Print Source/lnternational Sales: Win’s Entertainment Inc. 114 minutes Filled with scen es that put the viewer in the driver’s seat, Full Throttle stars Andy Lau as a motorcyclist who lives for racing. He rides his bike furiously around the streets of Hong Kong, narrowly avoiding police road traps. When he’s not in the saddle he spends m ost of his time bonding with his like-minded pals in a biker bar. After a serious crash he is presented with an ultimatum by his attractive girlfriend: he must choose between bikes and her. Full Throttle thrives in presenting the allure of drag racing: burning rubber, sm oking engines, roaring convoys, and designer racing suits. However, the film goes beyond the hotwheeling romps and delves into a subculture that enthusiasts have forged for them selves. The sport captures the essence of Hong Kong in all its glory— fast, dangerous, on the fringe, and run on its own term s by its own people. Much different than Jackie Chan’s Thunderbolt, which focuses on regular races, Full Throttle rises above the usual doldrums of action pictures by offering strong characters and a well-crafted story. For all you adrenaline junkies out there, however, don’t worry: the blood­ boiling races will make you want to check for bugs in your teeth.

Selected Filmography: The Lunatic (1986), P e o p le ’s Hero (1988), C ’e s t la Vie, M on Cheri (1993)

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G A M E R A : TH E GUARDIAN O F TH E U N IVER SE (G am era: D a ikaiju Kuchu K essen) Japan, 1 9 9 5

US Premiere Director: Shusuke Kaneko Producer: Tsutomu Tsuchikawa Screenwriter: Kazunori Ito Cinematographers: Junichi Tozawa, Kenji Takama Editor: Shizuo Arakawa Music: Koh Ohtani Cast: Tsuyosi lhara, Akira Onodera, Ayako Fujitani, Shinobu Nakayama Print Source: AD Vision International Sales: Daiei Co. Ltd. 96 minutes Everyone’s favorite jet-propelled super-turtle is back in this action-packed monster mash! A fabulous revival of the Japanese megabeast, Gam era has spectacular special effects without losing the charm of a traditional monster movie. Second only to Godzilla in popularity, Gamera frequented Japanese screens from 1 9 65 to 1971. This all-new adventure com m em orates the original’s 30th anniversary. In the past, a variety of destructive and fearsom e beasts with supernatural powers have terrified the citizens of Tokyo. Time and time again, Gamera has come to their rescue. Although just as terrifying and destructive as other postnuclear Japanese monsters, Gamera has always stood up for the human race, and his most recent m ission is to protect Tokyo from its most dangerous threat yet. The Gyaos are enormous flying lizards whose eggs hatch after being irradiated by a m assive dose of environmental pollution. The Gyaos screech over Tokyo, wreaking havoc on the city and making a nest out of the Tokyo Tower. The military is quickly overwhelmed, so, rising from the sea, Gamera awakens to defend earth from the villainous monsters. Gamera and the Gyaos take to the sk ies for the ultimate rumble in the most im pressive monster movie to emerge from Japan in 20 years.

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Egyptian, 6:30pm

Saturday, June 8

Egyptian, Midnight

Thursday, May 30 ■ Egyptian, 9:30pm Saturday, June 1 ■ Egyptian, Midnight

H YPE!

SCORPION SPRING

USA, 1 9 9 5

USA, 1 9 9 5

Director: Doug Pray Producers: Steven Helvey, Lisa Dutton, Pette Vogt Cinematographer: Robert Bennett Editors: Doug Pray, Joan Zapata Music: Soundgarden, Pearl Jam, Nirvana, Mudhoney, The Posies, The Young Fresh Fellows, The Fastbacks, Seaweed, 7 Year Bitch, The Gits, Flop, Gas Huffer, The Supersuckers, Love Battery, The Monomen, The Melvins, Coffin Break, Dead Moon, Hammerbox, Some Velvet Sidwalk, Zipgun, Crackerbash Print Source: Doug Pray 84 minutes

Director: Brian Cox Producer: Anant Singh Screenwriter: Brian Cox Cinematographer: Nancy Schreiber Editor: Steve Nevius Music: Lalo Schifrin Cast: Alfred Molina, Ruben Blades, Esai Morales, Patrick McGaw, Kevin Tighe, Angel Aviles Print Source: Distant Horizon 92 minutes

A fascinating exploration of the birth and international emer­ gence of the grunge m usic scene, Hype! cleverly exposes the ways in which media attention turns art into a marketable commodity. The film delves under the surface of the Seattle m usical phenomenon to present an incisive and riveting portrait of its culture, its community, and its cleverly exploited commercial appeal. Juxtaposing local scenery with spectacular concert footage and interviews with the central players, Hype! is an insightful and endlessly engaging musical documentary.

That Night (USA, 1 9 9 6 ,1 5 minutes) Directed by John Keister.

The passage to adulthood is never entirely smooth, as Princess discovers when her longtime friends return from touring Europe with their band and drag her out for a night of partying.

This contemporary, neo-noir thriller plays like a cross between Reservoir Dogs and a spaghetti western, marking its debuting writer/director Brian Cox as one of the hottest new talents on the American independent film scene. As the film opens, a young, sensitive drifter is mugged when he com es to the aid of a prostitute. The episode leaves him stranded in a sm all desert diner with no money and few resources save for his beat-up Buick convertible. Sensing an opportunity when another cus­ tomer in the diner (Molina) gets ditched by his irate m istress and is leftto w a lkto Los Angeles, he offers the displaced Frenchman a ride in return for gas and food money. Together the two hit the road for the big city. But a stop to help a man and woman they find stumbling out of the desert along the way begins a seriously twisted thriller, shot through with dark comic undertones.

Bedtime Stories: The Midnight Series

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Bedtime Stories: The Midnight Series

Wednesday, May 22 ■ Guild 45th, 9:30pm Saturday, May 25 ■ Egyptian, Midnight

S W IT C H B LA D E S ISTER S

W HO KILLED T ED D Y B E A R ?

USA, 1 9 7 5

USA, 1 9 6 5

Director: Jack Hill Producer: John Prizer Screenwriter: F.X. Maier Cast: Robbie Lee, Joanne Nail, Monica Gayle, Kitty Bruce, Janice Karman, Marlene Clark, Michael Miller Print Source: Miramax Films Inc. 91 minutes

Director: Joseph Cates Producer: Everett Rosenthal Screenwriters: Leon Tokatyan, Arnold Drake Cinematographer: Joseph Brun Editor: Angelo Ross Music: Charles Callelo Cast: Juliet Prowse, Sal Mineo, Jan Murray, Daniel J. Travanti, Elaine Stritch Print Source: Strand Releasing 90 minutes

This hilarious camp classic, first released in 1976, follows the adventures of a girl gang, the Dagger Debs, as they terrorize their high school, cause a jailhouse riot, and finally hook up with a group of black revolutionaries for a battle royale with a rival gang, before two of the Debs (who once were friends) square off for a clim actic showdown. Directed by Jack Hill, the man behind such drive-in cla ssics as Foxy Brown and The Sw inging Cheerleaders, Sw itchblade S iste rs defines the word “exploitation” in the best possible sense. The roller-rink rumble alone is worth the price of adm ission.

Selected Filmography: The Terror {1963), Blood Bath (1966), Foxy Brown (1974)

If you are looking for a sex-drenched movie that wallows in pornography, voyeurism, and incest, this mid-’6 0 s exploitation film is for you. This is a true cult classic, filled with homoerotic undertones; it has gone unnoticed for too long due to lack of availability and poor distribution. Sal Mineo stars as Larry Sherman, a porno-obsessed bodybuilder. Juliet Prowse is Norah Dain, a disco dan cer/hostess who has come to New York looking for her big break. Norah seem s to take the X-rated phone calls she has been receiving in stride— that is, until the caller identi­ fies her by name. When she contacts the police, detective Dave Madden (Jan Murray) is put on her ca se and vows to find the culprit. We soon learn that Madden not only sp ecializes in sex crimes, he is obsessed with them. He spends his evenings reading sordid texts about “deviant personalities,” which he leaves around the house for his neglected preteen daughter to see. Madden finally does figure out who is placing the calls, but not before a nasty culmination in Larry’s obsessive acts. The acting in this film se ts it apart from other B-movies of the time, and even today it packs quite a punch.

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University of Washington Extension

(JW Certificate Programs Find w t more

C ertificate Program Open Haase

A U W Educational Outreach Program

FILM and VIDEO

* Thursday, June 6,43fr-7 p.m..

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Hmm, well try and have the answer for Everyyear JD. PoweraridAssociates conducts a survey ofnew-car buyers tosee howthey liked the way they were treated by their salesperson. While Saturn has you when you come always ranked right up there with somepretty expensive luxury cars, this year, we’re proud to say, for thefirst time ever, we were ranked in. H o p e t o “best overalll” (Just thought you might like to know we were sure excited about it.) J.D. Power and Associates 1995 Sales Satisfaction l5ÄRRIM, (H _ Study based on a total of38,961 consumer responses. ©1996 Saturn Corporation. _ see you soon _______________

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159

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160

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Michael Hlatky Amy Hodwood Caroline Hoffman Llysa Holland Nicole Holmes Mark Holthoff Deborah Hopkins Janet House Danny Housman Heidi Hubbard Kevin Hubert Bruce Hudson Jodi Huffman Judy Hullett Bruce Hutson Amita lannone Lisa Irwin Greg Jamieson Courtenay Jamison Grant Janes Cathy Jeffcoat John Jeffcoat Jamie Jenkins Michael Jenkins Pete Jensen Paul Jerskey Brooke Johnson Grant Jones Deena Juras Karen Jurgensen Richard Kamicar Scott Katz Susan Kay Cricket Keating John Keel Troy Kehm-Goins Kerri Keil Leslie Kempthorne Kathy Kingery John Klein Isabel Kokenos Bridget Kolpin Lisa Kopecky Al Korpela Beth Kostecki Paul Kragt Jay Kuehner Yoko Kuramoto Margo Kurtz Michael Kurtz Susan La Salle Edwin Lambert Maria Lantz Marcy Larson Sebastien Leclerer Michele Leonard Elonna Lester Lisa Lewis Joe Lewis Jr. Stuart Lilias Colin Lingle Claudia Link Andrew Litzky John Loggins Joan Lopez Scooter Lowrimore John Luebke Jon Luker L. Kelly Lyles Jayme Lynes John Lyon Jessica Lysons Sharen Manolopoulos Michael Marsh Kelli Mason Nancy Mason Claire Massart Chris Mathews Crystal McAlerney Charlie McAteer Anne McElhinney Charles McEnerney Kerri McGar Vonda Mcintyre Kitty McKoon-Hennick Chris McKoy Charlie McQuarry A.P. McQuiddy Sheila Mead Sandra Meeker Shaya Mercer Dana Michaelsen Virginia Miller Michael Misrok Diana Molzan Lanie Moore

Amanda Moore Paula Morris Deborah Moulton Valerie Heide Mudra Bill Murray Ms. Theo Nassar Athena Neff Mary Niva Nancy Nourse Michelle Nunez Kevin O’Connell Dana O’Leary Meg O’Leary Eric Olson Barbara Omahen Felicity Oram Kolchl Orlta Sharon Oshima Joel Ozretich John Pai D.K. Pan Katherine Pananen Lili A. Pasaporte Marie Patierno Karl Paulson Marie Pavish Kate Pawlicki Jennie Peabody Esta Pekow Deborah Person Mina Person Christine Peterson Eric Peterson Ruby Phillips Adam Pomata Carmel Pope Jason Porter Andy & Terri Potebnya Jessica Prince Julie Prujan Tamara Rachko Heather Rae Alex Raij Lori Ramon Mia Ramos Stephen A. Ramos Andrea Ramsay Wendy Rasmussen Marcy Reed Rene Reep Rita Reeve Eric Reeves Norma Reiss Kay Richardson Barry Rinehart Dayna Bateman Rinehart Brian Roach Julie Roach Julie Roake Dayna Roberson Elizabeth Roberts JoAnne Robichaud PJ. Robison Steve Rohde Alex Rolfe Patrick Rosairo Cameron Rose Sam Rosen Adam Rosenthal Camille Rubinelli Kelli Rudnick Molli Rudnick Deborah Rustin Ethan Rutherford Rachel Rutledge Christine Sanders Norene Sandifer Marc (Angus) Sanford Doug Sankovlch Ariadna Santunder Lisa Sarazine Lisa Scharnhorst Judi Schimke Keith Seinfeld Susan Selbach Natasha Senjanovic Mimi Shachat Sherry Shanabarger Christy Shanbour Judith Shane Kathy Shannon Matt Shannon Dave Shatz Pamela Shaw Elisa Shebaro Dorothy Shellorn Carol Shlh

Annmarie Sibborn Liz Sicinski Pamela Silimperi Jonathan Simmons Laurie Simpson Nancy Skinner Dawson Smith Norman Smith Shirley Snow Randi Sollnsky Steve Somers Jennipen Spain Greene Bonnie Spitzkeit Brenda Spoonemore Karma Springer Michele St. John Deborah Stachowic Scott Stearns Mark Steiner Eric Stenson Viktoria Stepitova Erica Stevens Laurie Stevens Riki Stevens Matt Stichman Jennifer Stock Robert Story Cheryl Strayer Shaun Sullivan Gary Sutton Karen Tang Will Thomas Bill Thorness Susie Thorness Maria Tong Glenn Touger Andy Tribolini Tessa Trowbridge Robert Usibelli David Valencia Kim Van Eyck Grace Van Zandt Carolyn Vanasek Kara Vanwoerden Aganita Varkentine Brandy Verlaine Lara Vickery Luis Viquez Gerry Vitello Carlos Walker Betty Walton Stacey Warner Malika Weeden Carl Weis Don Weisgerber Suzanne Weller Jeff Welling Louis Wellmeier Connie Wellnitz Janet Welt Dinah Whidbee Robert White Jill Whitelaw Maijle Whiting Jen Wicks Jana Wilcoxen Kevin Wilde Sarah Wilkes Christine Williams Derrick Williams Polly Withers Christina Wolfe Melissa Wolfe April Wren Cathy Wyckoff Bryan Yeck Tiffany Yelton Alison Young Melissa Young Richard Young Faramak Zahraie Cynthia Zant Jenny Zeng Monica Zunberg

V o lu n te e r s

Cynthia Abbott Lori Abramson Jim Adamski Danielle Alexander Gail Allman Marilyn Alterman Ozzye Alves Lori Amato Vanessa Angelvy Dave Antonelli Nikki Applno Fablo Arevalo Santiago Arevalo Brett Arrington Wendy Ashford Valerie Aspell Sean Axmaker Gregg Ayakawa Heather Rene Ayres Tamblyn Babcok Lona Badgett Tanya Baklanoff Daniel Barber Mia Barker Patrick Baroch Jonas Batt Nathan Beeler Vikki Benner Grace Bennett Betsy Berger Terry Berman Mark Bigelow Martin Bisch Melanie Blair Alex Blanton Wendy Bones Amy Bradburd Kim Bradley Mike Bradley Dan Braget Alexander Bram Barbara Bree Keith Breslain Pat Brick Gerry Briggs Sandra Broberg Q. Allan Brockar Karin Brookes Susan Broome Rafael Burga Emily Burns Laura Buzard Lindsay Calkins Kerry Canfield Dodie Cardinal Karin Carmassi Howard Carson Liz Carter Angela Carver Tony Case Ed Casper Michelle Caulfield Brad Cerenzia-Davis Kara Ceriello Eric Chappelle Jean Chen Indra Chendeklawan Victoria Childs S J . Chiro Mary Ciancio Lynn M. Clark Terry Clark Mercedes Coats Chris Cobb Steven Cochran Larry Coffin Shirley Coffin Abbey Cohen Andrew Cohen Brian Collins Joe Combs Jeanne Connelly C. David Cook

Mila Cortes Henrietta Cottingham Morgan Cowles Dan Crow Jay Crutcher Jay Crutohy Pamela Dales Ronna Dansky Scott Davies Todd B. Davis Stephen De Tasnady Alison Deal Diane Dearmont Tom DeFelice Matt Degooyer Christine Destefano Alexandra Deutsch Elizabeth Deutsch Emily Deutsch Nancy Deutsch Amle Dicker Sara Dickerman Megan Dietz Janice Dillard Kenny Dixon Robert Dorn Jessica Dorr Doug Dorton Robert Downey Kelly Doyle Matt Draper Sean Dulan David Duntley Laura Eastman Craig Eldsmoe Genie Lynde Esselstyn Jim Esselstyn Amy Faber Kathy Fennessy Julie Ferkingstad Chris Ferlazzo Julie Fish Rebecca Fisher Grace Fitzgerald Carroll Flynn Julie Forkasdi Andrea Forrest Angela Fountas Jason Francois Stuart Frank Steve Franklin Christian French Linda French Susan Fried Linda Friend Suzanne Fritch Daniel Frolen Eleanor Frothlngham Deborah Froula Darcy Furseth Barbara Gagnat Cathi Galnor Mike Garcia Jarinat Gargi Lisa Gayton Jeff Gerson Michelle Glannunzio Deborah Girdwood Laurie Gogic Allison Golder David Gordon Becky Gould Charles Goven Magali Grantham Ray Greenfield Tasha Guest Mark Gustavel Shelley Haddow Jan Halpern Peter B. Haney Daniel Hannah Kathleen Hansen Sarah Hansen John Harrington Amy Harris Craig Harris Joanne Harris Rob Hart Philip Harvey Elisabeth Harwood Bill & Nena Hendricks Brian Henke Walter Henrickson Pamela Henrioulle Cathy Hern Julie Hill

¡jiternational success of "Clerks" at jhrough the dominating presence at l l m festivals throughout North ough worldwide industry acceptance of je n ts, Vancouver Film School positions luccess. jta cu la r growth of the BC Film ■the past decade and predictions for J)w th to the end of the century, I do the same?

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Special moments from classic movies stay with us forever. But unfortunately, the films themselves don't last nearly that long. Incredibly, more than half the films created before 1950 have literally crumbled away. Join us in our continuing commitment to restore our classic movies during our fourth Annual film Preservation Campaign.

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1 800-AMC-3360 American Movie Classics is a registered mark of American Movie Classics Company.€ 1996,

IN 1995 NATIONAL PUBLIC RADIO* AIRED 223 NEWS REPORTS FROM KPLU NEWS STAFF. GET YOUR NEWS WHERE NPR DOES

Tune to K P L U 8 8.5 FM for N ational P u b lic Radio news along with award winning lo ca l and regional reports from K P L U 's new s staff.

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KPLU 88.5 FM is listener supported public radio bringing National Public Radio news, jazz and blues to western Washington and southwest British Columbia from Pacific Lutheran University.

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Cleveland Cinematheque John Ewing

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Alloy Orchestra Alpha Cine Roberta Ukura Bill Scott Ron Salvetti

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Bay Theatre Al Dabestani BBC Television, Drama Group Vanessa Lambert BCSR Computer Rentals Jerry Jaderholm BMI Doreen Ringer-Ross Barr Audio Visual

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167

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O r 2156? The truth is, it’s hard to tell

they discovered a volcanic

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form ation deep in the recesses

exactly how long it takesfo r our A lpine

o f C alifornios N apa Valley. This

Spring W ater to naturally p u rify itse lfby

fin d produced a m ineral w ater o f such

seeping through layers o f granitefractures a n d ^ ff& y .p u rity th a t the Wapoo Indians once called it crystalline sand. We do know, however, t h a t M i r a c l e W ater Today, it is the source the journey covers roughly (very roughlyCM l' iooyJrsjbra ***&

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Raspberry, Ruby G rapefruit, a n d Passion F ruit

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a n d M ango are a ll m ade fro m only th efin est,

certainly not the only one weve undertaken fo r

m ost-natural ingredients. T h a t’s w hat Crystal

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good newsforpeople in the year

m ineral water. A nd, after 18 m onths o f studying

2 0 94; it’s pretty good news

topographic maps and ancient,yellowing well log,

fo r earlier generations as well.

Introducing our abbreviated fam ily

CRYSTAL GEYSER WATER COMPANY IS A NATURAL BEVERAGE

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P rin t S o u r c e s

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Tel. (33)(1) 45 4 8 44 75 Fax (33)(1) 45 4 9 17 85

100 West Putnam Ave. Greenwich, CT U.S.A. 06880 Tel. (203) 863-5383 Fax (203) 863-5258

927 Maltman Avenue Los Angeles, CA U.S.A. 90026 Tel. (213) 662-2001 Fax (213) 662-2009

Mehlemer Strasse 6 50968 Köln Germany Tel. (49)(221) 93 47 080 Fax (49)(221) 93 47 081

AD Vision

Caipirinha Productions

Dove International

Golden Eye Hlms

1120 Fifth Avenue, Apt. 15A New York, NY U.S.A. 10128 Tel. (212) 410-5117 Fax (212) 410-5117

301 North Canon Drive, Suite 207 Beverly Hills, CA U.S.A. 90210 Tel. (310) 273-7722 Fax (310) 777-7667

10 St. James Place London, England U.K. SW1A 1NP Tel. (44)(171) 4 08 0418 Fax (44)(171) 499 6755

70 rue d’Assas 75006 Paris

5750 Bintliff #217 Houston, TX U.S.A. 77036 Tel. (713) 977-9181 Fax (713) 977-5573 Artificial Eye Film Company Inc.

80 Fifth Avenue, Suite 1101 New York, NY U.S.A. 10011 Tel. (212) 255-1922 Fax (212) 255-9334 Artistic License Hirns

East West Him Partners

Goldwyn/Orion

270 North Canon Drive, Suite 1329 Beverly Hills, CA U.S.A. 90210 Tel. (310) 858-3091 Fax (310) 858-0703

10203 Santa Monica Blvd., Suite 500 Los Angeles, CA U.S.A. 90067 Tel. (310) 552-2255 Fax (310) 284-8493

Central Motion Picture Corp.

George Eastman House, International Museum of Photography

6F, No. 116 Hang Chung Street Taipei Taiwan, R.O.C. Tel. (886)(2) 371 5191 Fax (886)(2) 311 3890

Atom Hlms, Theatre & Créatives Co.

Cinema Design

Austrian Him Commission

P r in t S o u r c e s

Cecchl Gori Group

Via Bamaba Oriani 91 00198 Rome Italy Tel. (39)(6) 854 2840 Fax (39)(6) 8 535 4001

470 Park Ave. South, 9th Floor New York, NY U.S.A. 10016 Tel. (212) 251-8718 Fax (212) 251-8606 12, Lane 350, Guang Fu South Road Taipei Taiwan Tel. (886)(2) 773 7557 Fax (886)(2) 752 4916

Ustanlcka 125/1 11000 Belgrade Yugoslavia Tel. (38)(11) 488 8 0 11 Fax (38)(11) 448 03 76 96 Spadina Avenue, Suite 301 Toronto, Ontario Canada M5V 2J6 Tel. (416) 703-5000 Fax (416) 703-5002

BBC Enterprises Ltd.

Cinétévé

Woodlands, 80 Wood Lane London, England U.K. W12 0TT Tel. (44)(181) 743-8000 Fax (44)(181) 746-0093

4, quai des Celestins 75004 Paris France Tel. (33)(1) 4 8 04 3000 Fax (33)(1) 48 04 7038

Jane Balfour Hlms Ltd.

Creative Thinking International Ltd.

Burghley House, 35 Fortress Road London, NW5 1AD England, U.K. Tel. (44)(171) 267-5392 Fax (44)(171) 267-4241

208 West 30th Street, Suite 302 New York, NY U.S.A. 10001 Tel. (212) 629-5320 Fax (212) 629-5527

Barrandov Biografia

Cypher Productions

Krizeneckeho nam 5/322 15200 Prague 5 Czech Republic Tel. (42)(2)67 07 21 71 Fax (42)(2)67 07 21 78

900 East Avenue Rochester, NY U.S.A. 14607 Tel. (716) 271-3361 Fax (716) 271-3970

2177 West 48th Ave. Vancouver, BC Canada V6M 2P6 Tel. (604)731-7660 Fax (604)263-3666

Elegant Hlms Inc.

1995 Broadway, Suite 1801 New York, NY U.S.A. 10023 Tel. (212) 362-0409 Fax (212) 362-0079 Emby Eye Productions

3000 West Olympic Blvd.

Santa Monica, CA U.S.A. 90404 Tel. (310) 3 1 5 4 8 2 6 Fax (310) 3 1 5 4 8 7 9 Favourite Hlms

Rue Vandenbusschestraat 3 B-1030 Brussels Belgium Tel. (32)(2) 242 45 10 Fax (32)(2) 242 14 08 Him Poiski

Mazowiecka 6 /8 00-048 Warsaw Poland Tel. (48)(22) 268 455 Fax (48)(22) 275 784

Czech Republic Ministry of Culture

9595 Wllshire Blvd, Suite 711 Beverly Hills, CA U.S.A. 90212 Tel. (310) 859-9595 Fax (310) 859-0806

Film Section Valdstejnska 10 118 11 Prague 1 Czech Republic Tel. (42)(2) 513-2478 Fax (42)(2) 513-1751

Big 01' Productions

Daiei Co., Ltd.

Filmopolis

303 Mercer Street, C201 New York, NY U.S.A. 10003 Tel. (212) 260-8802 Fax (212) 260-8802

Daiichi Hibiya Bldg, 1-18-21 Shimbashi, Minato-ku Tokyo 105, Japan Tel. (81)(3) 3508-2631 Fax (81)(3) 3508-2030

1130Ô West Olympic Blvd, Suite 840 Los Angeles, CA U.S.A. 90064 Tel. (310) 914-1776 Fax (310) 914-1777

Danish Him Institute-Workshop

888 Seventh Avenue, 20th Floor New York, NY U.S.A. 10106 Tel. (212) 6 4 9 4 8 0 0 Fax (212) 956-1942

Blurco

1933 Grace Avenue, #14 Los Angeles, CA U.S.A. 90068 Tel. (213) 850-7538 Fax (213) 874-2407 Brooklyn Wood Productions

2170 Madison Avenue New York, NY USA 10037 Tel. (212) 862-6051 Fax (212) 862-6051

Hrst Distributors Limited Davis Entertainment Classics

2121 Ave. of the Stars, Suite 2900 Los Angeles, CA U.S.A. 90067 Tel. (310) 551-2266 Fax (310) 556-3760

Brussels Ave.

48 rue des Vlsitandines 1 Bte 48 1000 Bruxelles Belgium Tel. (32)(2) 511 91 56 Fax (32)(2) 511 81 39

A -l, 14/F..92, Nathan rd., T.S.T. Kowloon Hong Kong Tel. (852) 2367-9147 Fax (852) 2311-1075 Hrst Look Pictures

Discovery Channel Pictures

7700 Wisconsin Avenue Bethesda, MD U.S.A. 20814 Tel. (301) 986-0444 Ext. 4729 Fax (301) 986-4824

Buena Vista Pictures Distribution

2411 West Olive Avenue, Suite 700 Burbank, CA U.S.A. 91521-7485 Tel. (818) 558-2700 Fax (818) 972-9543

Hlmexport Group SRL

Via Polonia, 9 00198 Rome Italy Tel. (39)(6) 841.47.24 Fax (39)(6) 855.02.48

Hne Line Features

Vognmagergade 10 DK 1120 Copenhagen K Denmark Tel. (45) 33 93 19 11 Fax (45) 33 93 77 92

8800 Sunset Blvd, Suite 302 Los Angeles, CA U.S.A. 90069 Tel. (310) 855-1199 Fax (310) 855-0719 Fortissimo Film Sales

Distant Horizon U.S.A.

52 Crescent Avenue, St. George Staten Island, NY U.S.A. 10301 Tel. (718) 816-6732 Fax (718) 273-2766

CFP Distribution Inc. USA (Cinepix Him Properties Inc.)

Distract Pictures

900 Broadway, Suite 800 New York, NY U.S.A. 10003 Tel. (212) 995-9662 Fax (212) 475-2284

149 Sullivan Street, #5E New York, NY U.S.A. 10012 Tel. (212) 777-1148 Fax (212) 777-1474

Good Times Entertainment

3520 Hayden Avenue Culver City, CA U.S.A. 90232 Tel. (310) 8 4 1 4 1 8 3 Fax (310) 838-7402 Gotham Entertainment Group

Electric Mountain Films

8733 Sunset Blvd, #200 Los Angeles, CA U.S.A. 90069 Tel. (310) 657-5844 Fax (310) 657-5872

Cinéma Espérança International

Stlftgasse 6 A-1070 Vienna Austria Tel. (43)(1) 526 3323 Fax (43)(1) 526 6801

Berton & Donaldson

172

Gemini Hlmproduktions GmbH

Cabin Fever

3B Productions

Herenmarkt 10-2 1013 ED Amsterdam The Netherlands Tel. (31)(20) 627 3215 Fax (3lj(20j 626 1155 Fox Searchlight

10201 West Pico Boulevard Building 38, Room 103 Los Angeles, CA U.S.A. 90035 Tel. (310) 3 6 9 4 2 8 1 Fax (310) 369-2359

Tel. (212) 376-6063 Fax (212) 376-6067 Gramercy Pictures

9247 Alden Drive Beverly Hills, CA U.S.A. 90210 Tel. (310) 777-1960 Fax (310) 777-1966 Melissa Hacker

235 West 12th Street, #13 New York, NY U.S.A. 10014 Tel. (212)255-5081 Fax (212)255-5081 Homegrown Pictures

45 West 12th Street, #2 New York, NY U.S.A. 10011 Tel. (212) 206-9233 Fax (212) 206-9240 Homemade Productions

2 rue Simon Le Franc 76004 Paris France Fax (33)(1)4274-1504 ICA (Institute of Contemporary Arts)

The Mali London, England U.K. SW1Y5AH Tel. (44)(171) 930-0493 Fax (44)(171) 873-0051 ICAA - Instituto de la Cinematographia, Ministerio De Culture

Plaza del Rey, 1 28071 Madrid Spain Tel. (34)(1) 532 5089 Fax (34)(1) 531 9212 ICAIC

Calle 23, No. 1155 Vedado Havana 4 Cuba Tel. (53)(7) 333 862 Fax (53)(7) 333 032 Icelandic Him Fund

Laugavegi 24 121 Reykjavik Iceland Tel. (354) 562-3580 Fax (354) 562-7171 Iconoscopio

Casilla De Correo 3-12112 SM La Paz Bolivia Tel. (591)(2)31-05-16 Fax (591X2)36-63-09 JACK Him & Musikproduktion

Rothenbaumchaussee 237 D-20149 Hamburg Germany Tel. (49)(40)44 25 11 Fax (49)(40)44 25 14 Juicy Productions

1467 West Superior St, Apt 2R Chicago, IL U.S.A. 60622 Tel. (312) 942-1153 Fax (312) 942-1153

P rin t S o u rc e s Kino International Corporation

New Yorker Rims

333 West 39th Street, Suite 503 New York, NY U.S.A. 10018 Tel. (212) 629-6880 Fax (212) 714-0871

16 West 61st Street, 11th Roor New York, NY U.S.A. 10023 Tel. (212) 247-6110 Fax (212) 307-7855

Scottish Rim Production Fund

Temple Rims

74 Victoria Crescent Road Glasgow G12 9JN Scotland Tel. (44)(141) 337 2526 Fax (44)(141) 337 2562

4 Windmill Lane Dublin 2 Ireland Tel. (353)(1) 671 9313 Fax (353)(1) 671 9323

New Zealand Rim Commission

Seneca Falls Productions

Trident Releasing Inc.

149 5th Avenue New York, NY U.S.A. 10010 tel. (212) 777-2107 Fax (212) 529 2081

8401 Melrose Place, 2nd Floor Los Angeles, CA U.S.A. 90069 Tel. (213) 655-8818 Fax (213) 655-0515

Korean Motion Picture Promotion Corp.

(KMPPC)

206-46 Chongnyangni-dong, Tongdaemun-gu Seoul South Korea Tel. (82)(2)958-7582 Fax (82)(2)958 7530

The Film Centre, cnr. Jervols Quay and Cable Street Wellington, New Zealand Tel. (64)(4) 385-9754 Fax (64)(4) 384-9719 Nightlight Rims

Live Home Video / Live Entertainment

15400 Sherman Way, 5th Roor Van Nuys, CA U.S.A. 91406 Tel. (818) 908-0303 Fax (818) 778-3291 Living Pictures

9200 Basil Court #311 Largo, MD U.S.A. 20774 Tel. (301)925-2906 Fax (301)925-2905 Long Bow Group

55 Newton Street Brookline, MA U.S.A. 02146 Tel. (617) 277-6400 Fax (617) 277-6843 Lucky Red Distribuzione

Via Antonio Balamontl, 10 00195 Rome Italy Tel. (39)(6) 325 2296 Fax (39)(6) 325 2310 MFD Ltd.

Mandarin Laboratory Inti. Ltd.

3 /F Cheung Fai Industrial Bldg.

131 Wal Yip St, Kwun Tong Kowloon, Hong Kong Tel. (852) 2763-1188 Fax 852) 2343-0357 Medallion Entertainment

10734 Jefferson Blvd, Suite 515 Culver City, CA U.S.A. 90230 Tel. (310) 397-7997 Fax (310) 915-9663 Mercurian Productions

24 Bloomfield Avenue Dublin 8 Ireland Tel. (353)(1)454-7210 Fax (353)(l)454-3722 Milestone Film & Video

275 West 96th Street, Suite 28C New York, NY U.S.A. 10025 Tel. (212) 865-7449 Fax (212) 222-8952 Miramax Films Inc.

375 Greenwich Street, 3rd Floor New York, NY U.S.A. 10013 Tel. (212) 941-3800 Fax (212) 941-3928 Museum of Modern Art

Circulating Dept.

11 West 53rd Street New York, NY U.S.A. 10019 Tel. (212) 708-9530 Fax (212) 708-9531 or 9889 National Rim Board of Canada

Festivals Office 3155 chemin de la Côte de Liesse Ville Saint-Laurent, Quebec Canada H4N 2N4 Tel.(514) 496-1460 Fax (514) 496-1895 Nemo Distribuzione

Cinematografica Italiana Srl Via Livlgno, 50 00188 Rome Italy Tel. (39)(6) 33 18 51 Fax (39)(6) 33 67 9491

Nordisk Rim TV Distribution AS

Skelbaeksgrade 1 1717 Copenhagen Denmark Tel. (45) 3123 24 88 Fax (45) 3123 21 84 Norske Rlminstituttet

Dronningens Gate 16 P.O. Box 482 Sentrum N-0105 Oslo Norway Tel. (47)(22) 47-45-00 Fax (47)(22) 47-45-97 October Rims

65 Bleecker St. New York, NY U.S.A. 10012 Tel. (212) 539-4000 Fax (212) 539-4099 One Mind Productions

7906 Brookhollow, Suite C Dallas, TX U.S.A. 75235 Tel. (214) 920-2464 Fax (214) 920-2460 Orion Pictures

1888 Century Park East, 7th Floor Los Angeles, CA U.S.A. 90067 Tel. (310) 282-2500 Fax (310) 282-9981 Overseas Rlmgroup

8800 Sunset Blvd, Suite 302 Los Angeles, CA U.S.A. 90069 Tel. (310) 855-1199 Fax (310) 855-0719 Parallel Lines Productions

250 West 99th Street, Suite 4A New York, NY U.S.A. 10025 Tel. (212) 865-4060 Fax (212) 865-4060 Reynafilms Inc.

7 Tangile, N. Forbes Park Makati, Metro Manila Philippines Tel. (63)(2) 810 8177 Fax (63)(2) 818 8991 Roxie Releasing

3125 16th Street San Francisco, CA U.S.A. 94103 Tel. (415) 431-3611 Fax (415) 431-2822 SACIS

Via Teulada, 28 00195 Rome Italy Tel. (39)(6) 3749 8276 Fax (39)(6) 372 3492 SOGEPAQ S.A.

Gran Via 32, I s 28013 Madrid Spain Tel. (34)(1) 522 0529 Fax (34)(1) 521 0875 Samarkanda Cine & Video Company

Capltan-Haya 51-3-2 28020 Madrid Spain Tel. (34)(1) 571-4099 Fax (34)(1) 571-5620 Sampson Williams

23952 Windsong, #40F Aliso Viejo, CA U.S.A. 92656 Tel. (714) 448-5818 Fax (714) 448-5818

Set Rim Workshop

Trimark Pictures

J.L. Danau Terusnan BLL./90 Jakarta 10210 Indonesia Tel. (62)(21) 571 9509 Fax (62)(21) 571 9509

2644 30th Street Santa Monica, CA U.S.A. 90405 Tel. 1-800-424-7070 Fax (310) 399-3937

Seventh Art Releasing

Turbulant Arts

7551 Sunset Boulevard, Suite 104 Los Angeles, CA U.S.A. 90046 Tel. (213) 845 1455 Fax (213) 845 4717

673 Oak Street, Suite 1 San Francisco, CA U.S.A. 94117 Tel. (415) 552-1952 Fax (415) 552-3620

Shochiku Co., Ltd.

Unifrance Rim, New York

1-13-5, Tsuklji, Chuo-Ku Tokyo, 104 Japan Tel. (81)(3) 5550-1623 Fax (81)(3) 5550-1654

745 Rfth Avenue, Suite 1512 New York, NY U.S.A. 10151 Tel. (212) 832-8860 Fax (212) 755-0629

Shooting Gallery

Video Rimes

145 Sixth Avenue, 7th Floor New York, NY U.S.A. 10013 Tel. (212) 243-3042 Fax (212) 647-1392

Praca Nossa Senhora da Gloria 46 Gloria, Rio de Janeiro RJ Brazil Tel. (55)(21) 285-3810 Fax (55)(21) 285-3865

Showtime Networks Inc.

Visual Concept Entertainment

10 Universal City Plaza Universal City, CA U.S.A. 91608 Tel. (818) 505-7757 Fax (818) 505-7999

13300 Ralston Avenue Sylmar, CA U.S.A. 91324 Tel. (818) 367-9187 Fax (818) 362-3490

Shu Kei's Creative Workshop, Ltd.

Walkow/Gruber Pictures

Flat F, 18/F, Tonnochy Tower A, 272 Jaffe Rd. Wanchai Hong Kong Tel. (852) 2519-7729 Fax (852) 2519-9206

225 Santa Monica Blvd, #1106 Santa Monica, CA U.S.A. 90401 Tel. (310) 260-5570 Fax (310) 260-5572

Sindibad Rims

Water Street Pictures

2nd Floor, 5 Princess Gate London, England U.K. SW7 1 QJ Tel. (44)(171) 823 7488 Fax (44)(171) 823 9137

2656 29th Street, Suite 208 Santa Monica, CA U.S.A. 90405 Tel. (310) 581-0070 Fax (310) 581-1533

Ted Sod

West City Rims

318 10th Avenue East, #A7 Seattle, WA U.S.A. 98102 Tel. (206) 443-2210 Fax (206) 443-2379

153a Mt. Auburn Street Cambridge, MA U.S.A. 02138 Tel. (617)497-9325 Fax (617)497-1763

Sony Pictures Classics

William Morris Agency

550 Madison Avenue, 8th Floor New York, NY U.S.A. 10022 Tel. (212) 833-8833 Fax (212) 833-8844

151 El Camino Drive Beverly Hills, CA U.S.A. 90212 Tel. (310) 859-4300 Fax (310) 859-4462

Sony Classical

Win's Entertainment Ltd.

550 Madison Avenue, 16th Floor New York, NY U.S.A. 10022 Tel. (212) 833-8833 Fax (212) 833-8844 Spelling Rims International

5700 Wilshire Blvd, Suite 375 Los Angeles, CA U.S.A. 90036 Tel. (213) 965-5995 Strand Releasing

1280 California Street San Francisco, CA U.S.A. 94109 Tel. (415) 441-5220 Fax (415) 771-4179

P r in t S o u r c e s

25-6 NW 23rd Place, #180 Portland, OR U.S.A. 97210 Tel. (503) 796-1832 Fax (503) 796 1833

53 Leonard Street, 5th Floor New York, NY U.S.A. 10013 Tel. (212) 941-6030 X136 Fax (212) 966-5589

2A, Kimberley Mansion, 15 Austin Ave. Kowloon, Hong Kong Tel. (852) 27392877 Fax (852) 23690981 ZDF Enterprises

Lise-Meitner-Str. 9 D-55129 Mainz Germany Tel. (49)(6131) 991-286 Fax (49X6131) 991-283 Zeitgeist Rims Ltd.

247 Center Street, 2nd Floor New York, NY U.S.A. 10013 Tel. (212) 274-1989 Fax (212) 274-1644

Swedish Rim Institute / Svenska Rlminstitutet

Filmhuset, Borgvagen 1-5 S-102 52 Stockholm Sweden Tel. (46)(8) 665 1 1 0 0 Fax (46)(8) 662 26 84 Televicine S.A.

Benito Juarez #7, Col. Del Carmen Coyoacan 04100 Mexico Tel. (525) 554 8936 Fax (525) 554 3698

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E g yp tia n T h e a tre

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Broadway Performance Hall

Guild 4Sth

__________________ Friday, May 17

5:00 pm 7:15 pm 9:30 pm midnight

Jane: An Abortion Service, p. 50 Ox and the Eye, p. 131 Horseman on the Roof, p. 83 Full Throttle, p. 9 0 ,1 5 2

Haiti Untitled, p. 49 Manneken Pis, p. 62 Cyclo, p. 139

Anatomy/Jim Loves Jack, p. 47 Paris Was a Women, p. 54 Who Killed Pasolini?, p. 102

Purple Noon, p. 41 Brother of Sleep, p. 85 Losing Chase, p. 125

5:00 pm 7:15 pm 9:30 pm

Saturday, May 18

12:30 pm 3:30 pm 6:30 pm 9:15 pm midnight

Gate of Heavenly Peace, p. 48 North by Northwest, p. 145 (shorts) All Things Fair, p. I l l Angel Baby, p. 62 Freebird...The Movie, p. 151

|Who Killed Pasolini?, p. 102 fManneken Pis, p. 62 Nothing to Lose, p. 127 Butterfly Kiss, p. 65

Best of the British, p. 143 (shorts) Tale of Three Jewels, p. 106 No Sender, p. 104 Tattoo Boy, p. 135

Wind in the Willows, p. 44 Wild Bill: Hollywood Maverick, p. 56 Lumiere and Co., p. 84 Dead Man, p. 118

12:30 pm 3:30 pm 6:30 pm 9:15 pm

Sunday,May 19

12:30 pm 3:30 pm 6:30 pm 9:15 pm

Secret Festival, p. 27 tAnatomy/Jim L o v e s . p . 47 fBrother of Sleep, p. 85 fAII Things Fair, p. I l l

Madame Butterfly, p. 84 fO x and the Eye, p. 131 Gonin, p. 103 Drunks, p. 119

fP aris Was a Women, p. 54 Hearts and Minds, p. 108 Live Bait, p. 78 A Hot Roof, p. 109

fHorseman on the Roof, p. 83 tPurple Noon, p. 41 Someone Else’s America, p. 88 tGate of Heavenly Peace, p. 48

12:30 pm 3:30 pm 6:30 pm 9:15 pm

Monday, May 20

5:00 pm 7:15 pm 9:30 pm

tGonin, p. 103 tDead Man, p. 118 tB e st of the British, p. 143 (shorts)

tWind in the Willows, p. 44 fTale of Three Jewels, p. 106 tLumiere and Co., p. 84

Foreign Land, p. 77 The Delegation, p. 99 Back to Back, p. 116, 151

tButterfly Kiss, p. 65 Hitting the Ground, p. 122 tFull Throttle, p. 90, 152

5:00 pm 7:15 pm 9:30 pm

5:00 pm 7:15 pm 9:30 pm

tCycIo, p. 139 Die Mediocren, p. 65 tNothing to Lose, p. 127

fThe Delegation, p. 99 Mother Dao, The Turtlelike tSom eone Else’s America, p. 88

fLive Bait, p. 78 Tattoo Boy, p. 135 Hearts and Minds, p. 108

fN o Sender, p. 104 Trinity and Beyond, p. 55 tAngel Baby, p. 62

5:00 pm 7:15 pm 9:30 pm

5:00 pm 7:15 pm 9:30 pm

fLosing Chase, p. 125 Sebastian, p. 114 Work, p. 139

tHitting the Ground, p. 122 The Last Stop, p. 40 An Almost Perfect Affair, p. 75

Without Evidence, p. 138 1Thank You for Each New Morning, p. 81 fForeign Land, p. 77

|A Hot Roof, p. 109 A Mongolian Tale, p. 79 Switchblade Sisters, p. 135, 154

5:00 pm 7:15 pm 9:30 pm

5:00 pm 7:15 pm 9:30 pm

Die Mediocren, p. 65 Jonas and the Pink Whale, p. 63 Mouth to Mouth, p. 110

fAn Almost Perfect Affair, p. 75 Love Me/Madagascar, p. 80 tWithout Evidence, p. 138

f l Thank You for Each New..., p. 81 Haramuya, p. 77 Dadetown, p. 48

fDrunks, p. 119 Mah Jong, p. 114 Throwing Down, p. 136

5:00 pm 7:15 pm 9:30 pm

5:00 pm 7:15 pm 9:30 pm midnight

f A Mongolian Tale, p. 79 Palookaville, p. 131 Brothers in Trouble, p. 86 tB a c k to Back, pp. 1 1 6 ,1 5 1

tThrowing Down, p. 136 1-Work, p. 139 tSm all Faces, p. 107

Siao Yu, p. 115 The Garden, p. 108 1Can’t Sleep, p. 83

■fJonas and the Pink Whale, p. 63 Sudden Manhattan, p. 134 Margaret’s Museum, p. 78

5:00 pm 7:15 pm 9:30 pm

Saturday, May 25

12:30 pm 3:30 pm 6:30 pm 9:15 pm midnight

tSm alt Faces, p. 107 Politically Incorrect 1, p. 40 Celestial Clockwork, p. 82 Nervous Energy, p. 88 tSwitchblade Sisters, pp. 1 3 5 ,1 5 4

f Mah Jong, p. 114 Mouth to Mouth, p. 110 King of the Masks, p. 79 A Single Girl, p. 85

tLove Me/Madagascar, p. 80 Village of Dreams, p. 103 Streetlife, p. 140 Loved Up, p. 87

The River Chao Phraya, p. 44 fSebastian, p. 114 Cradle Song, p. 109 The Innocent Sleep, p. 87

12:30 pm 3:30 pm 6:30 pm 9:15 pm

Sunday, May 26

12:30 pm 3:30 pm 6:30 pm 9:15 pm

Secret Festival, p. 27 My Knees/Nothing but Sun, p. 53 Hype!, p. 4 9 ,1 5 3 Just a Girl, p. 81

A Matter of Faith, p. 63 Tokyo Drifter, p. 41 L’Amore Molesto, p. 98 Synthetic Pleasures, p. 55

f l Can’t Sleep, p. 83 Women in Shorts, p. 145 (shorts) Under the Domim Tree, p. 98 Summer of Bobby Charlton, p. 101

And the Moon Dances, p. 96 Target, p. 96 fS iao Yu, p. 115 Flirt, p. 121

12:30 pm 3:30 pm 6:30 pm 9:15 pm

Monday,May 27

12:30 pm 3:30 pm 6:30 pm 9:15 pm

fSudden Manhattan, p. 134 Politically Incorrect 2, p. 40 Red Rose, White Rose, p. 91 Boys' Night Out, p. 143 (shorts)

Saint Clara, p. 97 •{•Brothers in Trouble, p. 86 Killer: A Journal of Murder, p. 124 f Nervous Energy, p. 88

Belly Talkers, p. 47 fThe Garden, p. 108 fVillage of Dreams, p. 103 fTarget, p. 96

Feast at Midnight, p. 43 fA Single Girl, p. 85 Eden, p. 120 The Reggae Movie, p. 132

12:30 pm 3:30 pm 6:30 pm 9:15 pm

Tuesday, May 28

5:00 pm 7:15 pm 9:30 pm

fCelestial Clockwork, p. 82 tMargaret’s Museum, p. 78 tK ing of the Masks, p. 79

|The River Chao Phraya, p. 44 Talk of the Town, p. 86 Joint Adventure, p. 123

tU nderthe Domim Tree, p. 98 tStreetlife, p. 140 fAnd the Moon Dances

Celluloid, p. 99 Guimba, p. 104 A Perfect Candidate, p. 54

5:00 pm 7:15 pm 9:30 pm

5:00 pm 7:15 pm 9:30 pm

t L ’Amore Molesto, p. 98 Agnes, p. 91 tlnnocent Sleep, p. 87

The Interview, p. 64 Maborosi, p. 67 A Date with Fate, p. 144 (shorts)

Harvest Home, p. 106 Year Number 10, p. 76 fA Matter of Faith, p. 63

■fKiller: A Journal of Murder, p. 124 Guiltrip, p. 66 fJoint Adventure, p. 123

5:00 pm 7:15 pm 9:30 pm

Tuesday, May 21

Thursday, May 23

Friday, May 24

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Wednesday, May 29

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E g yp tia n T h e a tre

Harvard Exit Up

Harvard Exit Down

Broadway Performance Hall

Guild 45th

L________________________________ __________ Thursday, May 30

5:00 pm 7:15 pm 9:30 pm

f Summer of Bobby Charlton, p. 101 Between the Devil..., p. 76 Gypsy Soul, p. 110

5:00 pm 7:15 pm 9:30 pm

Lost Garden, p. 40 Vite Strozzate, p. 101 Scorpion Spring, pp. 1 3 3 ,1 5 3

fTalk of the Town, p. 86 Late Bloomers, p. 124 Notes from Underground, p. 126

Vive I’Amore, p. 115 Cadillac Ranch, p. 117 -[Boys' Night Out, p. 143 (shorts)

tAgnes, p. 91 Edie and Pen, p. 120 Other Voices, Other Rooms, p. 127

5:00 pm 7:15 pm 9:30 pm

11.

5:00 pm 7:15 pm 9:30 pm midnight

tHaramuya, p. 77 Shadow of Pepper Tree, p.105 I Shot Andy Warhol, p. 123 Who Killed Teddy Bear, p. 154

S atu rd ay,« k a ie l

12:30 pm 3:30 pm 6:30 pm 9:15 pm midnight

tBetween the Devil,.., p. 76 Paradise Lost..., p. 53 Welcome to the Dollhouse, p. 138 Turkish Passion, p. I l l fScorpion Spring, pp. 1 3 3 ,1 5 3

Crows, p. 107 Zero Degrees Kelvin, p. 105 Ed’s Next Move, p. 119 Manny and Lo, p. 126

•[Year Number 10, p. 76 Live! from the Other..., p. 144 (shorts) •[Loved Up, p. 87 -[Gravesend, p. 122

My Friend Joe, p. 44 -[Maborosi, p. 67 fThe Interview, p. 64 Young Poisoner’s Handbook, p. 90

12:30 pm 3:30 pm 6:30 pm 9:15 pm

S u id a y ,J u n e 2

12:30 pm 3:30 pm 6:30 pm 9:15 pm

Secret Festival, p. 27 tShadow of Pepper Tree, p. 105 Man with the Movie Camera, p. 35 Cold Fever, p. 95

tGypsy Soul, p. 110 Next Year We'll Go to Bed by 10, p. 100 Walking and Talking, p. 137 tCelluloid, p. 99

■[Color of a Brisk..., p. 118 True Romance, p. 145 (shorts) ■[Harvest Home, p. 106 ■[Vive I’Amore, p. 115

■[Just a Girl, p. 81 Gamera: The Guardian of..., p. 102, 152 Leopard Son, p. 51 TBA

12:30 pm 3:30 pm 6:30 pm 9:15 pm

5:00 pm 7:15 pm 9:30 pm

tLate Bloomers, p. 124 TBA Girls’ Night Out, p. 144 (shorts)

Troublesome Creek, p. 56 Tears of Stone, p. 95 fYoung Poisoner’s Handbook, p. 90

f Ed’s Next Move, p. 119 -[Crows, p. 107 ■[Bye-Bye, p. 82

tEdie and Pen, p. 120 tCradle Song, p. 109 tStonewall, p. 89

5:00 pm 7:15 pm 9:30 pm

5:00 pm 7:15 pm 9:30 pm

|0ther Voices, Other Rooms, p. 127 |Cold Fever, p. 95 -[Notes from Underground, p. 126

-[Eden, p. 120 Little Sister, p. 67 Man of the Year, p. 52

A Leap of Faith, p. 51 Boy from Mercury, pp. 43, 97 ■[Palookaville, p. 131

tVite Strozzate, p. 101 tZero Degrees Kelvin, p. 105 tCadillac Ranch, p. 117

5:00 pm 7:15 pm 9:30 pm

Wecbiesday,Juie5

5:00 pm 7:15 pm 9:30 pm

-[Walking and Talking, p. 137 •[Manny and Lo, p. 126 -[Troublesome Creek, p. 56

•[Leopard Son, p. 51 tLamerica, p. 100 f Saint Clara, p. 97

tGuiltrip, p. 66 The Land Is White..., p. 50 -[My Knees/Nothing but Sun, p. 53

fTears of Stone, p. 95 Premeditated Murder, p. 68 tTurkish Passion, p. I l l

5:00 pm 7:15 pm 9:30 pm

Thursday,J u ie 6

5:00 pm 7:15 pm 9:30 pm

-[Premeditated Murder, p. 68 Epsilon, p. 75 Lone Star, p. 125

-[-Little Sister, p. 67 Sister Island, p. 133 The Sun Has Ears, p. 80

Crocodile Tears, p. 33 tParadise Lost..., p. 53

|l Shot Andy Warhol, p. 123 Umbrellas of Cherbourg, p. 41 Girls Town, p. 121

5:00 pm 7:15 pm 9:30 pm

Friday, J u ie 7

5:00 pm 7:15 pm 9:30 pm midnight

-[Girls Town, p. 121 Intimate Relations, p. 66 Phenomenon, p. 132 fGamera: The Guardian of..., p. 102, 152

■[Sister Island, p. 133 •[Welcome to the Dollhouse, p. 138 The Confessional, p. 64

The Big Squeeze, p. 117 Thesis, p. 68

5:00 pm 7:15 pm 9:30 pm

Saturday,J in e 8

12:30 pm 3:30 pm 6:30 pm 9:15 pm midnight

TBA •[The Confessional, p. 64 Trigger Effect, p. 136 Trainspotting, p. 89 Hype!, pp. 4 9 ,1 5 3

Boy from Mercury, p. 43, 97 -[Intimate Relations, p. 66 Underworld, p. 137 Sneak Preview

■[Next Year We’ll Go..., p. 100 -[The Sun Has Ears, p. 80

12:30 pm 3:30 pm 6:30 pm 9:15 pm

Tuesday,Juie4

S u id a y ,J u n e 9 12:30 pm 3:30 pm 6:30 pm 9:15 pm

Secret Festival, p. 27 -[Trigger Effect, p. 136 Emma, p. 19 ■[Phenomenon, p. 132

•[The Big Squeeze, p. 117 •[Epsilon, p. 75 ■[Lone Star, p. 125 •[Trainspotting, p. 89

-[Underworld, p. 137 -[Thesis, p. 68 tLamerica, p. 100

NEPTUNE THEATER Kansas City, p. 21

F ilm S c h e d u l e

Friday, May 31

tFlirt, p. 121 Color of a Brisk and Leaping Day, p. 118 Stonewall, p. 89

Monday,J u ie 3

D a ily F ilm S c h e d u l e

1

Bye-Bye, p. 82 Alchemy, p. 116 Gravesend, p. 122

12:30 pm 3:30 pm 6:30 pm 9:15 pm

t Indicates repeat screening

182

183

Film Index FEATURES BY TITLE 15th February, 83 Abductees, 144 Achilles, 143 The Acting Thing, 44 Agnes, 91 Alchemy, 116 All Things Fair, 111 An Alm ost Perfect Affair, 75 Anatomy of Desire, 47 And the Moon Dances, 96 Angel Baby, 62

F ilm I n d e x

Back to Back, 1 1 6 ,1 5 1 Bathing Boxes, 14 4 Belly Talkers, 47 Between the Devil & the Deep Blue Sea, 76 The Big Squeeze, 117 Bound, 145 The Boy From Mercury, 43, 97 Bra-dyssey, 117 Brooms, 82 Brother of Sleep, 85 Brothers in Trouble, 86 The Bug, 143 Butterfly Kiss, 65 Bye-Bye, 82 Cadillac Ranch, 117 Celestial Clockwork, 82 Celluloid, 99 Central Park, 143 Cold Fever, 95 Color of a Brisk and Leaping Day, 118 The Confessional, 64 Cradle Song, 109 Crocodile Tears, 33 Crows , 107 Cyclo, 139 Dadetown, 48 Dancing, 143 Dead Man, 118 The Delegation, 99 Depth Solitudes, 145 Die Mediocren, 65 Disgraceful Conduct, 144 Drunks, 119 E d’s Next Move, 119 Eden, 120 Edie and Pen, 120 Eggs and Soup, 145 Emily’s Last Date, 145 Emma, 19 Epsilon, 75 A Feast at Midnight, 43 Femme Fatale, 78 First Love, Second Planet, 145 Flirt, 121 Fluffy, 145 Foreign Land, 77

184

Four Letter Heaven, 111 Freebird: The Movie, 151 Fridge, 143 Frog Crossing, 145 From Afar, 145 Full Throttle, 90, 152 Gamalost, 117 Gamera: The Guardian of the Universe, 102, 152 The Garden, 10 8 The Gate of Heavenly Peace, 48 George and Ramona, 14 4 Girls Town, 121 Gonin, 103 Gravesend, 122 Guiltrip, 66 Guimba, 10 4 Gypsy Soul, 110 Haiti Untitled, 49 Half a Shave, 14 3 Haramuya, 77 Harvest Home, 106 Hearts and Minds, 10 8 Hello Hello Hello, 14 3 Hinekaro, 145 Hitting the Ground, 122 The Horseman on the Roof, 83 A Hot Roof, 109 Hype!, 49, 153 I C an’t Sleep, 83 I Shot Andy Warhol, 123 I Thank You for Each New Morning, 81 The Innocent Sleep, 87 The Interview, 64 Intimate Relations, 66 It’s Not Unusual, 143 Jane: An Abortion Service, 50 Jim Loves Jack, 47 Joint Adventure, 123 Jonas and the Pink Whale, 63 Just A Girl, 81 K ansas City, 21 Killer: A Journal of Murder, 124 The Killers, 50 The King of the M asks, 79 L ’Amore M olesto , 98 Lamerica, 100 The Land is White, The Seed is Black, 50 The Last Stop, 40 Late Bloomers, 12 4 Leaning Backwards, 111 A Leap of Faith, 51 The Leopard Son, 51 Linger, 144 The Little Loving, 145 Little Sister, 67 Live Bait, 78 Lone Star, 125 Losing Chase, 125 The Lost Garden, 40 Lost Momentum, 145 Love Me and You Will See, 80

Loved Up, 87 Lumiere and Company, 8 4 Maborosi, 67 Madagascar, 80 Madame Butterfly, 8 4 Mah Jong, 11 4 Man of the Year, 52 The Man with a Movie Camera, 35 Manneken Pis, 62 Manny and Lo, 126 Margaret’s Museum , 78 A Matter of Faith, 63 M eet Johnny Real, 6 8 Meeting Magdalene, 14 4 Memento, 14 4 A Mongolian Tale, 79 Mother Dao: The Turtlelike, 52 Mouth to Mouth, 110 Mr. M cAllister’s Cigarette Holder, 145 M ust Be the M usic, 14 3 My Friend Joe, 44 My Knees Were Jumping, 53 Nervous Energy, 88 The Next Big Thing, 144 Next Year W e’ll Go to Bed

by Ten, 100 No Pussyfooting, 14 4 No Sender, 104 Nonstop Pyramid Action, 144 Notes From Underground, 126 Nothing But Sun, 53 Nothing to Lose, 127 November Stranger, 145 Other Voices Other Rooms, 127 The Ox and the Eye, 131 The Painting, 145 Palookaville , 131 Pangaea’s Brood, 145 Paradise Lost: Child Murders...., 53 Paris W as a Woman, 54 A Perfect Candidate, 54 Phenomenon, 132 Pig!, 12 3 Politically Incorrect Cartoondaze 1, 40 Politically Incorrect Cartoondaze 2, 4 0 Premeditated Murder, 68 Purple Noon, 41 Qiana, 145 The Red Ball, 145 Red Rose, White Rose, 91 The Reggae Movie, 132 Ripple, 14 4 The River Chao Phraya, 44 Rufus, 90 Saint Clara, 97 Sam e Dog...

Whitewashed, 143 Scorpion Spring , 133, 153

Sebastian, 11 4 Shadow of the Pepper Tree , 105 Siao Yu, 115 A Single Girl, 85 Sister Island, 13 3 Skin Deep, 144 Sm all Faces, 107 Sm ells the Lonely Man, 145 Som eone E lse ’s America, 8 8 Stationery, 144 Stonewall, 89 Streetlife, 14 0 Such a Night, 145 Sudden Manhattan, 1 3 4 The Sum m er of Bobby Charlton, 101 The Sun Has Ears, 80 Switchblade Sisters, 135, 154 Synthetic Pleasures, 55 Take Pity, 14 5 Tale of the Three Jewels, 106 Talk of the Town, 86 The Taming Power of the Sm all, 14 4 Target, 96 Tattoo Boy, 135 Tears of Stone, 95 That Night, 49 Thesis, 68 Throwing Down, 136 Tokyo Drifter, 41 Trainspotting, 89 Travelling at the Speed of Light, 65 Trigger Effect, 136 Trinity and Beyond, 55 Troublesome Creek, 56 Turkish Passion, 11 1 Twilight of the Gods, 143 Two, 143 Um brellas of Cherbourg, 41 Under the Domim Tree, 98 Underworld, 137 Vam pire Condom, 87 Village of Dreams, 10 3 Vite Strozzate, 101 Vive L’Amour, 115 W alking and Talking, 137 The Water Trilogy, 144 Welcome to the Dollhouse, 138 Who Killed Pasolini, 102 Who Killed Teddy Bear, 154 The Whole Wide World, 17 Wild Bill Hollywood Maverick, 56 The Wind in the Willows, 44 Without Evidence, 13 8 Work, 139 Year Number 10, 76 The Young Poisoner’s Handbook, 90 Zero Degrees Kelvin, 105

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