30th Seattle International Film Festival (2004)

C I N E M A S E A T T L E PRESENTS

SEATTLE IN T E R N A T IO N A L W

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TABLE

CONTENTS

3 OT H S E A T T L E

OF C O N T E N T S

Governor’s Letter......................... 5 Mayor’s Letter..................

7 Welcome!.................................... 9 Reflections on 30 Years................ 9 Festival Introductions................... 11 Cinema Seattle......... . .............. 13 Our Sponsors and Partners......... 15 Poster Auction.............. ............ 20 Opening Night Film /Gala....... . 25 Closing Night Film/Gala........... 27 Anniversary Galas...................... 28 Special Presentations.............. . 35 Masterclasses........................... 36 Women in Cinem a.................... 40 Secret Festival. ......................... 43 Exploding Cinema. . ................ 44 Festival Forums......................... 49 Fly Filmmaking Challenge....... 56 Spawned in Seattle..............

59 Golden Space Needle Awards. . . . 6 l Non-Juried Awards.................... 63 New Directors Showcase............. 64 New American Directors......... . . 65 Documentary Competition......... 67 Short Films Competition......... . 69 Asian Tradewinds Spotlight....... 71 Emerging Masters...................... 72 Atmosphère: All Things French .. 79 Contemporary World Cinema . . . 98 Refracting Reality.................... 179 Archival Films......................... 200 Films4Families........................ 205 Midnight Adrenaline................ 209 Drive-In Party......................... 215 Short Film Programs.............. 216 Advertiser Index....... .............. 224 SIFF Staff.............................. 226 Volunteers............................... 229 Cinema Seattle Members......... 232 Acknowledgments........... ......... 236 Print Sources........................... 240 How to Festival....... ................ 244 Film Schedule......................... 246 Country Index.............. . ......... 251 Director Index... ...................... 253 Film Ind ex........................... 255

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“Planes & Drains: Preventing Storm W ater P o llu tio n ” redefines the genre.

Maybe it s not our place to say, but we think the selection committee made quite an oversight. However, not participating in the festival does give us more time to concentrate on our real passion - flying people to where they need to go. Whether that's Hollywood, New York, Miami or Barrow(or hundreds of places in between). So enjoy the Festival, and we'll go back to what we do best. Maybe someday the world will be ready for our artistic vision.

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the Governor I am pleased to welcome you to the Seattle Interna­ tional Film Festival.

One of Washington's greatest strengths is the rich and vibrant ethnic tapestry that is formed by its people.

Now, more than ever, it is important that we celebrate our differences and foster a greater understanding of each other. The Seattle International Film Festival is an outstanding cross-cultural celebration that serves to highlight the value of diversity in our global society.

For the past 30 years, the festival has provided an opportunity for a wide variety of filmmakers to share with the people of the Pacific Northwest the culmina­ tion of their creative genius. As the largest and longest running film festival in the United States, this annual event allows audiences to experience more than 200 features and 75 short films from nearly 50 different nations.

I invite the filmmakers attending this special event to carefully consider Washington State for your future production needs. The region has a wealth of natural scenic beauty as well as unparalleled geographic and cultural diversity. Our state offers the human resources necessary to help you complete your work success­ fully— from professional crews and rich acting talent to support services and post-production facilities. In addi­ tion, the Washington State Film Office would welcome the chance to work with you to save you both time and money.

Please accept my best wishes for a successful festival!

Sincerely,

Gary Locke Governor

30T H SEATTLE

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We love m ovies alm ost as much as we love coffee.

Starbucks celebrates the spirit of film and the 2004 Seattle Intemtional Film Festival.

On behalf of the City of Seattle, it is my pleasure to welcome you to the 30th Annual Seattle Interna­ tional Film Festival (SIFF). The Mayor's Office of Film & Music is proud to sponsor this event, the largest film festival in the United States and one that boasts an extensive showcase of films.

The vast array of full-length, documentary and short films featured in these pages are diverse in their perspective, culture and style. As you browse through the selections this festival has to offer, be sure to check out "Spawned in Seattle," a showcase of inde­ pendent films created here in our Emerald City.

With the help of SIFF, Seattle has developed a reputation for being a city that truly appreciates great films of all kinds. The art of film inspires every­ one and we are proud to be a dynamic film-going and film-friendly city.

The Seattle film industry not only enriches our community, but significantly impacts our economy.

The industry directly contributes $200 million in the economy and creates hundreds of local jobs.

I commend the many volunteers, staff members and sponsors who have made this festival happen.

Congratulations to all who contribute to the suc­ cess of this celebration and thank you to SIFF for 30 wonderful years of cinema.

Best wishes for a great festival, and as they say: Lights, cameras, action!

Sincerely,

Greg Nickels Mayor of Seattle

3 0T H SEATTLE

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Reflections on 3 0 Years

Welcome!

I have been asked to contribute 365 (or so) words of retro­ spection on the occasion of the Seattle International Film Festival's 30th Anniversary, and all I can think of is:

Hello friends. On behalf of the board of directors of Cinema Seattle, I'd like to welcome you to the 30th Seattle International Film Festival. For those of us who were sitting in the audience at the first one, it doesn't seem possible. Yet here we are

My God, how did they do it?

How did co-founders Dan Ireland and Darryl Macdonald, and a small, revolving band of maniacs, manage to pull it off, year after year? How did they pull off an undertaking as in­ sane as a film festival— one that has managed to grow into, well, a major mother of the international film scene?

Long before the formation of Cinema Seattle, SIFF's non­ profit parent, way back in those early days, SIFF was the baby of the aptly named Stage Fright, Inc. When the film festival was born, there were no computers, no copiers, no fax machines, no e-mail, no voice-mail, no cell phones. There were just a bunch of terrified film freaks who wanted to put on a good show.

and I couldn't be more pleased to be involved in this wonderful event— part art, part enter­ tainment, part education, and all fun! SIFF and Cinema Seattle have helped shape the cultural landscape of this area, and I for one am glad to have been here for the ride. I love partaking each spring in this huge cinematic feast— films from all sorts of places made by all sorts of people, brought together and presented to our commu­ nity by the staff and volunteers of Cinema Seattle.

So enjoy, everyone. I'll see you in line.

My God, how did they do it?

Mary Metastasio

Here's how: With driving passion. And enormous cojones.

But most importantly, with an inexhaustible sense of humor, the kind that not only invigorates, but inspires. Without that healthy, hearty ability to laugh, SIFF would not be what it is today.

President, Cinema Seattle Board of Directors

• The Golden Space Needle Awards. Hate to tell you, but they weren't originally conceived with a sense of high cin­ ematic import. Who knew they'd become... legit?

• The Secret Festival. Golly, everyone takes it so seriously now! We had a couple of films, we wanted to show them, but for, um, legal reasons, we couldn't announce them.

Ever. "Hey, wouldn't it be fun to have, like, a secret festi­ val?"

• The 14th Festival. It followed the 12th. Like a lot of office buildings, SIFF simply skipped a number. We thought it would be kind of funny. (Of course, now it raises the ques­ tion: My God, did they do it? Ah, fuzzy m ath....)

So now SIFF is 30. Or thereabouts. A virtual grown-up. Wow. I disagree with George Bernard Shaw: Youth isn't wasted on the young. It's just not really appreciated until much, much later. Here's hoping that SIFF does not age with dignity, but rather with the humor, exuberance and, yes, the cojones that brought it to— or at least near— that 30-year milestone.

Have fun.

Gary Tucker Former deputy director, SIFF

Gary Tucker

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Festival Introductions

It is an honor to be a part of one of the largest festivals in North America, now in its 30th year. When the festival first started many years ago, it was one of only a handful in ex­ istence on our continent. The festival has changed consider­ ably since then, from a two week event with 18 films and an audience of 13,000 into a 25 day extravaganza encompass­ ing 224 features and 84 shorts— from 58 countries— reach­ ing over 150,000 filmgoers at last count. The world has also changed considerably, but many of the issues facing us have not. Better modes of communication have not necessarily produced better understanding. In that regard, the festival gives us valuable insight into other cultures through the window of cinema, and along with the films we are proud to bring filmmakers from all over the world to Seattle to pres­ ent their views.

Of course, laughter and entertainment are also important virtues of SIFF. Major highlights for the 30th anniversary in­ clude a special focus of 30 films from France, a country that rivals the US in producing some of the most innovative and interesting cinema in the world. As part of this focus, we will be honoring Patrice Leconte with a well-deserved trib­ ute. The French also have a long tradition of strong female directors, but they are not the only ones, as you'll see in our expansive Women in Cinema spotlight. In terms of content, SIFF has never been afraid of the extreme. Along with some envelope-pushing midnight movies, we are excited to bring the festival back to one of the region's only remaining drivein theatres for a triple bill of horror flicks on Sunday, May 30. On the other end of the spectrum, the Films4Families program is extraordinarily strong this year. We have also in­ troduced four anniversary galas each Saturday of the festival, complete with special guests and receptions. W h ew !! I This is a just a sampling of the exceptional film programs you will find throughout these pages.

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There cannot be many international film festi­ vals that have undergone only one change of leadership in 30 years. However, as I take my first tentative steps as Director— following in the metaphorically giant footprints of Darryl Macdon­ ald, who did so much to place Seattle squarely on the international film calendar while bring­ ing untold cinematic treasures to town— I do so knowing that I have had all I could ask in the way of support from a tireless and talented staff, an enthusiastic and knowledgeable board, and a local industry that has gone above and beyond the call to put on a first class showcase of the filmmaking art. I consider myself privileged to be part of it, and now all that remains is to see if you, the audi­ ence, will share our enthusiasm for the program that we have so painstakingly put together over so many days (and nights— oh! the nights!) of toil.

Helen Loveridge Festival Director

Helen Loveridge

Finally, I would like to thank Darryl Macdonald and the board for giving me this amazing opportunity to head our programming efforts. It has been wonderful to be back in Seattle, working with Helen Loveridge and the amazing staff to continue the legacy of SIFF as one of the most respected events of its kind in the world. I hope you will join us in cel­ ebrating our 30th anniversary. I look forward to many more.

Carl Spence Director of Programming Carl Spence

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CINEMA

SEATTLE

C in e m a S e a t t le is a non-profit, membership driven organization dedicated to enriching the cul­ tural landscape of the Pacific Northwest through the cinematic arts. In addition to producing the Seattle International Film Festival, Cinema Seattle offers exceptional year-round programming.

members also save on festival tickets and receive year-round benefits, as well as special offers from lo­ cal merchants, festival posters, programs and more.

Not only do you get to enjoy great member benefits year-round, but your membership dollars assist us in producing the Seattle International Film Festival.

CINEMA SEATTLE YEAR-ROUND

MEMBERSHIP LEVELS

Cinema Seattle provides innovative and distinctive film programs throughout the year. Committed to educational programs that provide our mem­ bers with information and opportunities in the film arena, we are dedicated to the exploration of cinema as an art form. Our year-round film program celebrates, explores, studies, examines, and debates films and the filmmaking arts.

SCREENWRITERS SALON The Screenwriters Salon is a public forum dedicated to the craft of screenwriting. Each year we present panel discussions, film programs and staged script readings for screenwriters and film enthusiasts alike, encouraging interaction and open discussion on all manner of issues and topics. Past program partici­ pants have included Kimberly Peirce (Boys Don't Cry), Sherman Alexie (Smoke Signals), Robinson Devor (The Woman Chaser), Christopher McQuarrie (The Usual Suspects), Randall Wallace (Braveheart), Stewart Stern (Rebel Without a Cause) and Jim Tay­ lor (About Schmidt).

TALKING PICTURES Talking Pictures provides a forum for smart, provocative conversation about films, featuring extended post-screening discussions, lectures by local and national film critics and luminaries, spe­ cial-topic film programs, and educational events for students of all ages.

MEMBERSHIP We rely on the support of our members— and you— to sustain and grow the Pacific Northwest's premier, non-profit organization devoted to the Film Arts.

More than 8 5 % of our revenues come from mem­ bership and ticket sales alone. By joining Cinema Seattle you'll enjoy great films, all year long, for free.

Last year, our members attended special preview screenings of films like Dogville by Lars von Trier, Tim Burton's Big Fish, The Last Samurai with Tom Cruise, Academy Award-winner The Barbarian Inva­ sions, and The Dreamers by Bernardo Bertolucci, long before the general public. Cinema Seattle

3 0T H SEATTLE

Goodwill: $35 Student/Senior: $25 Kids: $10 Friend: $50 / Partner $75 Benefactor: $100 / Partner $150 Patron: $200 / Partner $300 Executive: $500 / Partner $650 Director: $1000 / Partner $2000 Lifetime: $2500 Platinum Lifetime: $25,000 PORTIONS OF ALL MEMBERSHIPS ARE TAX-DE­ DUCTIBLE. FOR THE SPECIFIC MEMBERSHIP BEN­ EFITS OF EACH LEVEL, PLEASE REFER TO OUR MEMBERSHIP BROCHURE OR TO OUR WEBSITE: WWW.SEATTLEFILM.COM

All membership levels include: • Members only days at the SIFF box office (first chance to buy tickets and redeem vouchers before the general public).

• Members only line at the SIFF box office (express ticket line exclusively for Cinema Seattle members).

• Members only discounts on SIFF Full Series Passes, Film Buff 20-Packs, Cinematic 6-Packs, Filmmak­ ers Forum passes, Secret Festival Passes and Single Show tickets.

• Members only SIFF special advance preview.

• Members only discounts on all SIFF and Cinema Seattle T-shirts, Posters, Caps, Sweatshirts and other merchandise.

• Free year-round preview screenings of first-run Hollywood, Art-House and Foreign Films. All pre­ view screening passes admit two.

• Free admission to our Screenwriters Salon.

• Free subscription to our quarterly film journal REEL NEWS. • Free subscription to our e-newsletter, CINEMAIL: a semimonthly calendar and round up of local, na­ tional and international film news and events.

FOR COMPLETE INFORMATION ON CINEMA SEATTLE CALL (206) 464-5830 OR VISIT OUR WEBSITE AT WWW.SEATTLEFILM.COM.

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Auction AND EXHIBITION

It's time once again for our fabulous, annual si­ lent auction of great international movie poster art! This year, in keeping with our salute to all things French, we've contacted some of our favorite sources and hidden-away shops in dif­ ferent parts of France in order to bring back a mouth-watering array of gorgeous French movie posters. Many of these treasures are rare archival prints and one-of-a-kind originals. Okay, okay, we also found some groovy Italian ones that we couldn't resist (and we know you won't be able to either).

The posters are on view throughout the Festi­ val— at the SIFF Box Office in Pacific Place and at various other Festival venues. Sign up for a bidding number at either of the Box Offices and you're on your way! Like all silent auctions, this one requires that you write a bid for your fave affiche (that's French for poster) on the auction sheet posted beside each of the framed love­ lies (framing courtesy of our friends at Gallery Frames); check back throughout the Fest to see if you've been outbid. At the end of the Festi­ val, the posters go to the highest bidder. Just to make it extra easy, if you win one of the larger Metro posters (43" x 67"), we'll deliver it directly to your home, so you don't have to worry about how to get it there. All that's left for you to do is figure out which wall to beautify with this delec­ table movie art!

Official Framer for the Seattle International Film Festival

G A L L E R Y FRAM ES Exhibition Style » Museum Quality » Custom Framing » Poster Gallery 600 Second Avenue at James in Pioneer Square 624-0770

www.galleryframes.com

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O p e n in g N ig h t G a l a The Notebook THURSDAY MAY 20 7 :30PM 5TH AVENUE THEATRE

USA 2004 Director: Nick Cassavetes Producers: Mark Johnson Lynn Harris Screenw riter: Jeremy Leven, from the novel by Nicholas Sparks Cinem atographer: Robert Fraisse Film Editor: Alan Heim Music: Aaron Zigman Cast: Ryan Gosling Rachel McAdams James Garner Gena Rowlands James Marsden Kevin Connolly Sam Shepard Joan Allen Running Tim e: 121 minutes Presentation Format: 35mm International Sales: New Line Cinema Print Source: New Line Cinema Film W ebsite: www.thenotebookmovie.com Selected Film ography: John Q (2002) She's So Lovely (1997) Unhook the Stars (1996)

Based on the novel by Nicholas Sparks, this powerful, sweeping love story enlists the talents of a distinctive direc­ tor and a stellar cast in the service of an epic tale about the ways in which true love triumphs over hardship, time and circumstance. TheNotebook is truly a romantic drama for the ages.

As the film opens, we meet an elderly m an (Academy Award-winner James Gamer) who visits a woman in a nursing home (Academy Award-winner Gena Rowlands) and reads to her a story from a tattered notebook. The story he reads, set primarily in 1940s North Carolina, introduces us to a pair of giddy, gorgeous teenagers, Noah (Ryan Gosling) and Allie (Rachel McAdams), who fall deeply in love with each other despite the differences in their backgrounds. Allie’s parents are intent upon separating the two, and when World War II intervenes, that separation becomes unavoidable-Noah goes off to war. When the troops return, everything has changed: Allie is engaged to a respected businessman, while Noah lives alone with his memories, lovingly restoring the 200-year-old house in which he lives. When Allie reads a newspaper article about Noah and his handiwork, she confronts her own memo­ ries, knowing that she must find Noah and make a momentous decision about her life and her love.

Director Nick Cassavetes (son of Rowlands and iconic director John Cassavetes) proves himself to be a master of many genres, having previously given us the audacious Unhook the Stars, the acclaimed Shes So Lively and the biting John Q. Eliciting wonderful performances from a seasoned cast (including Joan Allen, Jam es Marsden and Sam Shepard), he has created an assured and emotionally charged drama with universal appeal.

BON APP É TI T

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S TE R LI N

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Intimate Strangers France 2004

CONFIDENCES TROP INTIMES

SUNDAY JUNE 13 6:00PM CINERAMA

Director: Patrice Leconte Producers: Alain Sarde Screenw riters: Jérôme Tonnerre Patrice Leconte Cinem atographer: Eduardo Serra Film Editor: Joëlle Hache Music: Pascal Estève Cast: Fabrice Luchini Sandrine Bonnaire Michel Duchaussoy Anne Brochet Running Tim e: 105 minutes Presentation Format: 35mm, in French with English subtitles Print Source: Paramount Classics Selected Film ography: The Man on the Train (2002) Love Street (2002) Felix and Lola (2001) The Widow of Saint-Pierre (2000) The Girl On the Bridge (1999) Ridicule (1997) Tango (1993) The Hairdresser's Husband (1990) Monsieur Hire (1988) Les Spécialistes (1984)

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HARBOR

Few filmmakers provide the kind of exquisitely witty and sharply ironic style of cinema that Patrice Leconte excels at when he is in top form, and Intimate Strangers is certainly an example of that. This brilliantly written, superbly acted “ sentimental thriller” (to quote Leconte) is a thoroughly entertaining concoction about the colli­ sion of two opposites, and the psychological and emotional fallout from that crash.

The film opens with an obviously distraught Anna (Sandrine Bonnaire) arriving in an apartment block of pro­ fessional offices, for a hurried appointment she has made with her new psychiatrist. Walking one door too far in the darkened hallway, she knocks and is admitted into the office of W illiam (Fabrice Luchini), a tax counselor whose secretary has left for the day. Barely through the door, she proceeds to pour out her troubles to the befuddled m an, explaining it’s an emergency— her husband is unemployed and though their love life was previously quite satisfy­ ing they haven’t had sex in six months and as a result she thinks she may be going crary. For his part, W illiam is dumbfounded, not wanting to correct her false impression of him after she has unveiled such intimate secrets.

Unburdening herself seems to help Anna feel better, and she spontaneously proposes a date and time for their next appointment, leaving without giving her name or phone number to the startled tax planner. When the next appointment rolls around, W illiam still hasn’t made up his mind how to deal with the case of mistaken identity, but at least he’s consulted with the real doctor next door as well as his estranged wife about the curious incident.

When Anna arrives, she doesn’t let him get a word in edgewise, spilling ever more intimate details about her private life, despite his awkward attempts to remedy the misunderstanding. By their next encounter, Anna has discovered her mistake, and the rules of the game change— but the sessions continue by tacit accord.

Deliciously twisted and deviously suspenseful, the mixture of sexual innuendo and sharp insight makes for a psychological thriller quite unlike anything you’ve seen before.

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A nniversary G a l a SATURDAY MAY 22 6:15PM EGYPTIAN THEATRE

USA 2004 Director: Brian Dannelly Producers: Sandy Stern Michael Stipe Michael Ohoven William Vince Screenw riters: Brian Dannelly Michael Urban Cinem atographer: Bobby Bukowski Film Editor: Pamela Martin Cast: Macaulay Culkin Patrick Fugit Jena Malone Heather Matarazzo Mandy Moore Eva Amurri Mary-Louise Parker Martin Donovan Running Time: 92 minutes Presentation Format: 35mm Print Source: United Artists Selected Film ography: Feature Film Debut

Forget John Hughes and Ju lia Stiles, Saved! blends together youth rebellion, queer rights, the Christian pop movement and child pregnancy in a way that’s as smart and subversive as any high-school movie that Hollywood’s made since Heathers. Sweet young Mary attends a terrifyingly cheerful high school for born-again Christians, spending her days, like most young Christians, at the m all. Her boyfriend’s confession that he’s secretly gay leads her to teenage seduction, which leads to teenage pregnancy, then leads poor young Mary to a whole range of crises not explained in any holy book. Pregnant and ready for a makeover, Mary also must help out her lonely mother (voted the town’s #1 Christian interior decorator), her sarcastic wheelchair-bound friend (Macaulay Culkin), and classmates including a skateboarding young dreamboat, a lone Jew, and the leader of the local God-Pop singing trio (Mandy Moore). Sending up everything from m audlin Afterschool Specials to the recent trends in Christian music, Saved! also boasts a tremendous soundtrack (not surprising, considering the film was produced by REM’s Michael Stipe) and, most of all, an unexpectedly warm heart. The film gets its “soul” from the cast, which includes Hal Hartley veteran Martin Donovan, Welcome to theDollhouse’s Heather Matarazzo, and the amazing Jena Malone as Mary.

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A n n iversary G a l a W ORLD P R E M IE R E

Donnie Darko-The Director’s Cut SATURDAY MAY 29 6:30PM PACIFIC PLACE CINEMAS

USA 2004 D irector: Richard Kelly Producers: Sean McKittrick Adam Fields Nancy Juvonen Drew Barrymore Screenw riter: Richard Kelly Cinem atographer: Steven Poster Film Editors: Sam Bauer Eric Strand Music: Michael Andrews Cast: Jake Gyllenhaal Holmes Osborne Maggie Gyllenhaal Davelgh Chase Mary McDonnell James Duval Patrick Swayze Jena Malone Drew Barrymore Noah Wyle Running Tim e: 133 minutes Presentation Format: 35mm International Sales: Newmarket Films Print Source: Newmarket Films Film W ebsite: www.donniedarko.com Selected Film ography: Donnie Darko (2001)

It’s October 1988 in the almost-/oo-normal suburban town of Middlesex, Virginia. Donnie Darko (fake Gyllen­ haal) is an unstable teenager subjected to hypnotherapy sessions and medications meant to cure his sleepwalking.

On one of these nocturnal jaunts, Donnie encounters Frank, a grotesque six-foot rabbit with a disturbing message: the world will come to an end in 28 days. At that moment, back at Donnie’s house, a dislodged jet engine smashes through his unoccupied bedroom. Strange occurrences continue. His English teacher (Drew Barrymore) discovers that a novel she assigned has been banned by the high school administration, while school assemblies showcase du­ bious motivational speeches by a smarmy self-help guru (Patrick Swayze). Three enigmatic women cross paths with Donnie: Cherita Chen (Jolene Purdy), a painfully shy classmate; the 100-year-old Roberta Sparrow, aka Grandma Death (Patience Cleveland), who may have discovered the secret of time travel; and Gretchen Ross (fena Malone), the new girl at school with whom Donnie has an immediate connection. And through it all, Frank keeps reappear­ ing, m aking sure that Donnie never loses sight of the ominous countdown to doomsday.

In the short time since Donnie Darko was first released in 2001— to an initially indifferent public— it has come to be regarded as a modem cult classic by a growing contingent of fans. A favorite at midnight screenings across the country, the film is also the subject of scores of webpages dissecting the story’s dense-yet-oblique symbolism, mythol­ ogy and physics. Perhaps it was inevitable that writer-director Richard Kelly would take the chance to craft a version of the film that more closely resembles his original vision. In this new director’s cut, the special effects and sound design have been enhanced, songs that Kelly originally could not include due to rights issues have been cleared, and deleted scenes— some comprised of never-before-seen footage— have been reinstated. Fans and newcomers will relish this opportunity to (re)experience the world of Donnie Darko.

*EEB

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Before Sunset SATURDAY JUNE 5 7!OOPM CINERAMA

USA 2004 Director: Richard Linklater Producer: Anne Walker-McBay Screenw riters: Richard Linklater Julie Delpy Ethan Hawke Cinem atographer: Lee Daniel Film Editor: Sandra Adair Music: Julie Delpy Cast: Ethan Hawke Julie Delpy Running Time: 80 minutes Presentation Format: 35mm International Sales: Warner Bros.

Print Source: Warner Independent Films

Richard Linklater’s intelligent, utterly charm ing and wildly romantic Before Sunset is an unlikely sequel to Before Sunrise, and a rarity among the traditional boy-meets-girl genre. Before Sunrise was a perceptive and delirious gift to romantics that introduced us to Jesse (Ethan Hawke) and Celine (Julie Delpy)— he a Gen-X double-espresso American philosopher; she a beautiful, opinionated French bohemian. After an affair that lasted exactly one night, the film ended with the pair promising to meet again. Part of the film ’s m agic was that it divided audiences into two camps: romantics who saw the couple reuniting and cynics who didn’t.

Selected Film ography: The School of Rock (2003) Tape (2001) Waking Life (2001) The Newton Boys (1998) Before Sunset (1995) Dazed and Confused (1993) Slacker (1991)

Nine years after Before Sunrise, the stage is set for another enlightening encounter and a new romantic test.

Jesse is in Paris to promote his new book. Celine, now an environmental activist and amateur songwriter, shows up at the bookstore where he s meeting the press and they spend the next few hours reflecting, regretting and romanc­ ing, before he has to leave again. Despite the circumstances past and present that have prevented their relationship from continuing, it is clear that the two were meant to be together. Their race against time to reconnect is far more thrilling than most action flicks, and the quiet intensity between the two creates sexual tension without being explicit. Before Sunset explores the imperfections of true romantic connection and begs the question: should we throw everything away when we meet the love of our life? Despite all of the romance, Before Sunset is refreshingly

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unsentimental, and it further establishes Richard Linklater as an independent American auteur and master of cinematic conversation.

Life is too short to dismiss hyperbole: this is one of the most heart-wrenching, deeply felt film s of the festival. As sequels go, Before Sunset should serve as the prototype.

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A n n iv e rsary G a la W O R L D P R E M IE R E

Criminal SATURDAY JUNE 12 6:15PM CINERAMA

USA 2004 Director: Gregory Jacobs

Producers: George Clooney Steven Soderbergh Gregory Jacobs

Screenwriter: Gregory Jacobs

Cinematographer: Chris Menges

Film Editor: Stephen Mirrione

Music: Alex Wurman

Cast: John C. Reilly Diego Luna Maggie Gyllenhaal Peter Mullan Jonathan Tucker

Running Time: 87 minutes

Presentation Format: 35mm

Print Source: Warner Independent Films

Gregory Jacobs makes a stylish directorial debut with a stellar cast in a movie that has more twists than David Mamet’s House of Games. An inventive remake of the 2000 Argentinean feature Nine Queens, Criminal shifts the ground beneath us to provide an enjoyable look into the shadowy lives of small-time grifters. Alternating the identities of the “swindler” and the “swindled,” we’re left not knowing which way is up.

In Criminal, John C. Reilly plays Richard, an experienced con artist, and Rodrigo (Diego Luna) is the novice he helps escape a failed casino swindle. Once out of the fray, Richard offers him a proposition: Become his partner and leam the advanced tools of the trade. He tells his young recmit that he has the one quality that money and practice can’t buy: he looks like a nice guy. An uneasy partnership is bom, with both men watching out for their own personal interests, and the two quickly pull off a few minor heists together that showcase their respective strengths in graft. The two men take a break from their “nickel and dime” schemes when Richard is summoned to the luxury hotel where his sister Valerie (Maggie Gyllenhaal) works as a concierge. As Richard and Rodrigo enter the hotel, they have no idea that a once-in-a-lifetim e opportunity is about to fall into their laps. As duplicity and deceptions m ount, they must negotiate a succession of swindlers, thieves and grifters to pull off the biggest caper of their lives.

Produced by Section 8 film s (George Clooney, Steven Soderbergh), Criminal is a sophisticated caper movie that equals the ingenuity of film s like The Usual Suspects with its clever plot twists and turns. After collaborating with Stephen Soderbergh for many years and working with John Schlesinger, Roland Joffe, Hal Hartley and Richard

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Linklater, Jacobs has emerged as a talent to be recognized in his own right.

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HERE AND

HOME!

Film is one of our most vital methods of communication. Comcast makes communication itself an art form. We are pleased to provide our Cable TV customers the opportunity to not only view some of this year's SIFF entries again from the comfort of home, but also access information about the films, filmmakers and actors with Comcast High-Speed Internet.

• Digital Cable: Movies and more on networks like Sundance Channel, Independent Film Channel, HBO® and International Channel Networks. And, the ability to pick a show from many Cable favorites and play it whenever you want with ON DEMAND on Comcast Digital Cable.

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O U R JAMES BEARD MENU IS CLOSE TO PERFECTION AND MUCH CLOSER TO HOME.

Mickey Pallas, Billie Holida Newport Jazz Festival, 19!

G . G ib s o n G a lle r y 514 East Pike Street Seattle, WA 98122 Tel: 206.587.4033 www.ggibsongallery.com

Throughout the month of June, The Georgian will be featuring the extraordinary six-course dinner menu originally presented by our Executive Chef Gavin Stephenson at The Beard House in New York. Also serving breakfast, lunch and afternoon tea. Call (206) 621-7889 for reservations.

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SPECIAL PRESENTATIONS

SIFFSPECIAL PRESENTATIONS2004 The 2004 Seattle International Film Festival Special Presentations are a rare selection of extraordinary talent, remarkable achievements and explosive industry leaders. Designed to bring the luminescence of cinema's favorite artists (from behind and in front of the camera) closer to the audience, our Special Presentations will delight and inform, as we celebrate the movies and the creative geniuses who make them.

__________P oster Auction & Exhibition__________ It's time once again for our fabulous, annual silent auction of great international movie poster art! This year, in keeping with our salute to all things French, we've brought a mouth-watering array of gorgeous movie posters from France. Many of these treasures are rare archival prints and one-of-a-kind originals. Okay, okay, we also found some groovy Italian ones that we couldn't resist (and we know you won't be able to either). Posters are on display at the SIFF Box Office in Pacific Place and at the Egyptian. (See pages 20-21) Sponsored b y G allery Fram es

The Space of a Kiss: A Photography Exhibition by Christopher Doylp Australian-born, Hong Kong-based cinematographer Christopher Doyle will be showing a collection of photo­ graphs, including work from such films as In the Mood for Love and this year's Cannes competition film, Wong Kar-wai's 2046. Opening Night: Thursday June 3, 6:30pm. Exhibit runs through Saturday June 12 at the Howard House gallery, 604 Second Avenue, Seattle, 206.256.6399. He has also designed a special, limited edition 30th Anniversary poster for SIFF, which will be available at the Pacific Place box office and at the Howard House gallery starting in June. Sp o n so red b y H ow ard H ouse a nd G a llery Fram es

_______________ Seattle Summit._____________ This year, SIFF will engage filmmakers from around the globe in a first-of-its-kind industry summit, where we will examine the state of independent filmmaking worldwide. Dozens of industry leaders will join us for a top-level debate entitled "Who's Taking the Risks?," co-hosted by Screen International.

"Screen International salutes the Seattle International Film Festival—one of the most vital celebrations of world cinema in North America—and is delighted to be involved in the Summit "Who's Taking The Risks?" The independent business has never been so full of opportunity—and risk—for filmmakers, financiers and distributors; we at Screen International think that this conference will help raise and hopefully answer some of today's key questions in the perennial grapple between art and commerce. Based in London, with key offices in Los Angeles and New York City, the weekly trade publication Screen International and its daily news arm Screendaily.com have been covering the independent and international film businesses for decades, and now—more than ever— with independent films soaring in popularity worldwide and sourcing their financing from around the world, Screen International is ideally placed to monitor and report on this dynamic movement. The first magazine to publish daily at the Cannes Film Festival, Screen now publishes daily market and festival issues at Cannes, Berlin, American Film Market and MIFED; our network of correspondents and reviewers covers all the major film festivals, markets, conferences and events in the world from Pusan to Moscow, Sundance to Rio de Janeiro."

- Mike Goodridge, Screen International Saturday June 12,9:00am-12:15pm, Grand Hyatt Seattle Hotel

(Open to press and industry only) Moderator: Bingham Ray, former head of United Artists and October Films Participants: Anthony Bregman, producer, Eternal Sunshine of the Spotless Mind] Cedric Jeanson, president, GreeneStreet Films; Mary Jane Skalski, producer, The Station Agent] Richard Abramowitz, producers' rep Host: Mike Goodridge, Screen International 3 0T H SEATTLE

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MASTER CLASSES

M A STER CLASS: Acting How does an actor prepare? In this year's incarnation o f the d yn am ic A c tin g M aster C lass, w e'll sit dow n w ith an expert in the field w h o will talk to us a b o u t the actor's craft, particularly as it relates to the film m edium . A lo n g w ith insight into rehearsing and d o in g scene w o rk, expect plenty o f personal exam ples and w ar stories. This class is open to b u d d in g actors, e m e rg in g directors, and film lovers interested in learning more ab ou t the craft o f acting fo r the screen.

SATURDAY MAY 29 4PM BROADWAY PERFORMANCE HALL

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Attention: No recording device of any kind (including camera phones) is allowed into festival venues. You may be subject to physical search of your person or personal property upon entrance to festival venues.

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MASTER CLASSES

M A ST ER CLASS

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Cinematography Joining us for the Cinematography Master Class is award-winning Director of Photography Christopher Doyle, whose extraordinary vision on screen has enhanced so many films. Using clips and a practical approach, Christopher Doyle brings the art and craft of filmmaking ever closer to the audience, with first-hand accounts from the front lines.

FRIDAY JUNE 4 7PM BROADWAY PERFORMANCE HALL

CHRISTOPHER DOYLE Australian-born and Hong Kong-based cinematographer Christopher Doyle rose to prominence working on some of the most important Asian films of the late 1980s, but became known principally as the regular collaborator of the acclaimed Hong Kong director Wong Kar-wai (Chungking Express, Happy Together, In the Mood for Love). Initially reluctant to step into Hollywood waters, he was finally lured in 1998 by the chance to work with Gus van Sant on the remake of Psycho, and went on to work with Philip Noyce on his back-to-back hits Rabbit Proof Fence and The Quiet American. It was Doyle's work on Zhang Yimou's epic, Academy Award-nominated Hero that finally brought him wider recognition. Doyle's work has a rabid cult following, so it is with extreme pleasure and pride that we announce he will be joining us for a master class on his art, and for the launch of an exhibition at the Howard House gallery of his photographic and collage work. We are screening Hero and the Thai film, Last Life in the Universe,

by Pen-ek Ratanaruang, both lensed by Doyle. Come help us celebrate the work of one of the most interesting talents currently working in any area of film production.

Moderator: Rachael Bosley, American Cinematographer magazine

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APPLE PORTABLE CLASSROOM TH U R SD A Y MAY T ] A N D FRIDAY MAY 2 8 , M USIC ROOM AT BROADW AY PERFO RM ANCE HALL

Apple Portable Classroom Schedule 11:00— 11:45am 12:00— 12:45pm 1:00— 1:45pm 2:00— 2:45pm 3:00— 3:45pm 4:00— 4:45pm 5:00— 5:45pm

Introduction to Final Cut Pro HD Advanced Tips in Final Cut Pro HD DVD Studio Pro 3 Introduction to Final Cut Pro HD Advanced Tips in Final Cut Pro HD DVD Studio Pro 3 Photoshop with Final Cut Pro and DVD Studio Pro

Introduction to Final Cut Pro HD Final Cut Pro has created a paradigm shift in the worlds of video and film post-production. This session will provide an overview of Final Cut Pro and a walk-through of the basics, such as editing, transitions, audio mixing and titling. No video editing experience is necessary.

Advanced Tips in Final Cut Pro HD This session will focus on topics such as advanced effects and editing techniques, color keying, color correction, media management and audio finishing. Also learn the tips, tricks and timesaving secrets from the pros for complete proficiency.

DVD Authoring with DVD Studio Pro 3 DVD Studio Pro integrates seamlessly with Final Cut Pro for a complete DVD delivery workflow. This session will show you how to create chapter and compression markers, alternate audio tracks, and alternate video angles in Final Cut Pro. Then take your project into DVD Studio Pro where you will learn about MPEG 2 compression, creating Dolby Digital audio tracks, adding DVD-ROM material, and the requirements for creating graphics for broadcast.

Introduction to Photoshop w ith Final Cut Pro and DVD Studio Pro A hands-on introduction to and exploration of this legendary image editing program for users of Final Cut Pro and DVD Studio Pro with award winning photographer, videographer and Adobe Certified Photoshop CS Expert, Rie Kasnoff. Rie will guide you though a series of exercises designed to help you become familiar with the tools and techniques in Photoshop CS that can make your life more creative, productive and efficient.

Taught by David Putnam, Owner o f Discovery Tools, the Certified Apple Training Center These classes are open to Festival Forums and Seattle Filmmakers Initiative passholders only. Space is limited and tickets are required for these classes. Please present your pass at the SIFF Main Box Office located on the third floor of Pacific Place to receive your ticket.

M AC AppleSpecialist Apple Com puter

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W O M E N IN C I N E M A

WOMEN CINEMA SHORT FILMS awake (u s a 2003)217 Backseat Bingo (u s a 2004) 88 Blue Sunday (South Korea 2003) 219 Dysenchanted (u s a 2004) 217 Intimate Feeling With My Friend (South Korea 2003) 219 The King of the Tango (u s a 2003) 221 Make a Smile (South Korea 2003) 219 May...In the Bus (South Korea 2003) 219 Nigel's Fingerprint (Canada 2003) 217 The Old Man With a Knapsack (South Korea 2003)219 Our Story (Mexico 2004) 216 Papa Blue (Taiwan/USA 2003) 160 A Part of the Day (South Korea 2003) 219 Perfection ( u s a 2003) 217 Seven's Eleven (u s a 2003) 217 Sparks (u s a 2003) 217 Standing Room Only (Great Britain 2003) 150 A Stolen Moment (Canada 2004) 221 UGLY (USA 2003) 217 White Line Syndrome (Mexico 2004) 21 6

FEATURE FILMS A n a t o m y o f H e ll (France 2004) 80 A s s h a k , T a le s F r o m t h e S a h a r a (Switzerland/Germany/the Netherlands 2004) 159

B o r n I n t o B r o t h e ls (India 2003) 181 B u s t in g O u t (u s a 2004) 182 C a v e d w e Her (u s a 2004) 165

The C o r p o r a t i o n (Canada 2004) 184 Dear Frankie (Scotland 2004) 150 DIG! (USA 2004) 185 D o w n t o t h e B o n e (u s a 2004) 167 E v e r g r e e n (u s a 2004) 167 H e ir t o a n E x e c u t io n (u s a 2004) 189 I A l w a y s W a n t e d t o B e a S a i n t (u s a 2004) 143

Imelda (u s a 2003) 191 In t h e R e a lm s o f t h e U n r e a l (u s a 2003) 191 In Y o u r H a n d s (Denmark 2004) 74 It's E a s ie r f o r a C a m e l ... (u s a 2003) 81 J a g g e d H a r m o n ie s (Germany/Switzerland 2003) 120

T h e K it e (Lebanon/France 2003) 142 M i n o r M i s h a p s (Denmark 2002) 74 N a t h a l i e ... (France 2003) 86 P e r f e c t S t r a n g e r s (New Zealand 2003) 147 P e r s o n s o f I n t e r e s t (u s a 2004) 196 R e v o l u t i o n (u s a 2004) 175 R o s e n s t r a s s e (Germany/the Netherlands 2003) 121 S e x Is C o m e d y (France 2002) 88 S i l e n t W a t e r s (Pakistan/France/Germany 2003) 148 S in c e O t a r L e f t (France/Belgium/Georgia 2003) 88 S t a n d e r (South Africa/Canada/Great Britain 2003) 152 S till D o i n g It: T h e I n t i m a t e L iv e s o f W o m e n O v e r 6 5 (u s a 2003) 198 T a k e M y E y e s (Spain 2003) 156 T r o lly W O O d (Great Britain 2003) 199

n a t i o n a l EN DO W M EN T FOR THE ARTS

40

Look for this icon on designated WOMEN Women in Cinema feature films CINEM A throughout the program guide.

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W O M E N IN C I N E M A

WOMEN EMA Previously a stand-alone event, Women In Cinema is an important part of the Seattle International Film Festival program. An eclectic showcase by women directors, each film has been chosen for its cinematic voice, uniquely female perspective and striking storylines— some of which will shock, inform and surprise.

From such accomplished veteran directors as Catherine Breillat (Sex Is Comedy and Anatomy o f Hell) and Margarethe von Trotta (Rosenstrasse) to break-out new talents like Geneviève Mersch (I Always Wanted to Be a Saint) and Enid Zentelis (Evergreen), this vastly entertaining selection of shorts, documentaries and feature length films provides ample evidence that women are doing vital and creative work in the film arena.

THE LENA SHARPE AWARD Burgeoning filmmaker, co-founder of Seattle's origi­ nal Festival of Films by Women Directors, and former KCTS staffer, Lena Sharpe was working on a film in Alaska when her plane crashed, tragically killing everyone aboard. In tribute to her efforts in bring­ ing the work of women filmmakers to prominence locally, SIFF presents this special award to the film by a woman director that receives the most votes from the public in the balloting for the Golden Space Needle Awards.

NATIONAL ENDOW MENT FOR THE ARTS

3 0T H SEATTLE

The 2003 Women in Cinema Lena Sharpe Award for Persistence of Vision: Aisling Walsh for Song for a Raggy Boy (Ireland/Great Britain/Spain/Denmark)

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90.3 FM KEXP.ORG

SECRET FESTIVAL

Craving a little intrigue and suspense in your humdrum life? Are you hungering for an experience that'll provide a much-needed jolt of energy, and the delight of discovery?

Does the taste of plain vanilla just lack that zing?

Well hunt no further, friends: The Secret Festival is back!

Fresh from the feverish brain of returning ace programming director Carl Spence, ably abetted and assisted by our crack programming team, this year's Secret offerings are the best we've ever assembled; they're four new, unreleased films that are among the hottest titles of the coming movie season.

So why aren't they in the regular Festival line-up, you ask? Sadly but significantly, constraints placed upon these four fabulous films mean that they are not available to be regular entries at SIFF; either their North American premieres have been promised to major Fall festivals like Telluride, Toronto and New York, or release dates scheduled for the films are too far down the road for their suppliers to welcome a publicly announced screening at this time.

Each of the films lined up for this year's edition of the famously secretive SIFF series is among the most soughtafter releases of the coming year. In order to get in on this exclusive, first opportunity to see them, you'll have to join the Secret Festival Society and sign the Oath of Silence, promising never to divulge what films are unveiled at the Secret screenings every Sunday of the Festival at the world-famous Egyptian Theatre.

Desperate for more details? I'm afraid we're not at liberty to divulge any more at this time. That would be why it's called a secret. So join the party: become a card-carrying member of the Secret Festival Society, and join the elite corps of Seattle filmgoers who gain entrée to the bestkept secret in the cinema!

3 0T H SEATTLE

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EXPLODING CINEMA

Exploding Cinema looks to push the boundaries of cinema by encompassing elements of visual art, design and music to redefine the range of film's ever-growing sense of possibil­ ity. Reflecting our rapidly changing world, today's artists are incorporating a wide range of influences into their work and inventing new ways to experience and interact with the mov-

This year's theme is Cinematic Music, as we celebrate music that is in some way influenced by or incorporates a cinematic perspective. Each of this year's performers captures that ex­ pansive element of film—the larger-than-life image—through their sound, songwriting style, live performance or sheer cha­ risma. This year we want to show how film filters down into our everyday music with these performances by musicians from Seattle as well as some artists from out of town.

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EXPLODING CINEMA

Friday, May 21

Friday, May 28 Cobra High IQU Sick Bees DJ F.l.T.S.

Elf Power Aveo Summer Hymns

C obra H ig h is a band that you will hear a great deal of in the next few years. Local listeners already Exploding Cinem a is happy to welcom e E lf P o w e r

know that Cobra High's careful sonic push of gu i­

from Athens, G eorgia. For the past ten years Elf

tars and synthesizers distinguish them from many

Power has gathered a strong underground fo llo w ­

of their Seattle musical brethren. Music fans m ight

ing, w hile its band m em bers have w orked w ith

hear the rich guitars and rhythms of early New

groups such as Neutral M ilk Hotel and Olivia Tremor

Order or Cabaret Voltaire, or even the intelligent,

Control, and have been touring w ith m usical acts

elusive m elodies of Stereolab, but once you've seen

like REM and W ilco. Elf Power's sound runs the

them live, there is no m istaking that theirs is a truly

gam ut from indie-pop/punk to cerebral electronic

original sound.

to tw an gy Am ericana, alw ays w ith a solid

This night is definitely a must-see, as one of Seat­

songw riting sensibility.

tle's best-kept secrets joins the fray. IQ U blends

Elf Power w ill be joined by Seattle band A veo,

funk, electrónica, drum -and-bass, pop, rock and

w ho are enjoying the release of their very fine sec­

alm ost anything else you can think of into the most

ond album "Battery." Rem iniscent of dark-tinged

w onderful blend of unexpected fun you've had in a

'8 0 s pop, Aveo has been com pared to the Smiths,

long time.

but their so ngs and m elodies are distinctly their

Also, the two lovable pixies from S ick Bees will

own and distinctly enjoyable.

delight and confound.

Rounding out the evening is another Athens, Geor­

Tickets available only on the night of show, at the door.

gia band, S u m m er H ym ns, w h o play their own

$7 Doors at 9pm 21 and over

brand of folk-infused rock.

Advance tickets available at TicketsWest. Outlets are located at all Rudy's Barber Shops, select QFC Food Stores and online at ticketswest.com; or charge by phone at 1.800.325.SEAT. Tickets are subject to a convenience fee.

Chop Suey 1 3 25 E a st M ad iso n Seattle W A 98 122 2 0 6 .3 2 4 .8 0 0 0

Neumo's official box office is located at the bad juju lounge, 1518 11th Ave. Tickets at the official box of­ fice are sold without a convenience fee.

$7 Doors at 9pm 21 and over

Neum o's 92 5 E Pike Stre et Se a ttle W A 9 8 1 2 2 2 0 6 .7 0 9 .9 4 6 7

A M E & 3 V N Production | ¡ M A C w n 1 S ervice m KS T O R E B w w l

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45

Nth D e g re e Proudly supports the Seattle International Film Festival.

Purveyors of: Pole Banners Large Format Printing for Billboards Vehicle & Bus Wraps Airport Backlit Displays Bus and Shelter Advertising Jetbridge Advertising & Installations 3-D Lenticular Printing Building Wraps and Wall Scapes

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EXPLODING CINEMA

Friday, June 4

Friday, June 11

FCS North Sientific American DJs on trikeS

The Capillaries Robb Benson Sean Nelson

Tonight's show will truly be cinematic, as both FCS North and Sientific American employ a dazzling video perfor­ mance alongside their music.

FCS N o rth may be one of the best electronic acts in all of Seattle. Known for their brilliant and captivating live shows, they are equally adept on the stage as they are in the studio.

Some might call their beats jazz- and funk-influenced, or their electronic melodies "spiraling," but once you've seen them, you'll just call it good.

The second act, S ie n tific A m e ric a n , surely falls into the same range of talent as FCS North, as they are every bit as dynamic and intelligent. Full-bodied beats, lush melodies, the occasional shake-it foot stomp— whether it's hip-hop or down-tempo, the boys from Sientific American can do it all, and then some.

Our opening group, DJs on trik e S , is traveling from the snowy reaches of Antarctica for this DJ showcase. The pur­ veyors of electronic mayhem and sonic mischief arrive for a guerilla performance behind the decks and on the dance floor.

Better known as DJs on Strike, the misspelling of their name forbears the fact that a certain three-wheeled apparatus will be the chosen vehicle for their destruction.

Tickets available only on the night of show, at the door.

$8 Doors at 9pm 21 and over

The Hideaw ay 2 2 1 9 4th A v e n u e Se a ttle W A 98121

and His Mortal Enemies Exploding Cinema winds up its series with a singer/songwriter showcase. T h e C a p illa rie s are quickly emerging as one of the best rock acts in the Northwest, with a pop sensibility and barroom delivery akin to Guided By Voices. Local fans are eagerly awaiting the release of their new album, produced by Jon Auer of the Posies and Big Star; the band will no doubt give a preview of many of their new songs at this perfor­ mance.

R o b b Benson is the epitome of a great singer/song­ writer. His first band, the Nevada Bachelors, didn't last long enough for most of us. For his next project he created Dear John Letters, which began as an ode to the break-up song then grew into a smart, well-formed pop band delivering the sweetest sad songs you've ever heard. Robb is playing tonight with his latest band, and he will sing new songs as well as a few from the Dear John Letters catalog.

S ean N elso n should be immediately recognizable to local and national audiences from his stint as lead singer of Harvey Danger, or maybe from his fine work in the Long Win­ ters, or even as a film critic for The Stranger. Now, with His Mortal Enemies, he is fronting a local super-group of some of the best musicians around town. Matt Southworth from The Capillaries (pulling double-duty this evening), Michael Shilling of the Long Winters, Gavin Guss from Tubetop, and the illustrious Jon Auer are joining forces with Nelson for a noHo-be missed set.

Advance tickets available at TicketsWest. Outlets are located at all Rudy's Barber Shops, select QFC Food Stores and online at ticketswest.com; or charge by phone at 1.800.325.SEAT. Tickets are subject to a convenience fee.

Neumo's official box office is located at the bad juju lounge, 1518 11th Ave. Tickets at the official box of­ fice are sold without a convenience fee.

$8 Doors at 9pm 21 and over

Neum o's 9 2 5 E Pike Street Se attle W A 9 8 122 2 0 6 .7 0 9 .9 4 6 7 3 0T H SEATTLE

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GREAT DINING

With seven restaurants, no place offers you more tempting choices than Pacific Place.

Enjoy the lively atmosphere of Gordon Biersch Brewery Restaurant, the authentic Italian dishes of II Fornaio or the regional Thai cuisine of Thai Ginger. Experience coastal Mexican cooking at Mexico,

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F EST IV A L FORUMS

FESTIVAL FORUMS The 2004 SIFF Festival Forums strike a balance between the art and the craft of filmmaking. Designed to offer audience members up-close-and-personal access to the mechanics of filmmaking, the 2004 SIFF Forums represent the broadest sampling of the moviemaking spectrum yet to be offered at the festival.

From a "fly-on-the-wall" perspective with the industry's leading screenwriters to an "Evening w ith..." one of the big screen's favorite talents, the forums engage not only the working filmmaker, but also the audience member seeking to expand their film experience.

Also this year, for the first time, SIFF has partnered with our film community to bring the Seattle filmmaking industry even closer to the heart of the festival.

Three local film organizations— Northwest Film Forum, 911 Media Arts and IFP/ Seattle— will host a day of panels on June 12. SIFF has also implemented the Seattle Filmmakers Initiative, hosting 150 Seattle filmmakers as our guests throughout the festival. At the same time, SIFF will be doing educational outreach in the community, bringing our festival guests into dozens of classrooms in the Puget Sound area.

And many thanks to our sponsor, Apple

The screening of the Fly Films is one

Computer, Inc., for bringing the Apple Portable Classroom Mobile Editing Lab to

of SIFF's most engaging programs and always a huge hit. Ten filmmakers make

the festival. This is a hands-on interactive

documentary shorts "on the fly"— choosing their subjects randomly out of a

tutorial for all film students interested in learning more about the practical

hat, but always on the theme of Seattle.

This year, we have also included a special

techniques of editing.

anniversary fly film in celebration of our 30th anniversary. The post-screening discussion, much like the Talking Pictures events and SIFF Panels each weekend, offers audience members a unique opportunity to interact in the language of cinema. <«•»>

IM A C

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CULTURE

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49

AN E V E N I N G WI T H S T E P H E N F R Y

SUNDAY JUNE 6 6:15PM CINERAMA

A sp o n ta n e o u s, m em o rab le e v e n in g a t th e C in e ra m a w ith n o te d actor, a u th o r a n d d ire cto r Stephen Fry th a t w ill inclu de film clips, a n e cd o te s a n d s tim u la tin g co n v e rsa tio n . From his early co m e d y roles in "The Y o u n g O n es," " Je e v e s an d W o o ste r," a n d A Fish Called Wanda, to his n e w e st project Bright Young Things, th is e v e n in g is su re to d e lig h t!

Born in London, Stephen Fry was educated at Cambridge, where he was a member of the famed Footlights club and performed with the likes of Emma Thompson and Hugh Laurie. He also wrote his first play, Latin, which won a Scotsman Fringe First at the Edinburgh Festival of 1980. Throughout the 1980s and '90s he was involved in many projects for theatre, TV, radio and film. His film credits include The Good Father, The Secret Policeman's Other Ball, A Handful o f Dust, A Fish Called Wanda, Gosford Park and Rowan Atkinson's The Thin Blue Line. In 1992 he starred as Peter in Peter's Friends, directed by Kenneth Branagh, which premiered at The London Film Festival. In 1996 he starred as Oscar Wilde in Wilde, directed by Brian Gilbert.

Of Stephen's many television appearances, he is perhaps most well-known for his regular appearances on "Blackadder," and his collaborations with Hugh Laurie, such as "Jeeves and Wooster." In addition, he has published several books, including Paperweight (1992) and The Stars' Tennis Balls (2000). In 2001 and 2002 Stephen filmed two documentaries for the BBC about the endangered Spectacled Bears of Peru. He directed his first feature film, Bright Young Things, which is based on the Evelyn Waugh novel, Vile Bodies; it had a Royal Premiere in 2003 and is screening at SIFF this year. During 2003 he concluded a new series for BBC Television, "Ql," and has recently finished filming the series, "Absolute Power," also for BBC TV.

50

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Selected Filmography: As Director: Bright Young Things (2004)

As Actor: Gosford Park (2001) W ilde (1997) Peter's Friends (1992) Jeeves and Wooster (1990) A Handful of Dust (1988) A Fish Called Wanda (1988) A Bit of Fry and Laurie (1986) The Secret Policeman's Other Ball (1982)

Moderated by Gary Tucker

FILM

FESTIVAL

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AN A F T E R N O O N WITH P A T R I C E L E C O N T E

An Afternoon with. . .

Patrice Leconte SUNDAY JUNE 13 1 :45 PM BROADWAY PERFORMANCE HALL

A s p a rt o f o u r trib u te to Patrice Leco n te , a lo n g w ith scree n in g fo u r o f his classic film s and the N orth A m e rica n pre m ie re o f his latest. Intimate Strangers, w e are pleased to present an ind e p th d iscu ssio n o f h is w o rk a n d career, w ith d ip s , q u ip s and q u estio n s from th e audience.

Selected Film ography: Intimate Strangers (2004) The Man on the Train (2002) Love Street (2002) Felix and Lola (2001) The W idow of Saint-Pierre (2000) The Girl on the Bridge (1999) H a ifa Chance (1998) Ridicule (1996) The Grand Dukes (1996) The Scent of Yvonne (1994) Tango (1993) The Hairdresser's Husband (1990) Monsieur Hire (1989) Tandem (1987) Les Spécialistes (1984)

M oderated by Helen Loveridge, Festival Director

30TH

SEATTLE

Since making his directorial debut in 1975, Patrice Leconte has established himself as one of France's most versatile and respected directors, who can easily move from subjects like sexuality and mental instability to canny deconstructions of wit and society. Born in Paris in 1947, Leconte attended film school and later became a cartoonist for the magazine Pilote, all the while making short films featuring the dark humor that would later characterize his features. After mixed success with his early efforts at home, Leconte's international breakthrough came in 1989 with Monsieur Hire, a complex study of sexual obsession and mental illness. His subsequent effort, The Hairdresser's Husband (1990), received much critical acclaim.

In 1996 he made what would prove to be his greatest success to date, Ridicule. Set in the 18th century court of Versailles, it is a comedic dissection of the symbiotic relationship between power and social appearances; it went on to win four Césars, including Best Film. In 1999, Leconte gave us The Girl on the Bridge, a sensual, light-hearted affair, demonstrating once again that he is a director who is comfortable in any genre, regardless of the period, style or content. The 2001 release of The W idow o f Saint Pierre, a brooding romantic drama, further confirmed this ability. Leconte is able to take his pick of the crème de la crème of French actors; he has worked with artists from Jean-Paul Belmondo to Juliette Binoche, and has helped make stars of the likes of Michel Blanc and Jean Rochefort. He also captured the first great screen performance of French rock icon Johnny Hallyday ip last year's The Man on the Train. We couldn't be happier that Patrice Leconte's latest film, Intimate Strangers, will be the centerpiece of our Closing Night Gala.

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SCREENWRITERS SALON

SIFFSCREENWRITERS SALO SATURDAY MAY 2 9 6:15PM BROADWAY PERFORMANCE HALL

Writers/filmmakers Alexander Payne and Jim Taylor have produced a body of work that successfully balances satiric comedy with drama. Whether working with Laura Dern in Citizen Ruth, Matthew Broderick in Election or Jack Nicholson in About Schmidt, Payne and Taylor consistently create characters who are bound by their middle-class limitations, yet are quietly courageous, if not always scrupulous. They are perhaps the most incisive satirizers of modern Middle America, criticizing and embracing quirks, traditions, fears and perspectives that we all can relate to.

Alexander Payne

Join us for an evening conversation with these two gifted writers as they discuss their writing partnership, theirstyles, their insights, their working process— both together and individually— and, inevitably, Nebraska.

Filmmaker Clay Eide moderates what will certainly be an entertaining and insightful event, with one or two surprises thrown in.

The Screenwriters Salon is a year-round, monthly public forum on the craft of screenwriting, produced

by Cinema Seattle. We present panel discussions, programs and staged script readings for screenwriters and film enthusiasts. Participants are encouraged to interact and discuss all manner of screenwriting topics, in order to foster better understanding of the craft of screenwriting as well as the fundamentals of film.

Jim Taylor

Co-sponsored by Richard Hugo House Panelists: A lexander Payne Jim Taylor Moderator: Clay Eide

seaxxle C U LTU R E 52

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TALKING PICTURES

SIFFTALKING PICTURES2004 "S e x , C rim e s a n d V id e o ta p e " Following SIFF's tradition of expanding the film experience, this year the festival will offer three Talking Pictures— films with extended, thought-provoking, and often controversial post-screening discussions between audience members and trend makers, experts, filmmakers and/or educators.

A n atom y o f H ell

C ontrol R oom

Q u ality o f Life

SUNDAY MAY 30 4 :15 PM HARVARD EXIT

WEDNESDAY JUNE 9 7:OOPM EGYPTIAN

FRIDAY JUNE 11 7:OOPM BROADWAY PERFORMANCE HALL

e’ve beenwatching the IraqW ar on televisionfor Even though 80%of American schools don’t offer The directorofF at Girl andRom ance headsforthe W jugular— andafewmoresensitiveareas—withthis quite some time now, but it’s difficult to find the art lessons, between $15 and $18 million are spent landmarkexplorationof desireandsexual politics: a truth beneath the split-screen military rhetoric and annually on removing graffiti. San Francisco-born hardcoreadaptationof herrecent novel Pom ocracy. American-flag graphics. Control Room gives us a directorBenjaminMorganseesacorrelation,believing Starring the Italian pomstar Rocco Siffredi (all of newperspective. Lastyear,withtheUSandIraqonthe that the proliferationof graffiti is a response to the him),Anatom y o f H ell focusesinonwhathasdriven brink of war, Egyptian-American filmmakerJehane lack of other outlets of artistic expression. This led all ofBreillat’swork: therelationshipbetweenwomen NoujaimembeddedherselfwiththeindependentArab himtohisfeaturefilmdebut,Quality o f Life. Michael andmen, andtheway that sexboth highlights and news agency, Al-Jazeera. Framed roughly between Rose (Lane Garrison) and Curtis Smith (Brian makes literal the power each group wields over the PresidentBush’s48-hourultimatumandhisaircraft- Bumam) aregraffiti artistslivinginSanFrancisco’s issionDistrict. Askids, ina searchfor fame anda other. Inahouseonacliff, awomanpaysagayman carrierspeechafterthefallofBaghdad, thisfascinating M s e nseof identity, theybegantoleavetheir “tags” all d o c u m e n ta r y e x p lo r e s th e d is tin c tio n s b e tw e e n to gaze at her body for four nights. No one knows what kind of game is being played here— or more coverage of the war by Al-Jazeera and American overthecity. Tenyearslater, theirworkhasbecomean iddleEast integral part of theurbanlandscape. Thenonenight importantly, who’s winning—but soon one thing broadcasters. ThefirstnewsnetworkintheM becomes perfectly clear: each night will get more freeof governmentcontrol, Al-Jazeeraprides itselfon thetwoarecaught inapolicesweepandprosecuted erotic, more intense and more brutal. An allegory showing all sidesof thewar—includingthehuman underthe“qualityoflife”lawsgoverningsuchurban of power and desire, with enough graphic scenes costs. Because they showfootage of casualties and blights as drugs, prostitution and vagrancy. Faced s, thenetworkhasbeencriticizedanddemonized with restitution and the prospect of serving hard and equal-opportunity nudity to distress censorship POW ilitary. time under California’s draconian three-strikes law, boards everywhere, Anatom y o f H ell is more than by USofficials, andeventargetedbytheUSm the usual woman-directed, novel-inspired, art-house Noujaim follows a number of their reporters and thelifelongfriends areforceddowndivergingpaths. hardcorepom. Inspiredbytheworkofwriterssuchas producers, and even gains access to the Coalition Thisthought-provoking, highlyaccomplishedfilmis Sartre, GeorgesBatailleandJeanGenet, withmanyof Media Center at Central Command, where we see blessedwithaneclecticsoundtrackoftherisingstarsof itsbedroomtableauxinspiredbyFrenchpaintings of US media liaison Lieutenant Rushing struggling to hip-hop, electrónica, punkandindierock(including odest M ouse, Sebadoh and theearly 1900s, thefilmmerges intellect withdesire, reckonwiththedifferingperspectives. Control Room Death Cab For Cutie, M A m o n T o b in ) a n d s ta n d -o u t p erformances from p r o v id e s a r a r e w in d o w in to in te r n a tio n a l p e r c e p t io n s high art with low, and the salon with the brothel. ikeyandBumamasthe And it allows women (especially after Irreversible, ofthewarinIraq, andexposesthemythofjournalistic GarrisonastheconflictedM destructiveCurtis. partialityduringwartime.

Twentynine Palm s andotherrecentworks) todefine im thebattlefieldofdesire.

Selected Filmography:

Awards: Berlin 2004 (Special Mention)

No one under the age of 18 will be admitted.

Down From the Mountain (2003)

Selected Filmography:

Startup.com (2001)

Feature Film Debut

Panelists to date:

Panelists to date: Benjamin Morgan

John Sinno, curator, Seattle Arab & Iranian Film Festival

Moderator: Brian Blue

Selected Filmography: Sex Is Comedy (2002) Fat Girl (2001) Romance (1999) Parfait amour (1996) 36 fillette (1988)

Glenn Farley, Aviation Specialist and Economics Reporter for KING 5 News

Panelists: Stefanie de Leon, Eli Sanders (invited) Moderator: Kathleen Mdnnis

Moderator: Amy Lillard

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FESTIVA L FORUMS PANELS

SIFFPANELS20( The Sexy Selling of the Doc, or How I Learned to Love Clowns, Spelling Bees and War in 90 Minutes or Less SATURDAY MAY 2 2 1 :45 PM BROADWAY PERFORMANCE HALL In Seattle, it's ten filmmakers. Five minutes of film. One word. An entire city.

By design, it's non-narrative. Non-fiction.

The essence of the word "truth"? Or the cinematic equivalent of "Survivor"?

In 2003, it became money-making. Award-winning. Attention-grabbing.

Capturing the Friedmans. My Architect. The Fog o f War. Spellbound. 07? Our Town. The Weather Underground.

Overnight. Power Trip. The Revolution Will Not Be Televised. Winged Migration.

Recognizing these titles also recognizes the extraordinary explosion of documentary film over the past few years.

Guest spots on Letterman and Leno brought documentary filmmakers into the mainstream. Funding by Alfred P. Sloan, Bill Gates and Paul Allen stocked the pool. Narration by Jeff Bridges, Tim Robbins, Martin Sheen, Susan Sarandon, Ed Harris, Goran Visnjic, Isabella Rosellini, Danny Glover and Michael Douglas brought an "easy-listening" sensibility to topics such as incest, autism, war, politics, mutilation, pornography, abuse, AIDS, greed, disadvantaged kids, smart kids, lost kids, fathers and sons, subculture, no culture, pop culture...and birds.

In 2004 the stage is set: Hot topics (Iraq, Afghanistan, Spain, The US, Bush, Blair, Soccer, Movies, Los Angeles, Recluses, Teens, Surfing, Death Row, Cults, Traitors, Hemp, Dogs.. .and Shoes) and the filmmakers who love them.

Are these filmmakers reporters? Creators of pop culture? Historians? Or collective guardians of social justice?

Moderator: Ruth A. Hoffman, Curator, Film Connection Panelists: Tom White, IDA magazine; Ondi Timoner, director, DIG!; Peter Vogt, director, Up Thornton Creek; Ivy Meeropol, director, Heir to an Execution (invited); Francine Strickwerda & Laurel Spellman-Smith, directors, Busting Out

N ATIO N AL EN D O W M EN T FOR THE ARTS

Hot Tracks SATURDAY JUNE 12 6 :15 PM BROADWAY PERFORMANCE HALL Moderated by Ian Hierons, Senior VP of Acquisitions at Milan Records (producers of the soundtracks for films such as Bend It Like Beckham, Once Upon a Time In Mexico, Coffee & Cigarettes, Spike Lee's forthcoming She Plate Me and the 2004 SIFF film Riding Giants), the "Hot Tracks" panel brings back a SIFF favorite with a new twist. A panel of special festival guests will discuss and debate their favorite moments in film music, using clips and scores to defend their choices.

Moderator: Ian Hierons, Milan Records Invited (not yet confirmed at press time): Zak Penn, director, Incident at Loch Ness; George Roca, director, Nobody Knows How to Talk to Children; Steven Lovy, director, Mix; Madeleine Farley, director, Trollywood 54

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SIFFHOSTED PANELS2004 NWFilm Forum

IFP/Seattle

presents

presents

presents

Where’s the Money? Finding Funds for Independent Film

What to do When Miramax Doesn’t Buy Your Film

PITCH SLAM: A Live Story Pitching Competition

SATURDAY JUNE 12 11:15AM BROADWAY PERFORMANCE HALL

SATURDAY JUNE 12 1:45PM BROADWAY PERFORMANCE HALL

SATURDAY JUNE 12 4:00PM BROADWAY PERFORMANCE HALL

Finding those elusive dollars for your project is one of the most important and challenging aspects of independent video production and filmmaking. This panel will dissect strategies, business plans, and techniques for researching appropriate grants and preparing effective proposals, and the importance of friend-raising in your quest for financial support. We will also discuss the ethics of fundraising in the corporate arena and introduce you to a variety of funding resources that exist in print, online and in your community.

DISTRIBUTION STRATEGIES Finding an audience is the last and often most neglected step in a moviemaker's job. The reality is that filmmakers must apply the same relentless ingenuity to distribution as they have done with writing, directing and producing the film.

Join IFP/Seattle and the Northwest Screenwriters Guild at an exciting live competition for the "green light," where three screenwriters meet with executive film producers. Each screenwriter will have the opportunity to give their pitch on a stage set duplicating a Hollywood executive's office. This event is a culmination of prior workshops and competitions, and this final, live round gives the finalists and the audience an insider's look at the challenge and thrill of a typical pitch.

911 M e d ia A r t s

Moderator: Fidelma McGinn Panelists include: Fionn Meade, Director of Grant Programs, Artist Trust

Panelists include:

Donna James, Director, Seattle Mayor's Office of Film and Music Norma Jean Straw, Producer, Evergreen

Our panelists represent vastly different areas in the landscape of film, but what they share is an aggressive and creative (and successful) approach to distributing their work. From traditional feature film distribution among theatrical markets, to specialty DVD labels that provide exposure for short movies by experimental artists, our discussion will open up a whole world of exhibition strategies.

Matt McCormick The Subconscious Art of Graffiti Removal Founder, Peripheral Produce & PDX Festival

Panelists include: Geof Miller President, IFP/Seattle Megan Dunleavy VP Development, David Ladd Films Donna Choo Executive Story Editor, MGM Studios

Gian-Carlo Scandiuzzi The Flats and Outpatient

Josh McGlaughlin VP Development, Mark Gordon Productions

John Comerford Around the Fire

www.ifp.org

Andrew McAllister Shag Carpet Sunset Larry Estes Smoke Signals Co-founder, Outrider Pictures

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jif Final Draft Northw est Screenw riters G u ild

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SIFFFIY FILMMAKING CHALLENGE2004 Ten filmmakers make documentaries "on the fly"- choosing their subjects randomly out of a hat, but always on the theme of Seattle.

SUNDAY MAY 30 1:30 PM EGYPTIAN AND FRIDAY JUNE 11 4 :30 PM EGYPTIAN

“26 Reasons Why I Agreed to Make the Anniversary Fly Film”

By Clay Eide A is for Ass— This is what I would have to be to decline the invitation. Let me

O is for Oblique— This is the angle with which I approached my theme

get this straight, I get to come to Seattle, work with cool and interesting people,

for my Fly Film. The assigned theme: "Seattle." This year marks the 30th

make a film— and it costs me nothing? Hey, my mama didn't raise no dummy...

anniversary of SIFF. I made a film about turning 30. Makes sense, right?

B is for Bubbles. We have a single, six-minute continuous take of them, shot by

P is for PePe— Our rockabilly revolutionary Columbian sound recordist. Now

our cameraman. It's captivating, fascinating and, at the same time, wildly dull.

that's the winning combination you want wielding a boom pole.

We can show it to you— just ask us.

Q is for Queen Anne— A neighborhood in Seattle that I'm guessing some Fly

C is for Carrie— Our fantastic post-production sound mixer at Bad Animals. C

Filmmaker made a wildly entertaining film about.

is also for "Camaro," a sound effect that, unfortunately, Carrie was unable to

R is for Regret— What, by now, many people at SIFF are feeling about allowing

locate. She didn't have a vibrator sound effect either.

me to write this piece. Perhaps many of you readers can be included in this.

D is for Discussion— I heard quite a few of these about coffee while in Seattle.

S is for Schnauzer— These goofy dogs are everywhere in this city! Can

"I mean, everyone knows that there's no foam on a mocha! Geez..."

someone please explain this to me. Many of them ride in the backs of

E is for Ears— I could not believe mine when our indefatigable and fabulous

Subarus— another Seattle "S."

producer, Mark Titus, ordered an "Iced Mocha Frappucino with whipped cream."

T is for Thirty/Tom McGurk/Theremin— The name of the film, our Bad

He would have suffered a kicked ass in my neighborhood for such a transgression.

Animal of a composer, and the trippy-ass instrument Tom used as part of

F is for Frequent Flyer Miles— I earned a nice chunk of these by coming to Seattle.

our score. I can now check the "use a theremin in one of your movies"

G is for Guinness— I enjoyed a fair number of these during my stay in Seattle.

box off my life list. Thanks, Tom!

H is for Hayek— As in Salma Hayek, who was on my flight to Seattle. Yowza!

U is for U District— Umm... didn't make it over there. Sorry.

I is for Interns— The group of young ladies at SIFF who simply would NOT stop

V is for Vagina Monologues— This wildly successful theater show has

flirting with me! Just one of the irritations of being a Fly Filmmaker, I guess.

nothing to do with our film, but it was playing next door when I stayed

J is for Journey— The crappy band from the 80s that I heard on the radio on

at the Moore Hotel last summer.

more than one occasion whilst in Seattle. What's the deal with the 80s in this

W is for Way— Denny Way. I was spotted running down this street

town, anyway? And don't even get me started on the Pabst Blue Ribbon thing...

without my shirt after the Atom Films party the last time I made a Fly

K is for Kinski— The Seattle-based Sub-Pop band that was kind enough to

Film. Ah, memories...

appear in our film. All of you should go check them out. Now.

X is for OS X— The operating system we used with our Final Cut Pro System

L is for Libra— the zodiacal sign of our editor Casey P. Chinn. He never told me

to edit our film. Apple was kind enough to donate the system for us to use.

what the "P" stands for, but my guess is "Previous Offender."

We cut the film in a corner of the SIFF offices. We did, however, have a few

M is for Modern Digital— The post-production house where we did our color

distractions. See "Interns."

correction and titles. We were even able to make Tim, our color timer, laugh at

Y is for You— As in, a huge Thank You to everyone who helped on the film,

our film. No easy task, that.

from interviewees to interns. Especially the interns...

N is for Naropa University— The experimental poetry/arts program in the

Z is for Zeppelin— That black thing we put on the mike to minimize wind

mountains of Colorado where our cameraman, Rod Hatfield, studied with the

noise when we were shooting our film. And to the radio stations: More

late great Stan Brakhage. See "Bubbles."

Zeppelin, less Journey.

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David Russo isanaward­ A graduate of Montana State winningfilmmakerand University film school, Clay artistbasedinSeattle. His Eide got his directing break mostrecentfilmartworks, with the Emmy-nominated Pan With Us (2003) and Afterschool Special, “Montana Populi (2002), prem ieredat Crossroads.” His first theSundanceFilmFestival, theatrical feature, Dead Dogs, garnerednumerous awards, premiered at the 1999 Seattle andappearedinfestivals International Film Festival and aroundtheworld, including won the prestigious American Clermont-Ferrand, Telluride, Independent Award. It also won SXSWandSanFrancisco. awards at Chicago Alt Film Populi hasbeeninstalledasa Festival, Telluride Indiefest permanentmediaartworkat and International Festival de SeahawksStadiuminSeattle.

Troia, Portugal. He is currently Davidisnowfocusedon preparing a feature project, writinganddirectingfeatures.

Cowboy Angst, based on the novel of the same name byjasen Hewasrecentlynamedoneof Emmons, and is working on two Film m aker magazine’s“25 NewFacesof Independent music documentaries: Chicks Film.”

With Picks, a look at all-female tribute bands, w& Saturday Night at the Cinema, about singer-songwriter Randy Weeks.

At age 15 Brian McDonald began working in film as an assistant camera operator at an animation studio in Seattle. He then spent time doing special effects animation for commercials, industrial films and feature films. He has worked on make-up effects crews for several films, and additionally he has contributed to several comic strips and books. A sought-after instructor and consultant, McDonald teaches story-construction classes and workshops such as Lucasfilm’s story seminar program.

Hisrecentlycompleted featurefilm,Inheritance, is amassinginterestfrommajor distributioncompanies.

Heather Renee Ayres isa Seattlewriteranddirector. Her shortdocumentary, Sharing The Sheets, waspartof911 MediaArtsCenter’s2002New Voicesprogram,screenedat the2003SeattleLesbian& GayFilmFestival andaired onKCTS. Hershortscript, 101 Days, wonthe2001DigiFest Southwestscriptcontestwith all expensespaidtoproduce thefilminNewM exico. It will airthissummeron“The AmericanAvantGarde,” a newSeattlefilmseries. She iscurrentlyworkingona documentaryfeature, ashort filmandtwofeaturescripts.

Lars Larson, Directorof

Notentirelyconvincedthat Photography, startedhiscareer filmmakingwasforher— despitefriends’ andfamily’s at thePBSaffiliateinDetroit, encouragement— Kathlyn M I asstudiooperatorand Albright hasalsodabbledin documentarycameraman. autoinsurance, lawandtheater AfterfouryearsinDetroit, management. Finallygetting heworkedat aproduction downtoitattheturnofthe companyinNYCasstudio century,Albrighthaswritten manager, cameraassistant anddirectedseveralshortfilm s, andcameraoperator. In includingMy Way Is Right, On 1985hebeganfreelancing The Watertower andBona Fide, inSeattle. Sincethenhe whichhavescreenedlocallyat hasbeenpartoflocal and Bum bershoot, Local Sightings national projects, winning awardsforcommercials, PSA’s, andIndependentExposure, and havealsotouredthecountry. documentaries, featurefilms andshortfilms. Thisishisfirst Herdocumentaryworkwas FlyFilmasfilmmaker, having seenaspartoflastsummer’s multi-mediashowBodyBODY: beenthecinematographerfor directorW ill Geiger’sFlyFilm AphroditeRaves. Albrightis currentlyworkingonasem iThe Green Plain in1997. autobiographical, experim ental narrative,Quiet an d Strong.

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Jordan Parhad started writingone-actplayswhile studyingComparativeHistory ofIdeasattheUniversity ofW ashington. Aloveof photographyandadesireto openuphiswritingledhim tofilmandvideoproduction.

Hehasworkedonmajor featurefilms, independents anddocumentaries. Hewrote, producedanddirectedthe shortHouses an d Rooms, whichplayedattheSeattle International FilmFestival in1999- Heiscurrentlyin preproductiononanother shortandafeaturelength documentaryonAssyrians, a Christianminoritylivingin northernIraq.

Ladan Yalzadeh isan artistwithm orethanten yearsofexperiencewriting anddirectingforthestage andscreen. Herworkhasbeen seenatcuttingedgevenuesin Seattle, includingOntheBoards andFreeholdStudio, andat locationsaroundtheworld. She isalsotheco-producerofFull Nelson, anannual international perform anceartexhibitinLos Angeles. In2002Ladanwas selectedfortheAm ericanFilm Institute’sprestigiousDirecting W orkshopforW om en,where shecom pletedherthirdshort film , The Florist. Shewasthe firstIranianAm ericanmember in17yearsoftheprogram .

Sheiscurrentlyworkingasa screenwriterandadirector.

Wes Kim isthewriter/

W riter/Director/ProducerAnn Coppel formedherown productioncompanyinSeattle in1985, andshe’sbeenworking forpublictelevisionandmaking filmseversince. In1994she co-directedandproducedthe award-winningSpeaking

directoroftheaward-winning shortfilmsProfiles in Science (SIFF2002) andVision Test.

He is a co-director of the film series Sneak Films, and director of the Northwest Asian American Film Festival. Wes lives with his wife and two sons in Seattle’s Wallingford neighborhood, which is apparently not interesting enough to be the subject of a Fly Film. Seattle: Fremont aka Monsruang is the 4th film by Wes Kim.

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For Ourselves: Portraits o f Gay and Lesbian Youth,

andin1996shedirectedthe independentfeatureCrocodile Tears (SIFF1997). M ore recently, shehasproducedand directeddocumentaryprofilesof NorthwestartisansfortheLiving Treasuresseries. H ermostrecent workisrijourney o f Spirit, a docum entaryprofilingsinger/ songwriterDebbieFriedm anand theimpactthatM s. Friedman’s contem poraryJewishmusical com positionshavehadonthe Am ericanJewishcom m unity.

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Thanks to the Seattle International Film Festival for 30 years of laughter, tears and cheers. Congratulations from the citizens of Seattle and the Mayor's Office of Film and Music.

www.seattle.gov/filmandmusic

S P A W N E D IN S E A T T L E

in SEATTLE In the late '80s, the Seattle music scene was all but cut off from the rest of the nation.

Musicians were working together to create their own sound, and this led to the grunge phenomenon of the '90s. Well, the same thing is happening right now in the film scene.

Filmmakers are creating work for the pure joy of it, without trying to play into national trends. This is an exciting time for local film, and we invite you to be a part of it.

Features Big City Dick 181 Buffalo Bill's DefunctStories from the New West 164 Busting Out 182 Dandelion 165 Evergreen 167 The Graffiti Artist 169 Hedda G ab leri 7 i Max Rules 207

SEATTLE

A Relative Thing 161 Up Thornton Creek 199

Mayor's Office of Film & Music City of Seattle

4

Shorts Foster Island 221

CULTURE

Greenlake: Mosca Amor 217

K IN S CO UN TY LQ O O IN S TAX

Pulcinello 219 WIWWXSHINGTON SIATE Sm a r t s c o m m is s io n

Seven's Eleven 216

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© 2004 Labatt USA, Norwalk, C T

GOLDEN SPACE NEEDLE AWARDS

GOLDEN SPACE NEEDLE AWARDS Since 1987, SIFF attendees have cast their votes for our prestigious Golden Space Needle awards in the categories of Best Film, Documen­ tary Feature, Director, Actor, Actress and Short Film. This year we are pleased to present the Stella Artois Golden Space Needle Award for Best Feature Film and the Stella Artois Golden Space Needle Award for Best Documentary. Among past winners of this audience award are films and talents that went on to win Academy Awards and Golden Globe Awards, as well as a large number of critical and theatrical hits first seen in the US at SIFF. Voting is easy: For Best Film or Documentary, simply take a ballot from our ushers as you enter the auditorium; once the film's presentation is over, tear your ballot by the appropriate grade listed (from 1 to 5), and give your completed ballot to an usher as you leave the auditorium. Ballots for each film will be tallied throughout the Festival. To vote for Best Director, Actor, Actress and Short Film, blank ballots are available next to the ballot boxes at each Festival venue; simply write in your choice for the winner in each of these categories and place your completed ballots in the box.

2003 G o ld e n Space N eedle A w ards: BEST FILM:

Whale Rider directed by Niki Caro (New Zealand/Germany) BEST DIRECTOR:

Niki Caro, Whale Rider (New Zealand/Germany) BEST ACTOR:

Seol Kyung-gu, Oasis (South Korea) BEST ACTRESS:

Moon So-ri, Oasis (South Korea) BEST DOCUMENTARY: (TIE)

A Great Wonder directed by Kim Shelton (USA)

The Revolution Will Not Be Televised directed by Kim Bartley and Donnacha O'Briain (Ireland/Venezuela) BEST SHORT FILM:

Misdemeanor, directed by Jonathan LeMonde (USA)

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T h e S p a c e N e e d l e s a lu t e s t h e S e a t t le In te r n a t io n a l F ilm F e s tiv a l.

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NON-JURIED AWARDS

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Non-Juried Awards Winners ModemDigital Award 2003 The Modern Digital Award showcases a new wave in film mastering from the Northwest's premier post production house.

CO N r o iD / W s ir A

Feature film award winner:

Milwaukee, Minnesota

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Wiselephant Awards 2003 New York based Wiselephant offered four short film awards in 2003, in the Narrative, Experimental, Animation and Documentary categories.

Award winners:

Narrative: T o u c h e d Experimental: E n t r y Animation: T h e E r lK in g Documentary: O c u la r is t

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N EW D I R E C T O R S S H O W C A S E One of the most important and eagerly anticipated SIFF showcases each year, the New Directors Showcase features a selection of international directors who are clearly em erging as major talents. SIFF programmers choose a dozen films from around the world to be spotlighted for special attention and competition. Each of the films must be a debut or second feature by the selected director, and each is chosen on the basis of its original conception, striking style and overall excellence. The jury for the New Directors Showcase, composed of film industry professionals and journalists, chooses the aw ard-w inning director on the final weekend of the Festival. The winner is announced at both the Filmmakers Aw ards Brunch on closing day of the Festival, and at the Closing Night Gala.

2003 New Directors Show case Aw ard: Black Ice (Gololed), directed by Mikhail Brashinsky (Russia)

This year's entries: 25 Degrees in Winter (Belgium), directed by Stéphane Vuillet 102 Bored in Brno (Czech Republic), directed by Vladimir Morávek 117 Captive (Argentina), directed by Gastón Biraben 100 The Coldest Day (China), directed by Xie Dong 112 Feathers in My Head (Belgium), directed by Thomas deThier 103 Jagged Harmonies (Germany), directed by Dominique de Rivaz 120 The Last Train (Russia), directed by Alexei A. German 149 Little Men (Kazakhstan), directed by Nariman Turebayev 165 Los Debutantes (Chile), directed by Andrés Waissbluth 140 The Weakness of the Bolshevik (Spain), directed by Manuel Martin Cuenca 157 Wild Side (France), directed by Sébastien Lifshitz 92 New Directors Showcase Jury

David Arisen, New sw eek (USA) David Ansen is film critic and senior editor for New sw eek, where he has been reviewing movies since 1977. He has written several documentaries for television, on Greta Garbo (for TNT), Groucho Marx (HBO), Elizabeth Taylor (PBS) and the Ace Award-winning "All About Bette" (Bette Davis) for TNT. He served on the selection committee of the New York Film Festival from 1990 to 1998. He is a member of the New York Film Critics Circle, the National Society of Film Critics and the Los Angeles Film Critics Association. He is a three-time winner of the Page One Award from the Newspaper Guild of New York.

Peggy Chiao, Producer, ArcLight Films (Taiwan) Peggy Chiao is a leading force in the promotion of new Taiwanese cinema. A former film critic, she started the China Express Film Awards in 1989 and later established the Taiwan Film Center to build international contacts for Taiwanese films. In 1997 she founded Arc Light Films to produce films, documentaries and TV dramas, including Tsai Ming-liang's award-winning The Hole (1998), and Hom esick Eyes (1997). She is now working on a new project, Tales of Three Cities, a package of six films by directors from Beijing, Taipei and Hong Kong, which will provide a new look at the changing China. Two films in the series, Beijing Bicycle and Beteinut Beauty, won top awards at the 2001 Berlin International Film Festival.

Ido Abram, Rotterdam Film Festival (the Netherlands) Born in 1969, Ido Abram studied film and television science. He started working in the film industry as Head of Marketing and Communications of the Netherlands Film Festival. He also worked as assistant to the directors for Cinemien Film & Video Distribution. Since 1998, he has been working for the Rotterdam International Film Festival as CineMart director and head of Public Relations. The Rotterdam Film Festival has an international reputation for its innovative programming and is well known as an inspiring meeting place for filmmakers, producers, distributors and film fans. The CineMart brings together filmmakers, producers, financiers, television networks, sales agents and distributors from around the world, to introduce them to each other and to new film ideas.

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NEW A M E R I C A N C I N E M A

No longer content to merely experiment and dabble with non-linear storytelling, fantastical and surrealist narration, multi-shooting formats, mixed media, CGI and good old-fashioned smash-cuts, slow-focuses and steady-cams, today's modern filmmakers are seamlessly incorporating and employing these and other techniques with confident assuredness as they dismiss traditional cinematic conventions and thunder on screen with a fistful of lightning bolts. The 2004 class of the SIFF New American Cinema Awards is among the best of this generation.

From an extraordinary selection of films that have yet to receive American distribution, jurors will select the film which they feel best represents both filmmaking excellence and creative, original vision. The winner will be announced at the Filmmakers Awards Brunch and at the Closing Night Gala.

2003 N ew A m erican Cinem a A w ard: Milwaukee, Minnesota, directed by Allan Mindel (USA)

This year's entries:

NEW AMERICAN CINEMA

Bereft, directed by Tim Daly and Clark Mathis 163 Cavedweller, directed by Lisa Cholodenko 165 Death & Texas, directed by Kevin DiNovis 166 The Graffiti Artist, directed by James Bolton 169 Hedda Gabler, directed by Paul Willis 171 Incident At Loch Ness, directed by Zak Penn 171 Mix, directed by Steven Lovy 127 Noise, directed by Tony Spiridakis 172 Quality of Life, directed by Benjamin Morgan 174 A Relative Thing, directed by Garrett Bennett 161 Straight-Jacket, directed by Richard Day 175

New American Cinema Jury

Simón de Santiago, Sales Agent, Sogepaq (Spain) Born in 1971 in Burgos, Spain, Simón de Santiago studied film at l'École Supérieure d'Études Cinématographiques in Paris After working for some time at Noè Productions he returned to Spain. In 1997, he joined the Acquisitions team of Canal+ Spain. He also relaunched an in-house script development program and worked with various training programs. In 2002, he became Deputy Director of Distribution for Sogepaq/Sogecable. He is in charge of selling and promoting worldwide top Spanish titles such as Julio Medem's Sex and Lucia, Fernando León de Aranoa's Mondays in the Sun, and the upcoming Alejandro Amenábar project Out to Sea.

Anne Thompson, Premiere (USA) Film writer Anne Thompson is a regular contributor to New York Magazine, The New York Times, The Washington Post Premiere, Filmmaker and The London Observer. From 1996 to 2002, she was Premiere s West Coast Editor.

Before joining Premiere, Thompson was a senior writer at Entertainment Weekly, West Coast Editor at Film Comment, and a weekly columnist for L.A. Weekly and the Los Angeles Times Syndicate. Thompson served on the juries of the 2002 Toronto, Sundance and CineVegas Film Festivals, and the 2001 and 2002 AFI Awards. She regularly discusses the film business on industry panels, and has appeared on numerous television programs.

David Rooney, Variety (USA) David Rooney began contributing to Variety in 1991, becoming their chief Italian correspondent and film reviewer in 1994 He relocated to New York in 2003. Born in Australia, he lived in Sydney and L o n d o n a n d traveled extensively in the US before moving to Rome in 1989. He entered the film industry by m anagingart house cinemas in Sydney and London, where he was a contributor to Time Out magazine. While in Rome, he appeared frequently on film-related programs on Italian Canal+ affiliate Telepiù and was one o e os s o p o S ™ T o 3 show "Hollywood Party." For the past ten years, he has covered mternatronal him testerais for Variety, Including Cannes, Venice, Sundance, Rotterdam, Locarno and San Sebastián.

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T U e V o ic e o*P lv\<Aepev\<Aev\f R im Watch for the Summer issue in late June featuring John Sayles • Chris Smith • John D uigan • Jim M cKay • Spike Lee Brad Anderson • Bruce La Bruce • Stephen Fry • Stacy Peralta and more!

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DOCUMENTARY COMPETITION The old adage that truth is stranger than fiction is a major understatement given the remarkable first-person accounts on view in this juried competition for documentaries at SIFF. The thirteen films in the competition, drawn from the thirty-four non-fiction features this year, provide abundant proof that documentaries are enjoying a true "Golden Age." Many talented filmmakers have devoted their energies to the field, producing an astonishing selection of films with an incredibly diverse range of topics. These films' subject matter spans the entire spectrum of human endeavor—from rampant consumerism to selfless idealism; from mass movement to personal struggle; from artistic expression to political activism. No Hollywood screenwriter could possibly compete with the engrossing human drama, or the sublime human comedy, captured on camera by the artists represented here. Each film in the showcase is a superb example of the documentarian's work. The ways in which each of their stories unfolds are as unique as the different worlds they illustrate.

2003 Documentary Award: (TIE) The Revolution Will Not Be Televised, directed by Kim Bartley and Donnacha O'Briain (IrelandA/enezuela) The Weather Underground, directed by Sam Green and Bill Siegel (USA)

DOCUMENTARY COMPETITION The following films are vying for the Festival's documentary competition: The Basque Ball: Skin Against the Stone (Spain), directed by Julio Medem 180 Checkpoint (Israel), directed by Yoav Shamir 183 The Game of Their Lives (South Korea/Great Britain), directed by Daniel Gordon 188 Go Further (Canada), directed by Ron Mann 188 Guerrilla: The Taking of Patty Hearst (USA), directed by Robert Stone 189 Imelda (USA), directed by Ramona S. Diaz 191 In the Realms of the Unreal (USA), directed by Jessica Yu 191 Los Angeles Plays Itself (USA), directed by ThomAndersen 192 Monster Road (USA), directed by Brett Ingram 193 Nobody Knows How to Talk to Children (USA), directed by George Roca 193 Paternal Instinct (USA), directed by Murray Nossel 196 Searching for the Wrong-Eyed Jesus (Great Britain), directed by Andrew Douglas 197 Trollywood (Great Britain/USA), directed by Madeleine Farley 199 Documentary Jury

Kelly M. DeVine, IFC Films (New York) Kelly M. DeVine acquires shorts and independent features for the Independent Film Channel, bringing the best of independent film to TV viewers. With the channel for almost six years, she has worked in acquisitions for nearly five and had worked previously with the film production division. She has also brought talent and films to the production and theatrical divisions of IFC Companies, notably Lost in La Mancha by Louis Pepe and Keith Fulton, the critically acclaimed documentary focusing on the "unmaking" of Terry Gilliam's dream-turned-nightmare project to bring his telling of Don Quixote to the screen. She holds a bachelor of Liberal Arts degree and a master's in Sociology.

Bonnie Benjamin-Phariss, Vulcan Productions (Seattle) Bonnie Benjamin-Phariss came to Vulcan Productions in 2000 and oversees its documentary projects. Recent projects include Martin Scorsese's The Blues, which premiered on PBS in the fall of 2003, and Evolution, which premiered on PBS in September 2001. Benjamin-Phariss was previously manager of program business administration and instruction at the Disney Institute, an organization she helped develop and open. Before her seven years with Disney, Benjamin-Phariss worked on productions in San Francisco and New York. She served as director of research and development for public affairs programming for WNET in New York, working on productions including"Mandela: Free at Last" and "Intifada: The Palestinians and Israel.

delma McGinn, Freelance Producer (Seattle) delma McGinn, a native of Dublin, Ireland, is an award-winning documentary producer and tenacious development msultant for independent film and video projects. She served as the Executive Director for 911 Media Arts Center >n ^attle from 1998 to 2003, and as a panelist for grantmakers such as the National Endowment for the Arts The Rocke Dundation, Artists Trust and the Cultural Development Authority of King County. In 1998 she formed the Irish Reels Film estival in Seattle, showcasing the best in contemporary Irish cinema. Her conservationist ideals led her to become a founding lember of the Hazel Wolf Environmental Film Festival in eastern Washington.

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SHORT FILM COMPETITION

HORT FILM OMPETITION

In recognition of the outstanding quality of work that we have seen in the short form over the last years, SIFF is proud to hold its inaugural juried short film competition. Spread over seven themed pro­ grams, plus a handful of titles paired with features, fiction will face off with factoid and live action with animation, in a blaze of rapid-fire celluloid glory.

Short Film Jury

Mary Metastasio, Cinema Seattle Board President (Seattle) Mary Metastasio is a Vice President of Safeco Asset Management Company. Her professional activities include past service as the Chairman of the National Federation of Municipal Analysts, and on the Governmental Accounting Standards Advisory Commission. Ms. Metastasio is president of the board of directors of Cinema Seattle, serves on the board of the Seattle Public Theater, is as an overseer of Whitman College and is on Whitman's investment committee. Ms. Metastasio earned a B.A. in Dramatic Art at Whitman College and an M.B.A. in Finance and Accounting at the University of Washington.

Gian-Carlo Scandiuzzi, Producer (Seattle) Gian-Carlo Scandiuzzi created Agate Films in 1986, a powerhouse company for developing and producing numerous films for over 12 years. Most recently, Scandiuzzi and his longtime friend, Scilla Andreen-Hernandez, formed Clear Pictures, LLC in order to acquire and develop properties for the production of feature films. Two films that have been produced with Clear Pictures include The Flats, a deeply compelling Generation Y story about the struggles we each face as we make the transition to adulthood, and Outpatient, a stylish neo-noir thriller of duplicity, dance and the descent into madness. Equally versed in acting, Scandiuzzi has performed in films such as Bugsy, The Public Eye, Indecency Another You, Goodbye Casanova and Killing Zoe.

Peter Mitchell, 911 Media Arts Center (Seattle) Peter Mitchell is a media arts administrator and Internet consultant in Seattle. He is a curator at 911 Media Arts Center and is responsible for the organization's web presence and community building initiatives. During his tenure at 911, his role in strategic planning and development helped the arts center grow from a small collective to a nationally recognized leader in the media arts. He has served on several arts foundation panels.

Most recently, he was invited to speak at the MediACT Access Center in Seoul, Korea, as part of an international seminar on media arts. He has worked as an educator in the Seattle area and is the creator of Seattle s longest running Web publishing workshop series.

M inute Masterpieces A special screening of The Seattle Times' annual ThreeMinute Masterpiece digital film contest. The winners are all amateur filmmakers armed with little more than cre­ ativity and a videocamera. New this year is the J. Michael Award for filmmakers under 14.

Admission is Free FRIDAY JUNE 11 2:30PM BROADWAY PERFORMANCE HALL

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COLUMBIA

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ASIAN TRADEWINDS SPOTLIGHT

This year SIFF is spotlighting a baker's dozen of works from Pacific Rim countries. Ranging from established masters such as Japan's Takeshi Kitano (The Blind Swordsman: Zatoichi) and Taiwan's Tsai Ming-liang (Goodbye Dragon Inn) to those who have long toiled in the netherworld of independent cinema, such as the Chinese maverick W ang Xiaoshuai (Drifters) and Hong Kong's William Kwok (Darkness Bride), these films may be un­ likely to trouble the upper echelons of the Variety charts, but will leave an indelible impression on the discerning ticket buyers who have the foresight to seek them out. Special mention must be made of the Korean contin­ gent: following last year's highly successful "Cloud Kingdom" focus, we are again presenting an astonishing array of films from this hot-bed of film production, from Bong Joon-ho's masterful and stylish Memories of Murder, a multi-award winning policier, to E J-yong's classically restrained Untold Scandal, a Korean re-working of the famed, oft-filmed French novel Les Liaisons Dangereuses. And do not fail to check out the program of short animated films from the Korean Academy of Film Arts (see page 219) to see what the directing stars of tomorrow are working on today.

This year's films: Baytong (Thailand) directed by Nonzee Nimibutr 160 The Blind Sw ordsm an: Zatoichi (Japan) directed by Takeshi Kitano 136 Bright Future (Japan) directed by Kiyoshi Kurosawa 137 The Coldest Day (China) directed by Xie Dong 112 Darkness Bride (Hong Kong) directed by William Kwok 124 D oppelgänger (Japan) directed by Kiyoshi Kurosawa 137 Drifters (China) directed by Wang Xiaoshuai 113 Ghost In the Shell 2: Innocence (Japan) directed by Mamouru Oshii 138 Goodbye D ragon Inn (Taiwan) directed by Tsai Ming-liang 160 Memories of Murder (South Korea) directed by Bong Joon-ho 153 Ramblers (Japan) directed by Nobuhiro Yamashita 139 The Tw iligh t Sam urai (Japan) directed by Yoji Yamada 140 Untold Scandal (South Korea) directed by E J-yong 155

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2004 EMERGING MASTERS Annette K. Olesen Annette K. Olesen established her reputation as one of the top female directors working today by drawing out gripping, real and understated performances from the cast of her very first feature. With a story influenced by her actors' improvisations, a la the films of Mike Leigh, M inor Mishaps was a hit on the international theatrical circuit and received the "Blue Angel Aw ard" for best European film at the 2002 Berlin Film Festival. Her most recent film, In Your Hands (Dogme #34, for those who are counting), was in competition at the Berlin Film Festival in February 2004.

Cedric Kahn________________________________ A deft, original talent with a penchant for labyrinthine plot twists and surreal detail in his movies, Cedric Kahn has managed, in the course of making just three striking films, to establish himself as a uniquely gifted writer/director.

Creating a small sensation with his debut feature, the erotically charged L'Ennui, Kahn followed that triumph with an altogether dissimilar, but equally masterful true-crime drama, Roberto Succo. His films never pander to or underestimate the intelligence of his audience, and with his latest film, the sleek and sinuous twister Red Lights, Kahn firmly establishes himself as one of the brightest new lights on the international stage. It marks him as one of the few directors whose films will henceforth be highly anticipated long before they are released.

Ferzan Ozpetek____________________________ Ferzan Ozpetek was born in Istanbul and moved to Rome in 1978 to study at La Sapienza University. His background encompasses time with the Living Theater and serving as an assistant director to Maurizio Ponzi. Ozpetek's unique observations of the clash of cultures East and West informed his feature directorial debut, Steam: The Turkish Bath, which was presented to great acclaim at the critics' week section of the 1997 Cannes Film Festival.

He followed that with Harem Square, also presented at Cannes, and Ignorant Fairies. His latest feature film is the beautifully directed Facing Window.

Pen-ek Rat.ana.nia.ng________________________ One of the shooting stars of Asian cinema, Pen-ek Ratanaruang made his mark at the 2002 Seattle International Film Festival when his film Mon-rak Transistor won the Asian Tradewinds competition. His distinctive narrative style and dark humor make him one of the freshest voices in cinema. In addition to his latest film, Last Life in the Universe (shot by our Cinematography Master Class guest, the great Christopher Doyle), we are delighted to show the second of his four features to date, 6ixtynin9, a wacky and stylish black comedy that saw him dubbed Thailand's Tarantino.

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EMERGING MASTERS

Each year the Seattle International Film Festival selects four directors from around the globe who have, within the span of a decade or so, established themselves as potential cinematic masters. This series celebrates out­ standing talents and visionaries whose films evince an original voice and possess a grasp of the craft that sets them apart from the preponderance of other modern day filmmakers. Make no mistake: these are artists of the highest order who will break into the mainstream of American film-goers' consciousness in the near future— if not tomorrow. Past honorées have included Tom Tykwer (Run Lola Run), Miike Takashi (Audition), Michael Winterbottom ( Welcome to Sarajevo), Françoise Ozon (8 Women), Thom Fitzgerald (The Event), Hong Sang-soo

(The Turning Gate), and Cédric Klapisch (L‘Auberge Espagnole).

EMERGING MASTERS Annette K. Olesen

(Denmark)

In Y o u r H a n d s (2004) 74 M in o r M is h a p s (2002) 74

Cédric Kahn (France) R e d L ig h t s (2004) 75 R o b e r t o S u c c o (2001) 75

Ferzan Ozpetek (Italy) F a c in g W in d o w (2003) 76 S t e a m : T h e T u r k is h B a t h (1997) 76

Pen-ek Ratanaruang (Thailand) 6 ix t y n in 9 (2003) 77 L a s t L if e in t h e U n iv e r s e (2000) 77

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In Your Hands

CINEMA

Minor Mishaps

FORBRYDELSER

SMÀ ULYKKER

THURSDAY MAY 27 7115PM PACIFIC PLACE

SATURDAY MAY 29 2PM PACIFIC PLACE

CINEMA

FRIDAY MAY 28 5PM PACIFIC PLACE

Denmark TWo years after her tragicomic family drama Minor 2004 Mishaps, Annette K. Olesen returns with a first-rate Director: Annette K. Olesen Producer: lb Tardini Screenwriters: Kim Fupz Aakeson Annette K. Olesen Cinem atographer: Boje Lomholdt Film Editor: Molly Malene Stensgaard Music: Jeppe Kaas Cast: Ann Eleonora Trine Dyrholm Nicolaj Kopernlkus Sonja Richter Jens Albinus Running Time: 100 minutes Presentation Format: 35mm, in Danish with English subtitles International Sales: Trust Film Sales Print Source: Danish Film Institute Selected Filmography: Minor Mishaps (2002)

ensemble cast and a deeply engrossing Dogme film about life’s big questions. Anna is a theologian com­ ing to terms with the fact that she and her husband, Frank, never had children. She gets a new job as a chaplain in the women’s block of a local prison, where she becomes fascinated by another recent arriv­ al, Kate, imprisoned and seemingly without remorse for the murder of her own baby. Kate is rumored to have magical healing powers, which seem to be confirmed when she cures one of the young inmates of her drug addiction. She also reveals that Anna is pregnant, but Anna’s joy is short-lived when Kate tells her that the fetus has a chromosome abnormality and may be bom deformed. Anna is tom: Should she have faith in God and accept the baby however it is bom? Or should she look to Anna’s healing hands?

As a Christian, shouldn’t she feel closer to God than to a murderess? In the words of co-writer Kim Fupz Aakeson, In Your Hands is deliberately intended as a “feel-BAD movie,” but the downbeat subject matter is leavened by a number of side stories about the pris­ on’s other denizens. Deftly infused with moments of typically low-key Danish humor, this movie confirms Olesen as a director on the verge of a major break­ through.

Sc o p e s

While at the dinner table with his wife and youngest Denmark daughter, John (Jprgen Kill) clutches his chest and 2002 keels face-first into his plate; when the extended ruse Director: fails to get a rise from either of his auditors, he sits up Annette K. Olesen and disappointedly observes that no one has a sense Producer: of humor anymore. But what else is the universe dis­ lb Tardini playing, when a troop of pallbearers, informed that Screenw riter: Kim Fupz Aakeson the hearse is running late, must solemnly backpedal Cinem atographer: through the church, only to be told seconds later that Morten Soborg the vehicle has arrived and the coffin can come out Film Editor: now? Moments of such bittersweet incongruity are Nlkolaj Monberg sprinkled throughoutMraor Mishaps] they are teasing Music: Jeppe Kaas reminders that we are far less in control of our lives Cast: than we’d like to believe, since tragedy and laughter Jorgen Kill share the characteristic of bubbling up when least Henrik Prip expected. One such tragedy sets the film in motion: Jesper Christensen Jannie Fauerschou the brutally offhand death of John’s wife. While John Tina Gylling Mortenson sinks into a dazed and absent-minded grief, his chil­ Karen Lise Mynster dren gather about his Copenhagen home. The superb Maria Wurgler Rich cast, which clashes and bonds with all the history and Running Time: weight of a lifetime shared, is expertly shepherded 105 minutes Presentation Format: through the tragicomic events by director Annette K. 35mm, in Danish with Olesen. Insightful about the cruel emotional preda­ English subtitles tions family members can make upon one another, Print Source: Minor Mishaps is also lovingly, forgivingly aware that Danish Film Institute Selected Film ography: such actions stem less from selfish petulance than In Your Hands (2004) from a desire to shield oneself from the unforeseen.

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Roberto Succo

Red Lights FEUX ROUGES

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France 2004 Director: Cedric Kahn Producer: Patrick Godeau Screenw riters: Cedric Kahn Laurence Ferreira-Barbosa, from the novel by Georges Simenon Cinem atographer: Patrick Blossier Film Editor: Yann Dedet Cast: Jean-Pierre Darroussin Carole Bouquet Vincent Deniard Charlene Paul Running Tim e: 106 minutes Presentation Format: 35mm, in French with English subtitles International Sales: Celluloid Dreams Print Source: Wellspring Selected Film ography: Roberto Succo (2001)

Taking its cue from such masters of the genre as Hitchcock and Chabrol, Cedric Kahn’s sinuously plot­ ted, darkly comic thriller follows a Parisian couple’s road trip south, one in which the late-summer heat, reports of an escaped con, and the husband’s unfor­ tunate predilection for booze fuel a rapidly escalating journey into the dark recesses of the mind. It all starts in Paris, where insurance salesman Antoine Dunan (Jean-Pierre Darroussin) is preparing for a trip with his corporate lawyer wife Hélène (Carole Bouquet) to pick up their two kids from summer camp near Bor­ deaux. Hélène is late arriving home from work and Antoine starts hitting the bottle, while the television reports that two m illion people will be traveling by road on this holiday weekend. More unsettling are the reports about a dangerous criminal who has escaped from Le Mans prison. The trip starts off in high spir­ its, but soon the pair begins bickering. As the traffic on the highway gets heavier, Antoine takes a detour, which only irritates Hélène more— particularly when he insists on stopping for a drink. Once back on the road, the sniping escalates, and when Antoine stops at yet another tavern, Hélène warns him that she will not be there when he gets back to the car, setting the stage for a twisted and sinister road trip in which nothing is quite as it seems.

In 1986 Roberto Succo escaped from an Italian men­ France tal institution— where he had been incarcerated for 2001 the brutal murder of his parents— and went into Director: hiding in France. Traveling between the Mediterra­ Cedric Kahn nean and the mountains of Savoy, Succo left a trail Producers: of inexplicable murders, rapes and abductions that Gilles Sandoz Patrick Sobelman police investigators struggled to connect, eventually Ruth Waldberger declaring him France’s public enemy number one. Screenwriter: A movie very different from his earlier film L’Ennui, Cedric Kahn, his psychological study of sexual obsession, Cédric from the novel by Kahn’s Roberto Succo is a gripping dramatization Pascale Froment Cinematographer: of true events that gives terrifying insight into the Pascal Marti disturbed mind of a serial killer, and also follows the Film Editor: desperate attempts by the police to hunt him down. Yann Dedet This smartly crafted, true-crime drama refuses the Music: Julien Civange normal structure of the police procedural or forensic Cast: shocker: there is no attempt to make the detective a Stefano Cassetti dominant hero, no accumulation of clues and no cat- Isild Le Besco and-mouse mind games. Based on Pascale Froment’s Patrick Dell'lsola original documentary study, the movie limits itself to Vincent Deneriaz Aymeric Chauffert only what can be retrieved from eyewitness evidence. Viviana Aliberti As the psychopathic Succo, newcomer Stefano Cas- Estelle Perron setti gives a riveting, extraordinarily intense perfor­ Running Time: mance as a mini-megalomaniac ferociously ruling 124 minutes Presentation Format: over his own mental landscape. He is the revolting 35mm, in French with and unglamorous villain in one of the most compel­ English subtitles Print Source: ling French films of 2001.

Films Distribution Selected Film ography:

L'Ennui (1998) Too Much Happiness (1995) Railway Bar (1991)

Red Lights (2004) L'Ennui (1998) Too Much Happiness (1995) Railway Bar (1991)

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EMERGING MASTERS

Facing Window

Steam: The Tlirkish Bath

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FRIDAY JUNE 4 7 :15 PM PACIFIC PLACE

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Italy/Great Britain/ Turkey/Portugal ^ Director: Ferzan Ozpetek Producers: Tilde Corsi ScreenwritersGianni Romoli Ferzan Ozpetek Cinem atographer: G ianfiIippo^Corticel Ii

The story begins on the street when a confused old man who calls himself Simone approaches Giovanna, a frustrated young mother who aspires to open a pastry sh°P> and her husband Filippo (Filippo Nigro). Spotting a number tattooed on Simone’s arm, the young couple realizes he must be a concentration camp survivor. While her husband focuses on the mysterious el^erh gentleman, who turns out to have sublime skill 38 a baker, Giovanna finds herself growing obsessed with the attractive neighbor she sees through her win(jow every night. Eventually the disparate strands of ^ begin to overlap and the suppressed events of

the past start to emerge and overwhelm the present. As the miracle of chance intervenes to create completely Andrea Guerra new relationships in the lives of the central trio, the Cast: elusiveness of the film provides both its attraction Giovanna Mezzogiorno , • . . ... . _ , Massimo Girotti a n a lts Power- With the carefully constructed Facing Raoul Bova Window, Ferzan Ozpetek broadens his focus beyond Filippo Nigro gay-themed films, weaving together ordinary lives, ecRunning Time: centric relationships and mysterious love affairs into Patrizio Marone Music:

Presentation Fo rm at

m unsett^ n 8 anc*beautifully directed film . The movie

35mm, in Italian with

features rising star Giovanna Mezzogiorno (The Last Mss, SIFF 2002) along with the final role of the late Massimo Girotti (star of Luchino Visconti’s Ossessione and Senso).

English subtitles International Sales: Celluloid Dreams Print Source: Sony Pictures Classics Selected Filmography: Ignorant Fairies (2001) Harem Square (1999) Steam: The Turkish Bath (1997)

Awards: Karlovy VarV 2003 1Best Director) David Di Donatello Awards 2003 (Best Film- Actor' Actress<Music) Italian Golden Globes 2003 (Best Film, Actor, Actress)

Steam: The Turkish Bath is a dreamy and amazingly sensual film about culture, nostalgia and finding one­ self. The film stars Francesco (Alessandro Gassman, son of director Vittorio) as a stoic, urbane Italian de­ signer who travels to Istanbul with the intention of selling the property he inherited from his late aunt.

At first every bit the stereotypically aloof foreigner (his cell phone keeps ringing at inopportune mo­ ments), Francesco rethinks his course of action when he learns he has in fact inherited a bathhouse— tra­ ditionally a sanctuary where men indulge “certain caprices.” He also starts to respond to the lavish hos­ pitality of his hosts (former employees of his aunt), not to mention the family’s attractive son (Mehmet Gunsur). Francesco’s experiences parallel his aunt’s, and his transformation is so conclusive that by the time his wife Marta (Francesca D’Aloja) shows up to serve divorce papers, she cannot help but be curiously drawn to the new Francesco. Writer-director Ferzan Ozpetek sends Francesco ambling through the wind­ ing alleys of Istanbul into the dark chambers of the bath, revealing an exotic world of decay. Though the film was made in three languages, the actors say more with their eyes than their Hollywood counterparts can with pages of dialogue. As Francesco, Gassman offers a solid portrayal of a man finding happiness, while D’Aloja is equally good as Francesco’s seemingly frigid wife. Steam: The Turkish Bath is a beautiful postcard from a land that may not exist, but certainly should.

Italy/Turkey/ Spain 1997

Director: Ferzan Ozpetek Producers: Marci Risi Maurizio Tedesco Screenw riters: Ferzan Ozpetek Stefano Tummolini Aldo Sambrell Cinem atographer: Pasquale Mari Film Editor: Mauro Bonanni Music: Aldo De Scalzi Pivio Cast: Alessandro Gassman Francesca d'Aloja Mehmet Gunsur Carlo Cecchi Halil Ergun Serif Sezer Running Tim e: 94 minutes Presentation Format: 35mm, in Italian and Turkish with English subtitles Print Source: Strand Releasing Selected Film ography: Facing Window (2003) Ignorant Fairies (2001) Harem Square (1999)

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EMERGING MASTERS

6ixtynin9

Last Life in the Universe

RUANG TALOK 69

RUANG RAK NOI NID MAHASAN

SATURDAY JUNE 12 2PM PACIFIC PLACE

FRIDAY JUNE 11 7 :15 PM PACIFIC PLACE SATURDAY JUNE 12 4 :15 PM PACIFIC PLACE

Thailand

2000 Director: Pen-ek Ratanaruang Producer: Pen-ek Ratanaruang Screenw riter: Pen-ek Ratanaruang Cinem atographer: Chankit Chamnivikaipong Film Editor: Patamanadda Yukol Music: Wild at Heart Cast: Lalita Panyopas Tasanawalai Ongartittichai Black Phomtong Sritao Arun Wannardbodeewong Sirisin Siripornsmathikul Likit Thongnak Running Tim e: 114 minutes Presentation Format: 35mm, in Thai with English subtitles International Sales: Fortissimo Film Sales Print Source: Fortissimo Film Sales Selected Film ography: Last Life in the

One day at the bank where she works, TUm (Lalita Panyopas) gets the short end of the stick when her cowardly bosses make the staff, mostly women, draw straws to see who will be laid off. A shy, droopy type from the get-go, TUm sinks deeper into depression after she loses her job, and is only mildly curious when a pizza box is dropped at her apartment door.

When she discovers that the box is full of cash, this Thai mouse decides to run away and live like a fat cat. Problem is, two extremely nasty thugs bully their way into her apartment to reclaim the stash. Purely by accident, our hapless heroine manages to off the bad guys, eventually packing the corpses into huge wicker chests. A truly demented chain of events tangles Turn up in more deaths, more corpses, and less and less room in her little apartment to hide all the carnage.

Solemn-faced and practical, she does her best— even when a cop shows up, a jealous neighbor accuses her of sleeping with her boyfriend, and the gangster from whom she’s buying her fake passport turns out to be the owner of her windfall. Absurd, macabre and black­ ly funny, the wholly engrossing 6ixtynin9 mixes the weird comedic flavor of Hitchcock’s The Trouble With Harry with a more winsome version of the Coens’ BloodSimple. This smart Thai hit also has something rather pointed to say about the double whammy of economic woes and crowded urban living.

A stranger in a strange land, Kenji (Tadanobu Asano, Thailand/Japan TheBlindSwordsman: Zatoichi) is a Japanese librar­ 2003 ian in Thailand who is obsessed with cleanliness and Director: constantly trying to kill himself, but he can never seem Pen-ek Ratanaruang to complete the act. The phone rings, someone knocks Producers: at the door— every time he’s about to do himself in, Nonzee Nimibutr something comes along to stop him. He speaks very Duongkamol Limcharoen little Thai and his gangster brother (Yutaka Matsu- Wouter Barendrecht Screenwriters: shige) is his only companion. Once the beautiful but Prabda Yoon messy Noi (Sinitta Boonyasak) enters his life, howev­ Pen-ek Ratanaruang er, nothing will be the same again. Noi and sister Nid Cinematographer: (Laila Boonyasak) work as hostesses in the club Ken- Christopher Doyle Film Editor: ji’s brother likes to frequent. Alas, she and Kenji meet Pattamanadda Yukol under the most unpleasant of circumstances when Music: both of their siblings are killed. Loss is the only thing Small Room they share. Fortunately, both speak enough English to Hualampong Riddim bridge a few gaps. And Noi gives Kenji a place to stay Cast: Tadanobu Asano when things get complicated at his previously spot­ Takashi Miike less apartment (two dead bodies can do that). Director Sinitta Boonyasak Pen-ek Ratanaruang was the recipient of SIFF’s 2002 Laila Boonyasak Asian Tradewinds Award for Mon-rak Transistor. He Running Time: 108 minutes is in top form with Last Life in the Universe, a sly, Presentation Format: impressionistic romance. The evocative camera work 35mm, in Thai and is by Wong Kar-Wai’s favorite cinematographer Chris­ Japanese with topher Doyle {In theMoodfor Love). Look sharp for a English subtitles International Sales: cameo by SIFF 2002 Emerging Master Takashi Miike Fortissimo Film Sales as a hit man.

Print Source: Awards: 2004 Official Oscar Submission (Foreign Language Film)

Universe (2003) Mon-Rak Transistor (2001) Fun Bar Karaoke (1997)

Palm Pictures Film Website: www.lastlifeintheuniverse.com Selected Filmography: Mon-Rak Transistor (2001)

Venice: Upstream 2003 (Best Actor)

6ixtynin9 (1999) Fun Bar Karaoke (1997)

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CANT GET ENOUGH OF FRENCH-LANGUAGE FILMS?

TV5 MAY BE WHAT YOU’RE M ISSING. Showcasing more than 230 films a year, TV5 is the #1 distributor of French-language films in the U.S. and the only international network where moviegoers will find the most variety of subtitled recent releases and classic productions: from action to drama, adventure to comedy...TV5 has it all! And as always, TV5 is commercial-free.

TV5 is available on cable and satellite, for more information please call 1 800 737 0455 or email us at toutsavoirf9eu.tv5.org.

Photography credits: Ruy Bias © Richard Melloni; l’inconnu © Studio Canal; Fantôme avec chauffeur © Gaumont; Les Couloirs du Temps © Gaumont

CO N N EC T IN FRENCI

ATMOSPHÈRE: ALL THINGS FRENCH Every year a large number of excellent new films are made and produced in France, where creative financing structures and an audience hugely supportive of alternative cinema provide an atmosphere in which more eccentric filmmaking talents emerge and thrive. French filmmakers come from a diversity of backgrounds and are rarely afraid to tackle daring and provocative subjects and styles. Since 1976, the Seattle International Film Festival has presented over 343 films from France. This year is no exception, with 30 French films and eight French co-productions in the festival, crossing all boundaries and genres, from a 70mm archival presentation of Jacques Tati's Playtime, to the edgier side of midnight with Haute Tension, to our tribute to Patrice Leconte, director of our Closing Night film, Intimate Strangers.

ATMOSPHÈRE: ALL THINGS FRENCH

Anatomy of Hell (2004) so Capone (2003) so Eager Bodies (2003) si Fear and Trembling (2003) 82 The Girl on the Bridge (1999) 94 Hanging Offense (2003) 82 Haute Tension (2003) 210 Intimate Strangers (2003) 27 It's Easier for a Camel... (2003) si La Petite Lili (2003) 83 La Vie Promise (2002) 83 Love Me If You Dare (2003) 84 The Man on the Train (2003) 94 M o i, C é s a r (2003) 84

République française

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Monsieur N (2003) 86 Nathalie... (2003) 86 Playtime (1967) 201 Raja (2003) 87 Red Lights (2003) 75 Ridicule (1999) 95 Roberto Sueco (2003) 75 Ruby & Quentin (2003) 87 Sex Is Comedy (2002) 88 Since Otar Left (2003) 88 The Story of Marie and Julien (2003) 89 Strayed (2003) 89 Triple Agent (2004) 91 Who Killed Bambi? (2003)91 The Widow of Saint-Pierre (2000) 95 Wild Side (2004) 92

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ATMOSPHÈRE: ALL THINGS FRENCH

Anatomy of Hell

CINEMA

Capone

ANATOMIE DE L'ENFER

WEDNESDAY MAY 26 9 :15 PM EGYPTIAN

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SUNDAY MAY 30 4 :15 PM HARVARD EXIT

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France 2004 Director: Catherine Breillat Producer: Jean-François Lepetit Screenwriter: Catherine Breillat, from her novel Cinem atographers: Yorgos Arvanitis Guillaume Schiffman Film Editor: Pascale Chavance Music: D'julz Cast: Amira Casar Rocco Siffredi Alexandre Belin Manuel Taglang Running Time: 77 minutes Presentation Format: 35mm, in French with English subtitles International Sales: Flach Pyramide International Print Source: Vitagraph Film Website: www.anatomiedelenfer.com Selected Filmography:

The director of Fat Girl and Romance heads for the jugular— and a few more sensitive areas— with this landmark exploration of desire and sexual politics: a hard-core adaptation of her recent novel Pomocracy.

Starring the Italian pom star Rocco Siffredi (all of him ), Anatomy of Hell focuses on what has driven all of Breillat’s work: the relationship between women and men, and the way that sex both highlights and makes literal the power each group wields over the other. In a house on a cliff, a woman pays a gay man to gaze at her body for four nights. No one knows what kind of game is being played here— or more importantly, who’s winning— but soon one thing be­ comes perfectly clear: each night will get more erotic, more intense and more brutal. An allegory of power and desire, with enough graphic scenes and equalopportunity nudity to distress censorship boards ev­ erywhere, Anatomy of Hell is more than the usual woman-directed, novel-inspired, art-house hard-core pom. Inspired by the work of writers such as Sartre, Georges Bataille and Jean Genet, with many of its bedroom tableaux inspired by French paintings of the early 1900s, the film merges intellect with desire, high art with low, and the salon with the brothel. And it allows women (especially after Irreversible, Twentynine Palms and other recent works) to redefine the battlefield of desire.

Compulsive gambler Reno, owing thousands of dol­ France lars to men who are ready to beat the money out of 2003 him , decides to flee the country, taking his racing Director: horse Capone with him. Alex is a quietly suffering cab Jean Marc Brandolo driver who has been watching his marriage slowly Producer: disintegrate. When Reno approaches Alex and offers Bruno Petit him a huge sum of money to drive him and his horse Screenw riters: Jean Marc Brandolo to Finland, Alex accepts. The trusting Alex does not Olivier Loustace realize that Reno may not be entirely sincere about Cinem atographer: his generous cash offer. A midnight departure leaves Marie Spencer Alex with time for nothing more than a quick good­ Film Editor: Rafaelle Urtin bye, and gives the gangsters just enough time to figure Music: out what Reno’s doing. As the two strangers depart on Diane Chalton their three-day journey, they start off relatively an­ Alex Ojesti tagonistic but slowly warm to one another. The two Cast: share stories about their lives, and the reasons for their Serge Riauvouvine Gerald Laroche erratic mental and emotional states become a little Florence Thomassin more clear. Meanwhile, Reno must decide whether or Kari Vaananen not Capone is worth all the trouble, as they repeat­ Running Time: edly meet up with a threatening yet affable Hungarian 90 minutes Presentation Format: offering to buy the horse. Once the gangsters catch up DigiBeta, in French with with them, Alex and Reno work together to save both English subtitles themselves and the horse, trying to reach the Midnight Print Source: Sun race without being too distracted by the enticing ARTE France Finnish women along the way.

No one under the ag e o f 18 w ill be adm itted.

Sex Is Comedy (2002) Fat Girl (2001) Romance (1999) Parfait amour (1996) 36 fillette (1988)

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ATMOSPHÈRE: ALL THINGS FRENCH

Eager Bodies

It’s Easier for a Camel... ”

LES CORPS IMPATIENTS

IL EST PLUS FACILE POUR UN CHAMEAU

SUNDAY JUNE 6 9PM EGYPTIAN

MONDAY MAY 31 6 PM EGYPTIAN

TUESDAY JUNE 8 2PM CINERAMA

WEDNESDAY JUNE 2 5PM HARVARD EXIT

France 2003 Director: Xavier Giannoli Producer: Édouard Weii Screenw riter: Xavier Giannoli, from the novel by Christian de Donatella Cinem atographer: Yorick Le Saux Film Editor: Philippe Kotlarsky Music: Alexandre Desplat Cast: Laura Smet Nicolas Duvauchelle Marie Denarnaud Catherine Salviat Maurice Antoni Running Time: 94 minutes Presentation Format: 35mm, in French with English subtitles International Sales: TF1 International

An ambitious first feature by Cannes Palme d’Or-winning short filmmaker Xavier Giannoli (The Inter­ view), Eager Bodies charts the complex love life and emotional odyssey of a young woman who is battling a potentially fatal disease. As the film opens, college student Paul accompanies his longtime girlfriend Charlotte (Laura Smet, daughter of rock icon Johnny Hallyday and veteran French thespian Nathalie Baye) to Paris for tests and treatment for her rapidly declin­ ing health. Learning that she has cancer, she begins a course of chemotherapy, which causes her to lose both her hair and her emotional equilibrium. She starts to question Paul’s devotion to her, concerned about the dwindling amount of intimacy and emotional sup­ port that she has been sharing with him. When her sultry cousin Ninon arrives on the scene to cheer her up, sexual tensions arise, leading to a situation with her boyfriend that Charlotte had never before con­ templated. The film , highly praised upon its recent release in Paris, provides an intimate and unsettling look at areas that films about terminal illness never confront, finding a new way to explore contemporary sexual mores among a generation brought up with unconventional views about relationships.

According to the Gospel of St. Matthew, “It is easier for France a camel to pass through the eye of a needle than for 2003 a rich man to enter the Kingdom of God.” We must Director: assume the same goes for rich women. Headed by Valeria Bruni Tedeschi some of Europe’s brightest young performers, Camel Producer: centers on the plight of Federica (Valeria Bmni Tede- Paolo Branco schi), a woman imprisoned by privilege, and unable Screenwriters: to deal with daily life as an adult. Her family, already Valeria Bruni Tedeschi Noémie Lvovsky somewhat disconnected from reality, is destabilized Agnès de Sacy further because her father is dying. Overwhelmed Cinematographer: by her upcoming inheritance, her tangled relation­ Jeanne Lapoirie ships with those around her and a haunting guilt, Film Editor: Anne Weil Frederica seeks comfort in daydreams, where the Music: world becomes perfect and wonderful. A protagonist Marcel Leniz wrestling with her feelings about death, responsibil­ Cast: ity and money might not sound like the basis for a Valeria Bruni Tedeschi Chiara Mastroianni bright and breezy comedy, but that’s exactly what this Jean-Hugues Anglade is. Already a big success with audiences in France, It’s Denis Podalydès Easierfor a Camel... relies heavily on the charms Emmanuelle Devos of writer/director/actor Tedeschi, aided by a starry Marysa Borini supporting cast. A winning presence on screen, she Running Time: 110 minutes also seems to have slipped behind the camera with Presentation Format: an enviable lightness of touch. Co-scripted by the 35mm, in French with . estimable Noemie Lvovsky, the film is proof that en­ English subtitles International Sales: tertaining films don’t have to be formulaic.

Gemini Films Print Source: New Yorker Films Selected Film ography:

Print Source: TF1 International Selected Film ography: Feature Film Debut

Feature Film Debut

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ATMOSPHÈRE: ALL THINGS FRENCH

Fear and Trembling

Hanging Offense

STUPEUR ET TREMBLEMENTS

CETTE FEMME-LA

FRIDAY JUNE 4 9PM EGYPTIAN

MONDAY MAY 2 4 930PM PACIFIC PLACE

SUNDAY JUNE 13 930PM PACIFIC PLACE

TUESDAY MAY 25 5PM PACIFIC PLACE

France/Japan 2003 Director: Alain Corneau Producer: Alain Sarde Screenwriter: Alain Corneau, from the novel by Amélie Northomb Cinem atographer: Yves Angelo Film Editor: Thierry Derodes Music: J. S. Bach Cast: Sylvie Testud Kaorl Tsuji Taro Suwa Bison Katayama Yasunari Kondo Running Time: 107 minutes Presentation Format: 35mm, in Japanese and French with English subtitles International Sales:

Shortly after completing her college education in 1990, Amélie travels from Belgium to Tokyo and finds work as an interpreter on the 44th floor of a very tall building. She had lived in Japan for the first five years of her life and has nostalgic memories of that time and idealistic fantasies about the country. As she is led through a series of humiliations and demotions designed to destroy her individuality, Amélie is forced to submit to an endless stream of unreasonable de­ mands issued by nearly every supervisor with seniority over her. These extreme behavioral patterns create a wonderful, satirical comedy on the absurdity and cru­ elty of Japanese corporate culture. Fear and Trem­ bling is an adaptation of Amélie Northomb’s award­ winning novel of the same name, and Sylvie Testud’s performance is nothing short of stunning. Alain Cor­ neau comments: “Amélie Northomb’s novel attracted me because of its tone, style, and theme— and on top of that, because the story was taking place in Japan.

Among all the trips I made, Japan is no doubt the most extreme.”

Awards: Karlovy Vary 2003 (Special Mention, Best Actress)

Wild Bunch Print Source: Wild Bunch Selected Filmography: Prince of the Pacific

In a thriller eerily reminiscent of David Fincher’s

turns) gives her most impressive performance yet as Michèle Varin, an obsessed police captain working outside of Paris. Unquestionably professional about her job, Varin is still haunted by the death of her 8year-old son nearly four years ago, on February 29. As the leap-year anniversary of the tragedy approaches, she must investigate the strange suicide of a young woman in the woods. Varin spends her free time alone doing crossword puzzles and tending to her son’s beloved pet rabbit; she has crippling insomnia, and what little sleep she does get is broken by nightmares in which she’s pursued by hooded figures who look like malevolent monks. As she and her partner try to solve the suicide case, they meet several mysterious people along the way: a private investigator (Thierry L’hermitte), a strange young boy who lives near the woods where the young woman died, and Daniel (Fré­ déric Pierrot), a lumberyard worker. Without warn­ ing, the circumstances of the suspicious suicide haunt Varin, even taking over her dreams, and she begins to feel that she herself is linked to the event in some terrifying way, or even worse that she may be losing her mind. Pierre-William Glenn’s moody widescreen cinematography and Eric De Marsan’s shiver-induc­ ing musical score infuse Hanging Offense with a compelling atmosphere of subtle dread.

Director: Guillaume Nidoux Producer: Frédéric Bourboulon Screenw riter: Guillaume Nidoux Cinem atographer: Pierre-William Glenn Film Editor: Guy Lecorne Music: Eric De Marsan Cast: Josiane Balasko Eric Caravaca Thierry L'hermitte Ange Rodot Aurelien Recoing Frédéric Pierrot Running Tim e: 100 minutes Presentation Format: 35mm, in French with English subtitles International Sales: TF1 International Print Source: TF1 International Film W ebsite: www.cettefemmela.com Selected Film ography: A Private Affair (2002) Le Poulpe (1998)

(2000) Lumière and Company

Happiness Is No Joke (1994)

(1995) All the Mornings in the World (1992) Fort Saganne (1984)

BH T V S pop 82

France

Seven, Josiane Balasko (best known for her comedic 2003

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ATMOSPHÈRE: ALL THINGS FRENCH

La Petite Lili

La Vie Promise

FRIDAY MAY 21 5PM HARVARD EXIT

MONDAY JUNE 7 5PM HARVARD EXIT

SUNDAY MAY 23 9:30PM HARVARD EXIT

TUESDAY JUNE 8 6PM HARVARD EXIT

France/ Canada 2003 Director: Claude Miller Producer: Annie Miller Screenw riters: Claude Miller Julien Boivent Cinem atographer: Gérard de Battista Film Editor: Véronique Lange Music: Claude la Haye Cast: Nicole Garcia Bernard Giraudeau Ludivine Sagnier Julie Depardieu Robinson Stévenin Jean-Pierre Marielle Running Tim e: 99 minutes Presentation Format: 35mm, in French with English subtitles International Sales: Flach Pyramide International Print Source: First Run Features Selected Film ography: Alias Betty (2001) Class Trip (1998) The Accompanist (1993) The Little Thief (1988) Charlotte and Lulu (1985) Garde à vue (1981) Plein sud (1981)

Freely adapting Chekhov’s TheSeagull by transposing its setting from late 19th-century Russia to modernday rural France, and moving its characters from the theatre to the film world, French master Claude Miller brings together a stellar cast of celebrated actors in a wry exploration of the age-old conflict between gen­ erations. Shot mostly on the gorgeous île aux Moines, the film opens by introducing us to four characters on a summer vacation. Lili (Ludivine Sagnier) and Julien (Robinson Stévenin) are young lovers; he’s an aspiring film director and she longs to be an actress.

Sharing their summer idyll are Julien’s mother Mado (the radiant Nicole Garcia), a famous movie star just past her prime, and her lover Brice (Bernard Gi­ raudeau), a currently fashionable director. The fire­ works begin when Julien, contemptuous of the older generation or anything he considers “old school,” insists on screening his new short film in front of the others. Their tepid response causes him to lash out at their established success. For the ambitious Lili, on the other hand, the celebrated director Brice repre­ sents an opportunity to further her career aspirations.

The stage is thus set for an amusing, ongoing clash of cultures, pitting youth against maturity, optimism against cynicism, and idealism against experience.

Culminating in an ironic finale, when Miller recon­ ciles these generational conflicts in ways both witty and wise, La Petite Lili is a lovely, literate tribute to the follies of youth and the subsequent mellowing effects of age and experience.

Sylvia (Isabelle Huppert) is an aging prostitute work­ France ing the streets of Nice, living a life based on anonym­ 2002 ity, with one vital exception: her abandoned, teen­ Director: age daughter Laurence (Maud Forget) persistently Olivier Dahan attempts to reconcile with her, only to be repulsed by Producer: harsh bouts of verbal abuse. Despite Sylvia’s indiffer­ Eric Neve ence, Laurence seeks her out one fateful night, only to Screenwriters: find her mother being roughed up by two johns. In the Olivier Dahan Agnès Fustier-Dahan ensuing melee, one of them is killed. To avoid the po­ Cinematographer: lice, Sylvia reluctantly flees Nice with Laurence in tow, Alex Lamarque but her consistently cold demeanor on the road soon Film Editor: causes Laurence to run off alone. Reunited though a Richard Marizy Cast: fellow fugitive, Joshua (Pascal Greggory), they make Isabelle Huppert a painful, poignant journey together into Sylvia’s past. Pascal Greggory The three characters soon discover that traveling La Maud Forget Vie Promise is an interlaced series of routes between André Marcon Fabienne Babe hope, frustration and desire. Throughout her career, Running Time: Isabelle Huppert has never shied from playing diffi­ 94 minutes cult, demanding roles; for proof, look no further than Presentation Format: her portrayal of Madame Bovary, or Erika Kohut in 35mm, in French with ThePiano Teacher (SIFF 2002). She seems naturally English subtitles International Sales: gifted with the ability to convey the most complex Wild Bunch emotions with the simplest of means, and in La Vie Print Source: Promise these gifts are on formidable display. As Syl­ Empire Pictures via, she adds another incredibly nuanced performance Film Website: www.bacfilms.com/site/promise to her impressive filmography.

Selected Film ography: Crimson Rivers 2: Angels of the Apocalypse (2004) Tom Thumb (2001) Already Dead (1998) Brothers: Red Roulette (1994)

Aw ards: 2004 César Awards: Julie Depardieu (Best Female Newcomer, Best Supporting Actress) Chicago Film Festival 2003 (Best Actress)

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ATMOSPHÈRE: ALL THINGS FRENCH

Love Me If You Dare

Moi, César

JEUX d 'en fa n ts

MOI, CÉSAR, 10 ANS l/2, 1M39

FRIDAY JUNE 11 6 :45 PM EGYPTIAN

WEDNESDAY JUNE 2 7 :15 PM PACIFIC PLACE

SATURDAY JUNE 12 1:30PM EGYPTIAN

SATURDAY JUNE 5 11:30AM PACIFIC PLACE

France/ Yann Samuell’s stunning debut feature stars Guillaume Belgium Canet and Marion Cotillard as childhood friends who

2003

Director: Yann Samuell Producer: Christophe Rossignon Screenwriter: Yann Samuell Cinem atographer: Antoine Roch Film Editor: Andrea Sedlackova Music: Philippe Rombi Cast: Guillaume Canet Marion Cotillard Thibault Verhaeghe Joséphine Lebas Joly Emmanuelle Grônvold Gerard Watkins Running Time: 94 minutes Presentation Format: 35mm, in French with English subtitles International Sales: Films Distribution

meet again as grown-ups, and attempt to come to terms with their youthful indiscretions. This stylized comedy-drama begins with the two as adolescent mis­ fits, friends who fight off the pain of childhood with a game of dare. The game entertains, protects and inspires them as they experience life’s hard knocks.

Their outrageous, borderline psychotic antics become a lifelong pursuit, with each vying to outdo the other’s audacity and cunning, regardless of the circumstanc­ es. Despite their involvement in relationships with others over the years, it is clear that they were meant to be together. Yet even though they grow closer as they become older, their obsessive games keep them apart.

Wickedly funny and wildly unpredictable, Love Me If You Dare evokes many of the best elements oîMa Vie En Rose,Amélie and Trainspotting, at the same time creating its own highly original blend of outrageous fantasy, romantic longing and pitch-dark humor. It was winner of the Best New Director award at the 2004 Palm Springs International Film Festival.

Combining pathos and whimsy, Moi, César is a charm­ ing modem fairy tale about childhood, by famous French actor Richard Berry. César (the deadpan Jules Sitruk, who narrates) is a chubby 10-year-old with only one skill: he’s an ace at memorization. He never thought classmate Sarah (Joséphine Berry) would notice him, but an impressive poetry recital earns her friendship. He would prefer a girlfriend, and pal Morgan (Mabô Kouyaté) feels the same way. The three become inseparable, like a grade-school Jules andJim. Back at home, his dad 0ean-Philippe Écoffey, Dirty Pretty Things, SIFF 2003) doesn’t talk to him at all, he just scolds; while his mom (Maria de Medeiros, Pulp Fiction) is having a baby to improve on the mistakes she made with him— or so he thinks.

César, Sarah and Morgan are united as much by their love of hip-hop and bawdy humor as by the perceived neglect of their parents. The trio decides on a change of scenery, so it’s off to London they go. Along the way, they meet a variety of colorful characters, including Anna Karina as a punk-rock Aunty Marne. It’s a life­ changing trip, especially for César, who finally grows into his name.

Awards:

Director: Richard Berry Producer: Michel Feller Screenw riters: EricAssous Richard Berry Cinem atographer: Thomas Hardmeier Film Editors: Laurence Briot Lisa Pfeiffer Music: Reno Isaac Cast: Jules Sitruk Maria de Medeiros Jean-Philippe Écoffey Joséphine Berry Mabô Kouyaté Anna Karina Running Time: 91 minutes Presentation Format: 35mm, in French with English subtitles International Sales: Europacorp

Palm Springs 2004 (Best New Director)

Print Source: Paramount Classics Film Website:

Print Source: Europacorp Film W ebsite:

www.paramountdassics.com/loveme/ Selected Filmography:

www.europacorp.com/ dossiers/moi_cesar Selected Film ography: Feature Film Debut

Feature Film Debut

I I 84

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2003

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ATMOSPHÈRE: ALL THINGS FRENCH

Monsieur N

Nathalie...

WOMEN CINEMA

SUNDAY JUNE 6 11:15AM PACIFIC PLACE

FRIDAY JUNE 4 7 :15 PM HARVARD EXIT

TUESDAY JUNE 8 9 :30 PM PACIFIC PLACE

WEDNESDAY JUNE 9 3 :45 PM HARVARD EXIT

France/ After Waterloo, Napoleon and his closest followers Great Britain were exiled to St. Helena, a remote, well-defended is­

Nathalie... is about a complex love triangle between

2003

Director: Antoine de Caunes Producers: Pierre Kubel Marie-Castille Mention-Schaar Screenwriter: René Manzor Cinem atographer: Pierre Aim Film Editor: Joëlle van Effenterre Music: Stephan Eicher Cast: Philippe Torreton Richard E. Grant Elsa Zylberstein Jay Rodan Roschdy Zem Running Time:

land in the South Atlantic, to ensure that there would be no Elba-style escape. By 1818, when fresh-faced military school graduate Basil Heathcote first sets foot there, the former Emperor has become a virtual recluse in his manor-house prison. The colony’s ruth­ less Governor Lowe (a deliciously malevolent Richard E. Grant) gives Heathcote strict instructions to keep an eye on the high-profile prisoner, who is still con­ sidered a dangerous and unpredictable threat. This sets things in motion for an exploration of the mys­ tery behind the rumors that the body exhumed from St. Helena in 1840 and reburied in France may not have been Napoleon’s after all. Rich in period detail, and boasting glorious camerawork by cinematogra­ pher Pierre Aim, Monsieur N is a fascinating study of what might have been, a historical whodunit that benefits from enjoyably vigorous performances by its large and capable cast.

127 minutes Presentation Format: 35mm, in French and English with English subtitles International Sales: Studio Canal Film Website:

a man, a woman and the woman chosen to be the man’s mistress. Catherine (Fanny Ardant) and Ber­ nard (Gérard Depardieu) seem to be a happily mar­ ried, successful Parisian couple— she’s an OB/GYN, he’s a businessman who is frequently out of town. She throws him a surprise birthday party, but he doesn’t make it because he’s missed his flight back to Paris.

Checking his cell phone messages the next day, she hears something disturbing: a message from a wom­ an indicating Bernard has been having an affair. This does not rattle the cool, clinical Catherine. Instead of confronting Bernard, she comes up with another plan.

She finds Marlène (Emmanuelle Béart), a struggling beautician and lounge dancer, and offers to pay her to seduce her husband. Director Anne Fontaine creates a psychosexual game about power, secrets and the dis­ semination of information. The drama is played out between man and woman, but the relationship be­ tween the two women becomes paramount here. As Marlène reveals more and more to Catherine about the progress of their scheme, Catherine becomes more embroiled in an erotic world foreign to her wellheeled home life with Bernard. Illusion and reality are turned on their ears, with an outcome both surprising and reassuring about the politics of love.

www.marsfilms.com/ site/monsieurn Print Source: Empire Pictures Selected Film ography: Love Bites (2001)

TV 5 86

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France

2003

Director: Anne Fontaine Producer: Christine Gozlan Screenw riters: Anne Fontaine Jacques Fieshi Cinem atographer: Jean-Marc Farbe Film Editor: Emmanuelle Castro Music: Michael Nyman Cast: Emmanuelle Béart Fanny Ardant Gérard Depardieu Running Tim e: 100 minutes Presentation Format: 35mm, in French with English subtitles International Sales: StudioCanal Print Source: Wellspring Selected Film ography: How I Killed My Father (2001) Dry Cleaning (1999) Augustin (1995)

ATMOSPHÈRE: ALL THINGS FRENCH

Ruby & Quentin TAIS-TOl!

SATURDAY MAY 22 6:30PM PACFIC PLACE

FRIDAY JUNE 11 9 :15 PM CINERAMA

TUESDAY MAY 25 4 :45 PM EGYPTIAN

SUNDAY JUNE 13 3 :45 PM CINERAMA

France/Morocco

2003

Director: Jacques Doillon Producer: Margaret Ménégoz Screenw riter: Jacques Doillon Cinem atographer: Hélène Louvart Film Editor: Gladys Joujou Music: Philippe Sarde Cast: Pascal Greggory Najat Benssallem Ilham Abdelwahed Hassan Khissal Running Time: 112 minutes Presentation Format: 35mm, in French and Arabic with English subtitles International Sales: Les Films du Losange Print Source: The Film Movement Selected Film ography: Little Brothers (1999) Ponette (1996) The Pirate (1984) The Hussy (1979)

Jacques Doillon’s serious comedy plumbs the murky depths of a ticklish question: when there’s a glaring disparity in income, age and cultural sophistication between two potential partners, what are the chances that love can flourish, untainted by opportunism and exploitation? Slim , of course, but Doillon displays a remarkable empathy and even-handedness in this highly provocative portrait of colonial society. Fred, a balding, debonair 40-year-old Frenchman living a dissolute and aimless existence in his sprawling Mar­ rakech mansion, sets out to seduce Raja, one of the flock of young women responsible for the upkeep of his luxurious gardens. Up until now, her life has con­ tained precious little in the way of positive role mod­ els. Fred knows only a few words of Arabic; Raja un­ derstands even less French. All he wants is a brief fling but, little by little, the young woman’s reserve has him suffering the pangs of love. Despite the twitter­ ing disapproval of his matronly housekeepers and the shadowy presence of Raja’s lowlife boyfriend Youssef, the two embark on a wary and combative courtship that is inevitably tainted by the unequal balance of power. Beautifully written and conceived, it features a riveting performance from Pascal Greggory as Fred, rivaling his unforgettable death scene as King Charles IX in Patrice Chereau’s La Reine Margot.

Aw ards: Venice 2003 (Best Young Actor/Actress-Najat Benssallem)

A giddy, mismatched buddy comedy featuring Gallic France hunks Jean Reno and Gerard Depardieu, this hysteri­ 2003 cally funny film begins by introducing us to jovial lug Director: Quentin (Depardieu), a verbose would-be crook “with Francis Veber the brain power of a French-speaking cantaloupe.” Producer: Stumped by the lack of recognizable loot when hold­ Said Ben Saïd ing up the currency exchange he mistakes for a bank, Screenwriters: the intelligence-challenged Quentin ends up in the Francis Veber Serge Frydman slammer, where his relentlessly good-natured bab­ Cinem atographer: bling drives a succession of cellmates to near-homi­ Luciano Tovoli cidal distraction. Quentin’s counterpart Ruby (Reno) Film Editor: is a strong, silent inmate who has stashed the loot George Klotz Music: from an armored car holdup. Meanwhile, frustrated Marco Prince Detective Vemet (Richard Berry) has been trying to get Cast: Ruby to spill the beans about the whereabouts of the Gérard Depardieu purloined $20,000,000. He tosses Quentin into Ruby’s Jean Reno Jean-Pierre Malo cell in hopes that Quentin’s endless chatter will loosen Richard Berry Ruby’s tongue. Once together, Quentin mistakes Ru­ Jean-Michel Noirey by’s silence for good listening skills, and a great, com­ Running Time: pletely one-sided friendship is bom. Things build to a 84 minutes head when Ruby and Quentin finally escape, thanks Presentation Format: 35mm, in French with to a hilariously inventive scenario that only Quentin’s English subtitles brain could devise. The chase is on as both police and International Sales: criminals attempt to converge on the runaway pair. UGC International Once again mining the vein of male-bonding farce Print Source: UGC International that laid the foundation for his previous hits TheDin­ Film Website: ner Game and The Closet, writer-director Francis Ve- www.taistoi-lefilm.com Selected Film ography: ber proves himself to be a master of the genre.

The Closet (2001) The Dinner Game (1998) Three Fugitives (1989) Les Fugitifs (1986) The Goat (1981)

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ATMOSPHÈRE: ALL THINGS FRENCH

Sex Is Comedy

Œ

Since Otar Left

SffîSK

DEPUIS QU'OTAR EST PARTI

WEDNESDAY MAY 26 7PM EGYPTIAN

SATURDAY MAY 29 I I 3 OAM HARVARD EXIT

SATURDAY MAY 29 4 :15 PM HARVARD EXIT

SUNDAY MAY 30 9 30PM HARVARD EXIT

France 2002 Director: Catherine Breillat Producer: Jean-François Lepetit Screenwriter: Catherine Breillat Cinem atographer: Laurent Machuel Film Editor: Pascale Chavance Cast: Anne Parillaud Grégoire Colin Roxane Mesquida Ashley Wanninger Dominique Colladant Running Time: 92 minutes Presentation Format: 35mm, in French with English subtitles International Sales: Flach Pyramide International Print Source: IFC Films Selected Film ography: Anatomy of Hell (2004) Fat Girl (2001) Romance (1999) Parfait amour (1996) 36 fillette (1988)

Sex is comedy, but it is no laughing matter for Jeanne (Anne Parillaud), a capricious, distaff director trying to shoot the pivotal sex scene for a movie in which anything that can go wrong, will. The Actress (Rox­ ane Mesquida) suddenly objects to the film ’s nudity.

The Actor (Grégoire Colin) clowns for the crew but pouts before the camera. Jeanne must cope not only with toxic chemistry between the warring lead actors, but also with a distinctly uncooperative male organ, in her quest to get the scene in question “just right.”

What emerges from this comedic situation is a portrait of a demanding perfectionist who’s perfectly prepared to do whatever it takes to get what she needs, includ­ ing flirt, threaten, cajole and play the martinet. The film-within-a-film replicates aspects of Breillat’s own Fat Girl, and Mesquida reprises her role of a nubile teenager; there can be no doubt thatJeanne is a standin for Breillat herself. In allowing this peek behind the scenes, the controversial director of Romance lightens up and turns playful, while extending her ongoing examination of female sexuality and erotic power. This self-reflexive exercise recalls such f i l ms as Truffaut’s Dayfor Night and Fellini’s 81/2, but only Breillat would be so bold as to introduce a prosthetic penis into the mix.

Three generations of women in a Tbilisi household in Soviet Georgia— Grandmother Eka, her daughter Marina and granddaughter Ada— are cash-strapped victims of the new Georgian economy who get by with help from Eka’s beloved son Otar, who sends money home thanks to his illegal job in Paris. Every time Otar calls or one of his regular letters arrives, every­ thing else in the house stops dead. One day while Eka is visiting a friend in the countryside, Marina and Ada learn that Otar has been killed, the victim of an ac­ cident at his workplace. Fearful that the shock might kill Eka, the two decide to keep the news from her, and Ada takes over writing letters that are supposedly from Otar. The deception almost unravels when a friend of Otar’s arrives in Tbilisi, but they manage to carry on the charade successfully— up until the point where Eka insists that the three women travel to Paris to visit her long-lost son. Suffused with indelible humanist values and boasting bravura performances from all involved, Julie Bertuccelli’s charming first feature is a deceptively simple and deeply emotional debut.

France/Belgium/ Georgia

2003

Director: Julie Bertucelli Producer: Yael Fogiel Screenw riters: Julie Bertucelli Bernard Renucci Roger Bohbot Cinem atographer: Christophe Pollock Film Editor: Emmanuelle Castro Music: Antoine Duhamel Arvo Part Dato Evgenidze Group 33 Cast: Esther Gorintin Nino Khomassouridze Dinara Droukarova Temour Kalandadze Roussoudan Bolkvadze

Aw ards:

Sacha Sarichvili

Cannes 2003: Critics Week (Best First Film) César Award 2003 (Best First Film)

Douta Skhirtladze Running Tim e: 103 minutes Presentation Format: 35mm, in French, Georgian

Preceded by Backseat Bingo (Liz Blazer, USA, 2004,6 minutes) Charming animated short featuring retirement home residents speaking about their sex lives.

and Russian with English subtitles International Sales: Celluloid Dreams Print Source: Zeitgeist Films Ltd. Film W ebsite: www.zeitgeistfilms.com/sinceotarleft Selected Film ography: Feature Film Debut

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ATMOSPHÈRE: ALL THINGS FRENCH

The Story of Marie andJulien

Strayed

L'HISTOIRE DE MARIE ET JULIEN

LES ÉGARÉS

MONDAY MAY 3 1 11AM PACIFIC PLACE

SATURDAY MAY 29 9 3 OPM PACIFIC PLACE

THURSDAY JUNE 3 9 :30 PM HARVARD EXIT

MONDAY MAY 31 1130PM EGYPTIAN

France

2003

Director: Jacques Rivette Producers: Martine Marignac Maurice Tinchant Screenw riters: Pascal Bonitzer Christine Laurent Jacques Rivette Cinem atographer: William Lubtchansky Film Editor: Nicole Lubtchansky Cast: Emmanuelle Beart Jerzy Radziwiiowicz Anne Brochet Bettina Kee Olivier Cruveiller Running Tim e: 150 minutes Presentation Format: 35mm, in French with English subtitles International Sales: Celluloid Dreams Print Source:

Julien, a 40-year-old watchmaker, is kind of a loser with destructive tendencies. He lives in a rambling house and leads a somewhat aimless and unassum­ ing life. However, he is blackmailing a rich and at­ tractive woman, Madame X, who trafficks in stolen antiques. He meets her clandestinely to negotiate his fee, with the price constantly increasing in response to her resistance to pay. But he’s unaware of a secret between Madame X and Marie, the very same Marie with whom Julien fell in love a year ago and recently started seeing again. More than a simple romance, this is a story that haunted famous French director Jacques Rivette for years. In 1975, Rivette asked his then-assistant Claire Denis to write a script based on Marie and Julien’s stories; he tried to shoot it, but because of “ a classic nervous breakdown,” he could not cope with it. Today, this magnificent, brooding film— illuminated by the photography of William Lubtchansky and exceptional lead performances by Rivette veterans Emmanuelle Beart and Jerzy Radzi­ wiiowicz— seems to synthesize all of Rivette’s work.

The Story ofMarie andJulien explores strange be­ havior, mysterious connections and the dark secrets of passion.

Celluloid Dreams Selected Film ography:

On the eve of the German occupation of Paris, a France/Great young widow, Odile, (the ever brilliant Emmanuelle Britain Béart, The Story of Marie and Julien, 8 Women) 2003 and her two children, 13-year-old Philippe (Grégoire Director: Leprince-Ringuet) and 7-year-old Cathy (Clémence André Téchiné Meyer), flee Paris with streams of other Parisian evac­ Producer: uees as German planes dive-bomb the crowded roads. Jean-Pierre Ramsay-Levi Becoming separated from the mob, they meet up with Screenwriters: André Téchiné a mysterious young stranger named Yvan (Gaspard Gilles Taurand, Ulliel), a man with keenly honed survival instincts based on the novel (he collects things off dead soldiers and is an expert by Gilles Perrault hunter). After spending the night in the open, the four Cinematographer: Agnès Godard fugitives stumble upon an abandoned secluded cha­ Film Editor: teau and Yvan breaks in. The huge old house, with a Martine Giordano well-stocked wine cellar, becomes their hiding place Music: away from civilization. Despite initial mistrust and Philippe Sarde sexual tension, this strange family unit holds together Cast: Emmanuelle Béart - and survives. Based on the French novel TheBoy With Gaspard Ulliel GreyEyes by Gilles Perrault, the film is less concerned Grégoire Leprince-Ringuet with actual war than it is with this unusual family, Clémence Meyer which is a bit like Peter Pan and Wendy’s clan hiding Jean Fornerod Samuel Labarthe from the world. After the unnerving bomber attacks, Eric Krekenmayer the war is played out off-screen, serving as a backdrop Running Time: for a more contained tale about a domestic “front.” 95 minutes Like André Téchiné’s earlier film WildReeds, Strayed Presentation Format: 35mm, in French with is charged with passionate energy and sexuality.

English subtitles International Sales:

Va Savoir (2001) Secret Defense (1998) La Belle Noiseuse (1991)

Wild Bunch Print Source: Wellspring Selected Filmography:

Wuthering Heights (1985) Le Pont du Nord (1981)

Loin (2001) Alice et Martin (1998)

Celine and Julie Go Boating (1974)

Thieves (1996) Wild Reeds (1994) My Favorite Season (1993)

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I Don’t Kiss (1991) Scene of the Crime (1986) Rendez-vous (1985) Matiouette (1983) Hôtel des Amériques (1981)

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Barocco (1976) Souvenirs d’en France (1975)

2004

89

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ATMOSPHÈRE: ALL THINGS FRENCH

Triple Agent

Who Killed Bambi?

QUIA TUÉ BAMBI?

WEDNESDAY JUNE 2 930PM HARVARD EXIT

FRIDAY MAY 28 930PM PACIFIC PLACE

THURSDAY JUNE 3 5PM HARVARD EXIT

SUNDAY MAY 30 2PM PACIFIC PLACE

France/ltaly/ Spain/Greece/ Russia

2004

Director: Eric Rohmer Producers: Jean-Michel Rey Françoise Etchegaray Philippe Liégeois Screenw riter: Eric Rohmer Cinem atographer: Diane Baratier Film Editor: Mary Stephen Cast: Katerina Didaskalou Serge Renko Amanda Langlet Emmanuel Salinger Cyrielle Clair Grigori Manoukov Running Tim e: 115 minutes Presentation Format: 35mm, in French, Russian and German with English subtitles International Sales: Wild Bunch Print Source: Wild Bunch

Eric Rohmer’s espionage thriller is an homage to Alfred Hitchcock set in 1930s France. An exiled Rus­ sian general and his beautiful Greek wife live in a Paris rife with political intrigue: the Popular Front is on the rise, as is tension with Nazi Germany and infighting between rival Russian exile communities.

As the general disappears on secretive “errands,” his wife befriends their new neighbors, a couple overly enthusiastic in their support of the Popular Front.

Her husband’s behavior grows more mysterious and everyone begins to realize that he’s a spy-everyone, that is, except his wife, whose questions are always quickly and too smoothly answered. Rohmer ratchets up the tension with Hitchcockian glee even during the most mundane activities; random encounters appear vaguely threatening, and ordinary conversa­ tions turn strangely enigmatic. While bowing to the usual spy-movie conventions of clandestine meet­ ings and political intrigues, Triple Agent still pos­ sesses Rohmer’s hallmark signature: people lounging about apartments, having refined discussions about life, love and liberties. They may be agents, double agents or triple agents, and they may be working for the Nazis, the White Russians, the Soviets or others, but Rohmer cleverly makes sure they’re also recog­ nizably human, as capable of agonizing over roman­ tic decisions and private indiscretions as they are of double-crossing the Gestapo.

Beautifully shot, Who Killed Bambi? is a cat-and- France mouse thriller that builds slowly but with nail-biting 2003 momentum. Cleverly structured and edited, the film Director: puts the audience in the head of the protagonist, Gilles Marchand building an unsettling tension. Isabelle is a pretty Producers: student nurse suffering from dizzy spells. When she Caroline Benjo faints at the feet of a handsome but enigmatic sur­ Carole Scotta Screenwriters: geon, Dr. Philipp, he nicknames her Bambi, which Gilles Marchand suits her because of her big innocent eyes and her Vincent Dietschy inability to keep her balance. There is something Cinem atographer: both dangerous and alluring about him, almost like Pierre Milon Film Editor: a vampire. He suggests she see someone about her Robinn Campillo condition. Meanwhile, strange things are happening Music: in the hospital: drugs are going missing and some Alex Beaupain young female patients are dying mysteriously. Isabelle Carlos Dalton begins investigating on the sly, placing herself into François Eudes Lily Margot increasingly dangerous situations. Dr. Philipp seems Doc Matéo overly interested in her illness. She distrusts him but Cast: she agrees to let him operate on her— the ultimate Sophie Quinton act of letting go for an independent young woman. Laurent Lucas Catherine Jacob Like Hitchcock’s greatest works, Who Killed Bambi? Yasmine Belmadi follows its central character so closely that it becomes Michèle Moretti more and more uncomfortable. Rendering Isabelle’s Running Time: experiences in intense sensory detail, director Gilles 126 minutes Marchand has constructed a phenomenal atmosphere Presentation Format: 35mm, in French with in which both desire and repulsion lurk around every English subtitles disturbing comer.

International Sales: Celluloid Dreams Print Source: Strand Releasing Selected Film ography:

Selected Film ography: The Lady and the Duke (2001) Autumn Tale (1998)

Feature Film Debut

A Tale of Springtime (1992) Aviator's Wife (1981 ) The Marquise of 0 (1976) Claire's Knee (1971) My Night at Maud's (1969)

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Capsule Reviews

SATURDAY JUNE 12 2PM HARVARD EXIT SUNDAY JUNE 13 6:30PM PACIFIC PLACE

MEW DIRECTORS SHOWCASE Sébastien Lifshitz, who turned heads at SIFF with his audacious short Open Bodies (1999) and the sub­ lime Presque Rien (2001), now plunges us into the world of Stéphanie, a pre-op transsexual who shares her Paris apartment and her love with two handsome, emotionally stifled outsiders, in this austere but im­ passioned étude of romantic longing and emotional catharsis. After a startling opening montage, Wild Side starts to weave its spell. Stéphanie goes about her life as a prostitute, which enables her to provide a home and emotional succor to two kindred yet very masculine men, Mikhail and Jam el. Each of these men is an outcast in his own way: Mikhail is a non-Francophone Russian émigré with trouble back home, while Jam el is ayoungArab hustler with ambi­ tion. The trio is entwined both sexually and emotion­ ally. When Stéphanie receives a phone call telling her that her mother is dying, the three travel by train to her home village in northern France so that she can look after her mother in her last days. This journey ends up triggering a long overdue catharsis for each of the film ’s protagonists. Simultaneously audacious and subtle, engrossing and surreal, Wild Side marks a dramatic step forward in writer/director Sébastien Lifshitz’ already impressive canon.

Aw ards: Berlin 2004 (Teddy Prize, Manfred Salzgeber Prize)

See the winner of The Stranger's 28 Seconds Short Film contest, screening at all Stranger-sponsored films.

For general information or advertising inquiries, please call (206) 323-7101 or visit us a thestranger.com

2004

Director: Sébastien Lifshitz Producer: Gilles Sandoz Screenw riters: Sébastien Lifshitz Stéphane Bouquet Cinem atographer: Agnès Godard Film Editor: Stéphanie Mahet Music: Jocelyn Pook Cast: Stéphanie Michelini Édouard Nikitine Yasmine Belmadi Josiane Storelu Running Time: 94 minutes Presentation Format: 35mm, in French, English and Russian with English subtitles International Sales: Films Distribution Print Source: Wellspring Selected Film ography: The Crossing (2001) Presque Rien (2000) Open Bodies (1999)

Complete Festival Schedule

A CANDID GUIDE TO SIFF 2004

France/Belgium/ Great Britain

T V S TABLE!

ATMOSPHÈRE: ALL THINGS FRENCH

PATRICE LECONTE Former comic artist Patrice Leconte has, over the course of the last 15 years, turned into France's most versatile and accomplished director. From Monseiur Hire's study of the dark side of obsession, to the poignant The Hairdresser's Husband, the lavish Ridicule, and last year's beautiful, complex The Man on the Train, it is no mystery why the crème de la crème of French actors line up to work with him.

Selected Filmography:

Intimate Strangers (2004 ) The Man on the Train (2002 ) Love Street (2002 ) Felix and Lola (2001 ) The Widow of Saint-Pierre (2000 ) The Girl on the Bridge ( 1999 ) Half a Chance (1998) Ridicule (1996) The Grand Dukes (1996) The Scent of Yvonne ( 1994 ) Tango ( 1993 ) The Hairdresser's Husband ( 1990 ) Monsieur Hire (1989) Tandem (1987) Les Spécialistes (1984)

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ATMOSPHÈRE: ALL THINGS FRENCH

The Girl on the Bridge

The Man on the Train

LA FILLE SUR LE PONT

L' HOMME DU TRAIN

SATURDAY MAY 29 2PM HARVARD EXIT

SATURDAY MAY 22 2PM HARVARD EXIT

France

1999

Director: Patrice Leconte Producer: Christian Fechner Screenwriter: Serge Frydman Cinem atographer: Jean-Marie Dreujou Film Editor: Joëlle Hache Cast: Daniel Auteuil Vanessa Paradis Claude Aufaure Berti Cortez Giorgios Gatzios Running Time: 92 minutes Presentation Format: 35mm, in French with English subtitles Print Source: Paramount Classics Selected Filmography: Intimate Strangers (2004) The Man on the Train (2002) Love Street (2002) Felix and Lola (2001) The Widow of Saint-Pierre (2000)

An extravagant love story from director Patrice Leconte: a modem fairy tale told with exuberant flair.

Adèle (Vanessa Paradis) is a vulnerable, good-natured girl with a weakness for handsome, no-good men.

In fact, she has a certain genius for attracting them, as she reveals in an amusing but alarming opening monologue. Feeling suicidal after her latest romantic disaster, she prepares to throw herself off a Parisian bridge, but she is accosted by Gabor (Daniel Auteuil, who won a César for the role), a middle-aged, outof-work knife-thrower who persuades her to give life another go as his assistant (read: live target). The pair soon talk their way into a circus job by promis­ ing to throw “blind,” and the girl, who’s never had much luck before, is suddenly reeling it in for both of them. Not only is the knife-throwing act a sensation, but Adèle manages to make a killing at the roulette tables. The two would seem destined to become a couple— except Gabor, as a rule, never sleeps with his targets, and Adèle is still going to bed with every pretty boy she meets. Nevertheless, a strong sexual attrac­ tion inexorably develops between them, lending the knife-throwing scenes a thrillingly erotic charge. Shot in glittering widescreen black and white and featuring an outrageously eclectic score, The Girl on theBridge is truly intoxicating cinema.

Ridicule (1997) Tango (1993) The Hairdresser's Husband (1990)

Felix and Lola (2001) The Widow of Saint-Pierre (2000)

Aw ards:

The Girl on the Bridge (1999) Ridicule (1997)

Awards: César Awards 1999 (Best Actor)

Monsieur Hire (1988) Les Spécialistes (1984)

France

French rock icon Johnny Hallyday lends his delight­ fully old-school sex appeal to Patrice Leconte’s tale of the encounter between two men who are from very different worlds, yet have more in common than even they realize. As in an old-fashioned western, a mysteri­ ous stranger (Hallyday, wearing black leather) rides into town, and finds a place to stay with the area’s lo­ cal eccentric, a retired poetry teacher (Jean Rochefort, wearing non-profit wool) who loves books as much as he dislikes most people. As the two feel one another out, mysteries become defined, respect is gained, and an unlikely friendship emerges. Each has a life the other would like; the rough-and-ready ex-con Hal­ lyday wouldn’t mind curling up with a good book and a nice spot of tea, while the demure, soft-spoken Rochefort could do with shooting off a few guns. As their relationship strengthens, two events occur that may change their lives: the gangster plans a robbery and the teacher plans for heart surgery. Whether both, or merely one, or possibly none survive remains un­ certain. Leconte directs with his usual understated finesse, knowing full well that his task is made simple by the aces up his sleeve: Hallyday and Rochefort, two legends of not only French cinema, but all of French culture. One rough and warm, the other smooth and cool, their pairing is indeed the stuff that dreams— and films— are made of.

Venice 2002 (Audience Award, Best Actor)

2003

Director: Patrice Leconte Producer: Philippe Carcassonne Screenw riter: Claude Klotz Cinem atographer: Jean-Marie Dreujou Film Editor: Joëlle Hache Music: Pascal Estève Cast: Jean Rochefort Johnny Hallyday Jean-François Stévenin Charlie Nelson Pascal Parmentier Running Time: 90 minutes Presentation Format: 35mm, in French with English subtitles Print Source: Paramount Classics Selected Film ography: Intimate Strangers (2004) Love Street (2002)

Monsieur Hire (1988) Les Spécialistes (1984)

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Tango (1993) The Hairdresser's Husband (1990)

The

ATMOSPHÈRE: ALL THINGS FRENCH

Ridicule

The Widow of Saint-Pierre LA VEUVE DE SAINT-PIERRE

SATURDAY JUNE 5 4 :15 PM HARVARD EXIT

France 1996

3)

0)

Director: Patrice Leconte Producers: Philippe Carcassonne Screenwriters: Remi Waterhouse Eric Vicaut Cinematographer: Thierry Arbogast Film Editor: Joëlle Hache Music: Antoine Duhamel Cast: Fanny Ardant Bernard Giraudeau Jean Rochefort Judith Godrèche Charles Berling Running Time: 105 minutes Presentation Format: 35mm, in French with English subtitles Print Source: Miramax Films Selected Filmography: Intimate Strangers (2004) The Man on the Train (2002) Love Street (2002) Felix and Lola (2001) The Widow of Saint-Pierre (2000) The Girl on the Bridge (1999) Tango (1993) The Hairdresser's Husband (1990) Monsieur Hire (1988) Les Spécialistes (1984)

SATURDAY JUNE 12 3 :45 PM CINERAMA

Leconte’s ravishing costume drama examines the vio­ lent wars fought within the court of Louis XIV, battles contested not with steel or flame but with a weapon even more scarring: wit. In the court of Versailles, the aristocracy of the 18th century amuse themselves with food, drink, song and dance, while outside the peasants drop like flies. Hoping to save his subjects, a compassionate baron journeys to the court to plead for aid, but soon realizes it’s not his tale of suffering that will sway the listeners, but how he tells it: the cleverer the better. Better still is if he attacks others along the way. Quickly learning that it is ridicule, not compassion, that arouses this court of snobs, the baron aims his tongue at all and sundry, and quickly catches not only the ears of those amused by his ra­ pier wit, but the eye of a powerful countess, who may be more intrigued by the mouth from which those words emerge. Succeeding as a gorgeous, exceedingly ornate costume drama, Ridicule more importantly shines as a cleverly contemptuous allegory of the ex­ cess of the elite— a topic as relevant today as it was during the time of courts and kings.

Awards: César Awards 1996 (Best Film, Director, Art Direction)

On a small, isolated French island community in the 1850s, a man is sentenced to death, yet perversely must wait until the town can build a guillotine to kill him.

Such is the parable built within Patrice Leconte’s inti­ mate costume drama of crime and punishment, guilt and repentance, love and vengeance. “Men can be bad one day, and good the next; I’m sure of it,” says the town’s sole beacon of reason, the beautiful Madame La, played by a radiant Juliette Binoche. Drawn to the condemned man out of Christian goodness or possibly more earthly desires, she makes it her duty to reha­ bilitate him before the execution, a task that serves to anger the more provincial townsfolk and confuse her devoted husband (Daniel Auteuil), who is ironically in charge of the convict’s life and subsequently his death.

Leconte places his filmmaking talents at the service of this earnest, heartfelt chronicle, directing with a re­ spect for storytelling, and a thoughtfulness that’s rare in commercial cinema. Greatly aided by Binoche, Auteuil, and especially the Yugoslavian film director Emir Kusturica as the condemned man, Leconte crafts a film that’s as much a treat for the heart as it is for the senses, gripping in its exploration of the ethical dilemmas of the death penalty, and as elegant as the best screen romances.

France 2000 Director: Patrice Leconte Producers: Gilles Legrand Frédéric Brillion Screenwriter: Claude Faraldo Cinematographer: Eduardo Serra Film Editor: Joëlle Hache Music: Pascal Estève Cast: Juliette Binoche Daniel Auteuil Emir Kusturica Michel Duchaussoy Philippe Magnan Running Time: 112 minutes Presentation Format: 35mm, in French with English subtitles International Sales: Flach Pyramide International Print Source: Lions Gate Films Selected Filmography: Intimate Strangers (2004) The Man on the Train (2002) Love Street (2002) Felix and Lola (2001) The Girl On the Bridge (1999) Ridicule (1997) Tango (1993) The Hairdresser's Husband (1990) Monsieur Hire (1988) Les Spécialistes (1984)

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CHRIS DOYLE INTERIOR : A PHOTOGRAPHIC EXHIBITION JUNE 3 - 1 2 , 2004

OPENING RECEPTION THURSDAY, JUNE 3, 6 - 8 PM

CONTEM PORARY WORLD CINEMA Argentina

Hong Kong

Slovenia

Captive.................................... ........ 100

Darkness Bride...................................124 Infernal A ffairs...................................124 Infernal Affairs 2 ............................... 125 Infernal Affairs 3 ............................... 125 Running on Karm a............................ 126 Turn Left Turn Right....,.....................127

Spare Parts.......................................151

Armenia Vodka Lemon................. ..................100

Australia Danny Deckchair......... ....................101

Austria Donau, Duna, Dunaj, Dunav, Dunarea................................ 101

Hungary

Belgium

India

25 Degrees In Winter........................ 102 Feathers In My H ead.........................103

Arimpara - A Story That Begins at the End...........................................128

Bolivia

Iran

Sexual Dependency...........................103

Deep Breath........................................129 Maqbool............................................. 129

Brazil Carandiru...............................

104 The Man of the Year..........................104 The Man Who Copied......................105 The Middle of the World................. 105

Cameroon The Forest.......................................... 106

Canada Cowards Bend the Knee...................106 Moving Malcolm............................... 107 A Problem with Fear........... ..............107 Proteus...................................

108 The Saddest Music in the World.....108 Seducing Doctor Lew is.....................109 Snow Walker......................................109 Touch of Pink.....................................110 Twist..................................................111

Chile B-Happy............................................ 111 Los Debutantes..................................112

China The Coldest Day......... .......................112 Drifters................................................113 113 Hero.................................

Uniform............................................. 115 When Ruoma Was Seventeen........115

Croatia

M ix...................................................... 127

Ireland

Sweden

Bonjour Monsieur Shlom i.................131 Nina's Tragedies.................................131 Walk on W ater...................................132

Switzerland

Italy The Best of Youth.............................. 132 El Alamein: In the Line of Fire..........133 Pater Familias.............................

135 Remember Me, My Love...................135

Japan 9 Souls.................................................136 The Blind Swordsman: Zatoichi .....136 Bright Future........... £........................ 137 Doppelgänger.................................... 137 Ghost in the Shell 2: Innocence......138 My Grandpa....................................... 138 Ramblers............................................. 139 Tamala 2010: A Punk Cat in Space 139 The Twilight Sam urai.........................140

Kazakhstan Little M en........................................... 140

Latvia Lebanon The K ite .............................................. 142

Seven Days, Seven Nights................ 116

Luxembourg

Czech Republic

I Always Wanted to Be a Sain t.......143

Bored in Brno.....................................117

Mexico

Denmark

A Thousand Clouds of Peace.......... 144 Nicotina.............r..... .........................144

Mongolia The Story of the Weeping Camel.... 145

New Zealand

Somnambulance............................... 119

Perfect Strangers............................... 147

France

Norway

see Atmosphère............ ............... 79-95

Buddy..................................................147

Germany

Pakistan

Jagged Harmonies.............................120 Learning To Lie.................................. 120 The Miracle of Berne........................ 121 Rosenstrasse......................................121

Silent Waters...................................... 148

Bright Young Things.......................... 122 The Mother.............................

122 The Tulse Luper Suitcases: Part 1, The Moab Story.....................123 The Tulse Luper Suitcases: Part 2, From Vaux to the Sea............123

98

Novem ber..........................................155 Take My Eyes...................................... 156 The Weakness of the Bolshevik......157 Torremolinos 7 3 .................................156 Your Next Life .................................... 157

Israel

Cuba

Great Britain

Spain

Sri Lanka

Witnesses.......................................... 116

Estonia

South Korea A Good Lawyer's W ife...................... 152 Memories of Murder..........................153 Natural City.........................................153 Sky Blue.............................................. 154 Untold Scandal...................................155

Bloom..................................................130 The Boys from County Clare............. 130

The Python..........................................142

The Green Butchers...........................117 Inheritance......................................... 118 Reconstruction.................................. 118

South Africa Stander................. ............................152

Poland

Scent of the Lotus Pond.................... 143 Slim Susie......................

Asshak, Tales from the Sahara .......159 When the Right One Comes Along. 159

Taiwan Goodbye Dragon In n .........................160

Thailand Baytong.............................................. 160 TheTesseract...................................... 161

the Netherlands Twin Sisters.........................................145

USA BAADASSSSS!.................................... 163 Bereft.................

163 Brother to Brother............................. 164 Buffalo Bill's Defunct Stories from the New W est.............. 164 Cavedweller....................................... 165 Dandelion...........................................165 Death & Texas.................................... 166 Down to the Bone............................. 167 Evergreen............................................ 167 Everyday People.................................168 Frankie and Johnny Are Married.....168 Garden State...................................... 169 The Graffiti Artist............................... 169 Harry and M ax...................................170 Hedda Gabler..................................... 171 Incident at Loch N ess....................... 171 Maria Full of Grace............................ 172 Noise...................................................172 Off the M ap....................................... 173 Open Water.........................................173 Primer..................................................174 Quality of Life..................................... 174 A Relative Thing.................................161 Revolution..............................

175 Straight-Jacket...................................175

Tomorrow's W eather.........................148

Russia The Last Train..................................... 149 Roads to Koktebel............................. 149

Scotland Dear Frankie......................................150

Serbia Jagoda in the Supermarket............ 150

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CO NTEM PO RARY WORLD CINEMA

CONTEM PORARY W O RLD CIN EM A This wide-ranging overview of contempo­ rary international cinema provides a sam­ pling of essential new films from around the world. This year we have incorporated Asian Tradewinds, a focus on notable new Asian films, plus the films competing in the New Directors Showcase Competition and the New American Cinema Competition into the Contemporary World Cinema category. We trust the movies to be found in this section will provide a richer and more comprehensive sense of how cinema— and indeed the world— is pro­ gressing as we move through these early years of the 21st century.

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2003 Director: Gastón Biraben Producer: Gastón Biraben Screenwriter: Gastón Biraben Cinematographers: Carlos Torlaschi Abel Peñalba Film Editor: Tammis Chandler Music: José Luis Castiñeira de Dios Cast: Bárbara Lombardo Mercedes Funes Susana Campos Mugo Arana Osvaldo Santoro Running Time: 115 minutes Presentation Format: 35mm, in Spanish with English subtitles Print Source: Cacerolazo Producciones Selected Filmography: Feature Film Debut

MEW DIRECTORS SHOWCASE This w renching story is about a teenage girl who abruptly discovers that she is not who she always thought she was. U nfolding like a w ell-paced thriller, Captive explores the legacy o f recent Argentinean political history, and the ways in w hich the crim inal ju n ta that ruled the country in the 1970s continues to have a profound effect on the lives o f contem porary citizens o f A rgentina. Fifteen-year-old Christina’s up­ per-m iddle-class parents have showered her w ith all the best things in life . W ell-groom ed and obedient, she has a tendency to look down upon those around her who continue to dwell on the past, particularly the ugly events that occurred under the m ilitary dicta­ torship that form erly ruled her country. Everything in her carefully ordered world is suddenly turned on its head when she is called out o f class one day and taken under escort to a courthouse. There she is told that her real nam e is Sofia Lom bardi, the daughter o f activists who disappeared in the 7 0 s. Utterly devastated by the news, Christina goes on the run, but soon she is drawn into a search for the truth about her birth and her parents’ fate. Captive won the Best Film award in the Horizons section o f the San Sebastian Film Festival.

Awards: San Sebastián 2003 (Best Film: Horizons)

Set am id the snow-covered m ountains o f a Kurdish village in Arm enia, H iner Saleem ’s alternately funny and deadly serious film follow s the tragi-com ic for­ tunes o f four characters who were left destitute, along w ith the rest o f their village, by the collapse o f the So­ viet U nion. H am o is a sixty-year-old widower forced to sell his household possessions on the local roads in order to get by. One o f his sons has a girlfriend in Paris and seems to be happy; the other son is a deadbeat.

His 15-year-old daughter m ay be his only salvation. As Ham o says: “ Before we had everything but freedom .

Now we have freedom and nothing else.” W hile visit­ in g his w ife’s grave, Ham o encounters N in a, an at­ tractive widow in her fifties. N ina sells bottles o f vodka lem on drinks to truck drivers on the highw ay. Her daughter, Zin e, is a virtuoso piano player, but suffers from insom nia and does not have m uch o f a career.

Despite their hardships, a rom ance begins to blossom gently between the dignified Ham o and the stoic N ina.

The arrival o f a letter from his son and an unexpected engagem ent leads to a starlin g con clusion . Although often funny, Saleem ’s tale never trivializes the harsh realities faced by his characters, a ll o f them played by non-professional locals w ith charm , dignity and a rare sense o f resilience. As Saleem him self has com ­ m ented: “ I consider a ll Arm enians to be m agician s, as I don’t understand how they succeed in surviving.

I gather they don’t understand either.”

Awards: Venice 2003: CounterCurrent Competition (Best Film) 2004 Official Oscar Submission (Foreign Language Film)

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A r m e n ia / S w it z e r la n d / F r a n c e / lt a ly

2003 Director: Hiner Saleem Producer: Fabrice Guez Screenwriters: Hiner Saleem Lei Dinety Pauline Gouzenne Cinematographer: Christophe Pollock Film Editor: Dora Mantzoros Music: Michel Korb Cast: Lala Sarkissian Romen Avinian Ivan Franek Armen Marouthian Astrik Avaguian Running Time: 90 minutes Presentation Format: 35mm, in Russian, Kurdish and Armenian with English subtitles International Sales: F For Film Print Source: New Yorker Films Selected Filmography: Beyond Our Dreams (2000) Kebab Connection (1998)

CO NTEM PO RARY WORLD CINEMA

Danny Deckchair

Donau, Duna, Dunaj, Dunav, Dunarea

FRIDAY MAY 28 6 :45 PM EGYPTIAN

TUESDAY JUNE 1 7PM PACIFIC PLACE

SUNDAY MAY 30 3 :45 PM EGYPTIAN

FRIDAY JUNE 4 5 PM HARVARD EXIT

A u s t r a lia 2003 Director: Jeff Balsmeyer Producer: Andrew Mason Screenwriter: Jeff Balsmeyer Cinematographer: Martin McGrath Film Editor: Suresh Ayyar Music: Plan 9: David Donaldson Steve Roches Janet Roddick Cast: Rhys Ifans Miranda Otto Justine Clarke Rhys Muldoon Running Time: 101 minutes Presentation Format: 35mm International Sales: Cobalt Pictures Print Source: Lions Gate Films Selected Filmography: Feature Film Debut

This sublim e com edic love story features Rhys Ifans (iOnce Upon a Time in the Midlands) and M iranda Otto ( Love Serenade, Lord ofthe Rings) as a pair of eccentric outsiders who find in each other the m eans to change their lives for the better. Danny (Ifans) is a gentle oddball w ith a habit of engagin g in disastrous experim ents and exhibitions. After an altercation with his am bitious girlfrien d, he decides to tie industrialw eight, heliu m -filled balloons to his law n chair in an effort to “ elevate” him self. Danny is subsequently blow n through the sky from his suburban Sydney backyard into the rem ote, scenic village o f Clarence, where he crash-lands in the backyard o f traffic cop Glenda (O tto). On im pulse, Glenda invents a new identity for him as a visiting professor and becomes his delighted host. As one o f the few people in the town w ho’s gone to university, Glenda is seen as a bit o f an outsider to the relatively sim ple tow nsfolk, but D ajiny soon becom es a w elcom e part o f the com m unity, seiz­ in g the opportunity to start life afresh, and draw ing Glenda back into the sm all town’s fold. Redolent with quirky charm and infused w ith w it and w arm th, this en gagin g first feature from Je ff Balsm eyer— second u n it director on over forty film s, w ith such directors as

A young boy brings the redheaded Captain Franz (Otto Sander, Das Boot, Wings of Desire) a sealed casket, w hich contains the rem ains of the boy’s m other, whose fin al request was that she be dropped in the waters o f the Danube River near her hometown. Franz was once her lover, and the boy is convinced that he is his father. After a few stiff drinks and a flood of strong m em ories, the captain decides to fu lfill her request. So begins a journey o f two thousand kilom eters through seven countries. Along the way, characters board and disem bark this rust-bucket “ ship of fools,” and the landscape is not the only thing that w ill change. The m ain life vein for Europe, the Danube is really the m ain character of the film , rich in m eaning: freedom and hom e to som e, death to others. “I wanted to tell

A u s t r ia 2003 ■.

Director: Goran R e b jC Producer: Erich Lackner

Screenw |’iters: Hejnz ^mbrosch cinematographer: Jerzy Palacz

Fl,m Editors: Music: Achim Tang Boris Kovac

stories about the m ythical Danube, the point at w hich Occident and Orient m eet,” says director Goran Rebic.

vlada Div|ian 0ttQ 'Sander

Though its nam e m ay change depending on what country they pass through, the river itself is be the only constant in this area of the w orld-w hich m akes

Anabelle Mandeng

it a great vehicle for this gem o f a film .

gg m jn“ es

Robert Stadlober

Florin piersic JrPresentation Format: 35mm, In German and Serbo-Croatian with English subtitles Print Source: Austrian Film Commission Selected Filmography: Jugofilm (1997)

Woody A llen and Spike Lee— is a true delight.

Preceded by RuggedRich & the Ona Ona (Eric F in kel, Canada, 8 m inutes) R ich pretends to be an outdoorsm an to impress his new girlfriend but everything falls apart w ith the dis­ covery o f an exotic species o f fish .

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Move it.

25 Degrees in Winter 2 5 DEGRÉS EN HIVER

D esign er Jo n G asca put w heels on the front legs o f his Malena chair for ease o f h an d lin g...sh ou ld one feel the urge to reposition his beech fram ed beauty. A Stua product from Sp ain , at E gb e rt’s.

22311st Ave. in Seattle’s Belltow n.

e d b e r ty Design Studio, Furniture, Interior Accessories

THURSDAY JUNE SUNDAY JUNE

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136 3 OPM HARVARD EXIT

NEW DIRECTORS SHOWCASE The m ovie opens w ith renegade protestors liberating a group o f ille gal im m igrants, but after this rather serious prologue, 25 Degrees in Winter (about 80°F) quickly evolves into a d eligh tful, screw ball com edy o f errors. It is the 12th o f January, and it’s going to be a scorcher in the capital o f B elgium . M iguel, a disorganized single father who works as a courier, is awakened by an urgent telephone ca ll from his brother, who is also his boss. After dropping his daughter o ff at school, he gets caught in a traffic jam , and unw ittingly finds him self the rescuer o f Son ia, a U krainian m ath teacher who was am ong the refugees set free at the begin ning o f the film . It turns out that Son ia is desperate to find her U krainian husband, who disappeared a year ago, and M iguel reluctantly agrees to assist her. To com plicate m atters, M iguel gets a ca ll from his m other (Carm en M aura), notify­ in g him that his daughter is in the hospital follow ing a skirm ish at school. Once at the hospital, M iguel is m anipulated by the three wom en who a ll know how to navigate life better than he does. In som ew hat slap­ stick fash ion , M iguel, his m uch-too-curious daughter, his overbearing m other and Son ia set o ff on a series o f m isadventures to try and fin d Son ia’s m issing hus­ band. A stellar cast and good-natured laughs m ake for an entertaining outing.

N. AMERICAN PREMIERE B e lg iu m / F r a n c e / S p a in

2004 Director: Stéphane Vuillet Producer: Marion Hansel Screenwriters: Stéphane Vuillet Pedro Romero Stéphane Malandrin Cinematographer: WaltherVanden Ende Film Editor: Anne-Laure Guégan Music: Tristan Vuillet Cast: Carmen Maura Jacques Gamblin Ingeborga Dapkunaite Raphaëlle Molinier Pedro Romero Running Time: 90 minutes Presentation Format: 35mm, in French, Spanish, Dutch and Russian with English subtitles International Sales: Flach Pyramide International Print Source: Flach Pyramide International Selected Filmography: Feature Film Debut

CONTEMPORARY WORLD CINEMA

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national national )hy:

Feathers in My Head

Sexual Dependency

DES PLUMES DANS LA TÊTE

DEPENDENCIA SEXUAL

FRIDAY MAY 21 9 :15 PM BROADWAY PERFORMANCE HALL

TUESDAY JUNE 8 7PM EGYPTIAN

SUNDAY MAY 30 2PM HARVARD EXIT

THURSDAY JUNE 10 2PM CINERAMA

Belgium/France 2003 Director: Thomas de Thier Producers: Jacques Bidou Marianne Dumoulin Nicolas Meyer Screenwriter: Thomas de Thier Cinematographer: Virginie Saint Martin Film Editor: Marie-Hélène Dozo Music: Sylvain Chauveau Groupe Premi Djou d'Fosse Cast: Sophie Museur Francis Renaud Ulysse de Swaef Alexis Den Doncker Running Time: 100 minutes Presentation Format: 35mm, in French with English subtitles International Sales: Films Distribution Print Source: Films Distribution Selected Filmography: Feature Film Debut

NEW DIRECTORS SHOWCASE This startling and audacious film is set over the course o f four seasons, tracing the in itially idyllic rural life o f a young couple and. their dreamy, endlessly curi­ ous toddler, Arthur. The film takes its tim e letting us get to know this young fam ily, and particularly their adorably innocent son. D ream like im ages of nature and the rustic rural setting o f their loving hom e are interspersed w ith Arthur’s com ings and goings, w hich are o f the inquisitive nature o f any ch ild . Then, un­ expectedly, the young boy wanders o ff one gorgeous spring day, w hich sets into m otion a mystery m ade in ­ fin itely m ore resonant and unsettling by the m other’s seem ing indifference to it, after her in itia l parental p an ic. W hat unfolds from this point on is too delicate to relate, but this w holly origin al dram a has w ithin it elem ents o f deep em otional catharsis and haunting im ages o f n atural wonder, m aking it one o f the more notable directorial debuts o f the year.

This am bitious debut feature interweaves the stories of five sexually adventuresome youths— three in Bolivia and two in the US— who are desperately try­ in g to m ake sense o f their confused sexual lives in a m edia-dom inated era that imposes unattainable ide­ als. The film is strung together as a series of intercon­ necting stories, with each chapter culm inating in a sex act, but sex is certainly not the first thing on its m ind; \\\&AmoresPetros, its real focus is class struc­ ture, urban Latin Am erican culture, and telenovelastyle m elodram atics. W ith its overlapping narrative strains and use o f two-panel split screen visuals, the film provides a consistently evolving m otif centering on the sexual politics— both gay and straight— of contem porary youth society in the Am erican hem i­ sphere. Young Bolivian-born director Rodrigo Bellott displays an am bitious reach and an astute com m and of cinem atic tools with this, his debut feature. Sexual Dependency won the FIPRESCI critics’ prize at last year’s Locarno Fest.

Awards: Locarno 2003 (FIPRESCI Award) 2004 Official Oscar Submission (Foreign Language Film)

Preceded by Exposure (Peter C ollis, Great Britain, 6 m inutes) An assembly of fragm ents on an isolated beach ex­ posed to the elem ents crackle, flake, warp and decay over tim e.

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Bolivia/USA 2003 Director: Rodrigo Bellott Producer: Ara Katz Screenwriters: Rodrigo Bellott Lenelle N. Moise Cinematographers: Rodrigo Bellott Daryn Deluco Film Editor: Adriana Pacheco Music: John Dobry Cast: Alexandra Aponte Roberto Urbina Ronica Reddick Jorge Antonio Saavedra Matt Guida Matt Cavenaugh Running Time: 105 minutes Presentation Format: 35mm, in English, Spanish and Portugese with English subtitles Print Source: Cinemavault Releasing Film Website: www.bosdfilms.com/bosdfilms/ Selected Filmography: Feature Film Debut

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CONTEMPORARY WORLD CINEMA

Carandiru

The Man of the Year 0 HOMEM DO ANO

FRIDAY MAY 21 930PM PACIFIC PLACE

TUESDAY MAY 25 930PM HARVARD EXIT

SUNDAY MAY 23 130PM PACIFIC PLACE

FRIDAY MAY 28 5PM HARVARD EXIT

Brazil/ Argentina 2003 Director: Hector Babenco Producer: Hector Babenco Screenwriters: Victor Navas Hector Babenco Fernando Bonassi, from the novel by Drauzio Varella Cinematographer: Walter Carvalho Film Editor: Mauro Alice Music: André Abujamra Cast: Luiz Carlos Vasconcelos Milton Gonçalves Ivan de Almeida Maria Luisa Mendonça Rodrigo Santoro Running Time: 148 minutes Presentation Format: 35mm, in Portuguese with English subtitles International Sales: Sony Pictures Classics Print Source: Sony Pictures Classics Selected Filmography: Foolish Heart (1998) At Play in the Fields of the Lord (1990) Ironweed (1987) Kiss of the Spider Woman (1984) Pixote (1980)

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The infam ous Sao Paulo penal colony o f Carandiru, the largest ever in Latin Am erica, was origin ally b u ilt to hold 3,000 prisoners. By 1992, it held m ore than 10,000. On October 2nd o f 1992, the prisoners revolted and 111 o f them were m assacred by the authorities in the ensuing brutal repression. The film ’s often tender but at tim es horrific m osaic o f hum an stories is told from the point o f view o f the prison’s doctor, D rauzio Varella, who subsequently recounted his 12 years of work there in the best-selling book Carandiru Sta­ tion. Carandiru has proven to be B razil’s m ost popu­ lar film ever, viewed by five m illio n spectators to date.

For acclaim ed A rgentinean/Brazilian director Hec­ tor Babenco (Pixote, Kiss of the Spider Woman), it m arks his trium phant return to film m akin g after a life-threatening struggle w ith lym phatic cancer. The film is very personal to Babenco; his oncologist dur­ in g his recovery from cancer was Varella him self. Shot in the real prison— just before it was dem olished in 2002— the film is not only a m asterful prison epic but also a pointed and iron ic m etaphor for contem po­ rary B razilian society.

Awards: 2004 Official Oscar Submission (Foreign Language Film)

Fate, violence and peroxide color José Henrique Fon­ Brazil seca’s The Man of the Year. G azin g into a m irror at 2003 the salon , M âiquel (a brooding and volatile M urilo Director: Benicio) glim pses a new personality lurk in g behind José Henrique Fonseca his freshly bleached platin um blond hair. W hen the Producers: notorious lo cal thug Suel m ocks M âiquel’s flaxen Leonardo Monteiro de locks, he defends his coiffure w ith lethal force. Sud­ Barros José Henrique Fonseca denly, M âiquel is the talk o f the neighborhood, en­ Flâvio Tambellini joyin g the affection o f his hairstylist Cledir (C laudia Screenwriter: Abreu) as w ell as gifts and favors from local residents Rubem Fonseca, from the who suffered under Suel’s vicious crim in al caprice. novel by Patricia Melo Cinematographer: But the eccentric Dr. Carvalho and his association Breno Silveira o f w ealthy businessm en have plans to transform Film Editor: M âiquel’s sudden act o f violence into a new vocation: Sérgio Mekler assassin. W hen Suel’s teen-age girlfriend dem ands Music: M âiquel take care o f her, he m ust choose between the Dado Villa-Lobos Cast: stability o f life as husband and pet store em ployee, and Claudia Abreu one o f w ealth and respect as a vigilan te for hire. Told Murilo Benicio freshly and w ith hum or, this is a stylistically charged Jorge Dôria m editation on urban R io de Jan eiro . Breno Silveira’s Natalia Lage José Wilker liquid cam eraw ork underscores the m ood o f decay Running Time: and corruption in Fonseca’s sleek first feature. Based 112 minutes on P atricia M elo’s novel The Killer, The Man of the Presentation Format: Year is a potent exam ination o f one m an’s attem pt to 35mm, in Portuguese with alter the forces o f destiny and the interchangeability o f English subtitles International Sales: violence and status.

Grupo Novo de Cinema Print Source: The Film Movement Selected Filmography: Feature Film Debut

Awards: San Francisco 2003 (Best First Feature)

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CONTEM PORARY WORLD CINEMA

The Man Who Copied

The Middle of the World

0 HOMEM QUE COPIAVA

0 CAMINElO DAS NUVENS

THURSDAY JUNE 3 9 :30 PM PACIFIC PLACE

SUNDAY MAY 30 930PM PACIFIC PLACE

SUNDAY JUNE 6 2PM PACIFIC PLACE

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Brazil 2003 Director: Jorge Furtado Producers: Nora Coulait Luciana Tomasi Screenwriter: Jorge Furtado Cinematographer: Alex Sernambí Film Editor: Giba Assis Brasil Music: Léo Henkin Cast: Lázaro Ramos Leandra Leal Luana Piovani Pedro Cardoso Running Time: 124 minutes Presentation Format: 35mm, in Portuguese with English subtitles International Sales: Grupo Novo de Cinema Print Source: Grupo Novo de Cinema Film Website: www.ohomemquecopiava.com.br Selected Filmography: Two Summers (2002)

Played by the m agnetic Lázaro Ram os (Madame Sata), André is a 19-year-old dropout who lives with his m other and works as a photocopy operator.

Despite a lack o f education, he’s bright, if somewhat socially inept. His knowledge com es from the m any docum ents he’s copied over the years, such as Shake­ spearean sonnets (w hich he loves) and encyclopedia entries. In his free tim e, he works on a com ic that in ­ tegrates draw ings w ith im ages purloined from work (this strip occasionally com es to hilarious life ). He’s also nursing a crush on Silvia (Leandra Leal) who lives across the street w ith her stepfather. They’ve never m et, but he observes her n ightly, and decides he needs 38 reals to buy her a dress. Com bining his skills and resources, he form ulates a plan to m ake the m oney. T hat’s when a ll o f his troubles begin. Award­ w inn in g film m aker Jorge Furtado based this story on his own youth, m aking André as sym pathetic as he is believable. He’s unique, yet em blem atic o f the work­ in g poor everywhere, fueled m ore by dream s than by the reality o f everyday liv in g. For André, however, som e dream s w ill com e true before The Man Who Copiedcan reach its surprising conclusion.

One o f the best representatives of a vibrant new move­ m ent in Brazilian cinem a, The Middle of the World is a different kind of road m ovie, one that replaces autom obiles with bicycles and the ordinary scenery of Am erican highways with the extraordinary landscape of northeastern Brazil. Based on a true story, the film follows Rom an, an unemployed truck driver with a not-so-brilliant idea: to take his fam ily to Rio de Ja ­ neiro, on bicycles, to look for a job. The only problem : R io is 2,000 m iles away over a terrain fraught with arid heat and social misery. D ealing with the m any strangers they encounter along the way, some pleas­ ant and others less so, the group m ust also overcome the typical frustrations of any fam ily trip— husbandand-w ife squabbles, fights am ong kids, a rebellious teenage son— things that are as fam iliar to Am erican m inivans as they are to broken-down Brazilian bicy­ cles. W ith some w onderfully appealing perform ances from the cast, especially the children playing the un­ ruly m oppets, and featuring buoyantly catchy songs

by Brazilian m usician Roberto Carlos, The Middle of the World is a bicycle trip across Brazil, giving audi­ ences a road-level view o f life lived at a slower speed.

Awards: Miami 2004 (Best Script) APCA Award 2003 (Best Brazilian Film) Brazilian ACIE Awards 2004 (Best Film)

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Brazil 2003 Director: Vicente Amorim Producers: Lucy Barreto Luiz Carlo Barreto Screenwriter: David França Mendes Cinematographer: Gustavo Hadba Film Editor: Pedro Amorim Music: André Abujamra Cast: Claudia Abreu Wagner Moura Ravi Ramos Lacerda Manoel Sebastiâo Alves Filho Running Time: 85 minutes Presentation Format: 35mm, in Portuguese with English subtitles International Sales: Grupo Novo de Cinema Print Source: The Film Movement Selected Filmography: Feature Film Debut

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Cowards Bend the Knee

The Forest LE SILENCE DE LA FORÊT

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Cameroon/ Gabon/Central African Republic 2003 Directors: Didier Ouénangaré Bassek ba Kobhio Producer: Bassek ba Kobhio Screenwriters: Bassek ba Kobhio Didier Ouénangaré Marcel Beaulieu, adapted from the novel by Étienne Goyemidé Cinematographer: Pierre-Olivier Larrieu Film Editor: Joseph Licide Music: Manu Dibango Cast: Eriq Ebouaney Nadège Beausson-Diagne Sonia Zembourou Philippe Maury Running Time: 93 minutes Presentation Format: 35mm, in Aka, Sango and French with English subtitles International Sales: Films Distribution Print Source: Films Distribution Selected Filmography: Le Grand Blanc de Lambaréné (1995) Sango Malo (1991)

This first-ever feature from the Central African Repub­ lic follow s G onaba, a French-schooled A frican intel­ lectual who returns hom e to help im prove the lives o f his people. After ten years, he’s still stuck as a petty pen-pusher at a dead-end education job, m ore servant than civil to his corrupt supervisors. Fed up, he heads out to the forest [com m unities o f the proud, isolated B iaka pygm y tribe. Im agin in g that the B iaka tribes­ m en are m ore “ authentic” in their relationships w ith nature and hum anity, Gonaba leaves his job and his girlfriend to live w ith them and, hopefully, teach them about the West. W hat he learns opens his eyes not only to the com plexities o f their w orld, but also to m any o f his own m isconceptions. Satirizin g the Europe-ob­ sessed African upper class, The Forest takes clear aim at the problem s that beset A frica today. Add beauti­ fu l cinem atography that captures the lushness o f its jungle and forest locations, a fine score that features the indigenous m usic o f the B iaka people and also new songs by fam ed m usician M anu D ibango (“ The Cam eroon M akossa rhythm kin g” ) , and you have one o f the finest African film s in recent years.

“A lovingly self-loath in g peek at m yself, but only as I w ould have enough courage to look— through a cracked glass m ade foggy by hairspray,” says Cana­ dian director Guy M addin about Cowards Bend the Knee, a shot-on-super-8-and-expanded-to-35m m si­ lent “ autobiography” involving beauty salons, orgies, a father’s severed hands (and the daughter who wants them sewn onto her lover’s arm s), cow ardice, fem m es fatale and the Soviet national hockey team . O riginally com m issioned for Toronto’s Power P lan t art gallery, Cowards was designed to be viewed through peep­ holes, recallin g film ’s notorious beginnings in the disreputable realm s o f fairgrounds and peepshows, where cowards and perverts bent their knees for a peek at thrills denied and passions described. A Jo h n Waters plot film ed by a super-8-cranking Eisenstein, Cow­ ards continues M addin’s fixation w ith Soviet silent film , but its w ondrously overheated visual aesthetic seems inspired by m ore m odem devices, like am phet­ am ines: sudden zoom s, shaking cam eras, a blackand-w hite ligh tin g schem e seem ingly controlled by a nine-year-old o ff his R italin (and a cast that appears to be m ain lin in g it). M addin’s debut work Talesfrom the Gilmli Hospital m ay have begun his excavation o f 1920s stylistics, but w ith the recent short TheHeart ofthe Worldand now Cowards, he has carved out his own style through appropriating cinem a’s past and recharging it for the future.

Preceded by ThePhantom Museum (Brothers Quay, Great Britain, 2004,15 m inutes) Sir Henry W ellcom e (1853-1936) am assed one o f the w orld’s largest m useum collections, capturing hu­ m an culture and history through m edical eyes. The Phantom Museum uses anim ation to im aginatively “ docum ent” this extraordinary assem blage and si­ m ultaneously reveal an extrem ely beautiful yet odd inner cosm os o f things.

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Canada 2003 Director: Guy Maddin Producer: Philip Monk Screenwriter: Guy Maddin Cinematographer: Guy Maddin Film Editor: John Gurdebeke Cast: Darcy Fehr Melissa Dionisio Amy Stewart Running Time: 60 minutes Presentation Format: BetaSP - NTSC Print Source: Zeitgeist Films Ltd. Film Website: www.zeitgeistfilms.com/ cowardsbendtheknee Selected Filmography: The Saddest Music in the World (2003) Dracula - Pages from a Virgin's Diary (2w Twilight of the Ice Nymphs (1997) Careful (1992) Tales from the Gimli Hospital (1988)

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Moving Malcolm

A Problem with Fear

FRIDAY JUNE 4 9 :30 PM HARVARD EXIT

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Canada 2003

/orld (2003) I lin's Diary (2# (1997) :al (1988)

Director: Benjamin Ratner Producers: Paul Armstrong Bridget Hill Screenwriter: Benjamin Ratner Cinematographer: Gregory Middleton Film Editor: Ross Weber Music: Chris Ainscough Cast: Elizabeth Berkley John Neville Benjamin Ratner Nicholas Lea Jay Brazeau Running Time: 82 minutes Presentation Format: 35mm International Sales: Crescent Releasing Print Source: Moving Malcolm Prod.

After being ditched on the day o f his w edding, Gene M axw ell (Benjam in Ratner) spent the last year livin g under a rock. D rifting from one m eaningless day job to the next, he toils away in the evenings w riting a volum inous novel w ith w hich he hopes to w in back the heart o f his form er fiancee, the globe-trotting Bm ovie actress Liz Woodward (Elizabeth Berkley). This debilitating routine is suddenly broken w hen, out of the b lue, Liz arrives on his doorstep to tell him that she’s leaving for Prague to star in a low -budget ac­ tion flick . Liz asks Gene if he can do her a huge fa­ vor in the m eantim e: help m ove her father M alcolm 0 ohn N eville) out o f his dingy basem ent suite into a sunny new apartm ent. Seizin g upon this opportunity to recapture Liz’s elusive love, Gene agrees to move M alcolm , despite protests from his overbearing, ec­ centric fam ily and his best friend, the lad y-killin g ballroom -dancing instructor Herbert. Everybody is horrified that he’s helping her out after she left him in the lurch at the altar, but Gene is determ ined to do things his own way. In this light-hearted com edy about m aking lem onade from lem ons, Gene m ay just have stum bled upon the perfect way to get his life m oving again . A sweetly com edic directorial debut from one o f Canada’s best-know n actors {Last Wed­

ding, Dirty, Kingdom Hospital), Moving Malcolm m arks B enjam in Ratner as a talent w ho’s rem arkably adept on both sides o f the cam era.

Subways, elevators and revolving doors: these are m odem conveniences that we take for granted be­ cause they m ake our lives easier. We don’t norm ally think of them as things that can k ill. But what if they did? Canadian film m aker Gary Bum s’ A Problem with Pear, subtitled Laurie’s Anxiety Confronting the Escalator, posits a world where one m an’s seem­ ingly unfounded dread o f everyday devices becomes justified. TW enty-something m allrat Laurie (Paulo Costanzo) can ’t help it. Shortly after his older sister M ichelle (Cam ille Sullivan ), who works for the ubiq­ uitous G lobal Safety In c., gives him a bracelet to ward off danger, his fears start to infect people around him .

A passenger-filled elevator plum m ets to the ground, a m an gets caught in a revolving door, a wom an gets stuck in an escalator. Because no one wants to become a casualty o f the “fear storm ” gripping Calgary, sales o f G lobal Safety stock take off like a rocket. And Lau­ rie is not about to take off his security bracelet. His only confidante throughout this ordeal is his preppy, neurotic girlfriend Dot (Em ily Ham pshire), who has plenty o f fears o f her own. SIFF favorite Bum s (1997’s Kitchen Party and 2000’s waydoumtown) eschews special effects for a sci-fi scenario that plays more like a cross between satire and suspense. A Problem with Fear garnered Genie nom inations for Stefan Ivanov’s effectively disorienting cam era work and Ham pshire’s loopy M innie M ouse-on-M ars perform ance.

Preceded by Pits (Gary Hawes, Canada, 2003,8 m inutes) A prospective em ployee has the worst job interview

Awards: Montreal Film Festival 2003 (Special Jury Mention)

Canada 2003 Director: Gary Burns Producers: Shirley Vercruysse Luc Dery George Baptist Screenwriters: Gary Burns Donna Brunsdale Cinematographer: Stefan Ivanov Film Editor: Yvann Thibodeau Music: John Abram Cast: Paulo Costanzo Emily Hampshire Willie Garson Benjamin Ratner Camille Sullivan Running Time: 94 minutes Presentation Format: 35mm International Sales: Horizon Entertainment Print Source: Burns Film Ltd. Selected Filmography: waydowntown (2000) Kitchen Party (1997) The Suburbanators (1995)

ever. W ith Alan Cum m ing.

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The Saddest Music in the World

Proteus

THURSDAY JUNE 10 7PM EGYPTIAN

FRIDAY MAY 21 930PM HARVARD EXIT

SATURDAY JUNE 12 1130AM PACIFIC PLACE

SUNDAY MAY 23 130PM EGYPTIAN

Canada/ South Africa 2003

There aren’t m any directors who can p u ll o ff an oldfashioned, 1930s screw ball Hollywood m usical set in Depression-era Canada w ith an am nesiac nym pho­ m an iac, an international m usic com petition, and a double am putee who happens to sport two glass legs fu ll o f beer. Leave it to Canada’s iconoclastically im aginative Guy M addin to m ake it work in m adcap,

Director: John Greyson Producers: Anita Lee Steven Markovitz Platon Trakoshis Screenwriters: John Greyson Jack Lewis Cinematographer: Guilio Biccari Film Editor: Roslyn Kalloo Music: Don Pyle Andrew Zealley Cast: Rouxnet Brown Shaun Smyth Neil Sandllands Kristen Thomson Running Time: 113 minutes Presentation Format: 35mm, in English and Afrikaans with English subtitles Print Source: Strand Releasing Selected Filmography: The Law of Enclosures (2000) Uncut (1997) Lilies (1996) Zero Patience (1993) Urinal (1988)

Based on historical events in 18th-century South Af­ rica, Proteus begins w ith a consum m ate m om ent of racial injustice: Claas B lank, a young black A frican, is pursued and arrested for retrieving his cattle, w hich had been stolen by brutal D utch colonizers. Despite being acquitted o f the cattle theft charges at his trial, he is sentenced to ten years’ hard labor at the Robben Island penal colony for “ assault and insolence on a D utch citizen .” O n the island, Claas finds little respite from breaking rocks, at least u n til he com es under the tutelage o f Virgil Niven, an E nglish botanist fasci­ nated by the local flora. W ith C laas’ assistance, Virgil begins to identify and classify the flowers in the protea genus in hopes o f publishin g a work to rival those o f the Swedish naturalist Linnaeus. M eanw hile, a slowly grow ing attraction develops between Claas and R ijkhaart, a D utch sailor jaded from his debauched ex­ periences in Am sterdam . Despite the m utual prejudice they in itially feel toward one another, their passion consum es them as they spend every spare, hidden m o­ m ent together. But when Virgil discovers their liaison , they are tortured into confessing and are put on trial for their lives— a trial that threatens to force Virgil to expose a shadowy secret from his life in Am sterdam .

Director Jo h n Greyson m anages to turn w hat could have been a staid period piece into a powder keg o f race, sex and colon ialism that fin ally explodes in the film ’s heartrending fin al scenes.

dazzlin g fashion . The film is set in W innipeg, 1933, and Isabella R ossellini plays a beer baroness w ith the abovem entioned glass legs. She has a troublesom e relationship w ith Chester Kent (M ark M cKinney, Kids in the Half), a w ily talent m anager who failed on Broadway and spends his tim e frolick in g about with his insatiable lover (M aria de M edeiros). Chester’s father Fyodor (David Fox) is an alcoholic ex-surgeon, and his brother Roderick (Ross M cM illan) is a m opey m usician m ourning the loss o f his son and w ife. It a ll com es together w hen the baroness decides to put on a global com petition to fin d the “ saddest m usic in the w orld,” because depressed people drink m ore.

M ariachi bands, Scottish bagpipers, and the Kent fam ily descend on W innipeg to com pete for the $25,000 prize. As the com petition ram ps up (winners get to ride a gian t slide that dum ps them into a gian t vat o f beer), the Kent fam ily and the baroness start to com e undone. M ixin g the zany w ith the surreal, The SaddestMusic in the Worldis a dream like rom p that, despite its non -linear leanings, is easy to enjoy.

Preceded byMagda (Chel W hite, USA, 2004,6 m inutes) Stop-m otion anim ated short about the love between a circus sideshow contortionist and an onlooker.

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Canada 2003 Director: Guy Maddin Producers: Jody Shapiro Niv Fichman Screenwriter: Guy Maddin George Toles, based on a screenplay by Kazuo Ishiguro Cinematographer: Luc Montpellier Film Editor: David Wharnsby Music: Christopher Dedrick Cast: Isabella Rossellini Mark McKinney Maria de Medeiros David Fox Ross McMillan Running Time: 99 minutes Presentation Format: 35mm International Sales: Rhombus Media Inc. Print Source: IFC Films Selected Filmography: Cowards Bend the Knee (2003) Dracula - Pages from a Virgin's Diary (2001 Twilight of the Ice Nymphs (1997) Careful (1992) Archangel (1990) Tales From the Gimli Hospital (1988)

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Seducing Doctor Lewis

The Snow Walker

LA GRANDE SÉDUCTION

SATURDAY JUNE 5 6 PM EGYPTIAN

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TUESDAY JUNE 8 3 :45 PM HARVARD EXIT

MONDAY MAY 24 7PM EGYPTIAN

Canada 2003 Director: Jean-François Pouliot Producers: Roger Frappier Luc Vandal Screenwriter: Ken Scott Cinematographer: Allen Smith Film Editor: Dominique Fortin Music: Jean-Marie Benoît Cast: Raymond Bouchard David Boutin Benoît Brière Bruno Blanchet Running Time: 108 minutes Presentation Format: 35mm, in French with English subtitles Print Source: Wellspring Selected Filmography: Feature Film Debut

The residents o f a sm all Canadian town p u ll out all the stops to lure a young doctor away from the lights o f the b ig city in this crow d-pleasing Canadian h it.

The sleepy island town o f St. M arie-La-M audem e was once a thriving fish in g port, but now m ost o f its residents are unem ployed and unw anted. H oping to lure a factory there, the town m ust first lure a doctor, a task that proves harder than anticipated until the arrival o f the sophisticated, handsom e Dr. Lewis, a m an w ith a taste for certain unassailable things, like big-city liv in g, cricket, beef stroganoff and, um , w om en’s toes. The town m ay not be well-versed in such tastes, but that w on’t stop them from pretend­ in g they are, if only u n til Dr. Lewis is fin ally, fitfu lly seduced. Egged on by their irascible m ayor, a m an as charm ing as he is nefarious, the tow nsfolk aim them selves at the young doctor, their laid-back lives suddenly revving up to big-city standards, as w ell as som e big-city confusions. The Audience Award w inner at this year’s Sundance Film Festival, it is a throwback to the w arm -hearted British com edies o f the 1950s.

Seducing Dr. Lewis proves as irresistible as the citi­ zens o f St. M arie-La-M audem e them selves.

Awards: Sundance 2004 (World Cinema Dramatic Audience Award) 13) i's Diary (2001

Inspired by a short story from fam ous Canadian na­ ture writer Farley Mowat, The Snow Walker captures the brutal m ajesty o f Canada’s Arctic north in a pow­ erful tale o f two individuals struggling to survive in the uncharted expanse o f the tundra. Set in the sum ­ m er of 1953, the film opens by introducing us to Char­ lie H alliday (Barry Pepper, Saving Private Ryan), a m averick pilot who earned his stripes in World War II and is now flying routine supply m issions for a shipping com pany. On one trip, he stum bles upon an In u it fam ily who beg him to take their sick daugh­ ter Kanaalaq to a hospital in Yellow knife. Though he in itially resists their pleas, he eventually relents when they offer him a pair of m atching ivory walrus tusks in exchange. En route to his next delivery the plane encounters m echanical problem s, and Charlie and his unanticipated passenger harrowly escape death after a harrow ing crash lan din g. Lost in the vast wilds, Charlie im pulsively sets out alone to reach the nearest town some 200 m iles away. W hen he fails to return, Kanaalaq sets out to find h im . This is an extraordi­ nary story o f their fight to survive the elem ents, and o f the m ystical ability o f the In u it people to endure in a bleak lan d. Am bitiously directed by Charles M artin Sm ith, whose 30-year acting career includes the lead role in the 1983 adaptation o f Mowat’s Never Cry Wolf, this is a visually ravishing film that is destined to becom e a classic.

1997)

1(1988)

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Canada 2003 Director: Charles Martin Smith Producers: Rob Merilees William Vince Screenwriter: Charles Martin Smith, based on the story by Farley Mowat Cinematographers: Paul Sarossy Jon Joffin David Conell Film Editor: Alison Grace Music: Mychael Danna Cast: Barry Pepper James Cromwell Annabella Piugattuk Kiersten Warren Running Time: 103 minutes Presentation Format: 35mm, in English and Inuktitut with English subtitles International Sales: First Look Media Print Source: First Look Media Selected Filmography: Air Bud (1997) Boris and Natasha (1992) Trick or Treat (1988)

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2004

109

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This effortlessly entertaining blend o f Indian-diaspora com edy and com in g-out story— a huge h it at this year’s Sundance Film Festival— focuses on a young m an who has escaped the restraints o f his traditional C anadian ém igré fam ily, only to fin d life closing back in on h im w hen his overbearing m other visits h im , determ ined to get him back to Toronto for the wed­ ding o f his cousin Khaled. A lim , a captivating young In d ian -C an ad ian , has m oved a ll the way to London to get away from his overbearing m other and live in rom antic bliss w ith his lover G iles, far from her m ed­ d lin g influence. He is so enraptured w ith the rom ance o f old m ovies that he im agines he is livin g w ith the spirit o f Cary G rant (deliciously lim ned by a surpris­ in gly apt Kyle M acLachlan). But when his m om ar­ rives from Canada intent upon bringing him hom e and fin d in g him a nice M uslim girlfriend, both Giles and the ersatz Grant threaten to flee, leaving Alim w ith the ultim ate choice: com e out or risk com ing apart at the seam s.

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Canada/ Great Britain 2003 Director: Ian Iqbal Rashid Producers: Jennifer Kawaja Martin Pope Julia Sereny Screenwriter: Ian Iqbal Rashid Cinematographer: David Makin Film Editor: Susan Maggi Music: Andrew Lockington Cast: Kyle MacLachlan Jimi Mistry Kristen Holden-Ried Suleka Mathew Running Time: 92 minutes Presentation Format: 35mm Print Source: Sony Pictures Classics Selected Filmography: Feature Film Debut

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Twist

B-Happy

SATURDAY MAY 29 9PM EGYPTIAN

FRIDAY MAY 28 7PM BROADWAY PERFORMANCE HALL

TUESDAY JUNE 1 4 :45 PM EGYPTIAN

SATURDAY MAY 29 11:15AM BROADWAY PERFORMANCE HALL

Canada 2003 Director: Jacob Tierney Producer: Victoria Hirst Screenwriter: Jacob Tierney Cinematographer: Gerald Packer Film Editor: Mitchell Lackle Music: Ron Proulx Cast: Nick Stahl Joshua Close Gary Farmer Stephen McHattie Michèle-Barbara Pelletier Tygh Runyan Moti Yona Brigid Tierney Running Time: 97 minutes Presentation Format: 35mm Print Source: Strand Releasing Selected Filmography: Feature Film Debut

Twist is a m odern-day re-telling o f D ickens’ classic Oliver Twist, this tim e told from the artful dodger’s point o f view. Young director Jacob Tierney’s first fea­ ture boldly transform s the young Victorian pickpock­ ets o f the origin al into m ale prostitutes plying their trade on the cold streets o f Toronto. Dodge, origin ally from the suburbs o f M ontreal, is a veteran o f the streets who intim ately knows the laws o f this unsym ­ pathetic ju n gle. One evening he picks up Oliver, an innocent but troubled youth who has run away from his foster fam ily, and initiates him into the world of h ustlin g. Fagin and the nasty B ill Sykes also show up in this gritty tale, the latter as the boss who supplies drugs to the young hustlers. Jacob Tierney’s film is an extrem ely precise and assured piece o f work. The w riter-director draws on his m any years as an actor in front o f the cam era {The Neon Bible, This is My Father) to elicit exquisitely subtle perform ances from an ensem ble cast that features N ick Stahl {In the Bedroom, Terminator 3), Gary Farm er {Dead Man), Stephen M cH attie, M ichele-Barbara Pelletier and newcom er Jo sh u a Close as the alm ost angelic Oliver. As m uch a social critique as D ickens’ origi­ n a l, Twist is a poignant updating o f the classic w ith a ch illin gly beautiful visual style and a lot o f heart.

Gonzalo Justinian o has crafted an extrem ely m oving, yet never depressing, tale of a 14-year-old girl’s com ­ in g o f age in the face o f considerable adversity. Kathy lives in near-poverty with her m other and her rebel­ lious older brother D an ilo, on the rural Chilean coast.

Her father is noticeably absent from her life, in and out o f ja il and continually breaking his promises to change. Kathy harbors hope that one day her fam ily w ill be happily reunited; but one by one each fam ily m em ber abandons her u n til, finally, she is left on her own. She finds temporary solace in Chem o, a new boy in town w ith whom she develops a tentative relation­ ship and starts to explore her budding sexuality. After a spell in juvenile detention for asking the police the whereabouts of her father, she drifts into the seedy nighttim e activities o f the local port. These experienc­ es effect a transform ation in her, distancing her from her school friends as she is awkwardly propelled into a new independence and m aturity. Com pletely fearless, she com es to the realization that she is entirely alone in the world and m ust start to m ake her own choices.

In B-Happy, Justinian o expertly conveys the survival instincts o f anonym ous adolescents— those unknown heroes, like Kathy, whose inner strength and optim ism are rarely brought to the screen.

Awards: Havana Film Festival 2003 (Best Actress)

Chile/Spain/ Venezuela 2003 Director: Gonzalo Justiniano Producers: Gonzalo Justiniano Carlo Bettin Screenwriters: Gonzalo Justiniano Fernando Aragón Sergio Gómez Daniela Lillo Cinematographer: Andrés Garretón Film Editor: Danielle Fillios Music: Cuti Aste Cast: Manuela Martelli Eduardo Barril Ricardo Fernández Lorene Prieto Felipe Rios Running Time: 90 minutes Presentation Format: 35mm, in Spanish with English subtitles International Sales: Phoenix World Investment (PWI) Print Source: Phoenix World Investment (PWI) Selected Filmography: El Leyton (2001) Amnesia (1994) Children of the Cold War (1986)

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Los Debutantes

The Coldest Day HUI DONG XIN ME! ZHANG XUEZHI

FRIDAY JUNE 4 9 :30 PM PACIFIC PLACE

SATURDAY JUNE 12 6 :30 PM HARVARD EXIT

SUNDAY JUNE 6 4PM HARVARD EXIT

SUNDAY JUNE 13 1130AM HARVARD EXIT

Chile 2003 Director: Andrés Waissbluth Producer: Sebastián Freund Screenwriters: Julio Rojas Andrés Waissbluth Cinematographer: Arnaldo Rodriguez Film Editor: Galut Alarcon Music: Cristián Heyne Cast: Antonella Rios Nestor Cantillana Alejandro Trejo Juan Pablo Miranda Running Time: T14 minutes Presentation Format: 35mm, in Spanish with English subtitles International Sales: Vision International Print Source: Retaguardia Films Ltd. Film Website: www.losdebutantes.com Selected Filmography: Feature Film Debut

NEW DIRECTORS SHOWCASE In this erotic neo-noir thriller set in San tiago, C h ile, two brothers attem pt to navigate the city’s nightm ar­ ish underworld o f sex and crim e. On Victor’s 17th birthday, he goes w ith his brother Silvio to a local strip club owned by the crim e lord Don P ascual. At the clu b , two events occur that begin to divide the broth­ ers’ close bond. First, Silvio , after defusing a tense sit­ uation w ith an arm ed patron, is offered a job in Don Pascual’s syndicate. Second, Victor becom es enam ­ ored w ith the clu b ’s prem ier dancer, G racia. Unaware that she is Don P ascual’s m istress, he soon pursues her outside the clu b . Determ ined to free herself from Don P ascual, G racia doesn’t take Victor’s advances se­ riously, but instead she begins to seduce Silvio, hoping to m anipulate him into the role o f liberator. Director Andrés W aissbluth transcends this conventional— even clichéd— love triangle by reshaping it into three narrative strands, each drawn from the perspective of a m ain character. Through Victor’s naïveté, G racia appears to be a fallen angel, dam aged but essentially pure. For Silvio , her raw sexuality quickly changes from exhilaratin g to perilous. In the film ’s fin al plotthread, G racia’s m otivations becom e fu lly revealed, but not before she leads both brothers into a dark, violent dénouem ent w ith Don P ascual. In his debut feature, W aissbluth handles both the exp licit eroti­ cism and violence w ith an assured hand, establishing

N. AM ERICAN PREMI ERE

NEW DIRECTORS SHOWCASE

A SIA N TRAD EW IN D S

Newcom er X ie D ong, form er assistant to Zhang Director: Yim ou, stakes his claim in the “ new look” Chinese Xie Dong Producer: cinem a w ith The Coldest Day, a portrait o f two Guo Yuan couples in crisis who stray in the shim m er o f an in ­ Screenwriter: creasingly m odernized m etropolis, unable to either Xie Dong connect or take leave o f each other. As an unforgiv­ Cinematographer: in g w inter blankets the city in snow, a landscape o f Chi Xiaoning Film Editor: sleek urban alien atio n -o n e seldom seen in Chinese Yang Hongyu film -p revails. A passive lawyer finds him self increas­ Music: in gly drawn to the w ife o f a jailed clien t, an im pulsive Dou Peng pop singer m ore interested in clubs and gym s than Cast: in b ailin g out her husband. Propelling their coupling Xu Yajun Hu Jingfan is the lawyer’s fa ilin g m arriage; his w ife raises their Quin Hai Lu daughter w hile she carries on an affair w ith a young Running Time: actor. Told in visually sum ptuous takes, both static 102 minutes and handheld, the film follow s this quartet as they Presentation Format: 35mm, in Chinese with swirl in rom antic eddies, tom between staid tradition English subtitles and a kinetic future. The film seems to draw from International Sales: the sam e restrained em otional source that inform ed Wan Ji Communications W ong Kar-w ai’s In the Moodfor Love, as w ell as Tian Print Source: Wan Ji Communications Zhuanzhuan g’s Springtime in a Small Town (SIFF Selected Filmography: 2003). M uch like the film ’s pet goldfish frozen in its Feature Film Debut own water, The Coldest Day’s lovelorn characters are aw aiting thaw.

him self as a prodigious new talent.

Awards: 2004 Official Oscar Submission (Foreign Language Film)

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Drifters

Hero

ER Dl

YING XIONG

MONDAY MAY 3 1 1:45PM HARVARD EXIT

SATURDAY JUNE 5 9 :15 PM CINERAMA

TUESDAY JUNE 1 9 :30 PM HARVARD EXIT

MONDAY JUNE 7 4PM CINERAMA

China/Hong Kong/ Taiwan 2003 Director: Wang Xiaoshuai Producer: Peggy Chiao Screenwriter: Wang Xiaoshuai Cinematographer: WuDi Film Editor: Liao Ching-song Music: Wang Feng Cast: Duan Long Shu Yan Zhao Yiwei Wang Zhi-liang Tang Yang Running Time: 120 minutes Presentation Format: 35mm, in Mandarin with English subtitles International Sales: Arc Light Films, Taiwan Print Source: Arc Light Films, Taiwan Selected Filmography: Beijing Bicycle (2001) So Close to Paradise (1999) The Girl from Vietnam (1999) Frozen (1995) The Days (1994)

A SIA N TRAD EW IND S Er D i (an excellent screen debut from D uan Long) is kickin g his heels in a sm all town on the coast of F ujian Province. His general aim lessness and a desul­ tory rom ance w ith an actress from a touring opera troupe drive his relatives crazy. Then one day, his past com es back to haunt h im . Som e years ago he overstayed a visitor’s visa in the U S, and worked in a restaurant run by a fam ily from his hom etow n. He got the daughter o f the house pregnant, and after the birth o f their son, her parents reported him to the authorities and he was deported. Now the fam ily (in­ clu d in g his in fan t son) is back in F u jian . In itially he feigns lack o f interest, but his fam ily pushes him back into the orbit o f his ch ild , and he finds him self at the m ercy o f feelings he never knew he possessed, feelings w hich neither hostility from the ch ild ’s fam ily nor a spell in ja il can subdue. W hat started ostensibly as a tale o f disaffected youth becom es a searing dram a of sundered fam ilial relations. W ang Xiaoshuai, who won Best Director at the 2001 Berlin Film Festival for Beijing Bicycle, based his newest work on the expe­ rience o f a friend who had difficulty readjusting to life back in C h in a after a failed m arriage in the U S. Drifters touches a contem porary nerve like no other recent Chinese film . It addresses the p light o f legions o f Chinese who have am bitions to em igrate, and does so w ith a cool, but always hum ane, equanim ity.

From world-renowned film m aker Zhang Yim ou (Raise the Red Lantern), Hero begins with the unknow n warrior Nam eless (Jet Li) receiving a cer­ em onial welcom e from the king of the Q in province.

Nam eless recounts his battles with the region’s three deadliest assassins: Broken Sword (Tony Leung Chiuw ai), Flying Snow (M aggie Cheung) and Sky (Donnie Yen). These are the victories that have earned him a royal reception and an elaborate series o f gifts from the ruler. However, certain aspects o f the warrior’s testim ony appear inconsistent with what the king al­ ready knows. Having m ade m any enem ies during his years as king and conqueror, when he sees what seem to be holes in Nam eless’ chronicle of events, he real­ izes his life m ay be in danger. The king’s doubts grow large enough that he suggests an alternate narrative.

It soon becomes clear that neither the warrior nor the king is telling the story exactly as it happened, but the warrior’s intentions have yet to be revealed. The m eeting becomes a battle of w ills, and the stories they tell are visualized with thrillingly staged, gorgeously photographed fight scenes o f precision swordplay and gravity-defying stunts. W ith a powerhouse cast that also includes Crouching Tiger, Hidden Dragon’s Zhang Zhiyi, Hero is both a m oving m editation on courage and sacrifice, and a stunning action film .

Awards: 2003 Academy Award Nominee (Best Foreign Film)

Awards: New Delhi Asian Film Festival 2003 (Best Actor: Duan Long, NETPAC Prize)

Hong Kong Economic & Trade Office

Hong K ong Economic & Trade Office

Director: Zhang Yimou Producers: Bill Kong Zhang Yimou Screenwriters: Li Feng Zhang Yimou Wang Bin Cinematographer: Christopher Doyle Film Editors: Zhai Ru Angie Lam Music: Tan Dun Cast: Jet Li Maggie Cheung Tony Leung Chiu-wai Zhang Ziyi Donnie Yen Running Time: 109 minutes Presentation Format: 35mm, in Mandarin with English subtitles Print Source: Miramax Films Film Website: www.herothemovie.com Selected Filmography: Happy Times (2000) The Road Home (1999) NotOne Less (1999) Keep Cool (1997) Shanghai Triad (1995) To Live (1994) The Story of Qiu Ju (1992) Raise the Red Lantern (1992) JuDou (1989) Red Sorghum (1987)

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CONTEM PORARY WORLD CINEMA

Uniform

When Ruoma Was Seventeen

ZH IFU

RUOMA DE SH! Q! SUI

THURSDAY MAY 27 9PM BROADWAY PERFORMANCE HALL

SATURDAY MAY 22 4 :15 PM HARVARD EXIT

SATURDAY MAY 29 1 :45 PM BROADWAY PERFORMANCE HALL

MONDAY MAY 24 5!OOPM HARVARD EXIT

China/Japan 2003

Directed with sim ple elegance in the ravishingly beau­ tifu l landscape of southern C hin a’s Yunnan province, When Ruoma Was Seventeen is about a seventeenyear-old Hani girl who lives in the m ountains with her grandm other and sells roasted com in the village.

Tourists love to snap photographs o f this beautiful girl in her traditional H ani costum e. Local photographer M ing (YangZhigang) also notices her popularity, and together they devise a plan to charge travelers for pho­ to opportunities am idst the rice terraces. W hile M ing and Ruom a begin to am ass a little fortune, Ruom a develops a passionate crush on M ing. She hopes he w ill help her realize her dream of going to the city to see the tall buildings and glass elevators that reach the sky. Beautiful young newcomer Li M in (Ruom a) lights up the screen in this story of a village girl who longs for a glim pse o f som ething different. Director Zhang Jia ru i’s independent film was m ade outside o f Chin a’s studio system. He studied philosophy at Sichuan University between 1979 and 1983 before becom ing a director at the B eijing Youth Film Studio, affiliated with the Beijing Film Academy. A sim ple tale o f a culture rarely seen, told with delicate sensitivity, grace and em otional resonance, When Ruoma Was Seventeen is his directorial debut.

Director: Diao Yinan Producers: Li Kit-ming Iku Ishikawa Screenwriter: Diao Yinan Cinematographer: Dong Jingsong Film Editor: Chow Keung Music: Wan Zi Cast: Liang Hongli Zeng Xuoqiong Han Kai Qin Hua Zhen Shuo Qiong Running Time: 94 minutes Presentation Format: DigiBeta, in Mandarin with English subtitles Print Source: Ying E. Chi Limited Selected Filmography: Feature Film Debut

Tim id Xiao Jia n is a tailor w ho, one rainy day, finds him self stuck w ith an undeliverable com m ission: a police uniform . After getting soaked in the rain , he slips the uniform on w hile w aiting for his clothes to dry. He soon realizes the power o f the uniform , and uses it to take revenge on those who bullied h im , as w ell as to court the beautiful Zheng Shasha. W hen his elderly father winds up in the hospital, and the b ills begin to escalate, Jia n uses the uniform to cheat people out o f their m oney. Before too lon g, the real police catch on to his schem es, and his secret becomes a hindrance to the blossom ing love between him self and Zheng Shasha. She, however, has her own secrets.

Set against a backdrop o f widespread unem ploym ent and civil unrest, the directorial debut o f D iao Yinan (co-w riter o f SIFF 2001 prizew inner Shower) is a w onderfully loose, ram bling feature in a style highly rem iniscent o f the work o f acclaim ed film m aker Jia Zhangke (who served as an adviser on the film ). De­ spite m any lig h t and hum orous touches, Uniform is an ultim ately devastating portrait o f w hat decent people w ill do w hen they’re desperate for m oney.

Awards: Vancouver 2003 (Dragons and Tigers Award for Young Cinema)

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China 2003 Director: Zhang Jiarui Producers: Hou Kerning Wang Ziliang Screenwriter: Meng Jiazong Cinematographer: Ma Dongge Film Editor: Zhou Ying Music: Huang Zhenyu Dong Wei Cast: Li Min Yang Zhigang Shu Linyuan Running Time: 89 minutes Presentation Format: 35mm, in Mandarin and Hani with English subtitles International Sales: Condor Han Print Source: Beijing Youth Film Studio Selected Filmography: Feature Film Debut

115

CONTEMPORARY WORLD CINEMA

Witnesses

Seven Days, Seven Nights

SVJEDOCI

SIETE DÍAS, SIETE NOCHES

WEDNESDAY JUNE 9 9 :15 PM EGYPTIAN

SATURDAY JUNE 5 9 3 OPM PACIFIC PLACE

SATURDAY JUNE 12 9 :30 PM HARVARD EXIT

FRIDAY JUNE 11 2PM PACIFIC PLACE

Croatia 2003 Director: Vinko Bresan Producer: Ivan Maloca Screenwriters: Vinko Bresan 2ivko Zalar Jurica Pavicic, from his novel Cinematographer: 2ivko Zalar Film Editor: Sandra Botica-Bresan Music: Mate Matisic Cast: Mirjana Karanovic Leon Lucev Alma Prica Kresimir Mikic Drazen Kuhn Running Time: 88 minutes Presentation Format: 35mm, in Serbo-Croatian with English subtitles International Sales: Interfilm Print Source: Celluloid Dreams Selected Filmography: How the War Started on My Island (1996) Marshal Tito's Spirit (1999)

Based on Ju rica P avicic’s controversial novel, Alabas­ ter Sheep, Witnesses is a m ulti-point-of-view investi­ gation into a m urder com m itted during w artim e. Set in the early 1990s, during the Croatian-Serbian war, the film opens on three Croatian soldiers as they de­ cide to blow up the hom e o f a Serb who lives in their village. Because o f their incom petence, they end up k illin g the m an and capturing his young daughter, who had witnessed everything. Three people investi­ gate the crim e: a police detective (Drazen K uhn), a journalist (Alm a Prica) and a wounded soldier (Leon Lucev). M asterfully done through flashbacks, repeti­ tions and digressions, the story builds around the pos­ sible execution o f the witness and reveals, in its m icro­ cosm , the web o f deceit in the sm all town that results from desperation and despair. Witnesses is not just about one individual witness, but is a close exam ina­ tion o f the com placency o f silence, the thick scars of ethnic hatred, and the code o f cold-blooded revenge (revealed profoundly through one m other’s eyes).

W ho are the people that actively perpetuate national hatred, and who are the witnesses? Director Bresan abandons p olitical satire (Marshal Tito’s Spirit) for a naked look at a green-tinged world o f hate and war and redemptive justice, revealing the catastrophic im ­ pact o f war on hum an m orality.

The lives o f three wom en intersect in fateful ways dur­ in g the w aning days o f Com m unist H avana. N orm a, a news anchor, breaks down during a telecast and then refuses to speak. M aria, a peasant, loses her son un­ der m ysterious circum stances. Nieves, a dancer who slaughters pigs for a liv in g, is fired. Kicked out o f her m other’s house, she fights w ith her m acho boyfriend and then fails to lan d a dance audition that could help her realize her dream . Film ed w ith vibrant energy and a style that recalls the work o f W ong Kar-w ai, Seven Days, Seven Nights follow s these wom en through the streets and buildings o f H avana, tracking struggles that stem as m uch from their individual shortcom ­ ings as from the p olitical atm osphere o f their country.

The liveliness o f their surroundings and the verve of their characters cannot be denied, but the boldness of their outward appearances hides a fragility that could cause their dow nfall. A character study that is also a com m entary on the difficulties o f being a w om an in a society ruled by old ideas, Seven Days, Seven Nights w ill leave you w anting a revolution.

Awards: Berlin 2004 (Peace Prize, Special Mention, Ecumenical Jury) 2003 Official Oscar Submission (Foreign Language Film)

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Cuba/France/ Italy 2003 Director: Joel Cano Producers: Cyriac Auriol Michel Rellhac Rosanna Seregnl Screenwriter: Joel Cano Cinematographer: Joel Cano Film Editor: Adeline Yoyotte-Husson Music: Joel Cano Cast: Ingrid González Xiomara Palacios Orlsel Gaspar Eruadyé Muñiz Ludmila Alonso Yodú Running Time: 106 minutes Presentation Format: 35mm, in Spanish with English subtitles International Sales: Media Luna Entertainment Print Source: Media Luna Entertainment Selected Filmography: Feature Film Debut

CO NTEM PORARY WORLD CINEMA

Bored in Brno

The Green Butchers

NUDA VBRNË

DE GR0NNE SLAGTERE

WEDNESDAY JUNE 9 4 :45 PM PACIFIC PLACE

THURSDAY JUNE 10 7 :15 PM CINERAMA

THURSDAY JUNE 10 7 :15 PM PACIFIC PLACE

SUNDAY JUNE 13 11AM CINERAMA

Czech Republic 2003 Director: Vladimir Moravek Producer: Cestmir Kopecky Screenwriters: Jan Budar Vladimir Moravek Cinematographer: Divis Marek Film Editor: Jiri Brozek Music: Jan Budar Cast: Jan Budar Katerina Holanova Pavel Liska Miroslav Donutil Martin Pechlat Running Time: 103 minutes Presentation Format: 35mm, in Czech with English subtitles International Sales: Czech Television Print Source: Czech Television Selected Filmography: Feature Film Debut

MEW DIRECTORS SHOWCASE T his is a larger-than-life com edy about a night o f love in Brno, the second largest city in the Czech Republic.

In this, the historic capital o f M oravia, it is estim ated that each nigh t 150,000 people w ill m ake love, pos­ sibly because there is nothing else to do. In this tender tale o f lon gin g for love, 27-year-old Standa P ichlik is a little backward and a little slow. He loves three things: his brother Ja rd a, his first girlfriend O linka and cactus plants. Jard a takes it upon him self to teach Standa the art o f lovem aking, preparing him for his first n igh t w ith O lin k a. You see, O lin k a and Standa m et at an athletic cham pionship and though they don’t live in the sam e town, they’ve written to each other every day for a year. Now they have agreed to spend the n igh t together. O linka is trusting, kind and also a little slow and backw ard. She has a large group o f girlfriends who adore her and give her advice on how to m ake a m an happy. We m eet an odd cast of characters from Brno who w ill help m ake it a m em o­ rable night: the hom y school psychologist, an actor w ith an “ internal break problem ,” two pals w ith ego and sexual orientation issues, and O lin k a’s m other, whom everyone hates. W inner o f two 2004 Czech Lion Critics Awards, Bored in Brno has reached cu lt status am ong Czech audiences.

Awards: Czech Lion Critics Award 2004 (Best Film, Best Editing) Terezin 2003 (Best Film, Audience Award)

TWo butchers take some grisly shortcuts to success in Denmark this deliciously nasty comedy. Svend (Danish m atinee 2003 idol Mads M ikkelsen in a truly weird perform ance, Director: sporting the m ost hideous hairstyle since Gary Old­ Anders Thomas Jensen m an played Dracula) is a jittery, ill-tem pered geek Producers: who has been persecuted his entire life. Bjarne is a Kim Magnusson quiet pothead disinclined to be near m ost of hum an­ Tivi Magnusson Screenwriter: ity. Unable to deal with their arrogant boss any longer, Anders Thomas Jensen the two best friends set up their own butcher shop. Cinematographer: They have a hard tim e attracting any regular custom ­ Sebastian Blenkov ers, at least until Svend accidentally locks the electri­ Film Editor: Anders Villadsen cian in the freezer. His effort to dispose of the corpse Music: by grinding it into little bits coincides with a m eat Jeppe Kaas shortage, leading to the addition o f “chickie-w ickie” Cast: to their m enu. Almost im m ediately, the two entrepre­ Mads Mikkelsen neurs become the toast o f the town. R iding h igh for Nikolaj Lie Kaas Line Kruse the first tim e in his life, Svend is determ ined to keep OleThestrup things going— despite Bjam e’s resistance— and soon Running Time: others around town start disappearing. After filletin g 100 minutes his own fiancée, Svend wonders whether he’s gone to Presentation Format: 35mm, in Danish with far, but then decides he’s probably just being hyper­ English subtitles sensitive. Anders Thom as Jensen has been a sem inal International Sales: figure in Danish cinem a over the last decade, both as Nordisk Film director and as screenwriter of m any of the key Dogm e International Sales Print Source: film s. His second stint at directing proves that his bite Newmarket Films is just as nasty as Lars von Trier’s bark, in this wicked Selected Filmography: buddy picture that cannibalizes (so to speak) both Flickering Lights (2000) Little Shop ofHorrors and Sweeney Todd.

Awards: Brussels Fantastic Film Festival 2003 (Silver Melies Award)

Choice is Good“

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Reconstruction

Inheritance ARVEN

TUESDAY JUNE 1 7 :15 PM HARVARD EXIT

MONDAY MAY 24 5PM PACIFIC PLACE CINEMAS

MONDAY JUNE 7 5:OOPM PACIFIC PLACE

THURSDAY MAY 2 7 9 3 OPM HARVARD EXIT

Denmark 2003

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Director: Per Fly Producer: lb Tardini Screenwriters: Per Fly Kim Leona Dorte Hogh Mogens Rukov Cinematographer: Haraid Gunnar Paalgard Film Editor: Morten Giese Music: Halfdan E Cast: Ulrich Thomsen Lisa Werlinder Ghita Norby Karina Skands Lars Brygmann Running Time: 107 minutes Presentation Format: 35mm, in Danish with English subtitles International Sales: Trust Film Sales Print Source: Cinemaguild Film Website: www.cinemaguild.com/ inheritance Selected Filmography: The Bench (2000)

118

U lrich Thom sen, o f the festival h it Celebration, stars in this absorbing look at fam ily loyalties, personal responsibility and class distinctions, m ade under the m antle o f Lars von Trier’s production com pany.

Thom sen is Christoffer, a Dane livin g in Sweden who is called hom e after the suicide o f his industrialist fa ­ ther. Asked to takeover the fam ily steel m ill, Christof­ fer m ust deal w ith his brother-in-law ’s anger that he w asn’t chosen to run the business, the expectations placed on him by other fam ily m em bers, by the m any workers he now supervises, and m ost o f a ll by his Swedish w ife, who finds herself increasingly alienated from the businessm an her husband is slowly becom ­ in g. The second part o f a trilogy h igh ligh tin g the three social classes (the first, The Bench, dealt w ith the w orking poor, w hile the next w ill address the m id­ dle class), Inheritance dissects its w ealthy m ilieu w ith precision. Inspired by the socially com m itted film s of Ken Loach, director Pers Fly welds a sim ilar unobtru­ sive, docum entary-like aesthetic to the D ogm e-influenced style o f handheld cam era work and natural ligh tin g, lending a m esm erizing im m ediacy to his tale o f duty to fam ily, to others and to oneself.

This ravishingly cinem atic tale o f Vamourfou toys w ith every convention o f the rom ance genre. D irec­ tor Christopher Boe’s dream y, surreal exploration o f the outer lim its o f love focuses on two couples whose paths crisscross repeatedly in a noir-ish, nighttim e Co­ penhagen. In this adventuresom e treat, narrative con­ vention is challenged from the get-go as we are intro­ duced to the rugged photographer Alex and his devoted girlfriend Sim one. A lex, feeling him self hem m ed in by Sim one’s doe-eyed ardor, is instantly sm itten one nigh t w hen he encounters the ravishing Aim ee on a subway platform . A reckless n igh t o f rom ance ensues, but we soon learn that Aim ee has a lover o f her ow n, August, a D anish novelist (who also happens to be the narra­ tor o f this am orous fever-dream ). Catapulted headlong into a passionate pursuit o f his new found inam orata, Alex finds him self thrust into a surreal, p arallel u n i­ verse where nobody, in clu d in g his own father, recog­ nizes him — and that’s just the begin ning o f his trou­ bles. Reconstruction was this year’s o fficia l D anish Oscar subm ission, w inner o f the Cam éra d’Or and Youth Award at the Cannes Film Festival, and w in­ ner o f the FIPR E SCI Award for Best Director at San Sebastian.

Awards: San Sebastián 2003 (Best Screenplay)

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Awards: Cannes 2003 (Caméra d'Or, Best First Feature) 2004 Official Oscar Submission (Foreign Language Film) San Sebastián 2003 (FIPRESCI, Best New Director)

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Denmark 2003 Director: Christoffer Boe Producers: Tine Grew Pfieiffer Ake Sandgren Lars Kjeldgaard Screenwriters: Christoffer Boe Mogens Rukov Cinematographer: Manuel Alberto Clara Film Editors: Mikkei E. G. Nielsen Peter Brandt Music: Thomas Knak Cast: Nikolaj Lie Kaas Maria Bonnevie Krister Henriksson Nicolas Bra Ida Dwinger Running Time: 90 minutes Presentation Format: 35mm, in Danish and Swedish with English subtitles International Sales: Nordisk Film Print Source: Palm Pictures Selected Filmography: Feature Film Debut

CONTEM PORARY WORLD CINEMA

Somnambulance SOMNAMBUUL

CHOCOLATES, LTD. N e w Location 10036 M a in Street, Bellevue 425 453-1698 SUNDAY MAY 23 6:15PM BROADWAY PERFORMANCE HALL WEDNESDAY MAY 26 9PM BROADWAY PERFORMANCE HALL

Estonia/ Finland 2003 Director: Sulev Keedus Producer: Kai-Ene Raak Screenwriters: Madis Kolv Sulev Keedus Cinematographer: Rein Kotov Film Editor: Kai-Ene Raak Music: Helena Tulve Cast: Katariina Lauk-Tamm Evald Aavik Ivo Uukkivi Jan Uuspold Running Time: 121 minutes Presentation Format: 35mm, in Estonian with English subtitles International Sales: Kinotar Oy Print Source: F-Seitse Selected Filmography: Georgica (1998) Ainus Puhapaev (1990)

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The tim e is 1944. A fu lly dressed w om an struggles out o f the sea and into the fog o f a godforsaken island in Estonia. Has she m iraculously risen from the water, or is this som e sort o f daily routine? H im s out Eetla (K atariina Lauk-Tam m ) lives w ith her father Gottfrid (Evald Aavik, the unforgettable old m an in Keedus’ Georgica, SIFF 1998), an industrious lighthouse keeper who is always doing som ething peculiar like b icyclin g to start a generator so he can listen to the radio. He suspects that his daughter m ay be m ad— and m aybe she is. Trying to protect her against the approaching Germ ans, Gottfrid sent her away on a boat to Sweden, but she swam back because she’d rather be in her own environm ent, near the water, to dream . “ D ream ing or awake. W hat’s the differ­ ence?” she asks her father. Enter the handsom e doc­ tor, Kasper Ju han sen (Ivo U ukkivi), who is also her dead m other’s form er lover. A film about m emory, loss and loneliness, Somnambulance looks at w hat hap­ pens to people w hen they w on’t com m unicate-about their history. According to Variety, “ One o f the best things about Somnambulance is R ein Kotov’s bold cinem atography, w hich captures the ragin g fury of nature against the puny and vulnerable hum ans.”

Director Keedus m akes tough and unforgiving film s that are arduous journeys, not serene garden w alks,

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w hich is why they’re rew arding.

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Jagged Harmonies

sä

LIEGEN LERNEN

MEIN NAME IST BACH-BACH VS. FREDERICK II

US PREMIERE

FRIDAY MAY 28 7 :15 PM PACIFIC PLACE SATURDAY MAY 29 4 :15 PM PACIFIC PLACE

Germany/ Switzerland 2003 Director: Dominique de Rivaz Producers: Thanassis Karathanos Karl Baumgartner Gérard Ruey Uta Granshaw Jean-Louis Porchet Screenwriters: Dominique de Rivaz Jean-Luc Bourgeois Leo Raat Cinematographer: Ciro Cappetlari Film Editor: Isabel Meier Music: Frédéric Devreese Cast: Vadim Glowna Jürgen Vogel Anatole Taubman Paul Herwig Karoline Herfurth Running Time: 97 minutes Presentation Format: 35mm, in German with English subtitles International Sales: Bavaria Film International Print Source: Bavaria Film International Selected Filmography: Feature Film Debut

MEW DIRECTORS SH O W CASE A classical m usic lover’s wet dream , Jagged Harmo­ nies: Bach vs. Frederick II, recounts the turbulent week when the a ilin g Jo h an n Sebastian Bach m et K ing Frederick II o f Prussia. In M ay o f 1747, Bach (actor/director Vadim Glow na) travels from Leipzig to Potsdam w ith his eldest son Friedem ann (Anatole Taubm an, Band ofBrothers) to attend the christen­ in g o f his younger son E m anuel’s baby. Em anuel (Paul Herwig) just happens to be a harpsichordist at the Royal Prussian Court, and the m inute his m usicloving boss (Jürgen Vogel, Good bye, Lenin!) discov­ ers that the great com poser is in tow n, he dem ands a m eeting to enlist his genius on a piece he started, but Bach has no intention o f kowtow ing to this talentedbut-petulant ninny. M eanw hile, K ing Frederick’s sister A m alia (Karoline H erfurth), just as m usic-obsessed as her m ore fam ous sib lin g, finds castle life terribly re­ strictive and falls hard for the bohem ian Friedem ann, as m uch for his sex appeal as for his unbridled m u­ sical talent. In her feature film debut, Swiss writer/ director Dom inique de R ivaz doesn’t sim ply explore the clash between genius and non -genius, royal and civ ilian , father and son— she m ines this rich territory for a ll it’s worth.

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Learning to Lie

THURSDAY MAY 27 7 :15 PM HARVARD EXIT MONDAY MAY 3 I 11:30AM HARVARD EXIT

“You can see them at bus stops, too: norm al m en, standing there and staring. W hat are these guys th in kin g about? The past, m aybe? I noticed one of these m en on Septem ber 26,1998, but this tim e it was different. The m an was m e.” M eet H elm ut Herm et, the dim lead o f Learning to Lie, a bright rom antic com edy from Hendrick H andloegten, draw n from the sam e Germ an talent pool that brought us Good bye, Lenin! and Run Lola Run. Face down in a puddle o f rain , wounded narcissist H elm et fin ally reaches the conclusion that his days as a com m itm ent-phobic w im p m ay be over. O nly one th in g keeps Helm ut from going forw ard, and she happens to be back in Berlin.

E xactly w hen, im plores his current girlfrien d, did this phobia begin? Flash back to the ’80s, where an im ­ pressionable H elm et falls for blonde Britta, aspiring student body president and stem activist for the ozone layer. Helm ut feigns interest, she feigns a relationship and sleeps w ith h im , and then she abruptly dum ps h im . As Helm ut lives through another decade o f ro­ m antic m ishaps, he’s haunted by Britta’s m emory. But not u n til m eeting sharp, independent, honest Tina does he begin to feel strains in his operating m ode. A devious com edy for over- and non-com m itters alike, recited by a generation w ho, truth be told, were w atch­ in g videos in bed w hen the W all cam e down.

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NATIONAL ENDOWMENT FOR THE ARTS

3 0 T H S E A T T L E I N T E R N A T I O N A L FILM F E S T I V A L 2 0 0 4

Germany 2003 Director: Hendrik Handloegten Producer: Maria Koepf Screenwriter: Hendrik Handloegten, from the novel by Frank Goosen Cinematographer: Florian Hoffmeister Film Editor: Elena Bromund Music: Dieter Schleip Cast: Fabian Busch Fritzi Haberlandt Susanne Bormann Sophie Rois Running Time: 94 minutes Presentation Format: 35mm, in German with English subtitles International Sales: Beta Cinema Print Source: Beta Cinema Selected Filmography: Paul is Dead (2000)

CONTEMPORARY WORLD CINEMA

The Miracle of Berne

Rosenstrasse

S8SK

DAS WUNDER VON BERN

MONDAY MAY 2 4 2PM PACIFIC PLACE

SUNDAY MAY 23 6PM EGYPTIAN

WEDNESDAY MAY 26 9:30PM PACIFIC PLACE

TUESDAY MAY 25 2PM PACIFIC PLACE

Germany 2003 Director: Sönke Wortmann Producers: Tom Spiess Sönke Wortmann Hanno Huth Screenwriters: Rochus Hahn Sönke Wortmann Cinematographer: Tom Faehrmann Film Editor: Ueli Christen Music: Marcel Barsotti Cast: Louis Klamroth Peter Lohmeyer Johana Gastdorf Peter Franke Lucas Gregorowicz Katharina Wackermagel Running Time: 117 minutes Presentation Format: 35mm, in German with English subtitles International Sales: Bavaria Film International Print Source: Bavaria Film International Selected Filmography: Maybe... Maybe Not (1994) The Superwife (1996) St Pauli Night (1999) The Hollywood Sign (2000)

The film is based on a true incident from the sum m er o f 1954, a tim e that rem ains dear to the hearts o f m ost Germ ans to this day. Q uiet, football-loving M atthias lives w ith his m other, sister and brother in a West Germ an m in in g town. He’s got a surrogate father in the footballer H elm ut R ah n , who has “ adopted” M at­ thias as his m ascot. W hen R ichard, his true father, is released from a Soviet prison cam p, his return casts a shadow over this once-happy fam ily. Broken by his years in captivity, Richard has trouble adapting to life in post-w ar Germ any and alienates his fam ily w ith his severity. For R ichard, football is pointless, as is the W orld Cup that’s about to take place in Bem e, Sw itzerland. M atthias, however, longs to be there with his idol H elm ut, w ho’s been picked for the Germ an team . Through his passion and fightin g spirit, Mat­ thias m anages to rekindle a love o f life in his dad’s heart, w hile the Germ an team goes on to achieve The Miracle ofBeme, a surprise capture of the W orld Cup that helped to restore Germ an national pride after the catastrophes o f the previous decade. Perhaps the big­ ger m iracle, however, is the heartw arm ing restoration o f M atthias’ relationship w ith his father.

Awards: Locarno 2003 (Audience Award) Bavarian Film Awards 2003 (Best Director, Supporting Actress)

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Ruth W einstein, now in her 70s and livin g in New York, is m ourning the death of her husband with an Ortho­ dox funeral. This com es as a surprise to her daughter H annah, especially since Ruth never spoke o f her past nor did she ever im part any Orthodox practices. And now H annah’s im pending m arriage to a non-Jew has caused friction. H annah decides to find out w hat’s be­ hind her m other’s drastic change o f character, and her investigation brings her to Berlin and a 90-year-old wom an nam ed Lena Fischer, who reveals a rem ark­ able story. The m ovie shifts back to 1943, when the Nazis decided that Jews m arried to “pure” Germ ans could no longer be exempted from their fin al solu­ tion. H ailing from an aristocratic fam ily, Lena mar­ ried a Jew ish violin player despite the disapproval of her fam ily. W hen the Nazis take her husband away, she joins a growing resistance m ovem ent outside the holding center on the Berlin street, Rosenstrasse.

There she meets a very young R uth, whose m other had already been taken away to the cam ps. Director Margarethe von Trotta expertly dram atizes this dif­ ficu lt story of strong women forging bonds in tough tim es.

Awards: Venice 2003 (Best Actress) David di Donatello Awards 2004 (Best European Film)

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Director: Margarethe von Trotta Producers: Richard Schoeps Henrik Meyer Markus Zimmer Screenwriters: Margarethe von Trotta Pamela Katz Cinematographer: Franz Rath Film Editor: Corina Dietz Music: Loek Dikker Cast: Katja Riemann Maria Schrader Jürgen Vogel Martin Feifel Doris Schade Svea Lohde Jutta Lampe Running Time: 136 minutes Presentation Format: 35mm, in German and English with English subtitles International Sales: Studio Canal Print Source: IDP Selected Filmography: The Promise (1994) The Long Silence (1993) The African Woman (1990) Rosa Luxemburg (1985) Marianne and Juliane (1981) The Second Awaking of Christa Klages (1977) The Lost Honor of Katharina Blum (1975)

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The Mother

Bright Young Things

SUNDAY JUNE 6 3 :45 PM CINERAMA

SATURDAY MAY 2 2 1 :30 PM EGYPTIAN

TUESDAY JUNE 8 5PM PACIFIC PLACE

TUESDAY MAY 25 7 :15 PM PACIFIC PLACE

Great Britain 2003

Directed by Roger M ichell (Persuasion, Notting Hilt) Great Britain and w ritten by H an if Kureishi (My Beautiful Laun- 2003 drette) , TheMother is a terrific, no-holds-barred story Director: o f a widow reawakened to her sexuality by a younger Roger Michell m an . M ay (Anne Reid) and her husband Toots (Peter Producer: Vaughan) travel to London to visit Bobby, their m ar­ Kevin Loader ried yuppie son, and P au la, their daughter who is Screenwriter: Hanif Kureishi struggling w ith a ch ild and an unhappy relationship. Cinematographer: W hen Toots dies suddenly, M ay cannot face her old Alwin H. Kiichler hom e and the prospect o f em pty years stretching out Film Editor: before her. She stays in London, where P au la is glad to Nicolas Gaster Music: have som eone to share her child-care responsibilities.

Jeremy Sams As she eases into city life , M ay undergoes an em otion­ Cast: a l, creative and sexual aw akening, and finds herself Anne Reid attracted to Darren (D aniel C raig, so m esm erizing as Daniel Craig the delinquent lover o f Francis Bacon in Love Is the Steven Mackintosh Cathryn Bradshaw Devil), the builder who is renovating her son’s house. Peter Vaughan But Darren is not only thirty years her junior, he’s also Running Time: P au la’s lover. Reid b rillian tly nuances M ay’s transfor­ 112 minutes m ation from self-sacrificin g caregiver to a w om an Presentation Format: 35mm desperately eager to m ake up for the years squandered International Sales: in an u n fu lfillin g m arriage. The film ’s older wom an/ Renaissance Films younger m an dynam ic has echoes o f the Fassbinder Print Source: classic Ali: Fear Eats the Soul, and M ich ell’s gift for Sony Pictures Classics subtly delineating the characters’ conflicted em otions Selected Filmography: Changing Lanes (2002) is outstanding. Suffused w ith desire, The Mother cuts Notting Hill (1999) through the façade o f norm alcy, and sk illfu lly shows Persuasion (1995) how dysfunction runs through fam ilies from genera­ Buddha of Suburbia (1994) tion to generation.

Director: Stephen Fry Producers: Gina Carter Miranda Davis Screenwriter: Stephen Fry, from the novel "Vile Bodies" by Evelyn Waugh Cinematographer: Henry Braham Film Editor: Alex Mackie Music: Anne Dudley Cast: Stephen Campbell Moore Emily Mortimer Dan Aykroyd Jim Broadbent Stockard Channing Peter O'Toole Running Time: 105 minutes Presentation Format: 35mm International Sales: The Works Print Source: THINKFilm Selected Filmography: Feature Film Debut

Set in jazz-age B ritain , drunk on the culture o f celeb­ rity and obsessed by the latest antics o f the rich and clueless, Stephen Fry’s deliciously droll social satire is based on Evelyn W augh’s novel Vile Bodies. The story centers on upwardly aspiring Adam , a penniless novelist intent upon m arrying the beautiful but vapid rich girl, N in a. One th in g holds the w edding back: N ina’s batty father, Colonel Blount (Peter O ’Toole) insists that the young couple have sufficien t funds to support their plan before they m arry. Since he refuses to open his own purse, they are left to their own de­ vices. In the course o f this pursuit o f lucre, Adam finds him self in the com pany o f a group o f jaded, am us­ ingly debauched society swells w ith little on their m inds other than n igh tlife, gossip and the pursuit of pleasure. W hen he com es by a sm all but crucial fin an cial w indfall, h is naïveté leads him to be undone by the com pany he keeps. Stephen Fry won the Golden Space Needle the last tim e he visited SIFF, in 1998, for his perform ance as Oscar W ilde in Wilde. W ith a dream cast that reads like a w ho’s who o f British thespian talent, peppered w ith a deliciously eccentric host o f cam eo appearances, and a penchant for dry w it and sly irony, Fry proves him self to be a versatile and uniquely gifted writer/director.

An Evening with Stephen Fry follows the June 6 screening.

Separate admission required.

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The Tulse Luper Suitcases: Part 1, The Moab Story

The TUlse Luper Suitcases: Part 2 , From Vaux to the Sea

TUESDAY JUNE 8 7 :15 PM CINERAMA

WEDNESDAY JUNE 9 7 :15 PM CINERAMA

US

P R E M IE R E

Great Britain/Spain/ Luxembourg/ Hungary/ltaly/ Germany/Russia 2003 Director: Peter Greenaway Producer: Kees Kasander Screenwriter: Peter Greenaway Cinematographer: Reiner van Brummelen Film Editor: Elmer Leupen Music: Borut Krisznik Cast: J.J. Feild Deborah Harry Drew Mulligan Yorik van Wagenlngen Caroline Dhavernasm Shaun Phillips Running Time: 126 minutes Presentation Format: 35mm International Sales: Fortissimo Film Sales Print Source: Fortissimo Film Sales Film Website: www.tulseluper.com Selected Filmography: 8 1/2 Women (1999) Pillow Book (1996) Prospero's Books (1991) The Cook, the Thief, His Wife and Her Lover (1989) Drowning By Numbers (1988) The Belly of an Architect (1987) A Zed and Two Noughts (1985) The Draughtsman's Contract (1982)

E ngland’s m ost rigorous stylist and auteur, Peter Greenaway, has begun a m assive undertaking that he projects w ill include three film s, sixteen televi­ sion episodes, several books, scores o f DVDs and a website. T his, the first film , introduces us to Tblse Henry Purcell Luper— a writer, project-m aker and world traveler. Divided into three distinct episodes that bleed into each other in various ways, the film begins w ith Tblse as a ch ild in Britain during the Blitzkrieg, w hen the patterns that w ill recur throughout his life start to take shape. Later, we see him as an innocent young m an who travels to M orm on Utah in search o f lost cities, w hich is where he’s first introduced to the m ore base and vindictive side o f hum an nature.

Fin ally, shown as a Belgium -based journalist dur­ in g the rise o f fascism in Europe, he’s targeted by a particularly nasty branch o f the SS. Autobiographi­ ca l in part and self-referential to the extrem e, packed w ith stylistic flourishes and intricate visual effects, The Moab Story is a dense, com ic study o f the twen­ tieth century that revolves around the contents o f one m an ’s lifetim e o f suitcases. From the director o f The Cook, the Thief, His Wife and Her Lover, it expands upon Greenaw ay’s unique position in world cinem a, show casing his con tinuin g innovation in both in style

Peter Greenaway’s intricate cornucopia of overlap­ ping im ages, characters, dialogue, subtitles, sounds and m usic is avast, m esm erizing m ultim edia puzzle.

Tblse Luper is the iconic 20th-century Everym an who has been collecting 92 suitcases between the years 1928 (when uranium was discovered) and 1989 (when the Berlin W all fe ll). In this, the second episode o f the planned epic trilogy, we begin in Europe just af­ ter the onset o f W W II. Tblse is a prisoner being shunt­ ed around Northern Europe, but through a strange set of circum stances he becomes a com m unicator in code at the grand house and gardens o f Vaux in France, w hich are earm arked as a Germ an birth clin ic. The film ’s central section finds him forced to become an usher in the Arc-en-Ciel cinem a in Stasbourg, which provides Greenaway with m any opportunities to ex­ plore the ironies o f the m edium he deconstructs so dexterously in TheTulseLuperSuitcases. Finally, after he’s persuaded to don fem ale clothing and pose as a seamstress in the bourgeois household of an obsessive anatom ist, we leave our hero in a situation every bit as m ysterious as the one in w hich we first found him .

W ill Part 3 p u ll together all of the convoluted threads and elem ents o f Greenaway’s vast, unparalleled work?

Only tim e, and the judgm ent o f his considerable cult

and content.

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Great Britain/Spain/ Luxembourg/ Hungary/ltaly/ Germany/Russia 2003 Director: Peter Greenaway Producer: Kees Kasander Screenwriter: Peter Greenaway Cinematographer: Reinier van Brummelen Film Editors: Elmer Leupen Chris Wyatt Music: Borut Krzisnik Cast: JJ. Feild Marcel lures Raymond J. Barry Steven Mackintosh Valentina Cervi Running Time: 108 minutes Presentation Format: 35mm International Sales: Fortissimo Film Sales Print Source: Fortissimo Film Sales Film Website: www.tulseluper.com Selected Filmography: 81/2 Women (1999) Pillow Book (1996) Prospero's Books (1991) The Cook, the Thief, His Wife and Her Lover (1989) Drowning By Numbers (1988) The Belly of An Architect (1987) A Zed and Two Noughts (1985) The Draughtsman's Contract (1982)

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Darkness Bride

Infernal Affairs

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THURSDAY JUNE 10 930PM HARVARD EXIT FRIDAY JUNE 11 5PM HARVARD EXIT

Hong Kong/ Taiwan 2003

A SIA N TRAD EW IN D S In a godforsaken village in the shadow o f C h in a’s

Great W all, the surface norm ality o f life belies a so­ Director: ciety where adherence to the som etim es-bizarre tradi­ William Kwok tions o f the past can be at odds w ith m odem standards Producer: of decency. Here the corpses o f dead virgins are ex­ William Kwok hum ed and sold to the relatives o f m en who m ight Screenwriters: William Kwok die before achieving the sanctity o f m arriage, to serve Wing Wang as their spouses in the afterlife. In this m orally dubi­ Cinematographer: ous m ilieu , young Q in g H ua has been livin g a life of Wong Ping Hung secret contentm ent w ith her husband Sissy, a sem iFilm Editor: autistic shepherd, and their friend Chun Sheng. W hen Nose Chan Music: Chun Sheng is coerced into the m urky w orld o f the Roger Lin grave robbers, and it looks as if his illic it relationship Cast: w ith his friends w ill be exposed, he and Q in g H ua are Fang Jing left w ith no choice but to dig up and sell the rem ains Tang Lu o f a fam ous local virgin and flee the village. In the Wu Jian Gao Fei city, however, their crim e com es back to h aunt them Running Time: in the shape o f Yan-yan, a salon hostess who bears 104 minutes a striking resem blance to the legendary virgin . As Presentation Format: Sissy and Chun Sheng becom e ever m ore attached 35mm, in Mandarin with English subtitles to Yan-yan, Q ing H ua’s fear and jealousy drive her to international Sales: extrem e m easures in an attem pt to defend herself and Arc Light Films her loved ones against the onslaught o f destiny. W ith Print Source: its unsettling them es and startlin g im agery in striking Arc Light Films shades o f red and black, Darkness Bride announces Selected Filmography: So and So (1999) a unique new voice from the ranks o f Hong Kong’s In The Dumps (1997) independent film m akin g scene.

SATURDAY JUNE 5 11AM CINERAMA MONDAY JUNE 7 10PM CINERAMA

This is a high-concept, high-octane police dram a in w hich two H ong Kong cops, neither o f them whom they appear to be, fin d their destinies inextricably in ­ tertwined. M ing (Andy Lau) is an ostensibly risin g star in Crim inal Intelligen ce, w hile Yan (shatteringly sexy Tony Leung Chiu-w ai in a career-best perform ance), is an undercover agent who com es on as a nervy in ­ form er livin g on his wits but nearing burnout. M utual suspicion rises between the two follow ing a long stake­ out attem pting to n a il a cocaine delivery from T h ai­ lan d and conclude a 10-year investigation into one of H ong Kong’s biggest triads. A drum -tight script takes the film through a labyrinthine series o f twists and turns o f b eguilin g cleverness. Infernal Affairs holds its audience in a vice-like grip for the entire duration as the dark, claustrophobic narrative winds its way to an em otionally pow erful clim a x. Q uickly becom ing one o f the biggest earners o f a ll tim e in its hom e ter­ ritory, the E n glish-language rem ake rights were sold in no tim e. A prequel and a sequel-screen in g this year at S IF F-fo llo w the m agn ificen t first chapter o f this m urky saga. Best know n for his Youngand Dan­ gerous triad series, the p rolific Andrew Lau (not to be confused w ith his sim ilarly nam ed star) has joined forces w ith A lan M ak and cinem atographer Christo­ pher Doyle (regular collaborator w ith W ong Kar-wai and Director o f Photography on the Chinese Oscarnom inated Hero) to create a handsom e, wide-screen m asterpiece w ith cold, m iry colors and a gritty, styl­ ized am bience.

Awards: Hong Kong Film Awards 2002 (Best Picture, Director, Actor, Supporting Actor, Screenplay, Editing, Original Song) Golden Horse Awards 2002 (Best Picture, Director, Actor, Supporting Actor, Sound Effects, Audience)

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Directors: Andrew Lau Alan Mak Producers: Nansun Shi John Chong Screenwriters: Alan Mak Felix Chang Cinematographers: Andrew Lau Lai Yiu-Fai Christopher Doyle (consultant) Film Editors: Danny Pang Pang Ching-hei Music: Chan Kwong-wing Cast: Tony Leung Chiu-wai Andy Lau Anthony Wong EricTsang Running Time: 100 minutes Presentation Format: 35mm, in Cantonese with English subtitles International Sales: Media Asia Distribution Print Source: Miramax Films Film Website: www.infernalaffairs.com Selected Filmography: Infernal Affairs 3 (2004) Infernal Affairs 2 (2003) Legend oftekken (2001) The Storm Riders (1998) Modern Romance (1994)

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Infernal Affairs 2

Infernal Affairs 3

WUJIAN DAO II

WUJIAN DAO III

SATURDAY JUNE 5 130PM CINERAMA

SATURDAY JUNE 5 3 :45 PM CINERAMA

TUESDAY JUNE 8 9 :45 PM CINERAMA

WEDNESDAY JUNE 9 930PM CINERAMA

Hong Kong 2003 Directors: Andrew Lau Alan Mak Producers: Ma Baoping John Chong Daniel Yun Screenwriters: Felix Chong Alan Mak Cinematographers: Ng Man Ching Andrew Lau Film Editors: Pang Ching Hei Danny Pang Music: Chan Kwong Wing Cast: Edison Chen Carina Lau Francis Ng Anthony Wong EricTsang Running Time: 100 minutes Presentation Format: 35mm, in Cantonese and Mandarin with English subtitles International Sales: Media Asia Distribution Print Source: Media Asia Distribution Film Website: www.infernalaffairs.com Selected Filmography: Infernal Affairs 3 (2004) Infernal Affairs (2002) Legend ofTekken (2001) The Storm Riders (1998) Modern Romance (1994)

Keeping its slick edge intact, Infernal Affairs 2 is a deftly crafted prequel to the tale o f cops and triads in filtratin g each other’s ranks. Secrets are revealed in this h igh ly anticipated installm ent: W hat drove police superintendent W ong (Anthony W ong) and crim e boss Sam (Eric Tsang) against one another? How did two struggling m oles, Yan and M ing, begin their p arallel fates? The keys lie in the plot o f Part II. Begin­ n in g in 1991 and leading up to H ong Kong’s hand­ over to C h in a, the film reveals the early years of Yan, a deep-cover police m ole in the triads, and M ing, an inform er for the triads. These two m ain protagonists are teenagers just entering their covert positions, so the dram a shifts to their superiors, m en in the prim e o f their careers. Sam is a m iddle-level triad guy who has an unusual friendship w ith W ong, a cop on the organized crim e u n it. Their trust gets severely tested w hen the burden o f being on opposite sides of the law presses down on them and their associates. Sam has to contend w ith power struggles and double-crossing rivals, w hile W ong fights the urge to break laws in order to m aintain them . Filled w ith the requisite ten­ sion and intense action, Infernal Affairs 2 looks at the sheer m echanics o f survival, duty and honor— of staying one step ahead o f your rivals— w hile m ain­ tain in g the industrial grit and dark existential m al­ aise o f its predecessor.

*SPO ILER ALERT: Do not read this description until you’ve seen the first two film s; o f course, once you’ve seen the first two you won’t want to m iss this o n e * Get ready for the deadly surprise-filled conclusion o f Infernal Affairs'. This fin al installm ent ups the ante with even more thrills and a star-studded cast.

Part 3 brings back the dead by presenting a parallel tim e fram e that delineates what happened before and after the death o f undercover cop Yan. Here in present tim e, M ing has just been cleared of any charges in Yan’s death, a process that was more red tape than ac­ tual suspicion of gu ilt. Apparently, when M ing killed B illy in the elevator at the end of Infernal Affairs, B illy offered up some interesting inform ation: cassette tapes had been delivered to M ing’s boss that suppos­ edly contained conversations between the bastard crim e lord Sam (Eric Tsang) and his m oles, and these tapes were intercepted by one of those m oles. Now, m onths later, the tapes have resurfaced, in the pos­ session of new Security Inspector Yeung (Leon L ai).

M ing already suspects Yeung of being undercover for the triad, and pursues him like a hunter focused on his prey. W ith the past shim m ering across the screen like w alking phantom s, Infernal Affairs 3 takes on the atmosphere of a ghost story. Exploring the dual nature o f good and evil, it leads to the ultim ate show­ down— C lin t Eastwood-style— where past and pres­ ent converge and a ll hell breaks loose.

Awards: Hong Kong Film Critics Awards 2003 (Best Picture)

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Hong Kong 2004 Directors: Andrew Lau Alan Mak Producers: Gao Feng Jun Andrew Lau Screenwriters: Alan Mak Felix Chong Cinematographers: Ng Man Ching Andrew Lau Film Editors: Pang Ching Hei Danny Pang Music: Chan Kwong Wing Cast: Andy Lau Tony Leung Chiu-wai Leon Lai Anthony Wong Eric Tsang Kelly Chen Running Time: 117 minutes Presentation Format: 35mm, in Cantonese and Mandarin with English subtitles International Sales: Media Asia Distribution Print Source: Media Asia Film Website: www.infernalaffairs.com Selected Filmography: Infernal Affairs 2 (2003) Infernal Affairs (2002) Legend ofTekken (2001) The Storm Riders (1998) Modern Romance (1994)

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Running on Karma DA CHEK LO

“WORLD’S FREEST ECONOMY”

10YEARS

for

RUNNING

The Heritage Foundation announced the ranking of Hong Kong as the world's freest economy for 10 consecutive years in the "2004 Index of Economic Freedom."

Hong Kong's strengths: •duty-free port •very low level of government involvement in business activities •very low inflation • very low barriers to foreign investment •very low level of restrictions in banking and finance •low level of intervention in wages and prices •strong property rights •very low level of regulation •low level of informal market activity.

Take advantage of the benefits Hong Kong can bring to your business.

To explore opportunities in Asia's world city, contact the Hong Kong Economic and Trade Office in San Francisco.

WEDNESDAY JUNE 2 9 :15 PM EGYPTIAN FRIDAY JUNE 11 2PM CINERAMA

H ong Kong action-m eister Johnn y To team s up w ith two o f Asian cinem a’s biggest stars (Andy Lau and Ce­ c ilia Cheung) to deliver this rousing, w ildly com edic head-rush w hich won top honors for Best F ilm , Actor and Screenplay at this year’s H ong Kong Film Awards.

Intercutting between two seem ingly alternate univers­ es, the film opens in a raucous m ale strip club w ith a steroidal bodybuilder know n as ‘B ig’ (Lau) perform ­ in g a striptease for a chorus o f shrieking, appreciative w om en. M eanw hile, police investigating a corpse in a spooky w arehouse are flabbergasted w hen a crazed Indian uncurls him self from a sm all tin box, like a genie from a lam p, and proceeds to w reak havoc. Back at the strip clu b , cops raid the place, and B ig runs na­ ked from the w ild scene pursued by Lee (C heung), a young fem ale plainclothes cop. The two o f them are thrown for a loop w hen they run headlong into a shootout between the police and the fleeing In d ian .

Thus begins a seriously twisted tale in w hich B ig, who turns out to be an ille gal m ainlan d Buddhist m onk trained in m artial arts, and Lee team up and jo in the city-w ide m anhunt for the m alevolent killer.

Awards: Hong Kong Film Awards 2004 (Best Picture, Actor, Screenplay)

Hong Kong Economic & Trade Office, 130 Montgomery Street, San Francisco, CA94104 T. 415.835.9300 F. 415.421.0646 Email: hketosf@hketosf.gov.hk Website: www.hongkong.org

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Hong Kong Economic & Trade Office

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Hong Kong/ China 2003 Directors: Johnny To Wai Ka-fai Producers: Johnny To Wai Ka-fai Screenwriters: Wai Ka-fai Yau Hai-Noi Au Kin-Yee Yip Tin-Shing Cinematographer: Cheng Siu Keung Film Editor: LawWing-Cheong Music: Cacine Wong Cast: Andy Lau Cecilia Cheung Karen Tong Eddie Cheng Chun Wong Running Time: 93 minutes Presentation Format: 35mm, in Cantonese with English subtitles International Sales: China Star Entertainment Group Print Source: Tai Seng Entertainment Selected Filmography: Johnny To: Turn Left Turn Right (2003) PTU (2002) Fulltime Killer (2001) Needing You... (2000) Wai Ka-fai: Turn Left Turn Right (2003) Fulltime Killer (2001)

CONTEMPORARY

WORLD

CINEMA

Turn Left Tlirn Right XIANG ZU O Z O U XIANG YOU Z O U

WEDNESDAY JUNE 2 7 PM EGYPTIAN MONDAY JUNE 7 1 3 0 PM CINERAMA

Hong Kong/ Singapore

2003

Directors: Johnny To Wai Ka-fai

Producers: Johnny To Wai Ka-fai Daniel Yun

Screenwriters: Wai Ka-fai Yau Nai-Hoi Au Kin-Yee Yip Tin-Sing,from the illustrated novel by Jimmy Liao

Cinematographer: Cheng Siu Keung

Film Editor: Law Wing Cheong

Music: Chun Chi Wing Ben Cheung

Cast: Takeshi Kaneshiro Gigi Leung Edmund Chen Shu Wei-lun

Running Time: 102 minutes

N. AMERICAN PREMIERE

Eve and John are the should-be pair at the center of Johnny To’s subversive salute to the boy-meets-girl comedy genre. We are first introduced to Eve Choi (Gigi Leung) as she walks down her rain-swept street reading a book called Love at First Sight. A mildly ditzy professional translator who works for a pushy publisher, Eve tends to get emotionally involved in whatever book she’s reading. Meanwhile, John Lui (Takeshi Kaneshiro) is a classical violinist without any serious gigs, forced to make his living playing for peanuts in a restaurant. The two live in adjoin­ ing apartments but they’ve never met, as she always turns left on the street in front of their building and he always turns right. Though they have often crossed paths unknowingly— sometimes almost bumping into each other in a crowded theatre, other times with crossed phone lines— it seems like destiny that their parallel lives should become one. However, fate and a pair of conspiratorial suitors have a few more twists and turns in store for them before their paths can merge. Director To has always been as good at comedy as he is at the action set-pieces he’s more well known for, and with this deliciously dizzy romantic comedy, he slyly manipulates the genre’s conventions. He adds sparkle with his trademark clever plot twists, and his ending will surprise even the most savvy filmgoer.

Presentation Format: 35mm, in Cantonese and

FRIDAY JUNE 11 930PM HARVARD EXIT SATURDAY JUNE 12 4 :15PM HARVARD EXIT

MEW AMERICAN CINEMA

Mix is a fast-paced film with a versatile deep house/ worldbeat/ambient soundtrack blended up with love, family drama and pom. Mitch (Alex Weed) is a tal­ ented American teenager living in Los Angeles. His father Peter (Janos Kulka) is loving but controlling, and has been pressuring Mitch to become a profes­ sional classical musician— but Mitch is into DJing and surfing internet pom sites. When they are called to Budapest for his grandfather’s funeral, Mitch meets his grandmother for the first time, uncovers a family secret, meets the girl of his dreams and the pomo Ma­ fia. After partying all night, he misses his flight home and has a week to raise money to return in time for his big audition. The richest part oiMix is the story of father and son and their deep passionate connection, as they discover common bonds in the birthplace that Peter disdains and Mitch grows to love. The next best element is the music! Hungarian talents are strongly featured while Timothy Kelly, two-time Emmy-award winner, mixes genres— Hungarian/gypsy with hiphop and drumandbass— more than forty-four pieces altogether. TWo Americans with Hungarian roots, director Steven Lovy and his brother, producer Rob­ ert Lovy, branched out into other creative areas after their initial Hollywood experiences (iCircuitry Man, SIFF1990) before being drawn back to their ancestral homeland. Mix is their third film.

Mandarin with English subtitles

N. AMERICAN PREMIERE

Hungary/USA

2004

Director: Steven Lovy

Producers: Robert Lovy Steven Lovy Cirkô Jôzsef

Screenwriter: Steven Lovy

Cinematographer: Janos Vecsernyés

Film Editor: Steven Lovy

Music: Tim Kelly

Cast: Alex Weed Dorka Gryllus Janos Kulka Krisztiân Kolovratnik Péter Rudolf

Running Time: 99 minutes

Presentation Format: 35mm, in English and Hungarian with English subtitles

International Sales: Mix Pix Productions

Print Source: Magyar Filmunio

Film Website: www. m ixthemovie.com

Selected Filmography:

International Sales: Awards:

Warner Brothers, Hong Kong

Budapest Hungarian Film Week 2004

Print Source:

Circuitry Man II (1994) Circuitry Man (1990)

(Best Editor, Steven Lovy)

Warner Brothers, Hong Kong

Selected Filmography: Johnny To: Running on Karma (2003) PTU (2002) Fulltime Killer (2001) Needing You... (2000) Expect the Unexpected (1998) Wai Ka-Fei: Running on Karma (2003) Fulltime Killer (2001)

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Hong Kong Economic & Trade Office S<M'p’UUtciAM AmericanAiriines*

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Arimpara - A Story That Begins at the End

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MONDAY MAY 31 9 :15PM BROADWAY PERFORMANCE HALL

US

THURSDAY JUNE 3 2PM PACIFIC PLACE

P R E M I E R E

In a serene little village in the province of Kerala India/Japan in southern India, Krishnanunni (the marvelous 2003 Nedumudi Venu) is a descendant of a once-rich Director: feudal family and now lives comfortably with his wife Murali Nair and son on the family’s old farm. One day his wife Producers: notices a small mole on his chin. The mole, or maybe Murali Nair P. Parameswaran it’s a wart, keeps growing and growing, in spite of the Makoto Ueda natural treatments he applies. Soon the growth spirals Screenwriters: out of control and becomes the focus of everyone’s at­ Madhu Apsara tention. As the mole literally takes on a life of its own, Murali Nair, Krishnanunni risks losing his friends, his family, his from a story by O.V. Vijayan farm and his life. Based on a Kafkaesque short story Cinematographer:

by O.V. Vijayan, the tone of this film is mysterious and M. J. Radhakrishnan sorrowful, eventually taking on the atmosphere of a Film Editor: Japanese horror story. Says director Nair, “Perhaps the Lalitha Krishna inability to change becomes a breeding ground for Music: Fernando Benadon the wart in my story.” Could it be that some afflictions Cast: call for more radical measures than natural preventa- Nedumudi Venu tives or herbal concoctions? Murali Nair was bom in Sona Nair Kerala, earned his Master’s in Geology and worked as Bharathan Njarakkal Rajan Sithara an assistant director in the Mumbai film industry. His Master Bhagyanath short film Throne of Death won the Caméra d’Or at Kochu Preman Cannes and screened at SIFF 2000. He currently re­ Bharathan Njarakkal sides in London and runs his own production com­ Running Time: 90 minutes pany, Flying Elephant Films.

Presentation Format: 35mm, in Malayalam with English subtitles

International Sales: is for International (US & Canada)

Menemsha Films

is for employees as distinct from employers

Print Source: Flying Elephant Films

found in all good theatres PROJECTIONISTS / STAGE TECHNICIANS IATSE Local 15, Seattle, established 1893

Selected Filmography: A Dog's Day (2001) Throne of Death (2000)

AMGEN

CONTEMPORARY

Maqbool

WORLD

CINEMA

Deep Breath NAFAS-EAMICH

SUNDAY JUNE 6 1115PM CINERAMA

MONDAY JUNE 7 930PM HARVARD EXIT

WEDNESDAY JUNE 9 2PM CINERAMA

FRIDAY JUNE 10 2PM PACIFIC PLACE

India

2003

Director: Vishal Bharadwaj

Producer: Bobby Bedi

Screenwriters: Abbas Tyrewala Vishal Bharadwaj, from the play by William Shakespeare

Cinematographer: Hemant Chaturvedi

Film Editor: Aarif Sheikh

Music: Vishal Bhardwaj

Cast: Irfan Khan Tabu Om Puri Naseeruddin Shah

Running Time: 132 minutes

Presentation Format: 35mm, in Hindi with English subtitles

Print Source: Distant Horizon

Film Website: www.maqboolthefilm.com

Think Macbeth meets The Godfather, done Bollywood-style. Vishal Bharadwaj’s Maqbool transplants Shakespeare’s most lurid and visceral tragedy to contemporary Mumbai, and it’s a surprisingly easy transfer. Opening with a smoky, omen-laden scene as bloody and precise as any Hong Kong spectacle, the action centers on Maqbool, the brutally efficient lieutenant in a crime gang headed by the aging Abbaji. The only way Maqbool can gain control of the syndicate seems to be by marrying Abbaji’s daugh­ ter— until he meets the beguiling, conniving Nimmi, Abbaji’s mistress. Nimmi is immediately taken with Maqbool and, before long, the two are plotting their takeover. Technicolor carnage ensues, but so do a few glorious song and dance numbers. Half of the fun of the movie is the way that Bharadwaj and co­ writer Abbas Tyrewala have reconfigured the principal characters of the Scottish play. Shakespeare’s three witches, for instance, have been superseded by a pair of corrupt, clairvoyant cops, played with endearing relish by those national treasures of Indian cinema, Om Puri and Naseerrudin Shah (so great as the putupon father in Monsoon Wedding). The film ’s stellar performances also include the heavy-lidded matinee idol Irfan Khan as Maqbool, who conjures up just the right mix of menace, introspection and sex appeal.

Parviz Shahbazi’s third feature focuses on Kamran, a Iran once-promising engineering student from a wealthy 2003 and indulgent family who has lost interest in his stud­ Director: ies and, seemingly, in life. He spends most of his time Parviz Shahbazi with his penniless friend Mansour. By day they wan­ Producer: der around engaging in petty acts of vandalism and Amir Samavati theft, and at night they sleep in parks, cars and dingy Screenwriter: Parviz Shahbazi hostels. One rainy night they meet Aida, a cheerful Cinematographer: and lively student. Can she bring a spark of hope to Ali Loghmani their aimless lives? Deep Breath is a surprising look Film Editor: at Iran’s twenty-something generation. Audiences ac­ Parviz Shahbazi Music: customed to the polite youth populating most Iranian Mehrdad Palizban features will be astonished by the alienated behavior Cast: on display here. Shahbazi seems intent on pushing Saeed Amini the limits of Iran’s restrictive censorship laws by hav­ Maryam Palizban ing characters enact certain transgressions without Mansour Shahbazi Running Time: actually portraying them onscreen (at one point, 86 minutes Monsour asks to see Aida’s hair and she shows him . .. Presentation Format: but she doesn’t show us). With a storyline about two 35mm, in Farsi with young, petty criminals and a girl who comes between English subtitles Print Source: them, this could be a French New Wave picture, but Behnegar instead of Paris, it’s set in Tehran.

Selected Filmography: Awards:

Whisper (2000) Travelers from the South (1997)

Pusan 2003 (FIPRESCI Award for New Asian Director) 2004 Official Oscar Submission (Foreign Language Film)

Selected Filmography: The Web of the Witch (2002)

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CONTEMPORARY

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CINEMA

The Boys from County Clare

Bloom

SUNDAY JUNE 6 6:30PM PACIFIC PLACE

FRIDAY JUNE 10 9 3 0P M CINERAMA

MONDAY JUNE 7 2PM PACIFIC PLACE

SATURDAY JUNE 11 43 0P M CINERAMA

Ireland Long considered the supreme masterpiece of 20th-

2003

Director: Sean Walsh

Producer: Sean Walsh

Screenwriter: Sean Walsh, from the novel

by James Joyce

Cinematographer: Ciaran Tanham

Film Editor: Sarah Armstrong

Music: David Kahne

Cast: Stephen Rea Patrick Bergin Angeline Ball Hugh O'Conor

Running Time: 101 minutes

Presentation Format: 35mm

Print Source: Paragon Film Group

Film Website: www.ulysses.ie

Selected Filmography: Feature Film Debut

century literature, James Joyce’s Ulysses has resisted nearly all attempts at film adaptation. Joyce himself discussed a film version of the novel with Sergei Eisenstein, but ultimately believed “the book could not be made into a film with artistic propriety.” In 1967 di­ rector Joseph Sttick attempted the task, but produced a version widely thought of as an interesting failure at best. Sean Walsh worked for ten years on an esti­ mated 800 screenplay drafts before his adaptation was realized. His labors have been rewarded. WithBloom, Walsh has created an elegant film that streamlines the novel’s complex structure while still capturing Joyce’s impassioned lyricism and his irreverent, sometimes surreal, humor. The story revolves around the exploits of two men— everyman Leopold Bloom (Stephen Rea) and artist-intellectual Stephen Daedalus (Hugh O’Conor)— as they each wander around Dublin on June 16, 1904 (forever after known as Bloomsday). Over the course of the day the two men’s paths converge and diverge as each contemplates his life through haunted consciences. Daedalus struggles to reconcile his own intellectualism with the death of his mother. Bloom’s preoccupation is with his wife Molly’s continuing infidelity, which begins to echo with pangs of loss for his dead infant son. To bookend the film , Walsh splits Molly’s rapturous soliloquy of love and eroticism, beautifully conveying the work’s theme of, in Joyce’s words, “the eternal affirmation of the spirit of m a n ...”

Aside from Guinness, Ireland’s leading cultural export Ireland/Great is its traditional music, also known as Ceili bands. Britain/Germany 2003 Acts such as The Chieftains and The Dubliners have brought Irish music out of the pub and won it a pas­ Director: sionate international following. TheBoysfrom Coun­ John Irvin ty Clare captures this passion in a tender, comic tale Producers: of family, love and, of course, music. Set in late ’60s Wolfgang Esenwein Evzen Kolar Ireland, the film follows two Ceili bands bound for the Ellen Little All-Ireland Music competition. In County Clare, John Screenwriter: Joe (Bernard Hill) and his band fully expect to defend Nicholas Adams last year’s championship success. Meanwhile, over Cinematographer: Thomas Burstyn in Liverpool, England, John Joe’s estranged brother Film Editor: Jimmy (Colm Meaney), now a millionaire building Ian Crafford contractor, has his band poised to become the first Music: non-Irish group to win the competition. Before either Fiachra Trench band reaches the finals, they will have to navigate Cast: Colm Meaney past cattle-filled roadways and their competitors’ Andrea Corr underhanded trickery. Further complicating matters Bernard Hill is a budding love affair between Teddy, Jimmy’s best Charlotte Bradley musician, and John Joe’s lovely fiddle player Ann (An­ Shaun Evans Philip Barantini drea Corr)— a relationship that unexpectedly mirrors Running Time: the heart-broken roots of the brothers’ conflict and 90 minutes exposes old secrets long kept silent. Reminiscent of Presentation Format: past Irish favorites The Commitments and TheSnap­ 35mm per, director John Irvin instills his film with the same International Sales: First Look Media charm and musical zeal.

Print Source: First Look Media

Selected Filmography: Shiner (2000) A Month by the Lake (1995) Free Fall (1993) Hamburger Hill (1987)

Awards:

The Dogs of War (1980)

IFTA 2003 (Best Actress)

Choie* it Good"

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Bonjour Monsieur Shlomi

Nina’s Tragedies

HA KOHAVIM SHEL SHLOMI

HAASONOTSHEL NINA

SUNDAY MAY 3 0 7 :15PM PACIFIC PLACE

FRIDAY JUNE 4 5 PM PACIFIC PLACE

MONDAY MAY 31 4 :15 PM PACIFIC PLACE

SUNDAY JUNE 6 930PM PACIFIC PLACE

Israel

2003

Director: Shemi Zarhin

Producer: Eitan Evan

Screenwriter: Shemi Zarhin

Cinematographer: Itzik Portal

Film Editor: Einat Glaser-Zarhin

Music: Jonathan Bar-Giora

Cast: Oshri Cohen Arie Elias Aya Koren Rotem Zisman Esti Zakhem

Running Time: 94 minutes

Presentation Format: 35mm, in Hebrew with English subtitles

International Sales: Media Luna Entertainment

Print Source: Strand Releasing

This heartening and witty family comedy focuses on Shlomi Bardayan (Oshri Cohen), a Jewish lad of Mo­ roccan descent. He lives with his mother Ruhama, his brother Doron, and his wily grandfather. He takes on the role of peacemaker between his quarreling family members, particularly with his hypochondriac father, who no longer lives at home after being kicked out for cheating on his mother. He’s bored with high school, aspires to have sex with his girlfriend and eavesdrops on his beautiful 17-year-old neighbor Rona. Every­ body thinks he isn’t very bright because he has trou­ ble focusing on his schoolwork. His family believes he’s either dyslexic or just plain slow, but he is a great caregiver to his grandfather (who likes to converse with him in French) and an excellent cook. Then one day his math teacher notices something special about Shlomi’s work. Huns out he may very well be a math whiz who simply has difficulty concentrating.

His family doesn’t want to hear that, because he’s so good at being the “assistant mother” of the house. To decide the battle for his future, between the academy and the household, Shlomi will need to recognize his own potential and learn to assert himself.

Shy, nerdy Nadav (Aviv Elkabets) may be obsessed with Israel his histrionic family, but his full-time preoccupation 2003 and outright passion is for his Aunt Nina (played mag­ Director: netically by Ayelet Zorer). Pretty, charming and unde­ Savi Gabizon niably a character, Nina is weak and at the same time Producers: strong. When she marries her boyfriend, poor Nadav Savi Gabizon feels at a loss, until a tragic circumstance leads him Anat Assoulin Screenwriter: to come and stay with his aunt. Nadav provides a run­ Savi Gabizon ning commentary about Nina, his parents’ divorce, Cinematographer: his dying father’s sudden attachment to religion, and David Gurfinkel his eccentric, fashion designer mother. He tells us Film Editor: about school and his other secret passion— sneaking Tali Halter Shanker Music: out at night and looking in people’s windows, which Assaf Amdursky he accomplishes with a Peeping Tom adult buddy. Cast: Things are further complicated by the appearance of Ayelet Zorer a familiar looking-ghost walking the streets naked. Aviv Elkabets Yoram Hatav With its multitude of characters and subplots, the film Alon Aboutboul is rich with feeling and humor, stimulated by Nadav’s AnatWaxman sexual awakenings and his awkwardly funny voice­ Running Time: overs. Subtitled,4 Very Sad Comedy, Nina’s Trage­ 110 minutes Presentation Format: dies was the 2004 USA Oscar Foreign Film Submission 35mm, in Hebrew with from Israel. Director Savi Gabizon creates a network English subtitles of fragile relations tempered by absurd moments, a International Sales: romantic subplot and the narration of a young boy Lovesick Ltd. Print Source: with a hopeless crush.

Wellspring

Selected Filmography: Dangerous Acts (1998) Passover Fever (1995)

CINEMA

Awards: Israeli Academy Awards 2003 (Best Rim, Director, Screenplay) Jerusalem Film Festival 2003 (Best Feature, Cinematography, Screenplay) 2004 Official Oscar Submission (Foreign Language Film)

3 0 T H S E A T T L E I N T E R N A T I O N A L FILM F E S T I V A L 2 0 0 4

Selected Filmography: Lovesick on Nana Street (1995) Shuroo (1991)

131

Disney NBC

Walk on Water

CBS

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ABC Republic Pictures Clearwater Films Suzy Beugen-Bishop

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In Walk on Water, the single-minded Mossad assassin Eyal (Lior Ashkenazi, Late Marriage) is given a mis­ sion to track down an aging former Nazi officer. Pre­ tending to be a tourist guide, he befriends the Nazi’s grandson Axel (Knut Berger), who is visiting Israel to convince his sister Pia (Carolina Peters) to come back to Berlin for their father’s birthday. They all become friends and the two men take off for a tour of the country. Eventually, Axel’s frankness about being gay moves the story beyond spy thriller into introspective drama. Eyal’s tough macho character is silently and inevitably corroded by the surprise death of his wife and the shock distracts him from work. To complete his mission, Eyal goes to Germany for a family party, where secrets will be revealed. Director Eytan Fox and writer Gal Uchovsky (Yossi andJagger) are not afraid to deal with shock and trauma. In fact, they like to dismantle these emotions. Their newest film is a nontraditional attempt to understand conflicts continu­ ing to haunt young Israelis and Germans, and is also a “study of masculinity.” Walk on Water opened this year’s Panorama section in Berlin, where director Fox was asked if he wasn’t trying to tackle too many is­ sues: “ In Hollywood you are required to present one idea only. But my Israeliness, my Jewishness and my homosexuality are already more than one issue.” The result is a thriller that is also a psychological drama, shot in three countries, in multiple languages.

N. AM ERICAN PREMIERE Israe l

2003 Director: Eytan Fox

Producer: Amir Harel Gal Uchovsky

Screenwriter: Gal Uchovsky

Cinematographer: Tobias Hochstein

Film Editor: Yosef Grunfeld

Music: Ivri Lider

Cast: Lior Ashkenazi Knut Berger Carolina Peters Carola Regnier Gidon Shemer

Running Time: 104 minutes

Presentation Format: 35mm, in Hebrew, German and English with English subtitles

International Sales: Celluloid Dreams

Print Source: IDP

Film Website: www.walkonwatermovie.com

Selected Filmography: Yossi and Jagger (2002) Gotta Have Heart (1997) Time Off (1990)

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CONTEMPORARY

WORLD

The Best of Youth

El Alamein: In the Line of Fire

LA MEGLIO GIOVENTÙ

EL a l a m e in : LA LINE DEL FUOCO

PART 1: SUNDAY JUNE 6 1:30 PM EGYPTIAN; TUESDAY JUNE 8 8PM HARVARD EXIT PART 2: SUNDAY JUNE 6 5 :15PM EGYPTIAN; WEDNESDAY JUNE 9 8PM HARVARD EXIT

THURSDAY MAY 27 9 3 OPM PACIFIC PLACE

Italy

2003 Director: Marco Tullio Giordana

Producer: Angelo Barbagallo

Screenwriters: Sandro Petraglia Stefano Rulli

Cinematographer: Roberto Forza

Film Editor: Roberto Massiroli

Cast: Luigi Lo Cascio Alessio Boni Adriana Asti Sonia Bergamasco Fabrizio Gifuni

Running Time: 366 minutes (2 parts, each 183 minutes)

Presentation Format: 35mm, in Italian with English subtitles

International Sales: Rai Trade

Print Source: Miramax Films

Selected Filmography: The Hundred Steps (2000) Pasolini, an Italian Crime (1995)

TheBest ofYouth follows a middle-class Roman fam­ ily, the Caratis, starting in 1966 and continuing to the present. The first half explores the cultural and political convulsions of 1960s and 70s Italy, while in the second half, the charismatic and intelligent main characters Matteo and Nicola Carati struggle— some­ times successfully, sometimes tragically— to create their own families. Although initially meant to be broadcast on television, politics within Italy’s staterun TV network threatened to keep it from being seen, until an enthusiastic reception at the Cannes Film Festival changed all that. The Best of Youth is a pow­ erful family saga that, despite its six-hour running time, became one of the biggest critical and box-of­ fice hits of recent Italian cinema. Seamlessly weaving together personal and national histories, while taking many wonderful side-trips, TheBestofYouthweaves a tapestry of 20th century Italy. Giordana has crafted an eloquent and emotional achievement in filmmaking not seen since Francis Ford Coppola’s The Godfather.

It is shown in two parts of three hours each.

Awards: Palm Springs 2004 (Audience Award) Rotterdam 2004 (Audience Award) David di Donatello Awards 2004 (Best Film, Director, Screenplay, Producer, Editor, Sound)

CINEMA

MONDAY MAY 24 4 3 OPM EGYPTIAN

Winner of three David Di Donatello Awards (Italy’s version of the Oscars), this engrossing account of a pivotal battle in the fight to control Northern Africa during the Second World War shares its themes and intimate personal approach to large conflagrations with such modem classics as Saving Private Ryan and The Thin Red Line. The story opens shortly after the joint Italian and German armies rout Allied forces at Tobruk, using captured British vehicles to chase the 8th Army deep into Egypt. Rommel’s forces come to a halt at El Alamein, 60 miles west of Alexandria, where they dig in for four long months, overstretched and unable to break through. The British, meanwhile, muster their forces for a counter-attack that will turn the course of the war on that front. The film begins as this uneasy standoff is about to come to an end: an Italian garrison has been abandoned by its German allies, and short on food, water, petrol and ammuni­ tion, its men prepare for the inevitable coming battle.

As we come to know these young soldiers, besieged by ground and air attacks while struggling to deal with extreme heat, dysentery, hunger and a hopeless lack of support, it becomes apparent that they are cannon fodder. What emerges from their struggle is a devastat­ ing portrait of the madness of war, and a deeply mov­ ing paean to the sacrifice made by the young at the service of a cynical and corrupt regime.

Italy

2003 Director: Enzo Monteleone

Producers: Marco Chimenz Giovanni Stabilini Riccardo Tozzi

Screenwriter: Enzo Monteleone

Cinematographer: Daniele Nannuzzi

Film Editor: Cecilia Zanuso

Music: Aldo De Scalzi Pivio De Scalzi

Cast: Paolo Briguglia Pierfrancesco Favino Luciano Scarpa Silvio Orlando Francesco Pirozzi

Running Time: 117 minutes

Presentation Format: 35mm, in Italian with English subtitles

International Sales: Intramovies

Print Source: Intramovies

Selected Filmography:

To Love the Damned (1980)

Awards: David Di Donatello Awards 2003

Outlaw (2000) The Real Life of Antonio H. (1994)

(Photography, Sound Design, Editing)

CLASSICAL

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Every Day o f the Festival

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Real salutes the independent filmmaker.

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CONTEMPORARY

Pater Familias

WORLD

CINEMA

Remember Me, My Love RICORDATI DI ME

MONDAY JUNE 7 9:15PM EGYPTIAN TUESDAY JUNE 8 4 :15PM BROADWAY PERFORMANCE HALL

Italy

2003 Director: Francesco Patierno

Producer: Umberto Massa

Screenwriters: Francesco Patierno Massimo Cacciapuoti, from the novel by Massimo Cacciapuoti

Cinematographer: Mauro Marchetti

Film Editor: Luca Gazzolo

Music: Angelo Talocci

Cast: Luigi lacuzio Francesco Pirozzi Domenica Balsamo Federica Bonavolonta

Running Time: 90 minutes

Presentation Format: 35mm, in Italian with English subtitles

In the best tradition of Neapolitan drama, Pater Familias utilizes an exceptional ensemble cast of young actors to flesh out its interwoven stories of a group of young, rebellious anti-heroes dealing with the stigma of being brought up on the fringes of society. In the film ’s opening section, Matteo, a young man with a tarnished past, is given permission to spend a day out of prison. As he makes his way home, memories of the circumstances that led him to jail cascade through his mind, and it is these reminiscences that form the backbone of the story. Each of his friends has dealt with the adversity of being brought up in the tough underbelly of their small town near Naples, and each has had their own life course altered by a patriarchal presence that has affected them in untold ways (hence the title of the film ). For Matteo, his love for young Anna is his saving grace, and it allows him to go on, trusting that life holds more promise than his upbringing has demonstrated up until this day of freedom. This audacious directorial debut by Francesco Patierno turned heads at the Berlin Film Festival.

The Ristuccia family seems to have it all: they’re at­ Italy/France/ tractive, upper-middle class and accomplished. Mere Great Britain seconds into writer/director Gabriele Muccino’s com­ 2003 pelling drama, however, it becomes clear that some­ Director: thing is rotten in the state of Rome. In Remember Gabriele Muccino Me, My Love, Muccino creates four indelible char­ Producer: acters trying to find each other at the expense of the Domenico Procacci Screenwriters: others. Carlo (Fabrizio Bentivoglio) is a businessman Gabriele Muccino who would rather be a novelist. Wife Giulia (Laura Heidrun Schleef Morante, The Dancer Upstairs) is a teacher who Cinematographer: misses the theater. Self-absorbed daughter Valentina Marcello Montarsi Film Editor: (Nicoletta Romanoff) wants to be a dancer and won’t Claudio Di Mauro let anything get in her way, while son Paulo (Silvio Music: Muccino) is a lackluster student without ambition; Paolo Buonvino he just wants his classmate Ilaria (Giulia Michelini) Cast: to return his affections. The Ristuccias are selfish yet Laura Morante Fabrizio Bentivoglio vulnerable— especially Carlo, the dreamer. When Nicoletta Romanoff Carlo decides to retreat into a relationship with a for­ Silvio Muccino mer flame (Monica Bellucci), he becomes involved in Monica Bellucci an accident which changes everybody’s lives. Nomi­ Giulia Michelini Running Time: nated for nine David di Donatello Awards in 2003, 124 minutes Muccino’s Remember Me, My Love, will keep you Presentation Format: guessing until the end.

35mm, in Italian with English subtitles

International Sales: Intra Movies

Print Source:

Print Source:

IDP

Selected Filmography:

Intra Movies

The Last Kiss (2001) But Forever in My Mind (1999)

Film Website: www.paterfamilias.it

That's It (1998)

Selected Filmography: Feature Film Debut

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TROI ANI

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The Blind Swordsman: Zatoichi

9 Souls

SUNDAY MAY 30 4 :45 PM PACIFIC PLACE

FRIDAY JUNE 4 6 :45 PM CINERAMA

MONDAY MAY 31 9 :30 PM PACIFIC PLACE

SUNDAY JUNE 6 9PM CINERAMA

Japan

2003

Director: Toshiaki Toyoda

Producers: Miyashi Kikuchi Keisake Konishi

Screenwriter: Toshiaki Toyoda

Cinematographer: Junichi Futisawa

Film Editor: Mototaku Kusakabe

Music: dip

Cast: Yoshio Harada Ryuhei Matsuda Koji Chihara Onimaru Itsuji Itao Kee

Running Time: 120 minutes

Presentation Format: 35mm, in Japanese with English subtitles

International Sales: Goldview Co.

Print Source: Goldview Co.

Selected Filmography: Blue Spring (2001) Unchain (2000) Pornostar (1998)

In this Japanese comedy of rebellion from the direc­ tor of Unchain and Blue Spring, nine men break out of jail and head for freedom, which turns out to be more elusive than they had thought. Imprisoned for murdering his father, disconnected teenager Michiru (the ethereal Ryuhei Matsuda, Blue Spring, Gohatto) finds himself surrounded by an oddball collection of racketeers, gangsters, murderers and con artists-even an ex-pom star. Escaping from jail, this loose gang of misfits pursues liberty, but a few distractions along the way— a hijacked van, a go-go club, an ex-lover and the police— might prevent them from rejoin­ ing society, if their own rivalries and infighting don’t kill them first. Director Toyoda keeps the plot mov­ ing as quickly as the group dodges the law, bouncing through several genres along the way, while using the fugitives’ disastrously doomed run-ins with the popu­ lace to show that jails don’t always have walls. Pow­ ered by the excellent work of its multi-generational ensemble cast (a veritable who’s-who of Japanese character actors from the past three decades), 9 Souls ties in to Toyoda’s earlier work of youth rebelling against a culture of conformity, and illuminates the problems— and the necessity— of escaping a prison the size of a nation.

A SIA N TRAD EW IND S

Japan

Legendary Japanese filmmaker “Beat” Takeshi Kitano creates his own take on the popular movie series that began in the 1960s and includes more than twenty sequels. The Blind Swordsman: Zatoichi follows the original’s basic formula, with a blind masseur and gambler who wanders from town to town. Despite his hunched-over posture, advancing age and lack of sight, Zatoichi (played here by a white-haired Ki­ tano) is a master swordsman. Instantly deadly with his blade, he relies on senses other than sight to guide him both in battle and in life. Finding lodg­ ing with an elderly lady— and a gambling partner in her nephew— he displays his swordsmajiship early on by dispatching a room full of crooked gamblers and gangsters. Meanwhile, he’s run across a couple of delightful geisha sisters who are intent on seeking revenge for their parents’ murder. Zatoichi ends up in the middle of a turf war between rival gangs, and must fight against the ronin Hattari, a brilliant swordsman who was hired as a bodyguard for the most power­ ful boss in town. It becomes clear that Zatoichi will have to face not only the entire mob, but also the only swordsman who may be able to match his skill. Made in Kitano’s trademark deadpan style, filled with dry humor and moments of cartoonish ultraviolence, The Blind Swordsman: Zatoichi has delighted audiences throughout the world and shows that the filmmaker still has a few tricks up his sleeve.

Director: Takeshi Kitano

Producers: Masayuki Mori Tsunehisa Saito

Screenwriter: Takeshi Kitano, from the story by Kan Shimozawa

Cinematographer: Katsumi Yanagashima

Film Editors: Takeshi Kitano Yoshinori Ota

Music: Keiichi Suzuki

Cast: Takeshi Kitano Tadanobu Asano Michiyo Ogusu Yui Natsukawa Guadalcanal Taka

Running Time: 116 minutes

Presentation Format: 35mm, in Japanese with English subtitles

International Sales: Celluloid Dreams

Print Source: Miramax Films

Selected Filmography: Dolls (2001) Brother (2000)

Awards:

Violent Cop (1998)

Toronto 2003 (People's Choice Award) Venice 2003 (Grand Prix) Japanese Academy Awards 2004

Fireworks (1997) Getting Any? (1995) Sonatine (1993)

(Best Cinematography, Score, Editing)

Boiling Point (1990)

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2003

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Bright Future

WORLD

CINEMA

Doppelgänger

AKARUI MIRAI

WEDNESDAY MAY 2 6 7 :15 PM HARVARD EXIT

WEDNESDAY MAY 26 9 3 OPM HARVARD EXIT

TUESDAY JUNE 1 5PM PACIFIC PLACE

MONDAY MAY 31 2PM PACIFIC PLACE

Japan

2003

Director: Kiyoshi Kurosawa

Producer: Takashi Asai

Screenwriter: Kiyoshi Kurosawa

Cinematographer: Takahide Shibanushi

Film Editor: Kiyoshi Kurosawa

Music: Pacific 231

Cast: Jô Odagiri Tadanobu Asano Tatsuya Fuji Takashi Sasano Shiraishi

Running Time: 92 minutes

Presentation Format: 35mm, in Japanese with English subtitles

international Sales: Celluloid Dreams

Print Source: Palm Pictures

Selected Filmography: Doppelgänger (2003) Pulse (2001) Séance (2000) Charisma (1999) Cure (1997)

A SIA N TRADEW INDS

A SIA N TRADEW INDS

Yuji 06 Odagiri) andMamoru (Tadanobu Asano) are twenty-somethings drifting through life in Tokyo, fill­ ing their time with menial jobs and nights at the ar­ cade. Mamoru’s only passion seems to be taking care of a red jellyfish— a luminously lethal creature that he is trying to acclimate from saltwater to fresh. When both Mamoru and Yuji are offered full-time jobs by their nerdy and demanding boss, their lives take an unexpected turn. Not interested in a traditional path of factory work and family, the boys go to horrible ex­ tremes to avoid such a bland future. Mamoru ends up in jail on a murder rap, leaving Yuji to care for the jellyfish. Yuji then meets Mamoru’s absent, regretful father (Tatsuya Fuji) and the two strike up a relation­ ship that seems to be the remedy to their loneliness.

With this more personal film , Kiyoshi Kurosawa (Cure, Seance, Pulse) takes a turn away from the creepy ghost stories and “saiko hora” (psycho hor­ ror) that garnered him international attention. As in his other film s, the characters and creatures in Bright Future are never straightforward. Indeed, there is a metaphorical angle to this near-sci-fi commentary, dealing with the generation gap and the doubleedged goals of aimless Tokyo youth. BrightFuture, a psychological portrait of a society poised for change, is both eerie and beautiful.

Reminiscent of such past SIFF hits as Dark Water (2002) and The Ring (1997), Kiyoshi Kurosawa re­ turns to the psycho-thriller genre that he helped rein­ vent. Japan’s reigning master of paranoia here injects a touch of humor and some wild plot twists into a horror story about an obsessed scientist who starts to see himself from a new perspective. Kurosawa regular Koji Yakusho portrays Michio Hayasaki, a research scientist who works for Cytech, a faceless conglomer­ ate that is pressuring him to come up with another hit for the company. His latest project is a “human body chair,” equipped with artificial limbs operated by the sitter via sensors. One evening, spent and emotional, Hayasaki thinks he sees his double in a restaurant, and he is not the only one experiencing this doppelganger phenomenon. A young woman, Yuka Nagai, sits at home with someone she thinks is her brother, but her real brother is committing suicide elsewhere.

Things get ratcheted up another notch when Hayasaki’s double shows up in his apartment and dem­ onstrates an evil, anti-social bent that is completely at odds with Hayasaki’s own subdued character. This is merely the jumping off point for an outrageously inventive thriller that switches between comedy and macabre horror at a breakneck pace. Utilizing seam­ less special effects, and occasionally employing multi­ screen visuals where the panels continuously conjoin and separate, Kurosawa has created a fiendishly clever head-twister in his own inimitable mode.

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Japan

2003

Director: Kiyoshi Kurosawa

Producers: Atsushi Sato Atsuyuki Shimoda Motoo Kawabata

Screenwriters: Kiyoshi Kurosawa Ken Furasawa

Cinematographer: Noriyuki Mizuguchi

Film Editor: Kiyoshi Kurosawa

Music: Hiromichi Kaori

Cast: Koji Yakusho Hiromi Nagasaku Yusuke Santamaria Emoto Akira

Running Time: 107 minutes

Presentation Format: 35mm, in Japanese with English subtitles

International Sales: Mirovision

Print Source: Mirovision

Selected Filmography: Bright Future (2003) Pulse (2001) Séance (2000) Charisma (1999) Cure (1997)

137

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Ghost in the Shell 2: Innocence

My Grandpa

KOKATU KIDOTAi: INOSENSU

WATASHI N O GURAMPA

SATURDAY JUNE 12 9PM CINERAMA

N. AMERICAN PREMIERE

Japan A SIA N TRAD EW IND S

2004

Director: Mamoru Oshii

Producers: Mitsuhisa Ishikawa Toshio Suzuki

Screenwriter: Mamoru Oshii, from the manga by Masamune Shirow

Music: Kenji Kawai

Voices of: Akio Otsuka Atsuko Tanaka Koichi Yamadera Tamio Oki

Running Time: 99 minutes

Presentation Format: 35mm, in Japanese with English subtitles

Print Source: Go Fish Pictures Film Website: www.innocence-movie.jp www.gofishpictures.com

Selected Filmography: Avalon (2001) Ghost in the Shell (1995)

It is the year 2032, and the line between humans and machines has been blurred almost beyond distinc­ tion. Humans coexist with cyborgs (human spirits inhabiting entirely mechanized bodies) and dolls (robots with no human elements at all). Batou is a cyborg. His body is artificial, and the only remnants of his humanity are traces of his brain and the memo­ ries of a woman called The Major. As a detective for the government’s covert anti-terrorist unit, Public Security Section 9, Batou is investigating the case of a gynoid— a hyper-realistic female robot created specifically for sexual companionship— who mal­ functions and slaughters her owner. As Batou delves deeper into the investigation, questions arise about humanity’s need to immortalize its image in dolls.

The answers to those questions lead to the shocking truth behind the crime. . . and quite possibly the very meaning of life. After nine years, acclaimed writer/ director Mamoru Oshii follows up his cult hit Ghost in the Shell— one of the biggest anime successes of all time— with this long-awaited sequel. Together with the staff at Production IG, Oshii has created a world of astonishing depth and presence, one that fully realizes the potential of animation to bring to life the world of its creator’s imagination in all its hallucinatory complexity.

MONDAY MAY 31 630 PM PACIFIC PLACE THURSDAY JUNE 3 5PM PACIFIC PLACE

As you would expect from the title, this deliciously Japan complex, marvelously cast treat centers on a delight­ 2003 ful inter-generational relationship. Godai Tamako is Director: 14 years old, in her first year of junior high school Yoichi Higashi and living a very ordinary life with her loving parents Producers: and grandmother. The ordinary quickly turns ex­ Junichi Kimura traordinary when her 68-year-old grandfather, Kenzo, Yoshitaka Hori Tetsujiro Yamagami returns home after spending 13 years in prison. At Mitsuru Kurosawa first Tamako is unsure what to make of the wise and Screenwriter: wily Kenzo, whose behavior seems out of sync with the Yoichi Higashi, times. But when she sees him step in to resolve a bul­ from the novel by lying incident, and witnesses the obvious affection of Yasutaka Tsutsui Cinematographer: the townspeople for his upright manner, she gradually Tatsuhiko Kobayashi opens her heart to him. Kenzo, in turn, finds satisfac­ Music: tion in communicating lessons about responsibility Tablatura and standing up for oneself to his admiring grand­ Cast: Bunta Sugawara daughter. When Tamako finds herself in an unex­ Satomi Ishihara pected situation, she discovers that her grandpa has Tadanobu Asano left her an important and valuable legacy. Watch for Mitsuru Hirata cult star Tadanobu Asano {Last Life in the Universe) Running Time: 113 minutes in a minor role.

Presentation Format:

Awards:

35mm, in Japanese with English subtitles

Montreal World 2003 (Best Asian Film)

International Sales: Brussels Ave

Print Source: Brussels Ave

Selected Filmography: The Crossing (2000) Village of Dreams (1996) No More Easy Going (1979)

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Tamala 2010: A Punk Cat in Space

Ramblers RIARIZUMU N O YADO

SATURDAY MAY 29 6 3 OPM HARVARD EXIT MONDAY MAY 31 4 :15 PM HARVARD EXIT

Japan

2003

Director: Nobuhiro Yamashita

Producers: Yuji Sadai Kunihiko Tomioka Haruo Okamoto

Screenwriters: Kosuke Mukai Nobuhiro Yamashita

Cinematographer: Ryuto Kondo

Film Editors: Nobuhiro Yamashita Yokibumi Josha

Music: Quruli

Cast: Keishi Nagatsuka Hiroshi Yamamoto Machiko Ono

Running Time: 83 minutes

Presentation Format: 35mm, in Japanese with English subtitles

Print Source: Bitters End

Selected Filmography: No One's Ark (2002) Hazy Life (1999)

US

P R E M IE R E

A SIA N TRADEW INDS Tsuboi (Keishi Nagastuka) and Kinoshita (Hiroshi Yamamoto) arrive in a desolate town, planning to spend their winter holiday with Funaki, a fairly wellknown actor. Both are amateur filmmakers: Tsuboi is a scriptwriter, Kinoshita a director. Funaki is the reason they are meeting, but he oversleeps and fails to show, leaving the two with little to do in the semideserted town besides get ripped off by the villagers.

They plunge into uneasy vacation mode, fishing, contemplating the sea, bathing in hot springs and waiting for their money to run out. By chance they meet Atsuko (Machiko Ono), a girl whose uninhib­ ited behavior is a welcome surprise for the wouldbe pleasure-seekers. The three bond immediately and set off on a short journey. Then, quite suddenly, Atsuko disappears. Often referred to as the Japanese Jim Jarm usch, Yamashita is the clarion voice of his generation of filmmakers. His latest film is a lowkey, absurdist pop comedy that follows the adven­ tures of two young men who represent a generation of aimless Japanese “ artists” caught in the grip of an incurable Peter Pan syndrome. Ramblers takes a far-reaching, idiosyncratic view of contemporary relationships, along with an uncompromisingly fresh— and at times embarrassed— look at a society trying to cope with the difficulties of an uncertain economic future. Its convincing script is thoughtprovoking and well-acted, making for a very funny piece of serious entertainment.

TUESDAY MAY 25 9 :15PM EGYPTIAN WEDNESDAY JUNE 9 6 :45PM BROADWAY PERFORMANCE HALL

Japanese visual arts and music collective t.o.L. toss Japan in the whole kit(ty) and caboodle of pop culture 2003 iconography to tell the animated tale of Tamala, Directors: an adorable yet profanity-prone feline who travels t.o.L. through time and space. Set mostly in the superflat, Producers: high-tech, black-and-white world of the year 2010, Selichi Tsukada Tamala’s travels veer from 3500 B.C. (“Before Cats,” Kazuko Mio t.o.L. natch!) to Verona, Italy in 1436, to Shanghai, China Screenwriters: in 2032, and beyond. Riding solo into the cosmos t.o.L. from CatEarth, en route to investigating galactic pow­ Film Editor: erhouse Catty & Co., our heroine encounters the Dark Kensuke Kawamura Music: God of Death, learns of an epic calamity in which t.o.L 200,000 kitties met a fiery demise, and examines a Cast: Hieronymus Bosch-like canvas depicting cats being Shinji Takeda disemboweled and other horrors. Drawn in shades of Takeshi Kato gray, with dramatic interludes of color, the animation Béatrice Dalle Running Time: style resembles Hello Kitty meets Speed Racer meets 92 minutes Blade Runner by way of Betty Boop. It’s an off-kilter Presentation Format: blend of rudimentary style and surreal content. . . with 35mm, in Japanese with claws. Also the cat’s meow is the hypnotic and varied English subtitles International Sales: score concocted by t.o.L. and keyed to the intergalactic Kinetique visuals’ abrupt shifts in tone. One last warning: de­ Print Source: spite her saucer eyes and cutesy face, Tamala’s brash Vitagraph utterances would make Lenny Bruce blush, so leave Film Website: www.tamala2010.com the kiddies at home!

Awards: Fantasia 2003 (Best Animation)

Preceded by Seventeen (Hisko Hulsing, the Netherlands, 2003,12 minutes) Incredibly surreal animated tale of a young construc­ tion worker’s daydreams.

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The Twilight Samurai

Little Men

TASOCARE SEIBEI

MALEN'KIE U U D l

FRIDAY MAY 21 6 :45PM EGYPTIAN

WEDNESDAY JUNE 9 9 :45 PM PACIFIC PLACE

SUNDAY MAY 23 1 :30 PM HARVARD EXIT

SUNDAY JUNE 13 6 :15 PM BROADWAY PERFORMANCE HALL

NEW DIRECTORS SH OW CASE

Japan A SIA N TRAD EW IND S

2003

Director: Yoji Yamada

Producers: Shigehiro Nakagawa Hiroshi Fukasawa Ichiro Yamamoto

Screenwritesr: Yoji Yamada Yoshitaka Asama, from the novel by Shuhei Fujisawa

Cinematographer: Mutsuo Naganuma

Film Editor: Iwao Ishii

Music: Isao Tomita

Cast: Hiroyuki Sanada Mitsuro Fukikoshi Rie Miyazawa Ren Osuri

Running Time: 129 minutes

Presentation Format: 35mm, in Japanese with English subtitles

International Sales: Shochiku Co. Ltd.

Print Source: Empire Pictures

Selected Filmography: Jugosai: Gakko (2001) Gakko 2 (1997) Gakko (1994) Musuko (1991)

For those who think contemporary cinema holds few surprises, here’s a doozy. Following his 48-film series of lowbrow comedies about the hapless Torasan, veteran director Yoji Yamada swept the board at last year’s Japanese Oscars with this deeply mov­ ing, elegiac film set in the waning years of the Edo period, which went on to gain an Academy Award nomination for Best Foreign Language Film . Best known from Hideo Nakata’s The Ring, Hiroyuki Sanada plays Seibei, a low-ranking samurai in feudal 19th-century Japan. A struggling, unkempt widower, he finds the challenges of looking after his elderly mother and two small daughters at odds with his duties as a warrior. After some years, he meets his recently divorced childhood sweetheart, Tomoe. When Tomoe’s drunken ex-husband shows up and abuses her, Seibei intervenes to prevent the violence, wanting only to live in peace. His principles are further put to the test when he is ordered by his clan to kill a disobedient retainer who has refused to commit hara-kiri. Working in a genre that has presented some of the most memorable moments in Japanese cinema, Yoji Yamada uses a uniquely hu­ manistic approach to tell an epic story of honor and pride, as opposed to the more commonplace, flashily choreographed “fastest sword in the East” extrava­ ganza; Sanada’s magisterial performance makes The Twilight Samurai one of the most wonderful cinematic experiences of the year.

Beck and Maxim, old buddies from the army, share just about everything. Living in the same tiny apart­ ment, working the same crappy job selling kitchen utensils and various other knick-knacks to folks on the street, drinking together— about the only thing they can’t share is Maxim’s success with the sales pitch.

Maxim seduces women (sometimes several at once) with relative ease, wins awards from his employer and can sell anyone anything. Beck is almost a nonentity; he barely says a word, is unable to talk people into buying junk they can’t afford, and doesn’t seem to want to. Remarkably passive, he coasts along, until a gorgeous woman in a red dress joins their workplace.

He remains silent about this newfound object of his affection until he returns home one night to discover that Maxim has already succeeded where he has yet to make an attempt. Gathering courage, he asks the woman out a little while later and, to his surprise, she accepts. In a country as financially unstable as Ka­ zakhstan, though, it seems that no string of luck can last too long. Despite his attempts to remain passive, Beck will eventually be in a position where he has to act for himself, completely on his own.

Awards: Japanese Academy Awards 2003 (Best Film, Director, Actor, Actress, Supporting Actor, Screenplay, Cinematography) Hawaii Film Festival 2003 (Best Feature) Hong Kong Film Festival 2003 (Best Asian Film) 2004 Official Oscar Nomination (Best Foreign Language Film)

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3 0 T H SEATTLE I N T E R N A T I O N A L FILM F E S T I V A L 2 004

Kazakhstan/ France

2003

Director: Nariman Turebayev

Producer: Abderrahmane Sissako

Screenwriter: Nariman Turebayev

Cinematographer: Boris Troshev

Film Editor: Andrei Vlaznev

Music: Kazbek Spanov

Cast: Erjan Bekmutarov Oleg Kerimov Lyazat Dautova Mira Abdulina Serik Nurbekov

Running Time: 86 minutes

Presentation Format: 35mm, in Russian and Kazakh with English subtitles

International Sales: Duo Films

Print Source: ARTE France

Selected Filmography: Feature Film Debut

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CONTEMPORARY

Python

WORLD

CINEMA

as®

The Kite

PITONS

LE CERF-VOLANT

TUESDAY JUNE 1 9 3 OPM PACIFIC PLACE

MONDAY MAY 24 9 3 0P M HARVARD EXIT

WEDNESDAY JUNE 2 2PM PACIFIC PLACE

FRIDAY MAY 2 8 2PM PACIFIC PLACE

Latvia A monkey in a bright red dress sits in the back seat

2003

Director: Laila Pakalnina

Producer: Laila Pakalnina

Screenwriter: Laila Pakalnina

Cinematographer: Gints Berzins

Film Editor: Sandra Alksne M usic: Ainars Mielavs

Cast: Mara Kimele Juris Grave Januss Johansons llze Pukinska intars Janbergs

Running Time: 88 minutes

Presentation Format: 35mm, in Latvian with English subtitles

of a car. People wave at her and she either raises an eyebrow in recognition or acts as if she’s supremely bored. The monkey belongs to the school photog­ rapher, as does the python from the title. He brings them both to school to pose with the children. The school is run by a headmistress from hell. With her gray suit buttoned to the chin and thick brown tights and nurse’s shoes, she is determined to find out which of the children has been defecating in the attic. Mean­ while, a mad beaver has been roaming the school grounds. When the monkey and the python escape, all hell breaks loose. This absurd drama reveals how two snakes— one real and the other in the form of a headmistress— can exist in the same school, and gives us a peek at authoritarian society gone amok.

Laila Pakalnina studied film direction at the Moscow State Institute of Cinematography (VGIK). According to Variety, “Though unquestionably not a film for everyone, and virtually unclassifiable, Python is an utterly disarming experience.”

Print Source:

ass

Along the border between Lebanon and Israel, Leba­ Lebanon/France nese families divided by Israel’s encroaching bound­ 2003 aries are forced to communicate by shouting at each Director: other through megaphones. Children fly their kites in Randa Chahal Sabbag a field near the barbed wire fence that marks the bor­ Producer: der. When her little brother’s kite flies out of his hands Humbert Balsan and into the heavily mined boundary territory, Lamia Screenwriter: Randa Chahal Sabbag (Flavia Bechara) slips through the wire to retrieve it, Cinematographer: frightened by neither the mines nor the rifle fire de­ Alain Lèvent signed to scare her off. This bold move brings her to Film Editor: the attention of the Israeli border guard Youssef (Ma­ Marie-Pierre Renaud Music: her Bsaibes). Lamia is approaching her 18th birthday, Zlad Ulysse Rahbani and her mother makes the difficult decision to send Cast: her into Israel for an arranged marriage with Samy, Flavia Bechara a boy she’s never met. Legally, only Lamia can make Randa Asmar the crossing. Bitter and unresponsive, she refuses to Renée Dick Julia Kassar consent to the union, as she has found another, secret Liliane Nemry love. Once in Israel, she is shocked by some of the free­ Running Time: doms that can be had there, but those freedoms come 80 minutes with a cost, like mandatory military service. In such Presentation Format: 35mm, in Arabic with difficult circumstances, Lamia’s love might require a English subtitles miracle in order to be realized.

International Sales: Flach Pyramide International

Latvian National Film Center

Selected Filmography: The Shoe (1998)

Awards:

Print Source:

Venice 2003 (Special Jury Prize)

Quinta Communications USA

2004 Official Oscar Submission (Foreign Language Film)

Selected Filmography: A Civilized People (1999)

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CONTEMPORARY

I Always Wanted to Be a Saint

CINEMA

WORLD

CINEMA

Scent of the Lotus Pond

j 'a i t o u j o u r s v o u l u ê t r e u n e s a in t e

BORA DIYA POKUNA

N. AMERICAN PREMIERE

SUNDAY MAY 23 9 :15PM BROADWAY PERFORMANCE HALL

SATURDAY JUNE 5 6 3 OPM HARVARD EXIT

THURSDAY MAY 2 7 2PM PACIFIC PLACE

TUESDAY JUNE 8 2PM PACIFIC PLACE

Luxembourg/ Belgium

Director Satyajit Maitipe has chosen a popular cinema Sri Lanka form, melodrama, to deal with the complex modem 2003 issues of sexuality and desire. But with its fairly graph­ Director: ic sex scenes and more colorful swearing than a Scors­ Satyajit Maitipe ese drama, Scent ofthe Lotus Pond is quite removed Producer: from the work of Douglas Sirk. Maitipe works at a Satyajit Maitipe cracking pace, dealing with sexual obsession and the Screenwriter: Satyajit Maitipe frustration of being unloved in away that is startlingly Cinematographer: direct for South Asian cinema. The film is a “Buddhist Paalitha Perera Trilogy” of intriguing twists and surprises, relating Film Editor: three episodes that represent three different periods Ravindra Guruge in the life of Gothami, a poor, insecure, frustrated Music: Pradeep Ratnayaka and sometimes vicious young woman who works in Cast: a local garment factory. She shares a house with her Kaushalya Fernando best friends, and together they endure arduous days at Dilani Abeywardena the factory, fight off the local roughneck youths and Duminda De Silva Running Time: develop a bond that will last a lifetime, notwithstand­ 140 minutes ing ruptures caused by Gothami’s jealousy and social Presentation Format: ambition. She falls for the glamorous soldier Vipula, 35mm, in Singhalese with who is actually in love with her housemate Mangala, English subtitles Print Source: and she seduces him with tragic consequences that Trinetraa Sri Lanka come back to haunt her many years later. Scent ofthe Film Website: Lotus Pond takes its melodramatic elements and uses www.scentofthelotuspond.com the form skillfully to raise questions about moral at­ Selected Filmography: titudes in today’s Sri Lanka as well as other important Feature Film Debut social issues.

2003

Director: Geneviève Mersch

Producer: Claude Waringo

Screenwriters: Philippe Blasband Geneviève Mersch Anne Fournier

Cinematographer: Séverine Barde

Film Editor: Ewin Ryckaert

Music: Principal Trade Center Serge Tonnar

Cast: Marie Kremer Barbara Roland Raphaelle Biancherie Stasia Kremer Thierry Lefèvre Janine Godinas

Running Time: 92 minutes

Anxious about boys, about her father, and about defin­ ing her sense of moral responsibility, Norah (Rapha­ elle Blancherie) is undergoing the typical hardships of any young woman. She has never completely come to terms with her mother’s decision to abandon her when she was a baby, but instead of trying to solve her own problems she gets involved with the problems of others. Ultimately, Norah wants to be a saint, beyond reproach, but her world is shaken up when she re­ ceives a small inheritance from her grandfather that includes her mother’s address in Switzerland. In her growing state of distress, she decides to track down her mother. Each step she makes seems to be in the wrong direction, and little by little she starts to fall apart. Her only source of comfort lies in her almost cultish de­ votion to the recently deceased racing star Nico Mar­ cuse. As she travels across Europe, she is all alone and is forced to confront some of the difficult issues that have been haunting her. Honest and delicate, Saint is a coming-of-age film that manages to bypass all the clichés of the genre to create a fascinating, moving story of a young woman searching for clarity where none is to be found.

Presentation Format: 35mm, in French with English subtitles

Awards:

International Sales:

2004 Official Oscar Submission (Foreign Language Film)

Montreal World 2003 (Best First Film)

Brussels Ave

Print Source: Brussels Ave

Selected Filmography: Feature Film Debut

NATI ONAL ENDOW M ENT FOR THE ARTS

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CONTEMPORARY

WORLD

CINEMA

A Thousand Glouds of Peace Nicotina

MIL NUBES DE PAZ CERCAN EL CIELO, AMOR, JAMÁS ACABARÁS DE SER AM OR

TUESDAY JUNE 8 9115PM EGYPTIAN

SATURDAY MAY 2 2 6:30PM HARVARD EXIT

SATURDAY JUNE 12 l^OPM CINERAMA

SUNDAY MAY 23 11 :30AM HARVARD EXIT

Mexico/ Mexican heartthrob Diego Luna takes center stage Argentina/ in this outrageous farce revolving around a gang of Spain would-be crooks who inventively screw up every op­

2003

Director: Hugo Rodriguez

Producers: Martha Sosa Laura Imperiale

Screenwriter: Martin Salinas

Cinematographer: Marcelo laccarlno

Film Editor: Alberto deToro

Music: Fernando Corona

Cast: Diego Luna Marta Beláustegui Lucas Crespi Jesús Ochoa Daniel Giménez Cacho Carmen Madrid

portunity they get to pull off a heist that would put them on easy street for the rest of their lives. As the film opens, reclusive computer hacker Lolo (Luna) is frantically engaged in utilizing his skills to break into some Swiss bank accounts. Given two days to pull off the scam, Lolo gets sidetracked by his own lust for his gorgeous next-door neighbor; the results are predictably dismal. Segueing into another op­ portunity to get rich quick, Lolo and his cohorts hit the streets on the trail of a stash of diamonds, little guessing that their quest will pull them into a convo­ luted series of events involving two Russian mobsters, a pair of bickering pharmacists, and a henpecked barber and his ferocious wife, all of whom are near the end of their tethers. The resulting mayhem en­ compasses a series of rude surprises for all involved, as this pitch-dark comedy twists its way to a seriously deranged denouement.

Running Time: 93 minutes

Presentation Format: 35mm, in Spanish with English subtitles

Julián Hernandez’s dreamy debut follows Gerardo Mexico (Juan Carlos Ortuño), a young man adrift in the 2003 streets and pool halls of an uncharacteristically va­ Director: cant Mexico City, as he searches for an elusive love. Julián Hernández Laden with silence— save for the Mexican ballads Producer: that blare like insults to his sullen state— the film is Roberto Fiesco Screenwriter: told through a series of lingering glances at his fleet­ Julián Hernández ing affairs, consummated in cars or out near the train Cinematographer: tracks. One encounter, however, could prove an affair Diego Arizmendi to remember, but this lover’s unanticipated and terse Film Editors: goodbye leaves Gerardo inconsolable. More resigned Jacobo Hernández Emiliano Arenales Osorio than restless, he waits by a rotary phone that will Cast: likely never ring. The film ’s striking cinematogra­ Juan Carlos Ortuño phy— stark black and sun-bleached white— caresses Juan Carlos Torres lovelorn Gerardo as he navigates a landscape suffused Perla de la Rosa Salvador Alvarez with longing. Heartbreak was never so palpable; it in­ Rosa María Gómez fuses the film ’s empty pockets with pronounced gravi­ Mario Oliver ty. Director Hernández styles an impressionistic reverie Running Time: that dwells in the languor of unrequited love. Winner 82 minutes of the Teddy Award for best gay feature at the Berlin Presentation Format: 35mm, in Spanish with Film Festival, A Thousand Clouds ofPeace conjures English subtitles the arid aftermath of a wet daydream.

Print Source:

Awards:

Strand Releasing

Mexican Los Premios Ariel Awards 2004 (Best Actor, Actress, Supporting Actor, Editing, Screenplay) Miami 2004 (Ibero-American Dramatic Feature)

International Sales:

Awards:

Selected Filmography:

Berlin 2003: Panorama

Feature Film Debut

(Teddy Award-Best Lesbian & Gay Film)

Altavista Films, S.A. de C.V.

Print Source: Arenas Group

Selected Filmography: In the Middle of Nowhere (1993)

(comcast.

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J A g L ET

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CONTEMPORARY

The Story of the Weeping Camel

TWin Sisters

DIE GESCHICHTE VOM WEINENDEN KAMEL

DE TWEELINC

WORLD

FRIDAY MAY 21 5 PM PACIFIC PLACE

FRIDAY JUNE 4 1PM CINERAMA

SUNDAY MAY 23 6:30PM HARVAARD EXIT

WEDNESDAY JUNE 9 7PM PACIFIC PLACE

Mongolia/ Germany

2003

Directors: Luigi Falorni Byambasuren Davaa

Producer: Natalie Lambsdorff

Screenwriters: Luigi Falorni Byambasuren Davaa

Cinematographer: Luigi Falorni

Film Editor: Anja Pohl

Music: Marcel Leniz

Cast: Janchiv Ayurzana Chimed Ohin Am gaabazar Gonson Zeveljamz Nyam Ikhbayar Amgaabazar

Running Time: 90 minutes

Presentation Format: 35mm, in Mongolian with English subtitles

International Sales: Menemsha Entertainment

Print Source: THINKFilm

Selected Filmography: Feature Film Debut

The Story of the Weeping Camel presents the lives of an extended family of sheep and camel herders in the middle of the Gobi desert. For the herder, every animal is invaluable, and when a mother camel re­ fuses to accept its baby— a rare and beautiful white calf— after a long, difficult birth, the family does ev­ erything it can to build a sense of trust between the two. After days of hand-feeding, the mother still will not feed the calf herself, so the family sends two broth­ ers, Ugna and Dude, to the nearby village in search of a musician to perform a traditional ceremony to bring the two together. Though they still live the tra­ ditional Mongolian life, there are aspects of modem technology and Western pop culture have begun to creep into their daily lives, as Ugna is captivated by television and awed by motorbikes and other devices he rarely gets the chance to see. The boys bring the musician back, but there is no guarantee that the ceremony will work. Utilizing a style reminiscent of Robert Flaherty and his landmark film Nanook of theNorth, combining true documentary footage with scripted scenes, The Story of the Weeping Camel is a beautiful film that features stunning photography of sweeping Mongolian landscapes, and a fascinating glimpse into a culture rarely seen outside of its own scattered population.

This ambitious story of two sisters who spend half a the Netherlands lifetime apart evokes an epic sweep and an emotional 2003 heft befitting the beloved, best-selling novel upon Director: which it is based. The movie opens in 1925, as six- Ben Sombogaart year-old twins Anna and Lotte are cruelly separated Producers: following the death of their parents. Anna remains in Hanneke Niens Germany, brought up in harsh circumstances at the Anton Smit Screenwriter: farm of her uncle Heirich and his wife Martha. Sickly Marieke van der Pol, Lotte is sent to a loving home of wealthy, distant rela­ from the novel tions in the Netherlands. In the years following their by Tessa de Loo separation, the girls desperately try to re-establish Cinematographer: Piotr Kukla contact, but are thwarted by Anna’s stem, meddling Film Editor: foster parents. A reunion finally occurs on the eve of Herman P. Koerts the Second World War. Though they are initially over­ Music: joyed to reunite at last, its clear they’ve drifted apart Fons Merkies in the intervening years. Their estrangement deepens Cast: Ellen Vogel when Lotte marries the handsome Jewish son of fam­ Thekla Reuten ily friends while Anna becomes the war bride of an SS Gudrun Okras soldier. Over the course of the war, and afterward, their Nadja Uhl vastly different circumstances prevent a reconcilia­ Jeroen Spitzenberger Roman Knizka tion, and Lotte makes it clear that she wants to ban Running Time: the memory of her sister from her life forever. 50 years 135 minutes after their last, painful encounter, Anna makes one Presentation Format: 35mm, in Dutch and more attempt to get in touch with her twin sister...

German with English subtitles

Awards: 2004 Official Oscar Nomination (Best Foreign Language Film)

Awards:

CINEMA

International Sales: High Point Films

Print Source: Miramax Films

Montreal 2003 (Special Mention) Miami 2004 (Best Documentary) 2004 Official Oscar Submission (Foreign Language Film)

Film Website: www.tessadeloo.nl

Selected Filmography: The Boy Who Stopped Talking (1996)

KIRO

N E W S R A D I

1210

M il l e n n iu m

E BUSINESS STATION

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CONTEMPORARY

Perfect Strangers

CINEMA

WORLD

CINEMA

Buddy

SUNDAY MAY 23 9PM EGYPTIAN

FRIDAY MAY 28 9 3 0 P M HARVARD EXIT

TUESDAY MAY 2 5 93 0P M PACIFIC PLACE

MONDAY MAY 3 1 11AM EGYPTIAN

New Zealand

Call them loafers, but twentysomething buddies Krist- Norway offer and Geir are too busy pasting billboards around 2003 Oslo to be true slackers. Together they’ve moved into Director: a flat in the Toyen Center— an urban mall-meets- Morten Tyldum apartment complex— which they’re sharing with the Producer: painfully shy computer nerd Stig Inge. Nobody’s lives Gudny Hummelvoll are safe from Kristoffer’s compulsive video diary. He Screenwriter: Lars Gudmestad documents just about anything: kitchen theories of Cinematographer: drinking spoiled milk, subway rides, even a testimo­ John Andreas Andersen nial to his soon-to-be-ex-girlfriend Elizabeth stating Film Editor: that he does not snore (though the camera knows Eli Nilsen Music: otherwise). Commitment phobic, Kristoffer politely Lars Lillo-Stenberg rejects her offer of house keys, and he’s promptly Cast: dumped for his insensitivity. Does this sound like the Nicolai Cleve Broch makings for a reality television show? Not really, but Aksel Hennie when Kristoffer’s footage inadvertently ends up at a Anders Baasmo Chris­ tiansen local TV station, a show is bom. “It’s like Jackass,” Pia Tjelta declares one exec, “but with heart.” Soon these guys Janne Formoe are pasting their own images on billboards, and the Running Time: future looks bright indeed. But the footage starts to 104 minutes Presentation Format: look and feel exploitative: Geir may be the father of 35mm, in Norwegian with a kid who plays soccer on the block, while hermetic English subtitles Stig Inge, who hasn’t left Toyen Center for two years, International Sales: cannot bring himself to board a subway car. Kristoffer NonStop Sales AB attempts to woo Elizabeth back with his new success, Print Source: NonStop Sales AB but he can’t ignore his life’s real drama— namely, a Selected Filmography: budding connection with the lovely Henriette. Voted Feature Film Debut most popular film at several film festivals, this Nor­ wegian crowd pleaser asks how far one should go to please the crowd.

2003

Director: Gaylene Preston

Producer: Robin Laing

Screenwriter: Gaylene Preston

Cinematographer: Alun Bollinger

Film Editor: John Gilbert

Music: Plan 9

Cast: Sam Neill Rachael Blake Joel Tobeck Robyn Malcolm Madeleine Sami

Running Time: 96 minutes

Presentation Format: 35mm

Print Source: First Look Media

Film Website: www.perfectstrangersthemovie.com

Selected Filmography: Mr. Wrong (1984)

Proving that there is more to New Zealand than The LordoftheRings, PerfectStrangers is an intense psy­ chological thriller boasting spectacular South Island scenery, mid-ocean storms and shipwrecks, captured magnificently by cinematographer Alun Bollinger.

Melanie (Rachel Blake) spends her nights in singles bars to distract her from herself mundane job in a fish and chip shop. One boozy evening, a handsome stranger (Sam Neill) walks in and she’s immediately intrigued. When he poses the inevitable question “Your place or mine?” she opts for his, reasoning “I’ve seen my place.” His place is a boat, and she wakes up the next morning at sea, on her way to the stranger’s secluded island shack. He is surprisingly cultured and caring, and clearly knows a lot about her, while she is not averse to giving him what she assumes he’s af­ ter. But the psychology of both characters is complex and unpredictable. Despite the kidnapping, the pair establish an uneasy trust, until events take an even more sinister turn and threaten to spiral out of con­ trol. Beautifully filmed in New Zealand’s bush coun­ try, Gaylene Preston has made an intriguing film that wilfully plays with genre convention— part romantic thriller, part fantasy horror. Neill puts in a moody, menacing turn in his first Kiwi-based film since Jane Campion’s The Piano 10 years ago, while Blake, last seen in the Australian film Lantana, is a revelation, giving a hypnotic, unsettling performance that car­ ries the viewer through the film ’s shifts in tone.

Preceded by Two Cars, OneNight (TaikaW aititi, New Zealand, 2003,12 minutes) While waiting for their parents, two boys and a girl meet in the car park of a rural pub. What at first seems to be a relationship based on rivalry soon develops into something deeper.

Awards: Warsaw Film Festival 2003 (Audience Award) Karlovy Vary 2003 (Audience Award) Sarasota Film Festival (Audience Award)

NATIONAL ENDOW M ENT FOR THE ARTS

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CONTEMPORARY

WORLD

Silent Waters

CINEMA

CINEMA

Tomorrow’s Weather

KHAMOSH PANI

POGODA NA JUTRO

MONDAY JUNE 7 7 :15PM PACIFIC PLACE

THURSDAY JUNE 3 7 :15 PM HARVARD EXIT

WEDNESDAY JUNE 9 2PM PACIFIC PLACE

SUNDAY JUNE 6 4PM BROADWAY PERFORMANCE HALL

Pakistan/ Taking place in Punjab, Pakistan in 1979, Silent France/ Waters focuses on a seemingly well-adjusted mid­ Germany dle-aged woman, Ayesha (Krion Kher), whose life

2003

Director: Sabiha Sumar

Producers: Sachitanandam Sathananthan Philippe Avril Helge Albers Claudia Tronnier

Screenwriter: Paromita Vohra, from the story by Sabiha Sumar

Cinematographer: Ralph Netzer

Film Editor: Bettina Bohler

Music: Madan Gopal Singh Arshad Mahmud

Cast: Kirron Kher Aamir Malik Arsad Mahmud Salman Shahid Shilpa Shukla Sarfaraz Ansari

Running Time:

revolves around her 18-year-old son Saleem. Aye­ sha lives on her dead husband’s pension and gives Quran lessons. Saleem becomes interested in Islamic fundamentalism and starts to devote all his ener­ gies towards his new beliefs. His kindness toward his mother and feisty girlfriend quickly erodes. Events escalate when Sikh pilgrims from India pour into the village, one of whom is looking for his sister Verro, who was abducted in 1947, when the Partition split Pakistan from India. During that time of conflict and strife, it is estimated that 50,000 Muslim women were abducted from India, and 33,000 Hindu and Sikh women were abducted from Pakistan. Silent Waters shows the damage done to families when fanatic ide­ als take precedence over love and empathy. Ayesha represents a woman caught in conflict and conflict is a universal dilemma. She represents women in Bos­ nia, in Sri Lanka, in Afghanistan and in Iraq whose philosophy of life is ‘There is no God but the sum of all Gods,’” writes director Sabiha Sumar. Sumar was bom in Pakistan and studied filmmaking and politi­ cal science in New York and produces documentaries for Channel Four Television in Great Britain.

99 minutes

Presentation Format: 35mm, in Urdu and Punjabi with English subtitles

International Sales: Les Films du Losange

Print Source: First Run Features

Selected Filmography:

One of SIFF’s 2001 Emerging Masters, director Jerzy Poland Stuhr has been a favorite actor of Krzysztof Kieslows­ 2003 ki, Andrzej Wajda, Agnieszka Holland and Krzysztof Director: Zanussi. Now, in his amiable new film , Stuhr plays Jerzy Stuhr former gym teacher Jozef Koziol, a man who has Producer: spent 17 years living in a monastery after escaping Juliusz Machulski an unfaithful wife and the Communist regime. When Screenwriters: Jerzy Stuhr Brother Jozef’s fellow monks convince him to play in Mieczyslaw Herba a band for a local performance, his family rediscov­ Cinematographer: ers him, and it looks like it’s the end of his peaceful, Edward Klosinski simple life. Dragged back into society, this modem Film Editor: Elzbieta Kurowska day Rip Van Winkle wakes to find his life radically Music: changed. Jozef’s son (played by Stuhr’s real-life son, Abel Korzeniowski Maciej) is bent on building himself a political career; Cast: his daughter is the star of a racy reality TV show; the Jerzy Stuhr youngest can barely tear herself away from the com­ Maciej Stuhr Andrzej Chyra puter to speak to him; and his ex-wife is remarried Malgorzata Zajaczkowska to a rich businessman. Meanwhile, the country he’s Running Time: come back to looks like a house of mirrors, a carnival 95 minutes of political sales pitches. This is a story of a man too Presentation Format: 35mm, in Polish with weak and too tender to live in this world. As actor and English subtitles director, Stuhr is a master at depicting the everyday International Sales: cares of an ordinary human, and what has marked Telewizja Polska S A his other work-the face of the eternal optimist-is Film Agency surely present here. Today’s weather may be disas­ Print Source: Telewizja Polska S A trous but who knows what tomorrow’s may bring.

Film Agency Selected Filmography:

Awards: Locarno 2003 (Golden Leopard, Best Actress)

Love Stories (1997)

Preceded by OldMan and theRiver (Royston Tan, Singapore, 2003,12 minutes) Lyrical and nostalgic short about old man’s life stories of the Singapore River.

Feature Film Debut

NATIONAL ENDOWMENT FOR THE ARTS

148

Big Animal (2000) A Week in the Life of a Man (1999)

3 0 T H SEATTLE I N T E R N A T I O N A L FILM F E S T I V A L 200 4

CONTEM PORARY WORLD

The Last Train

Roads to Koktebel

POSLEDNY POEZD

KOKTEBEL

THURSDAY JUNE 3 4 :30 PM BROADWAY PERFORMANCE HALL

FRIDAY JUNE 4 2 PM PACIFIC PLACE

WEDNESDAY JUNE 9 6PM HARVARD EXIT

MONDAY JUNE 7 7 :15PM HARVARD EXIT

Russia

2003

Director: Alexei A. German Jr.

Producers: Victor Izvekov Yelena Yatsura

Screenwriter: Alexei A. German Jr. Cinematographer: Oleg Lukichev

Film Editor: Olga Laboskina

Music: Hugo Jasa

Cast: Pavel Romanov Peter Merkuriev Alexey Devotchenko Irina Rakshina Alexander Tyurin Marina Radzhiyeva

Running Time: 82 minutes

Presentation Format: 35mm, in German and Russian with English subtitles

International Sales: Kinobureau No. 1

Print Source:

NEW DIRECTORS SHOW CASE Winter 1944. German surgeon Paul Fistehbach (Pavel Romanov) arrives at an outpost in no man’s land during Germany’s futile attempt to hold the Rus­ sian front. It’s not long before the cruelty of his fel­ low soldiers and pure chaos of war shatters his calm.

Along with the other soldiers, Fistehbach is launched from one encounter to the next, and will eventually disappear into the mist and snow of Russia’s winter landscape. The son of screenwriter Svetlana Karmalita and director Alexei German Senior (Thrustalyov, My Car!), Alexi German Jr. presents us with a remarkable yet devastating film about an ordinary man caught up in an extraordinary war. Based on a true family story, The Last Train is often bleak, bru­ tal and shockingly surreal; it’s also beautifully lensed by cinematographer Oleg Lukichev in stunning black-and-white Cinemascope. According to director German, “The doctor is a kind man unwilling to ac­ cept the idea of war. He’s the type in any war, who is doomed without ever firing a bullet.” German grew up in St. Petersburg and studied at Moscow All-Union State Filmmaking Institute (VGIK). With this debut feature, he makes a strident entry into filmmaking by crafting a human film in the “visual language of madness.”

Trouble has away of following the troubled. This road Russia movie is set in the countryside between Moscow and 2003 Crimea-an expanse of about 1,700 miles-and focuses Directors: on the relationship between a recovering alcoholic Alexei Popogrebsky (Gleb Pushkepalis) and his 11-year-old son (Igor Boris Khlebnikov Chemevich). With no money, they flee Moscow and Producer: their painful memories to resettle with the father’s Roman Borisevich Screenwriters: sister. Walking, hopping trains and hitchhiking, they Alexei Popogrebsky stop at various places to work for food, find shelter, Boris Khlebnikov sleep and recuperate before they start again. Along Cinematographer: the way they meet up with a train yard worker, a bad Shandor Berkeshi Film Editor: tempered, Pushkin-quoting retired army officer, and a Ivan Lebedev beautiful young redheaded doctor. This last encounter Music: enrages the son, who feels his father’s new relationship Chick Corea might prevent them from reaching Koktebel— which Cast: is beginning to seem like an unattainable dream, or Gleb Pushkepalis Igor Chernevich even a fictitious place. Sometimes the two are more Vladimir Kucherenko like old buddies than father and son, and sometimes Agrippina Steklova the people they meet are not what they appear to be. Alexander Ilyin Roads to Koktebel is an important film in Russian Running Time: 105 minutes contemporary cinema, one that is part of a recent Presentation Format: search for identity outside the city (as in TheReturn). 35mm, in Russian with The directorial debut of Khlebnikov and Popogrebsky English subtitles brings us back to the land, to a landscape no longer International Sales: lorded over by the State. Despite the trouble the char­ Celluloid Dreams Print Source: acters experience, we feel a promise of freedom.

Celluloid Dreams Selected Filmography:

Kinobureau No. 1

Selected Filmography: Feature Film Debut

CINEMA

Feature Film Debut

Awards:

Awards:

Thessaloniki 2003 (Best Film, FIPRESCI, Critic's Prize)

Moscow 2003 (Special Jury Prize, FIPRESCI Prize)

Rotterdam 2004 (Amnesty International DOEN Award)

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CONTEMPORARY

WORLD

Dear Frankie

CINEMA

CINEMA

Jagoda in the Supermarket JA G ODA U SUPERMARKETU

THURSDAY JUNE 3 7 :15PM PACIFIC PLACE

MONDAY MAY 2 4 7 :15 PM PACIFIC PLACE

SUNDAY JUNE 6 11AM CINERAMA

WEDNESDAY MAY 2 6 2PM PACIFIC PLACE

Scotland

2004

Director: Shona Auerbach

Producers: Caroline Wood Stephen Evans

Screenwriter: Andrea Gibb

Cinematographer: Shona Auerbach

Film Editor: Oral Norrie Ottey

Music: Alex Heffes

Cast: Emily Mortimer Gerard Butler Jack McElhone Sharon Small

Running Time: 105 minutes

Presentation Format: 35mm

International Sales: Pathe Pictures

10-year-old Frankie lives with his mother and grand­ mother, and has never met his etemally-at-sea father.

As a family unit, they often move from place to place without much notice. Despite this, his father manages to send him letters every few weeks. Frankie anxiously anticipates the arrival of letters from exotic ports of call. Unbeknownst to Frankie, his mother Lizzie has been writing the letters in an effort to give him the father he has never had. When Frankie learns that the ship which he thinks his father has been traveling on all these years is about to arrive in their town, Lizzie must face the difficult decision of revealing the truth about their past, or continuing forward with an elabo­ rate plan to find someone to step in as his father for a few days. Shona Auerbach’s assured feature film debut honestly portrays fam ilial love and how our desire to protect our own children shapes our actions, right or wrong. On the surface, it is a movie about a boy who longs to communicate with his absent father, but this heartwarming and often humorous film really is a love letter to the cinematically under-explored rela­ tionship between mothers and sons.

Print Source: Miramax Films

Selected Filmography: Feature Film Debut

Preceded by Standing Room Only (Deborra Lee-Fumess, Great Britain, 2003,10 minutes) Humorous silent film that takes a wry look at the people queuing for theatre tickets. Deborra-Lee Furness directs a stellar cast (Hugh Jackman, Joanna Lumley, Sophie Dahl, Michael Gambon, Mary-Elizabeth Mastrantonio)

Jagoda (Branka Katie) is very unhappy. She works as Serbia/Yugoslavia/ a cashier in an American-owned supermarket (think Germany/ltaly 2003 Wal-Mart, only with employees who wear conical hats).

Her zealously capitalistic manager is mean-spiritedly Director: cheerful and— in her endless quest to up-sell custom­ Dusan Milic ers— is not above slipping items into their shopping Producer: baskets. Perhaps Jagoda’s job would be bearable if her Emir Kusturica Screenwriter: personal life wasn’t so dreary. Unfortunately much of Dusan Milic her free time is spent scanning personal ads for star- Cinematographer: sign compatible dates. One day her attractive neigh­ Petar Popovic bor, Police Inspector Nebojsa, appears in her queue Film Editor: Svetolik Mica Jajc only to be snatched away by Jagoda’s sexy co-worker Music: Ljubica, which leads Jagoda to vent her frustration Dr. Nelle Karajlic upon an old woman at closing time. From here the Dejan Sparavalo movie could have become just a Serbian version of Cast: Clerks, but the plot twists the next day, when an armed Branka Katie Srdjan Todorovic but rather bumbling gunman named Marko enters Dubravka Mijatovic the store, taking the staff and customers hostage. Only Danilo Lazovic Jagoda seems to understand his motives and, before Emir Kusturica you can say “Stockholm Syndrome,” she eagerly aids Running Time: 92 minutes his cause, going so far as to restrain her co-workers Presentation Format: with shrink-wrap. Of course the police soon arrive, led 35mm, in Serbian with first by Nebojsa then by a gung-ho SWAT officer (ac- English subtitles tor/director Emir Kusturica, Underground, Arizona International Sales: Dream). Meanwhile, Marko finds himself becoming Media Luna Entertainment Print Source: a folk hero to the gathering crowds outside the store. A Media Luna Entertainment wry satire of Serbia’s growing pains with Western-style Selected Filmography: capitalism and consumerism, writer/director Dusan Feature Film Debut Milic tempers his story with Marko and Jagoda’s ten­ der, if somewhat twisted, romance.

Awards: Sydney 2003 (Audience Award)

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NATIONAL ENDOW M ENT FOR THE ARTS

3 0 T H S E A T T L E I N T E R N A T I O N A L FILM F E S T I V A L 2 004

CONTEMPORARY

WORLD

CINEMA

Spare Parts REZERVNI DELI

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Slovenia A gritty drama from Slovenian writer/director Dam­

2003

Director:

CINEMA BOOKS 4753 Roosevelt Way Seattle, WA 98105 206.547.7667

Damjan Kozole

Producer: Danijel Hocevar

Screenwriter: Damjan Kozole

Cinematographer: Radislav Jovanov-Gonzo

Film Editor: Andrija Zafranovic

Music: Igor Leonardi

Cast: Peter Musevski Aljosa Kovacic Primoz Petkovsek Valter Dragan

Running Time: 87 minutes

Presentation Format: 35mm, in Slovenian with English subtitles

International Sales: MDC International GmbH

Print Source: Emotionfilm

Film Website: www.emotionfilm.si

Selected Filmography: Porno Film (2000) Stereotype (1997)

New face ...fun place

Remington (1988) The Fatal Telephone (1987)

jan Kozole, Spare Parts takes place in the unsavory world of immigrant smuggling. An important ad­ dition to the growing body of work about this topic (which includes such films as the two SIFF entries from last year, Dirty Pretty Things by Stephen Frears and In this World by Michael Winterbottom), Spare Parts takes on the subject from the perspective of the smugglers, who are in dire straits themselves. Rudi (Aljosa Kovacic) is brought into the smuggling busi­ ness by Ludvik (Peter Musevski), a former speedway champion who was at one time a national hero (and Rudi’s idol). As they make their nightly deliveries over the border into Italy, Rudi’s sense of revulsion at their thorough exploitation of helpless people is matched by his growing love and appreciation for Ludvik, a hard-living but somehow likeable widower who has become a sort of father figure to him. The opera­ tion is based in the rundown city of Krsko, where the country’s only nuclear power plant has undoubtedly caused the region’s incredibly high cancer rate, un­ derscoring the theme of exploiting the downtrodden.

Nonjudgmental, compassionate and deeply moving, the film follows Rudi’s attempts to reconcile himself with a job that sickens him, but which may be his only option.

Awards: Sarajevo 2003 (Special Prize) 2004 Official Oscar Submission (Foreign Language Film)

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CONTEMPORARY

WORLD

Stander

CINEMA

WOMEN CINEMA

A Good Lawyer’s Wife BARAMNAN C A JO K

WEDNESDAY JUNE 9 5PM CINERAMA

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MONDAY MAY 2 4 7 :15 PM HARVARD EXIT

South Africa/ Following in the footsteps of his father and grandfa­ Canada/ ther, Captain Andre Stander (Thomas Jane, ThePun­ Great Britain isher) is one of the most promising young policemen

Im Sang-soo’s third feature is a slyly witty yet razor- South Korea sharp and elegant social critique. Ho-jeong (Moon 2003 So-ri, SIFF Best Actress 2003 for Oasis) and her hus­ Director: band, a high-minded, hotshot lawyer are a typical Im Sang-soo modem Korean middle-class couple— hard working, Producers: wracked with personal crises and drifting into illicit Shim Bok-yung affairs. Disillusioned by her husband’s infidelities and Shin Chut Screenwriter: exhausted from the twin burdens of raising a high- Im Sang-soo spirited young son alone while fulfilling many of her Cinematographer: husband’s filial duties (not least toward his cranky Kim Woo-hyung father, suffering through the terminal stages of liver Film Editor: Lee Eun-soo cancer), Ho-jeong embarks on her own amorous ad­ Music: venture with a feckless neighborhood teenager. Then Kim Hong-jeap a shocking act of casual violence, precipitated by the Cast: husband being in the wrong place at the wrong time, Moon So-ri has catastrophic consequences for their adopted son Hwang Jeong-min Yun Yeo-jeong and their moribund marriage. The film looks at the Kim In-mun ripples that stir up a “good” family’s conformism, Bong Tae-gyu and the corroding nature of domestic dishonesty, Baek Jeong-rim searching beneath the apparently serene surface to Running Time: 105 minutes discover the quiet agitation of the bourgeoisie. Moon Presentation Format: So-ri shows that her award-winning performance as 35mm, in Korean with the cerebral palsy victim in Lee Chang-dong’s Oasis English subtitles was no fluke, as she delivers a highly convincing por­ International Sales: trait of a spirited non-conformist woman— the good E Pictures Print Source: wife of a not-so-good lawyer. With refreshingly candid E Pictures sex scenes and without any moralization from the di­ Selected Filmography: rector, A GoodLawyer’s Wife remains in the viewer’s Tears (2001) Girl's Night Out (1998) conscience long after the end credits have rolled.

2003

Director: Bronwen Hughes

Producers: Julia Verdin Martin Katz Chris Roland

Screenwriters: Bima Stagg Bronwen Hughes

Cinematographer: Jess Hall

Film Editor: Robert Ivison

Music: The Free Association

Cast: Thomas Jane Dexter Fletcher David Patrick O'Hara Deborah Kara Unger

Running Time: 112 minutes

Presentation Format:

in Johannesburg. Having just married the love of his life (Deborah Kara Unger) for the second time, he seems to have a bright future ahead of him. Mean­ while, native South African resistance to apartheid has nearly reached its peak, and Stander finds himself se­ verely conflicted about the double standard governing the way the police treat blacks and whites. During a peaceful protest, the police attack unarmed protesters, and Stander opens fire on a charging man. Stricken with guilt and frustration, he impulsively walks into a bank, points his gun at a teller and makes off with a pocketful of cash. His newfound hobby soon blos­ soms into a delirious rash of bank robberies that leave the police helpless because they’ve been putting all their resources into controlling the black population.

Finally, Stander is caught and sent to prison, but not for long. He breaks out and starts up exactly where he left off, but this time with a gang. In short time, their exploits become legendary. The chronicles of these in­ famous anti-heroes are based on actual events.

35mm

Print Source: Newmarket Films

Selected Filmography: Forces of Nature (1999) Harriet the Spy (1996)

Awards: Bergen 2003 (Critics' Prize)

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3 0 T H S E A TTLE IN T E R N A T I O N A L FILM F E S T I V A L 200 4

CONTEMPORARY

Memories of Murder

WORLD

CINEMA

Natural City

SARIN Ul CHU-EOK

SATURDAY JUNE 12 11AM CINERAMA

FRIDAY JUNE 4 9PM CINERAMA

SUNDAY JUNE 13 9PM CINERAMA

South Korea

2003

Director: Bong Joon-ho

Producer: Cha Sung-jae Romeo Noh

Screenwriters: Bong Joon-ho Shim Sung-bo, from the story by Kim Gwang-rim

Cinematographer: Kim Hyung-gu

Film Editor: Kim Sun-min

Music: Iwashiro Taro

Cast: Song Kang-ho Kim Sang-kyung Kim Roi-ha Song Jae-ho Byon Hui-bong

Running Time: 129 minutes

Presentation Format: 35mm, in Korean with English subtitles

International Sales: CJ Entertainment

Print Source: CJ Entertainment

Selected Filmography: Barking Dogs Never Bite (2000)

A SIA N TRADEW INDS The second feature from director Bong Joon-ho,

Memories of Murder was inspired by the crimes of South Korea’s first recorded serial killer, who com­ menced killing in 1986 in a rural area not too far outside Seoul. The film is set during the first year of the crimes, and centers less on the sex killings of local young women than on the efforts of the local police and an officer from Seoul to sift evidence, identify patterns, follow up leads and interrogate suspects.

There are several false leads before a female officer notices a correlation between the murders and a song that keeps appearing on a radio request show. In the end, the appeal of the film is less in the details than in the prevailing mood of the investigation. Some of the (plentiful) gallows humor springs from the obvious clash in method and temperament between the intuitive but poorly educated local cops and the more sophisticated urban detective. But Bong’s bigger point is that all of the characters— cops, suspects and victims— are in some sense prisoners of the “back­ ward” Korea of the mid-80s: still under dictatorial military government and martial law, inured to acts, of violence and cruelty. Fundamentally serious and achingly moving, especially in its closing scenes, the film is also grimly funny and deeply shocking, and places Bong at the forefront of Korea’s growing ranks of world-class directors.

US

PREMIERE

In Natural City, technology has gotten so advanced South Korea that cyborgs have been created with their own con­ 2003 sciousness. They can feel, love and hate... but they Director: also have expiration dates. Refusing to die and be Min Byung-chun recycled, a band of combat cyborgs launch an attack Producer: against their creator, Neucom Genetics, in an attempt Lee Dong-jun to prolong their lives and destroy those who are in Screenwriter: Min Byung-cheon the way. In the middle of it all are agents “R” and Cinematographer: “Noma,” two soldiers trained to battle against this Lee Jun-kyu type of rebellion. But R also has his own problems. Film Editor: He’s in love with Ria, a dancer cyborg who has only Kyung Min-ho Music: three days left in her life cycle. R plots to quit the Lee Jae-jin force and take a shuttle to Koyo, the “planet of rebirth Cast: where memories are forgotten.” He’s also befriended a Yoo Ji-tae tough little street urchin called Sion, a human who’s Seo Rin been implanted with cyborg memories. Unfortunately Lee Jae-eun Yoon Chan for Sion, R only wants to use her body as a receptacle Running Time: for Ria’s main chip, so that he can prolong Ria’s 112 minutes life. Then there’s Cypher, the leader of the renegade Presentation Format: cyborgs whose own batteries are running down, and 35mm, in Korean with English subtitles who wants to transfer his artificial intelligence to International Sales: Sion. The stage is set for the knock-down, drag-out Tube Entertainment showdown between R and Cypher in this visually as­ Print Source: tonishing film , which takes elements of Blade Run­ Tube Entertainment ner, TheMatrix and Minority Report and fuses them Selected Filmography: Phantom: The Submarine (1999) with a tragic story of amourfou.

Awards: San Sebastián 2003 (Best First Film, Director, FIPRESCI Prize)

pop 30TH S E A T T L E I N T E R N A T I O N A L FILM F E S T I V A L 2 0 0 4

153

Sky Blue

Chef Brian Scheehserif you could get an Oscar for food he’d have a lot more things to dust.

SATURDAY JUNE 5 9PM EGYPTIAN MONDAY JUNE 7 4 :45 PM EGYPTIAN

D E V O T E D T O F A B U L O U S F O O D W I T H P A C IF IC N O R T H W E S T S T Y L E SORRENTO H O TE L

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2142 A.D. The world’s civilizations have collapsed under the weight of environmental pollution. Some scientific and industrial elites have ensconced them­ selves in a city named Ecoban, sustained by the Delos System, which converts pollutants into a source of energy. Refugees from the outside world scrape by in shantytown Marr, located at the outskirts of Ecoban.

The leaders of Ecoban, concerned that the Delos Sys­ tem is running out of resources, secretly plot to de­ stroy Marr and its inhabitants and add their remains to the fuel for the life support system. The story is seen through the eyes of Jay, a beautiful young security officer in Ecoban, and Shua, an agile young Marrian who infiltrates Ecoban and briefly bumps into Jay while being pursued by security forces. Through flashbacks, it is shown that Shua and Jay were once childhood friends, but he was expelled from Ecoban while she went on to become one of the chosen few.

Complicating this triangle is Ecoban security chief Si­ mon, who is in love with Jay and is committed to cap­ turing Shua. Director Moon Sang-kim spent nearly seven years conceiving and producing this futuristic extravaganza. The complicated visual elements— a mixture of 2D cell animation, 3D computer graphics and old-fashioned “special effects” utilizing complex miniatures— is impressive in its attention to detail, authentic lyricism, and in its ability to convey fast ac­ tion with complete legibility.

Preceded by Rockfish (Tim Miller, USA, 2003,9 minutes) Computer animated Sci-Fi short without dialogue.

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South Korea

2003

Director: Moon-sang Kim

Producers: Kyeong-hak Lee Kay Hwang Sun-min Park

Screenwriters-English version: Sun-min Park Howard Rabinowitz Jeffrey Winter

Cinematographer: Sun-kwan Lee

Music: II Won Sam Spiegel

Voices of: Catherine Cavadini Marc Worden Kirk Thornton David Naughton

Running Time: 90 minutes

Presentation Format: HDCAM

International Sales: Maxmedia

Print Source: Maxmedia

Selected Filmography: Feature Film Debut

CONTEMPORARY

WORLD

Untold Scandal

November /

CHOSUN NAM NYO SANG YEOL JISA

NOVIEMBRE

TUESDAY JUNE 1 7PM EGYPTIAN FRIDAY JUNE 4 4PM CINERAMA

South Korea

2003

Director: E J-yong

Producer: Oh Jung-wan

Screenwriters: E J-yong Kim Deh-woo Kim Hyun-yung, from the novel by Choderlos de Lachlos

Cinematographer: Kim Byung-il

Film Editosr: Kim Yang-il Han Seung-ryong

Music: Lee Byeong-woo

Cast: Bae Yong-jun Lee Mi-sukk Jeon Do-yeon

Running Time:

SUNDAY MAY 30 6:30PM HARVARD EXIT TUESDAY JUNE 1 5PM HARVARD EXIT

A SIA N TRADEW INDS

November is a brilliantly original, dazzlingly confi­

Choderlos de Laclos’ celebrated French novel LesLiai­ sons Dangereuses, the story of a pair of 18th century aristocrats who cynically set out to destroy the virtue of an ingénue at court through games of sex and se­ duction, moves into the Cloud Kingdom. Fashioning more a comedy of manners than a savage satire, the visually gifted third-time director E J-yong has suc­ cessfully transposed the story to Korea under the more or less contemporaneous, ultra-repressive Cho-sun dynasty. In a society where the clash of custom and desire of necessity have become even more intense than in the original setting, a single barbed remark or sidelong glance conjures up a world ruled by artifice.

The magnificent decor and lavish costumes (purport­ edly costing in excess of $2 million) combine with an elegant film ing style to create an exquisite, sumptu­ ous treat, which helped make the film a massive box office hit upon its home release, the only large budget film of the year to recoup its costs.

dent and utterly delightful second feature from Achero Manas. An unclassifiable pseudo-documentary on the rise and fall of a radical Madrid street theater troupe, the film is a combination of spectacular street pro­ ductions and contemporary political reflections. It revolves around Alfredo Baeza, a man who is disillu­ sioned with acting school and trite lessons from his professor so he decides to take to the streets. He unites with like-minded friends and forms a theater troupe.

They play, sing and dance wearing outrageous cos­ tumes on the subway, the street and any public place, with increasingly intense social consciousness in their performances. Tensions rise when they are offered a paying gig and the players have different opinions on which path the group should take. Playing like a politically charged Spanish Being John Malkovich, and featuring an amazingly talented young cast, November is a hilarious, thought-provoking, highly original film that maintains its energy right up to its abrupt climax.

120 minutes

Presentation Format:

Awards:

35mm, in Korean with

Pusan 2003 (NETPAC Award for Best Korean Feature)

Spain

2003

Director: Achero Mañas

Producer: José Antonio Felez

Screenwriter: Achero Mañas Federico Mañas

Cinematographer: Juan Carlos Gómez

Film Editor: Nacho Ruiz Capillas

Music: Eduardo Arbide

Cast: Oscar Jaenada Ingrid Rubio Juan Diaz Javier Rios Adriana Dominguez Hector Alteiro

Running Time: 104 minutes

Presentation Format: 35mm, in Spanish, with English subtitles

Awards: Toronto 2003 (FIPRESCI Prize)

English subtitles

CINEMA

International Sales:

International Sales:

Kevin Williams Associates

Print Source:

CJ Entertainment

Print Source:

Tesela PC

Selected Filmography:

CJ Entertainment

Selected Filmography:

El Bola (2000)

Asako in Ruby Shoes (2000) An Affair (1998)

K in g f m 98.1

D IR E C C IÓ N GEN ERAL DE RELACIONES CULTURALES Y CIENTÍFICAS

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3 0 T H S E A T T L E I N T E R N A T I O N A L FILM F E S T I V A L 2 004

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CONTEMPORARY

WORLD

Take My Eyes

CINEMA

sss

Torremolinos 73

TE D O Y MIS O JO S

THURSDAY JUNE 10 5PM CINERAMA

FRIDAY MAY 21 9 :15 PM EGYPTIAN

SATURDAY JUNE 12 6:30PM PACIFIC PLACE

SATURDAY MAY 22 3 :45 PM EGYPTIAN

Spain

2003

Director: Iciar Bollain

Producer: Santiago García de Leániz

Screenwriters: Iciar Bollain Alicia Luna

Cinematographer: Carles Gusi

Film Editor: Angel Hernández Zoido

Music: Alberto Iglesias

Cast: Laia Marull Luis Tosar Candela Peña Rosa María Sardá Kity Manver

Running Time: 106 minutes

Presentation Format: 35mm, in Spanish with English subtitles

International Sales: Sogepaq

Print Source: Sogepaq

Selected Filmography: Flowers From Another World (1999) Hi, Are You Alone? (1995)

Pilar is married to Antonio, an appliance salesman whose sense of self is reflected in his pained appear­ ance. We meet them as Pilar and her young son are fleeing from a raging Antonio, seeking refuge at the home of Pilar’s sister, Ana, and her kind flaneé. There Pilar finds protection, and also glimpses an unfrac­ tured, fiinctional relationship. Ana and her fiance ad­ vocate for Pilar’s safety and, more challengingly, her independence. Pulling Pilar back are the influences of tradition (her mother, for instance, admonishes her that “ a woman is never better off alone”) and the pos­ sibility that Antonio, who submits to joining a therapy group, may yet be the man she once loved. A job as an art museum guide gives Pilar new confidence, but it easily elicits Antonio’s uncontrollable jealousy, the dangerous spark inside a straw man. Iciar Bollain’s third feature, after the playful Flowersfrom Another World (SIFF 2000), moves along the dark terrain of domestic abuse, a topic only now being acknowledged

by Spanish directors. Judicious in its portrayal of both husband and wife, TakeMy Eyes strips a sadly fam il­ iar story to its core, revealing the sense of vulnerability that often compels violence. Director Bollain, who has worked with Ken Loach, strikes a realistic tone that es­ chews histrionics, thus re-investigaüng the intricacies of a subject woefully neglected by genre approaches.

TakeMy Eyes establishes Bollain, already an accom­ plished actress, as a leading light in an ascending Spanish cinema.

Pedro Almodovar meets Paul Thomas Anderson in Spain/ this rollicking comedy about an encyclopedia sales­ Denmark man who becomes a successful pom director. Alberto 2003 (Javier Cámara, Talk to Her) is struggling with his Director: door-to-door work when his boss comes up with a Pablo Berger new business plan. Employees and their wives will Producer: film intimate moments for The WorldAudio-Visual Tomás Cimadevilla Screenwriter: Encyclopedia of Sexual Research, to be released in Pablo Berger Scandinavia. Alberto’s co-workers reject the proposal Cinematographer: in a huff, but he and his wife Carmen (Candela Peña, Kiko de la Rica All About My Mother), who are behind on the rent Film Editor: and have been dreaming of having kids, consider it Rori Sainz de Rozas Music: an opportunity they can’t pass up. While Carmen is Nacho Mastretta learning the finer points of pornographic “ acting,” Cast: Alberto finds he is a natural at handling the Super Javier Cámara 8 camera, and his latent Ingmar Bergman begins to Candela Peña Juan Diego kick in. Soon, Carmen and Alfredo are churning out Fernando Tejero film after film , which pleases Alberto’s boss and in­ Mads Mikkelsen advertently makes Carmen an international soft-core Running Time: star. With the money coming in, Carmen’s dream of 90 minutes having a baby and Alberto’s goal of making a Sev­ Presentation Format: 35mm, in Spanish with enth &»/-styled drama seem closer than ever, until English subtitles the sleazy boss and a foreign film crew get involved. International Sales: Lovingly crafted, with an eye for 70s polyester pant­ Sogepaq suits and bubble bulb lamps, Torremolinos 73’s pro­ Print Source: Sogepaq duction design rivals a Merchant-Ivory period piece, Film Website: and features marvelops performances by Cámara and www.torremolinos73.com Peña as a loving husband-and-wife team willing to Selected Filmography: make sacrifices for each other— especially if it means Feature Film Debut donning a naughty nurse outfit.

Awards: San Sebastian 2003 (Best Actor, Actress, SIGNIS Special Mention, CEC Prize) Goya Awards 2004 (Best Film, Director, Actor, Actress, Supporting Actor, Supporting Actress, Screenplay, Sound)

N A T IO N A L ENDOW M ENT FOR THE ARTS

156

D IR E C C IÓ N GEN ERA L DE RELACIO N ES CULTURALES Y CIENTÍFICAS

MINISTERIO DE ASUNTOS EXTERIORES DE ESPAÑA

Awards: Malaga 2003 (Best Film, Director, Actor, Actress) Palm Springs 2004: New Voices, New Visions Award Miami 2004 (Best Actress)

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MINISTERIO DE ASUNTOS EXTERIORES DE ESPAÑA

3 0 T H S E A TT L E I N T E R N A T I O N A L FILM F E S T I V A L 20 0 4

CONTEMPORARY

The Weakness of the Bolshevik LA FLAQUEZA DEL BOLCHEVIQUE

THURSDAY JUNE 10 7 :15 PM HARVARD EXIT SATURDAY JUNE 12 11:30AM HARVARD EXIT

Spain

2003

Director: Manuel Martin Cuenca

Producer: José Antonio Romero Garrido

Screenwriters: Lorenzo Silva Manuel Martin Cuenca

Cinematographer: Alfonso Parra

Film Editor: Angel Hernández Zoido

Music: Roque Baños

Cast: Luis Tosar Mariá Valverde Natalie Poza Mar Regueras

Running Time: 95 minutes

Presentation Format: 35mm, in Spanish with English subtitles

International Sales: Kevin Williams Associates

Print Source: Rioja Audiovisual

Selected Filmography: Feature Film Debut

l\IEW DIRECTORS SHOW CASE Pablo (Luis Tostar, Mondays in the Sun) is a bull­ dog Madrid banker with a plethora of chips on his shoulder. When his car collides with that of a rich, snobbish woman in a traffic accident, he is attracted to her at first, but his interest turns more sinister when she turns in a claim for injuries. Deciding to toy with her, Pablo trails her to a school, where she picks up her 15-year-old sister, Maria. When his subsequent attempts to play mind games with the older woman are thwarted, he instead decides to follow her younger sister, and their first encounter in a park sets the stage for a deceptively dangerous relationship. Based on Lorenzo Silva’s celebrated novel, The Weakness of theBolshevik is a twisted romantic tale about the im­ possible attraction between a thirtysomething busi­ nessman and a teenage girl in modem-day Madrid.

Manuel Martín Cuenca’s debut maintains an edgy tension and a uniquefrisson revolving around a catand-mouse relationship between the obsessed older man and his underage but worldly-wise inamorata.

Nominated for the Goya (Spain’s equivalent of the Os­ car) for best script and best new actress, The Weakness ofthe Bolshevik is decidedly not a predictable tale of passion. While neither we— nor seemingly he— are ever quite sure about Pablo’s motives, Maria turns out to be at least his equal.

WORLD

CINEMA

Your Next Life LA VIDA Q UETE ESPERA

FRIDAY JUNE 11 4 :45PM PACIFIC PLACE SUNDAY JUNE 13 4 :15PM PACIFIC PLACE

|\| AMERICAN PREMIERE

Veteran director Manuel Gutiérrez Aragon (Demons Spain in the Garden, HalfofHeaven) mixes genres freely 2004 in this gorgeously shot, pastoral comedy-romancethriller set in the del Pas Valley of Spain’s Cantabria mountains. The story centers on a hardheaded, wid­ owed farmer, Gildo, who lives with his two daughters on a bucolic dairy farm, cut off from the socializing temperance of urban life. In this detached rural set­ ting, Gildo gets involved in an altercation with a neighboring farmer after one of his cows roams onto the neighbor’s land and is inseminated by his prize bull. Over time, the disagreement between the two men festers and culminates in the neighbor’s death, an event which triggers a meeting between Gildo’s daughter Val, the only witness, and the neighbor’s son Rai, who returns from the city to tend to his father’s affairs. Romance blooms between the young couple, but things soon start to go awry, as the irascible Gildo once again can’t leave well enough alone. Steeped in quirky, rural charm and infused with the passions of a Shakespearean fam ilial saga, this oddly compel­ ling work from one of Spain’s most esteemed and accomplished writer-directors is a memorable ode to a vanishing way of life.

Director: Manuel Gutiérrez Aragón

Producers: Geraldo Herrero Pancho Casal

Screenwriters: Ángeles González-Sinde Manuel Gutiérrez Aragón

Cinematographer: Gonzalo Berridi

Film Editor: José Salcedo

Music: Xavier Capellas

Cast: Luis Tosar Juan Diego Marta Etura Clara Lago Celso Bugallo

Running Time: 108 minutes

Presentation Format: 35mm, in Spanish with English subtitles

International Sales: Latido Films

Print Source: Latido Films

Film Website: www.lavidaqueteespera.com

Awards:

Selected Filmography:

Miami 2004 (Best Actor)

Don Quixote, Knight Errant (2002) Visionaires (2001) Misadventure (1988) Half of Heaven (1986)

Goya Awards 2004 (Best New Actress)

Demons in the Garden (1982) Camada Negra (1976)

D IR E C C IÓ N GEN ERA L DE RELACIO N ES CULTURALES Y CIENTÍFICAS

D IR E C C IÓ N GENERAL DE RELACIONES CULTURALES Y CIENTÍFICAS

MINISTERIO DE ASUNTOS EXTERIORES DE ESPAÑA

MINISTERIO DE ASUNTOS EXTERIORES DE ESPAÑA

30TH S E A T T L E I N T E R N A T I O N A L FILM F E S T I V A L 2 004

157

“Get your filthy

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Slim Susie SMALA SUSSIE

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Inspired by, but not beholden to, the likes of Trainspot­ Sweden ting and Pulp Fiction, Slim Susie puts a new twist on 2003 the crime-comedy genre, and it turns out to be one of the most unusual films ever produced in Sweden.

Years ago, Erik moved from his dull hometown be­ cause he found it lacking in so many ways; he has since been living in Stockholm. Now he returns to his boyhood home upon discovering that his younger sister, the sweet and innocent Susie, is missing. But home is not what it used to be. Erik’s best friends from school have turned into wannabe gangsters, led by Polsa, a druggie who arranges Stanley Kubrick festi­ vals and makes pomos starring himself and the local policeman’s wife. Additionally the eccentric residents of the town seem to know a lot more than they are letting on about the facts surrounding Susie’s past, and Erik soon realizes that nothing is as it appears.

Corruption and crime, it seems, aren’t endemic to just big cities. Through a brilliant combination of straight narrative and flashbacks within flashbacks, director Ulf Malmros (making a complete stylistic about-face from his last feature, the family-friendly We Can Be Heroes!) creates a fast and frantic rollercoaster ride filled with an assortment of original oddballs.

Preceded by Tea Time (Jay Bogdanowitsch,'USA, 2004,5 minutes) Campy, surreal, humorous story about a man who tries to steal a cup of tea.

Director: Ulf Malmros

Producer: Christer Nilson

Screenwriter: Ulf Malmros Petteri Nuottimäki

Cinematographer: Mats Olofson Film Editor: Ulf Malmros

Cast: Tuva Novotny Kjell Bergqvist Michael Nyqvist Björn Starrin Lena Dahlman

Running Time: 100 minutes

Presentation Format: 35mm, in Swedish with English subtitles

International Sales: NonStop Sales AB

Print Source: Swedish Film Institute

Film Website: www.smalasussie.se

Selected Filmography: We Can Be Heroes! (2002) A Summer Tale (2000)

CONTEMPORARY

Asshak, Tales of the Sanara

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ÄSSHÄK, GESCHICHTE AUS DER SAHARA

SUNDAY JUNE 6 6:30PM HARVARD EXIT TUESDAY JUNE 8 4 :45 PM EGYPTIAN

Switzerland/ Germany/ the Netherlands

2004

Director: Ulrike Koch Producers: Alfi Sinniger Karl Baumgartner Ernst Szebedits Gerard Huisman Screenwriter: Ulrike Koch Cinematographer: Pio Corradi Film Editor: Magdolna Rokob Music: Harry de Wit Running Time: 110 minutes Presentation Format: 35mm, in Temejeg with English subtitles International Sales: Media Luna Entertainment Print Source: Media Luna Entertainment Selected Filmography: The Saltmen of Tibet (1997) Qi-Gong in China (1996)

Ulrike Koch, German-bom director of The Saltmen of Tibet, returns with another penetrating look into a remote and mysterious culture. In her second fulllength feature, Koch turns her lens toward the elegant Tliareg nomads of the Sahara desert and the vast, sweeping terrain they call home. Theirs is a home populated by goats, rabbits, lizards, and acres and acres of sand and dirt. But the spindly camel towers above all (just as the hardy yak does in The Saltmen of Tibet). In Ásshak, Koch focuses on three tribes in particular: Kel Tedele, Kel Takriza and Kel Amedrou, of the Air and Ténéré regions. There is no formal narration, although various tribal members— par­ ticularly Ibrahim Tshibrit— tell stories, describe customs, enact rituals and sing in front of the un­ obtrusive camera. Tshibrit, as much a storyteller and poet as he is a historian, defines “ ásshak” variously as “the deep respect for the rules of conduct” and “to follow the principles of politeness and the mies of good behavior.” Fellow Tliareg Noehi, meanwhile, is looking for his camel. His search, which lasts for the entirety of the film , leads to some fascinating en­ counters in some stunning vistas. Harry de Wit’s spare music helps to set a calm, relaxing tone, although most of the music comes from the deeply spiritual, highly musical Tliareg themselves. Cinematographer Pio Corradi, who worked with Koch on The Saltmen of Tibet, impressively captures both the beauty and the harshness of this rich and fascinating world.

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This droll comedic delight revolves around Paula, a Switzerland/ strapping blonde janitor who is neither bright nor Germany particularly beautiful. A dreamer, Paula lives in a 2003 world of her own. That world gets turned upside Directors: down when she meets Mustafa, a hunky Turkish secu­ Oliver Paulus rity guard whose politeness she misinterprets as love, Stefan Hillebrand imagining that he is equally attracted to her. Con­ Producers: Oliver Paulus vinced she’s found the man of her dreams, her life be­ Stefan Hillebrand gins to change in unexpected ways. One day Mustafa Mathias Schick doesn’t show up for work, and Paula is beside herself Screenwriters: with concern. She decides to go look for him, and in Stefan Hillebrand the course of her search she stumbles into the great­ Oliver Paulus Cinematographer: est adventure of her life. Without an address or phone Mathias Schick number to refer to, and driven by faith that a miracle Film Editor: will guide her, her journey takes her to the Turkish city André Bigoudi of Adana, where she will find much more than she has Music: Erdal Tosun been looking for. Fueled by the innocent desire of true Cast: love, wryly inspirational in its amusing depiction of Isolde Fischer the differences between Eastern and Western culture, Helga Grimme this delightful debut by first-time filmmakers Stefan Can Sengiil Hildebrand and Oliver Paulus has a goofy charm and Tulay Gônen Running Time: originality all its own.

78 minutes Awards: San Sebastián 2003 (Special Mention)

Presentation Format: 35mm, in German and Turkish with English subtitles International Sales: Brussels Avenue Print Source: Motor Film Selected Filmography: Feature Film Debut

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Goodbye Dragon Inn

Baytong

BU JIA N BU SAN

OKAY BAYTONC

TUESDAY JUNE 8 9PM BROADWAY PERFORMANCE HALL

Taiwan

2003

Director: Tsai Ming-liang Producers: Liang Hung-chih Vincent Wang Screenwriter: Tsai Ming-liang Cinematographer: Liao Ben-Bong Film Editor: Cheng Sheng-chang Cast: Lee Kang-sheng Chen Shiang-chyi Kiyonobu Mitamura MiaoTian Shi Jun Running Time: 81 minutes Presentation Format: 35mm, in Mandarin with English subtitles International Sales: Homegreen Films Co. Print Source: Wellspring Selected Filmography: What Time Is It There? (2001) The Hole (1998) The River (1997) Vive L'amour (1996) Rebels of the Neon God (1992)

THURSDAY JUNE 10 5PM HARVARD EXIT

N. AM ER1CAN PREMIERE

ASIAN TRADEWINDS

ASIAN TRADEWINDS

Thailand

Taiwan’s renowned director Tsai M ing-liang (Reb­ els of the Neon God, Vive L’amour, What Time is it There?) has fashioned what may be his most bril­ liant metaphor yet: a lament for the death of feelings, framed as a valediction to an entire era of Chinese cinema: it’s also an epitaph for the very idea of go­ ing to the movies. A decrepit old bam of a cinema is screening a martial arts classic, King Hu’s 1966 movie Dragon Inn. Even with the rain bucketing down outside, it doesn’t pull much of an audience— and some of those who have turned up are less interested in the movie than in the possibility of hooking up with a stranger in the dark. The box-office girl and the pro­ jectionist run the movie house; she has a lame foot and a heavy crush on him , while he makes a point of going missing whenever she looks for him. Oh, and the place is haunted. Hvo of the men in the audito­ rium look suspiciously like lead actors from Dragon Inn itself. Ghosts? Or ghosts of memories? The Japa­ nese kid who seats himself next to one of them, with predatory intentions, finds the resemblance quite un­ canny. .. The film is almost wordless, since the im­ ages do the talking— both Tsai’s and King Hu’s. Of course it’s also cruelly, astringently funny.

Baytong is a movie about faith, love and the lessons

Awards: Venice 2003 (FIPRESCI Prize) 2004 Official Oscar Submission (Foreign Language Film)

we must leam to navigate our way through the mine­ field of modem life. 27-year-old Him has been a monk almost all his life, living in quiet contemplation in a remote monastery, blissfully unaware of such presentday concerns as technology and globalization. After his sister is tragically killed in a terrorist attack on a train, he must take responsibility for his 7-year-old niece, Maria. Life outside the monastery holds many perplexing surprises— hip-hop clothing, his sister’s boisterous friends and trousers he needs to leam how to zip without injuring himself. Most unsettling of all are the feelings he develops for Lynn, a family friend who cared for Maria in the immediate aftermath of her mother’s death. Him and Lynn set off on a journey in search of Maria’s real mother, which turns into an exploration of self-discovery. Director Nonzee Nimbutr is quickly establishing a reputation as the most versatile talent among the young Hirks of Thailand, who have recently cut a wide swathe through the international film scene. Following the supernatural epic Nang Nak and the darkly erotic Jan Dara, he demonstrates a sharp change of pace with this gentle, heartwarming comedy. The film is dedicated to the producer, Duangkamol Limcharoen; one of the main forces behind the recent groundswell of Thai cinema, she sadly died just weeks before the Bangkok premiere of Baytong. She will be greatly missed.

Preceded by Papa Blue (Charlene Shih, Taiwan/USA, 2003,13 minutes) A personal piece that combines live action, anima­ tion, narrative and documentary to describe the rela­ tionship between a father and daughter.

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2004

Director: Nonzee Nimibutr Producers: Nonzee Nimibutr Duangkamol Limcharoen Screenwriter: Siripak Paoboonkerd Cinematographer: Charnkit Chamniwipaipong Film Editors: Pen-ek Ratanaruang Patamanadda Yukol Music: Chartchai Pongprapapan Cast: Puwarit Poompuang Jeeranan Manojam Saranya Kruangsai Attaporn Theemakorn Running Time: 103 minutes Presentation Format: 35mm, in Thai with English subtitles International Sales: Fortissimo Film Sales Print Source: Fortissimo Film Sales Selected Filmography: Jan Dara (2001) Nang Nak (1999) Dang Bireley's and Young Gangsters (1997)

CONTEM PORARY WORLD

The Tesseraci

CINEMA

ARelative Thing

MONDAY MAY 2 4 9 :15PM EGYPTIAN WEDNESDAY MAY 26 4 :45PM EGYPTIAN

Thailand/ Japan/ Great Britain

2003

Director: Oxide Pang Producers: Takashi Kusube Naoki Kai Soo-jun Bae Jun Hara Koichi Shibuya Screenwriters; Oxide Pang Patrick Neater, from the novel

by Alex Garland Cinematographer: Decha Seemanta Film Editor: Oxide Pang Music: James lha Cast: Jonathon Rhys-Meyers Saskia Reeves Alexander Rendel Running Time: 97 minutes Presentation Format: 35mm, in Thai and English with English subtitles International Sales: First Look Media Print Source: First Look Media Selected Filmography: The Eye (2002,with Danny Pang) Bangkok: Dangerous (1999) One Take Only (2001) Who Is Running? (1997)

Based on the critically acclaimed novel by Alex Gar­ land (the screenwriter behind 28 Days Later), The Tesseract is both hard-boiled crime drama and exis­ tential exegesis. The title refers to a four-dimensional (temporal) cube that has been reduced to three di­ mensions: the object itself is not visible, only its un­ raveled, shadowy self. The action is centered around a Bangkok hotel, where the movie links four seemingly random strangers by coincidences and shifts in time.

In one room Sean (Jonathan Rhys-Meyers) waits for his drug connection to bring him the raw heroin he’s charged with delivering. Across the hallway hides Lita, a Thai hit-woman who was wounded after trying to steal the dope earlier. She waits for the dealers to visit Sean or to die, unsure which will come first. Newly ar­ rived Rosa, a British child psychologist grieving from her son’s death, roams the city’s slums interviewing children on videotape about their dreams. And then there is Whit, the hotel bellboy, who first befriends the residents, then steals from them. Director Oxide Pang (co-director of past SIFF favorites Bangkok Danger­ ous and The Eye) slowly knits these four narrative threads together— scenes are repeated from different perspectives, and patterns emerge between random encounters, while coincidences grow strangely more predictable. Ultimately, Sean, Lita, Rosa and Whit all find themselves caught in a metaphysical net— per­ haps destiny, perhaps chance— that they can neither fully comprehend nor ultimately escape.

MEW AMERICAN CINEMA

USA

2004

Filmed on Bainbridge Island, A Relative Thing is a universal tale of love, laughter, hardship and rivalry. Director: Gwennie Thomason (Marie Rubin) has called her Garrett Bennett brothers and sisters back to their childhood home for Producers: Victor Kepler a family emergency. Gwennie has been holding down Steve Edmiston the family fort with their grandmother, Gray Peg (Jo Garrett Bennett Anna March), since their parents were killed in a car Screenwriter: crash sixteen years prior. They have not been together Steve Edmiston in one place in over a decade and there are lots of rea­ Cinematographer: Julio Ribeyro sons why: big brother Garth (Micha Rice) is now a Film Editor: hotshot lawyer, older sister Becca (Karen Heaven) has Elizabeth McDonald turned Thomason family dysfunction into a bestsell­ Music: ing volume of short stories, middle sister Stace (Mere- Mark Nichols Cast: dyth Yund) compensates for what she deems as this Marie Rubin “unfairness by working as a resentful group therapist, Ian Bell while youngest brother Mickey (Ian Bell) is a recov­ Micha Rice ering alcoholic and civil servant who can’t seem to Jo Anna March get his bearings straight. The grown children hurry Karen Heaven Meredyth Yund back to their island homestead, thinking Gray Peg is Running Time: about to die. Despite the immediacy of the situation, 110 minutes the friction between the siblings picks up right where Presentation Format: it left off— until Gwennie drops a bomb on them DigiBeta Print Source: that will forever change the way they relate to each EKE Pictures other. Anyone who has had to spend extended time Selected Filmography: with family can appreciate Garrett Bennett’s ode to Farewell to Harry (2001) familial dysfunction and the ties that bind, especially in times of crisis.

Awards: Sitges 2003 (Best Cinematography)

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BAADASSSSS!

SATURDAY MAY 2 2 9 :30 PM HARVARD EXIT

FRIDAY JUNE 4 6 :45PM EGYPTIAN SATURDAY JUNE 5 1130PM EGYPTIAN

USA

Director: Mario Van Peebles Producers: Dennis Haggerty Mario van Peebles Tobie Haggerty G. Marq Rowell Tal Vigderson Screenwriters: Dennis Hagerty Mario van Peebles Cinematographer: Robert Primes Film Editors: Anthony Miller Nneka Goforth Music: Tyler Bates Cast: Mario van Peebles Joy Bryant T.K. Carter Ossie Davis Nia Long David Alan Greer Running Time: 108 minutes Presentation Format: 35mm International Sales: Sony Pictures Classics Print Source: Sony Pictures Classics Film Website: www.sonydassics. com/badass/ Selected Filmography: Love Kills (1998) Panther (1995) New Jack City (1991)

Mario Van Peebles’ Baadasssss! is an inventive ode to his cinematic maverick-of-a father, Melvin Van Peebles, the revolutionary black filmmaker who vir­ tually invented the ‘blaxploitation’ genre. Back in the late-’60s, when the French New Wave and foreign films were commercial propositions, Melvin’s career as a filmmaker took off almost by a fluke: funded by the French Ministry of culture, his first feature caused a stir in Hollywood. Almost immediately, a major stu­ dio provided funding for what they thought would be a second film by a talented French auteur, not real­ izing that Van Peebles was an Afro-American director.

Instead of the anticipated studio picture, Van Peebles took the money and set to making his dream movie: Sweet Sweetback’s Baadasssss Song. Featuring a black street hustler-tumed-revolutionary who exposes America’s institutional racism by kicking some major butt, the resulting film became a huge hit and a new cinematic tradition and aesthetic was bom. Son Mario was on the front lines of his father’s astonishing life, enlisted to act in these groundbreaking films at an early age. Having witnessed his father’s transforma­ tion from a revolutionary artist to a creative charlatan and manipulative dictator, he was able to inhabit his father’s cinematic skin in Baadasssss!, creating an indelible portrait of an extraordinary life, assembled with the same idiosyncratic style that was the elder Van Peebles’ trademark. The result is an engrossing overview of a singular and scathingly creative force of nature.

Alone in idyllic rural Vermont, a beautiful woman in the bloom of her youth is forced to come to terms with the recent loss of her young husband, in the debut feature by Tim Daly (“Wings,” Diner) and Clark Mathis. Focusing on love, loss and the ran­ dom curses and blessings of fate. Situating itself somewhere between the traditional Capra-esque vi­ sion of innocent small town idealism and the more Lynchian view of malice brewing beneath the surface of homey village life, Bereft begins by introducing us to Molly (Vinessa Shaw), an attractive amateur photographer who is reeling in the aftermath of her husband Joel’s death at the hands of an elderly driver.

Alienated from her once-promising life by the unfair­ ness of his death, she spends her nights listening to Joel’s last phone messages, and her days wandering the streets of her small Vermont town on foot, seeing everything in a different light than she had before the tragic accident. Into her life comes a volatile young man (Tim Blake Nelson) and his wildly unpredict­ able uncle (Tim Daly), the town troublemakers, who represent the polar opposite of her own austere up­ bringing. Molly is drawn to them as a respite from her own quiet desperation. Teaming up with these two erratic characters provides her with both levity and an indefinable sense of danger, a welcome relief from the melancholy that had enveloped her life in the aftermath of her lover’s untimely departure.

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American Airlines'5

CINEMA

Bereft

TUESDAY MAY 25 5PM HARVARD EXIT

2004

WORLD

NEW AMERICAN CINEMA

USA

2004 Directors: Tim Daly Clark Mathis Producers: Steve Burleigh Tim Daly David Peters Screenwriter: Peter Ferland Cinematographer: Clark Mathis Film Editors: Karen Casteneda Clark Mathis Music: Mark Snow Cast: Vinessa Shaw Tim Blake Nelson Tim Daly Marsha Mason Michael C. Hall Ed Herrmann Amy Van Nostrand Running Time: 98 minutes Presentation Format: HDCAM International Sales: Showtime Independent Films Print Source: Showtime Independent Films Selected Filmography: Feature Film Debut

AmencanAirimes

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CONTEMPORARY

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Brother to Brother

USA Brother to Brother charts the emotional and psycho­

2004 Director: Rodney Evans Producers: Rodney Evans Jim McKay Aimee Schoof Isen Robbins Screenwriter: Rodney Evans Cinematographer: Harlan Bosmajian Film Editor: Sabine Hoffman Music: Marc Anthony Thompson Cast: Anthony Mackie Roger Robinson Larry Gilliard. Jr. Aunjanue Ellis Duane Boutte Daniel Sunjata Ray Ford Alex Burns Running Time: 90 minutes Presentation Format: DigiBeta International Sales: Steven Raphael Print Source: Miasma Films Selected Filmography: Feature Film Debut

logical discoveries of a young black artist as he finds the hidden legacies of lesbian and gay subcultures within the 1930s Harlem Renaissance. An unlikely friendship develops between Bruce Nugent (Roger Robinson), an elderly, homeless poet and the young gay artist Perry (Anthony Mackie, 8 Mile). Perry is a talented young man who doesn’t want to give up his principles, yet he has little support: his homophobic father threw him out of the house, and his lover disap­ pointed him. The film looks back at the Harlem Re­ naissance from the perspective of Bruce, who rubbed elbows and exchanged ideas with the likes of Wallace Thurman, Zora Neale Hurston and Aaron Douglas.

With depth and intelligence, Evans approaches the is­ sues of black politics, homophobia in the Black com­ munity and interracial relationships. The film pushes against racial, sexual and artistic boundaries, and is an honest, soul-searching look at the prejudices that hide inside us all. Brother to Brother premiered at the 2004 Sundance Film Festival where it won the Special Jury Prize for passion in filmmaking. “A brave and unique voice in American cinem a.... Rich in heart and intelligence, Rodney Evans’s first fiction feature pays homage to art, intellectual ancestry and the strength to persevere in the face of social injustice.”

-Shari Frilot, Sundance Film Festival.

The title refers to an e.e. cummings poem about the twilight years of Wild West star Buffalo Bill, who used to do great and showy things but whose grand and vigorous youth is now in the past. Like the faded hero of the poem, Bill (Earl Prebezac) has put his most ac­ tive years behind him. As the movie opens, Bill backs his truck through his closed garage door. Instead of admitting his mistake, he decides to tear the whole garage down, plank by plank. Such a project is too big for one old man, and soon family members start show­ ing up to help, never learning the real reason for the deconstruction. Whether it’s for holidays or garagerazings, whenever families get together there is often ample time to reminisce. Director Matt Wilkins takes this conceit one step further by structuring the film as a series of family flashbacks. Every character is intro­ duced by cutting to a series of snapshots from their formative years. The movie itself skips from thought to thought, memory to memory, jumping abruptly into subplots and flashbacks— like Jen’s (Jennifer Estes) spontaneous romance with a childhood friend, or the drunken night that Suzanne (Frances Hearn) and Daniel (Michael White) spent with her father (itself the subject of Wilkins’ award-winning short Interior Latex). What emerges is a well-rounded portrait of a family passing lessons down from generation to gen­ eration, for better and for worse.

Awards: Sundance 2004 (Special Jury Prize)

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AmericanAirlines

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Buffalo Bill’s DefunctStories from the NewWest

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AmericanAirlines

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USA

2004 Director: Matt Wilkins Producers: Eliza Fox Matt Wilkins Mark Chambers Michael Seiwerath Screenwriters: Eliza Fox B. Billy Curtis Matt Wilkins Cinematographer: Erich Volkstorf Film Editor: Andrew McAllister Music: Jonathan Sampson Cast: Earl Prebezac Keith Fox Frances Hearn Martha Cagley Strickland Michael White Jennifer Estes Running Time: 84 minutes Presentation Format: HDCAM Print Source: Sisyphus Productions Selected Filmography: Feature Film Debut

CONTEMPORARY

Cavedweller

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Director: Lisa Cholodenko Producers: Kyra Sedgwick Orly Adelson David Yudain Mike Levin Screenwriter: Anne Meredith, from the novel by Dorothy Allison Cinematographer: Xavier Pérez Grobet Film Editor: Amy E. Duddleston Music: Wendy Melvoin Cast: Kyra Sedgwick Aidan Quinn Jill Scott Kevin Bacon Regan Arnold Vanessa Zima April Mullen Sherilyn Fenn Running Time: 120 minutes Presentation Format: 35mm International Sales: Hallmark Entertainment Dist., LLC Print Source: Showtime Independent Films Selected Filmography: Laurel Canyon (2002) High Art (1998)

SUNDAY MAY 30 9PM EGYPTIAN

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A car accident wreaks havoc, and grief rules a rural Southern family in this adaptation of the latest novel

by Dorothy Allison {Bastard Out ofCarolina.) Leav­ ing Southern California’s pale sun and ocean for the mountain hollows of Bible-belt Georgia, Delia Byrd (Kyra Sedgwick, Personal Velocity) drops her rock ’n’ roll career and drives her angry, grieving youngest daughter Cissy across America to “fix things.” “You were never good at fixing things— much better at breaking things,” retorts Cissy. Delia has been away for 10 years, after abandoning her first two daugh­ ters while fleeing a hellish marriage to Clint (Aidan Quinn). She left town with rock-star lover Randall (Kevin Bacon), Cissy’s father, after meeting him at the town gas station. Delia hopes to regain custody of the girls she left behind, now in their teens, and make a better home for them all. Sure that everything will “turn out just fine,” she returns to a town that doesn’t forget anything. Director Lisa Cholodenko, a Los Angeles native who wrote and directed the criti­ cally acclaimed High Art and the recent hit Laurel Canyon, takes on someone else’s material for the first time. Cavedweller is about working class, self­ destructive people with great talent, and is a perfect story for Cholodenko’s non-judgmental and power­ ful eye. It’s a story of reclamation and redemption, as Delia chooses to return— no matter what the cost— while she and Cissy dig deep into a seemingly impossible situation.

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THURSDAY MAY 2 7 4 :30 PM BROADWAY PERFORMANCE HALL

SATURDAY JUNE 5 11AM EGYPTIAN

USA 2004

CINEMA

Dandelion -

THURSDAY JUNE 3 7PM EGYPTIAN

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Young Mason (Vincent Kartheiser, from TV’s “Angel”) marches to the beat of a different drummer than his family and friends. His working-class father (Arliss Howard) is a grain factory worker who aspires to become a city councilman, even though he’s barely able to care for his shell-shocked older brother while avoiding his heartsick wife (Mare Winningham). Ma­ son dreams of escaping the small town drudgery, al­ beit not always in positive ways, while his friends drink and drug and party into the night. When he meets Danny (Taryn Manning), things start looking like they might change in his favor. Then one fateful night, something happens that will forever alter their lives.

Dandelion marks the directorial debut of Mark Milgard, who demonstrates a sure hand with the balance between landscapes and inner character in this coming of age tale filmed in eastern Washington and Idaho. Aided by the stunning cinematography of Tim Orr {Raising Vic­

tor Vargas, Ml The Real Girls, George Washington), Dandelion showcases the rhythm and hues of vast fields of hilly grain, bubbling creeks and big sky.

Mason is at home with these beats of nature, while nearly everyone around him seems to fight the ebb and flow of the earth’s cadence. The beauty of Dandelion comes from observing its vivid images and steady pulse, and Kartheiser is able to show that beauty also has to come from within.

USA 2004 Director: Mark Milgard Producer: Molly M. Mayeu Screenwriters: Mark Milgard R. D. Murphy Robb Williamson Cinematographer: Tim Orr Film Editor: Amy E. Duddleston Music: Robb Williamson Cast: Mare Winningham Vincent Kartheiser Taryn Manning Michelle Forbes Arliss Howard Running Time: 97 minutes Presentation Format: 35mm International Sales: International Creative Management Print Source: International Creative Management Film Website: www.dandelionthemovie.com Selected Filmography: Feature Film Debut

AmericanAirlines

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Death & Texas

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The death penalty gets a good going-over in this amusing look at a serious issue by Kevin DiNovis (Surrender Dorothy, SIFF 1998). In 1994, football hero “Barefoot” Bobby Briggs was sentenced to death for participating in an armed robbery gone wrong, ending the career of one of the greatest players of the game. While sitting on Death Row, his former team lands a spot in the world championship game, and when their, wide receiver suffers a season-ending in­ jury, the powers-that-be arrange a furlough so Briggs can play in the big game. With every appeal exhausted and days left to live, he’s released from prison for one day so that he can help his team win a vital game. But will winning the game help win him his life? The clos­ ing night film at this year’s Slamdance Film Festival, Death & Texas uses a faux-documentary style to give more bite to its attack. Steve Harris (“The Practice”) gives an electric performance as Briggs, but he’s ably supported by the likes of Charles Duming, Corbin Bernsen and Andy Richter. A sports culture satire with a death penalty twist, Death & Texas questions whether resurrecting a career can save a man’s life in this ce­ lebrity-obsessed society.

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USA 2004 Director: Kevin DiNovis Producer: Stephen Israel Screenwriter: Kevin DiNovis Cinematographer: Jonathan Kovel Film Editors: Geena Bleier Alex Stanhope Music: Roy Firestone Cast: Charles Durning Steve Harris Corbin Bernsen Jello Biafra Mary Kay Place Running Time: 77 minutes Presentation Format: DigiBeta Print Source: Neofight Film Film Website: www.deathandtexas.com Selected Filmography: Surrender Dorothy (1998)

CONTEMPORARY

Down to the Bone

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Evergreen

FRIDAY MAY 2 8 9 :15PM BROADWAY PERFORMANCE HALL

THURSDAY MAY 2 7 7PM EGYPTIAN

SUNDAY MAY 3 0 4PM BROADWAY PERFORMANCE HALL

SATURDAY MAY 2 9 HAM EGYPTIAN

USA 2004 Director: Debra Granik Producers: Susan Leber Anne Rosellini Screenwriters: Debra Granik Richard Lieske Cinematographer: Michael McDonough Film Editor: Malcolm Jamieson Music: Linda Kennedy Cast: Vera Farmiga Hugh Dillon Clint Jordan Caridad de la Luz Running Time: 101 minutes Presentation Format: HDCAM Print Source: Down To The Bone Productions Selected Filmography: Feature Film Debut

“Do you have an advantage card?” intones Irene (Vera Farmiga), as yet another item careens down the belt at her checkout stand in a grocery store that could be anywhere in the USA. “ I don’teither,” she sympathizes, counting herself among the disadvantaged, the cou­ pon clippers and teetotalers with whom she shares too much in common. At home Irene has two small sons to raise, a sympathetic but not-quite-there husband, and an unfinished bathroom remodel to worry over.

More critically, her coke dealer has just cut her off.

Not even her son’s birthday money can buy her next high. Winner of the Dramatic Directing Award at this year’s Sundance Film Festival, Debra Granik’s feature debut charts Irene’s struggle from the throes of addic­ tion to the vicissitudes of recovery with painful accu­ racy. Granik, making good use of the digital medium, has an eye for the details of desperation. Pet snakes, Thanksgiving turkeys and mounted deer assume symbolic portent in this banal terrain. Irene’s attempt to get clean finds the film in familiar territory: the often glimpsed but seldom seen realm of the recov­ ery program, here documented with an unblinking restraint, attentive to its ambiguities. Irene’s path to recovery appears navigable when she meets a support­ ive male nurse who works in the clinic, but her fateful “ 13th step” trips all expectations. Vera Farmiga bums quietly in the role of Irene, a woman under the influ­ ence, in this cautionary and decidedly American tale.

WORLD

(c o m c a s t.

Film Website: www.evergreenthemovie.com Selected Filmography: Feature Film Debut

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NATIONAL ENDOWMENT FOR THE ARTS

WOMEN CINEMA

Kate (Cara Seymour) is a single mother, recently re­ USA turned to town with her 14-year-old daughter Henri 2004 (impressive local newcomer Addie Land) in tow. They Director: have no money and no place to stay, so they shack Enid Zentelis up with Kate’s mother (Lynn Cohen), a game show- Producers: addicted Latvian immigrant who doesn’t seem to be Norma Jean Straw quite all there. Despite the poverty, the rain and the Eva Kolodner Yael Melamede restlessness, things start to look up when Kate meets Enid Zentelis Jim (Gary Farmer, Smoke Signals, Twist), a kindly Screenwriter: Native American who is a dealer at the Tulalip Casino, Enid Zentelis and Henri meets Chat (Noah Fleiss), a fellow high- Cinematographer: Matthew Clark school student from the better side of the tracks. Keep­ Film Editor: ing her poverty-stricken roots to herself, Henri starts Meg Reticker to spend more time with Chat’s family, becoming in­ Music: creasingly hostile to her mother. Chat’s mother (Mary Jon Stiratt Kay Place, in particularly fine form) is agoraphobic Patrick Sansone Cast: and his father (Bruce Davison) is an alcoholic, and Cara Seymour Henri slowly starts to recognize that money doesn’t Mary Kay Place always equal happiness. In the end, Henri is more like Addie Land Kate than she is willing to admit. Nominated for a Bruce Davison Gary Farmer Grand Jury Prize at this year’s Sundance Film Festival, Lynn Cohen writer/director Enid Zentelis conjures up an authentic Noah Fleiss slice of Northwest life— in all its beauty and squalor. Running Time: Filmed on location in Everett, the Bellingham-bred 85 minutes Presentation Format: helmer evokes Seattle-set films lik eAmerican Heart, HDCAM with an indelible sense of place and concern for down­ Print Source: trodden characters.

Salty Features

Awards: Sundance 2004 (Dramatic Directing Award, Special Jury Prize: Best Actress)

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Frankie andJohnny Are Married *

Everyday People

FRIDAY MAY 21 7 :15PM HARVARD EXIT

TUESDAY MAY 25 7 :15PM HARVARD EXIT

SUNDAY MAY 23 1 :45 PM BROADWAY PERFORMANCE HALL

WEDNESDAY MAY 2 6 5PM HARVARD EXIT

USA 2004 Director: Jim McKay Producers: Effie T. Brown Paul Mezey Screenwriter: Jim McKay Cinematographer: Russell Lee Fine Film Editor: Alex Hall Music: Marc Anthony Thompson Cast: Jordan Gelber Bridget Barkan Stephen McKinley Henderson Sydnee Stewart Billöah Greene Running Time: 91 minutes Presentation Format: 35mm International Sales: HBO Films Print Source: HBO Films Selected Filmography: Girls Town (1996) Our Song (2000)

Raskin’s, a belovedJewish-owned Brooklyn restaurant that serves a mainly black clientele, has been a staple in the neighborhood for years. Ira Raskin (Jordan Gelber) inherited it from his retiring father; the place has seen better days, and now developers are moving in to buy it. He is so fraught over the decision to sell that he can’t even tell his lively m ix of employees that they might be out of a job. Raskin’s manager Arthur (Stephen McKinley Henderson) has to break the news, which starts a negative domino effect on their lives and calls to question Ira’s choice. Meanwhile, the hungry developers are circling, fully believing that gentrification means economic equality for the neighborhood.

DirectorJim McKay is a unique voice on the American filmmaking scene. His films are documentary-like in the way they capture the cultural texture of New York City’s varied communities. Everyday People juggles intimate portraits of its characters— a single mom, a college-bound foster child, a dishwasher, a poet who works the coffee counter, a small business owner, a developer who may or may not have sold out— with the larger issues of race, culture, class and the idea of success in America. Like the Sly Stone song that inspired the title, Everyday People celebrates individ­ uality while showing us that we’re all in it together.

Michael Pressman has worked as a producer and USA director on some of television’s most popular shows— 2003 ’’Picket Fences,” “Chicago Hope,” “The Guardian.”

Director: Tvo and a half years ago, as a way to revitalize his Michael Pressman marriage, he decided to stage a version of Terrence Producers: McNally’s play Frankie and Johnny in the Claire Alice West de Lune. He would direct and his wife, the actress Michael Pressman Screenwriter: Lisa Chess, would play the role of Frankie. Almost Michael Pressman from the first rehearsal, it began to degenerate into a Cinematographer: near-disaster. From these events, Pressman has crafted Jacek Laskus a delightfully humorous, semi-autobiographical ac­ Film Editors: Jeff Freeman count of the play’s production, shaking up a strange Michael Rafferty cinematic cocktail of fact, fiction and the theater. Cast: Besides an increasingly tense rehearsal process, mat­ Michael Pressman ters are further complicated by a ditzy producer, an Lisa Chess enthusiastic but green stage manager, and delayed Alan Rosenberg Stephen Tobolowsky set construction— all of which cause the play’s cost Jlllian Armenante to skyrocket. Nonetheless, even in the aftermath of a Running Time: dreadful preview performance, Pressman decides not 95 minutes to scrap the production, but instead to engage in a Presentation Format: 35mm bit of creative recasting. What emerges is a heartfelt, International Sales: triumphant play, and a film that captures both the IFC Films absurdity and passion of low-budget theater.

Print Source: IFC Films Film Website: www.frankiejohnny.com Selected Filmography: To Gillian on Her 37th Birthday (1996) Some Kind of Hero (1982) Boulevard Nights (1979)

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Garden State

The Graffiti Artist

FRIDYA JUNE 11 6 :45 PM CINERAMA

THURSDAY JUNE 10 9PM BROADWAY PERFORMANCE HALL

SUNDAY JUNE 13 li:30AM PACIFIC PLACE

SUNDAY JUNE 13 4 PM BROADWAY PERFORMANCE HALL

USA 2004 Director: Zach Braff Producers: Pam Abdy Richard Klubeck Gary Gilbert Dan Halsted Screenwriter: Zach Braff Cinematographer: Lawrence Sher Film Editor: Myron Kerstein Music: Chad Fisher Cast: Zach Braff Natalie Portman Ian Holm Peter Sarsgaard Jean Smart Rob Leibman Running Time: 109 minutes Presentation Format: 35mm Print Source: Fox Searchlight Selected Filmography: Feature Film Debut

TV sitcom scrub Zach Braff wrote, directed and stars in this dark and quirky romantic comedy about Andrew Largeman, a waiter/actor in the vapid trench­ es of Los Angeles who is numb from a lifelong use of antidepressants. When he returns to New Jersey for his mother’s funeral, he reconnects with old friends (Peter Sarsgaard among them) who are in a bit of a rut themselves. He also makes a new friend: Sam (Natalie Portman), a girl who has her own set of issues, and who just might be the light that can break through the fog that is Andrew’s life. With shades of Harold and Maude and The Graduate, Braff’s first film is a black comedy that balances the best of the genre’s elements. Humor combined with darkness can often go awry, but Garden State keeps the eccen­ tric mood light despite its undercurrents of sadness.

The performances, especially Ian Holm as Andrew’s father, are excellent. Braff and Portman make a great onscreen couple, their peculiarities each allowing the other to shine. Definitely a debut to be noted, Garden State is one of those rare films that can ride a dark edge with a tender heart and a sense of humor.

MEW AMERICAN CINEMA

This atmospheric, gay-tinged story about two rootless drifters who share a creative bond puts one in mind of Gus Van Sant’s early work. Eschewing straightfor­ ward narrative and dialogue in favor of low-key visual invention and mood drenched, episodic storytelling, The Graffiti Artist evokes a world in which creative expression is everything. The film opens by introduc­ ing us to blank-eyed tagger Nick, who lives alone in a shabby room to which he returns only to eat and sleep in between jags of painting Portland’s bleak industrial landmarks. Encountering fellow street artist Jesse one day in passing, Nick finds himself drawn to the young man, whom he spots again soon afterward from the roof of a nearby building. The two team up to pursue their socially scorned form of art, returning to Nick’s apartment one night after a particularly close call with the police. It is during this long and lonely night that they move toward furtive, hesitant sex. While Nick longs for a more substantive relationship with the am­ bivalent Jesse, their lives are destined to follow differ­ ent paths, providing this spare and sweetly subdued drama with a turning point for its wistful romantic tale. Director/writer James Bolton utilizes his consid­ erable talents to good effect with this strangely moving love story, establishing himself as a filmmaker with a gift for visual storytelling and a style all his own.

CINEMA

N. AM ERICAN PREMIERE

USA 2004 Director: James Bolton Producer: James Bolton Screenwriter: James Bolton Cinematographer: Sarah Levy Film Editor: Elizabeth Edwards Music: Kid Loco Cast: Ruben Bansie-Snellman Pepper Fajans Daniel Parker Lucas Cooke Dan Stigner Running Time: 80 minutes Presentation Format: BetaSP Print Source: Mettray Reformatory Pictures Selected Filmography: Eban and Charley (2001)

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-Timothy Egan The New York Times

Harry and Max

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SATURDAY JUNE 5 93 0P M HARVARD EXIT WEDNESDAY JUNE 6 2PM HARVARD EXIT

Destined to cause controversy, this latest effort from USA talented indie stalwart Christopher Miinch {The 2 0 0 4 Sleepy Time Gal) is an engrossing and surprisingly Director: matter-of-fact drama about two brothers, both teen Christopher Münch music idols, who share an incestuous attraction for Producers: each other. Older brother Harry (Bryce Johnson) is Roni Deitz in a popular “boy band” whose fortunes hang on a Christopher Münch Screenwriter: forthcoming album, which will either extend the Christopher Münch band’s winning streak or signal that their 15 minutes Cinematographer: are up. Harry’s reliance on alcohol and his detached Rob Sweeney yet temperamental attitude betray the insecurity he Film Editor: Christopher Münch feels, despite his bravado. Younger brother Max has Music: somewhat reluctantly begun his own teen idol mu­ Michael Tubbs sical career. While he’s more centered than Harry, Cast: he clearly feels neglected by his older brother. The Bryce Johnson story kicks off when they leave their parents’ swank Cole Williams Rain Phoenix Southern California home for a camping trip that Michelle Phillips Harry has long promised Max. In the course of this Tom Gilroy trip, and through all subsequent encounters between Running Time: the two siblings, an undercurrent of competition and 73 minutes Presentation Format: sometimes playful, sometimes cruel sexual frisson 35mm lies just beneath the surface, informing their every Print Source: interaction. Director Miinch once again envelops the Antarctic Pictures action with his characteristic stylish layering of visual Selected Filmography: and aural textures. He creates a vivid sense of intimacy Sleepy Time Gal (2000) Color of a Brisk and Leaping Day (1995) that lends a surprisingly casual veracity to this story of The Hours and Times (1991) two brothers whose attraction to each other ignores all societal norms. He has created a film that will polarize its viewers as it deals with taboos without judgment or sensationalism.

www.sakson.com AmericanAirlines*

CONTEMPORARY

Hedda Gabler

CINEMA

Incident at Loch Ness

SATURDAY JUNE 12 6 PM EGYPTIAN

WO R LD

THURSDAY JUNE 10 9 :15PM EGYPTIAN

WO R LD

SUNDAY JUNE 13 3 :45 PM EGYPTIAN

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SATURDAY JUNE 12 3 :45PM EGYPTIAN

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USA 2004

ay (1995)

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Director: Paul Willis Producers: Michael Seiwerath Paul Willis Brittany Klaws Screenwriters: Aaron Thomas Paul Willis Kristin Newborn, from the play

by Henrik Ibsen Cinematographer: Lila Javan Film Editor: Lynn Shelton Music: Herbert Bergel Cast: Heidi Schreck Matt Ford Tricia Rodley Deron Bos John Abramson Running Time: 90 minutes Presentation Format: 35mm Print Source: Wiggly World Studios Selected Filmography: Feature Film Debut

MEW AMERICAN CINEMA

NEW AMERICAN CINEMA

Produced by Seattle’s own WigglyWorld Studios and filmed in eastern Washington, this visually-stunning adaptation of the Henrik Ibsen play transposes the ac­ tion into a contemporary setting in which the newlymarried, quick-witted and energetic Hedda (Heidi Schreck) and her bland but stable husband George (Matt Ford) have recently arrived in their brand new home. Boxes are piled everywhere, but the sun is too harsh for them to fully unpack, so the couple is content for the time being to leave the house in this partially occupied state. When a friend informs them that George’s professorship at the university might be threatened by the rebound of his academic and one­ time romantic rival Eilert (Deron Bos), everyone’s in­ securities bubble up to the surface. Skeptical of Eilert’s transformation, Hedda suddenly becomes desperate to re-ignite his once notorious courage to live. Pulled down a path of deception, Hedda faces her desire for a life lived beautifully and without compromise- what­ ever the cost. This imaginative and incisive feature debut is adapted from writer-director Paul Willis’ own stage production with Printer’s Devil Theatre, which played to widespread acclaim in Seattle in Fall 2000.

In the transition from stage to screen, the story has lost none of its power, and has gained a new level of claustrophobic and visual complexity thanks to kinetic cinematography and innovative digital ma­ nipulations.

Veteran German maverick Wemer Herzog has always had a talent for attracting trouble. The shoots of his classic films Aguirre: The Wrath of God and Fitzcarraldo were fraught with stories of rebellions among the cast and crew (including the famous in­ cident when actor Klaus Kinski reputedly drew a gun on him during Aguirre), as he set them seemingly impossible tasks in order to achieve his admittedly mind-blowing images. Consider, then, the limitless possibilities for movie mayhem that exist when Hérzog sets out for Inverness with a crack Hollywood crew in order to discover the real story behind the monster that is said to lurk in one of the world’s deepest lakes. His illustrious companions little comprehend the dictates of independent filmmaking, and find themselves con­ fronted with a local production team that understands even less what they are up against. Meanwhile, they’re bumping heads at every turn with filmmaker John Bailey (How to Lose a Guy in Ten Days, The An­ niversary Party), there to film the enterprise for his own film Herzog in Wonderland. Throw in a selfimportant “expert” on the mythical creatures of the world, and watch and marvel as they attempt to prove that some myths are actually not so mythical. The riotously funny first feature of established Hollywood writer Zak Penn {The Last Action Hero, X-Men 2), Incident atLochNess has all the makings of a classic disaster movie.

AmericanAirlines*

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USA 2004 Director: Zak Penn Producers: Zak Penn Werner Herzog Screenwriter: Zak Penn Cinematographer: John Bailey Film Editor: Howard Smith Music: Henning Lohner Cast: Zak Penn Werner Herzog Kitana Baker Gabriel Beristain Michael Karnow Running Time: 95 minutes Presentation Format: HDCAM Print Source: Eden Rock Media

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Maria Full of Grace

Noise

MARIA, LLENA ERES DE GRACIA

WEDNESDAY MAY 2 6 7:15PM PACIFIC PLACE

WEDNESDAY JUNE 2 9 :15 PM BROADWAY PERFORMANCE HALL

THURSDAY MAY 27 5PM PACIFIC PLACE

FRIDAY JUNE 4 4 :45 PM BROADWAY PERFORMANCE HALL

USA/Colombia 2 004 Director: Joshua Marston Producer: Paul Mezey Screenwriter: Joshua Marston Cinematographer: Jim Denault Film Editors: Lee Percy Anne McCabe Music: Jacobo Lieberman Leonardo Heiblum Cast: Catalina Sandlno Moreno Yenne Paola Vega Guilied Lopez Jhon Alex Toro Patricia Rae Running Time: 101 minutes Presentation Format: 35mm, in Spanish with English subtitles International Sales: HBO Films London Print Source: Fine Line Features Selected Filmography: Feature Film Debut

Maria is 17, has long hair and piercing eyes, and sup­ ports a family that should be supporting her, by work­ ing in a flower plantation dethoming roses for export.

Frustration transforms into desperation as Maria be­ comes increasingly indignant from shouldering the family debt, and getting no respect at work. She meets a good-looking kid with a motorcycle who has con­ nections to a line of work that involves travel, except the luggage is lethal: pellets of heroin mechanically pressed, sealed in latex, tied off with floss and swal­ lowed. A cash advance seals the deal. Maria’s ultimate job entails a kind of choice that the film treats with rare equanimity, shifting overt political implications toward something more personal. Winner of the Au­ dience Award at this year’s Sundance Film Festival, Maria Full ofGrace is an auspicious American debut that, uniquely, is told in Spanish. But its subject— the perilous trafficking of drugs by “mules,” those who proffer their bodies for cash, drives the film all too close to home (or at least to a hotel room somewhere in New Jersey). As a cautionary tale of a girl poised between two worlds, the film endeavors to salvage her poise. Grace, it seems, can’t so easily be expelled.

Awards: Sundance 2004 (Dramatic Audience Award) Berlin 2004 (Silver Bear-Best Actress, Alfred Bauer Prize)

y NEW AMERICAN CINEMA

This perverse dark comedy recalls Polanski’s The Ten­ ant and Repulsion, with its straight-faced story of a woman on the verge of a nervous breakdown. After moving into her own apartment following the recent breakup of her stultifying marriage, she finds herself slowly being driven mad by her upstairs neighbor’s untenable behavior. Doe-eyed Joyce (Trish Goff) is determined to make a new start for herself when her relationship with long-time partner, Elliot, hits the skids. Scouring New York for an apartment, she comes across what at first seems like the ideal opportunity: a small but atmospheric studio, situated above an antique store run by a gregarious black man named Hank (Giancarlo Esposito). Striving to carve out her new identity, Joyce soon gets a job as a copy editor in a publishing company. However, her seemingly idyllic new digs come with one major liability, which threat­ ens to undermine her fresh start: a manipulative upstairs neighbor who plays show tunes at ear-split­ ting levels at all hours of the night. Making her way upstairs one night to confront the noisy tenant, Joyce finds herself face-to-face with Charlotte (Ally Sheedy), an intimidating and strong-willed woman who has no intention of changing her lifestyle to accommo­ date the needs of the new downstairs occupant. Thus begins an epic and twisted battle of wills in which we are never quite sure who is the loonier of the two an­ tagonists: the tormented or the tormentor.

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USA 2004 Director: Tony Spiridakis Producers: Shannon Goldman Lance Doty Tony Spiridakis Screenwriter: Lance Doty, from the novel

by Diana Ramsay Cinematographer: Evan Estern Film Editor: Charly Bender Music: Nick Renbeck Philip Loeb Cast: Trish Goff Ally Sheedy Giancarlo Esposito David Thornton Lance Doty Running Time: 84 minutes Presentation Format: DigiBeta Print Source: Homestead Editorial Film Website: www.noise-film.com Selected Filmography: Tinseltown (1999) The Last Word (1994)

CONTEMPORARY

Off the Map ^

FRIDAY MAY 2 8 9PM EGYPTIAN

SUNDAY MAY 23 4 :30 PM PACIFIC PLACE

SATURDAY MAY 2 9 1:30PM EGYPTIAN

USA Director: Campbell Scott Producers: Campbell Scott George van Buskirk Screenwriter: Joan Ackermann Cinematographer: Juan Ruiz-Anchia Film Editor: Andy Keir Music: Gary de Michele Cast: Joan Allen Amy Brenneman Valentina D'Angelis Sam Elliott Running Time: 108 minutes Presentation Format: 35mm International Sales: Manhattan Pictures Print Source: Manhattan Pictures Selected Filmography: Final (2001) Hamlet (2000) Big Night (1996)

CINEMA

OpenWater

SATURDAY MAY 2 2 9 :30 PM PACIFIC PLACE

2 003

WORLD

Acclaimed actor/director Campbell Scott {BigNight) draws pitch-perfect performances from a sterling cast in this affecting story in which a young girl recounts a watershed summer spent living with her family in the high desert of New Mexico. Set in the 1970s, the film introduces us to a nonconformist family who has chosen to live far away from the pressures of big city life, “off the map,” as it is known by the members of the individualist communities scattered throughout the desert. In the spare desert ecosystem, the family’s precocious daughter Bo (Valentina de Angelis) cre­ ates her own rich dream world, mainly because her mother (Joan Allen) spends most of her time tending to her garden, oftentimes in the nude, and her father (the always wonderful Sam Elliott) has long suffered from a deep depression. A crisis arrives in the form of an IRS examiner intent upon auditing them, and the resulting events disturb the family’s equilibrium and shake the fragile balance of their existence, leading to a catharsis that will alter the path of Bo’s life. As a director, Scott is fantastic with actors, and equally adept at handling the volatile interactions that form the basis of this heartfelt story. With four films under his belt now, he has proven himself to be as fine a director as he is an actor.

Workaholic couple Susan (Blanchard Ryan) and USA Daniel (Daniel Travis) have long deferred their 2003 much-talked-about exotic island vacation. The time Director: has finally come for them to put their work aside Chris Kentis and just go. Things start off idyllically, as expected, Producer: and when they learn that the resort is offering boat Laura Lau trips for a deep-sea diving expedition, they jump at Screenwriter: Chris Kentis the chance for an adventure. Once below the surface Cinematographers: they lose track of time, resurfacing only to find the Chris Kentis boat gone without a trace. Initially convinced that Laura Lau the boat will realize they were left behind and turn Film Editor: back to get them, Daniel and Susan find themselves Chris Kentis Music: feeling increasingly isolated and edgy as hours pass Chris Kentis without any sign of a rescue. What began as a seem­ Cast: ingly temporary aggravation soon turns to stark fear Blanchard Ryan and deadly danger, as the approaching night and a Daniel Travis Saul Stein gathering school of sharks close in on the cold and Estelle Lau exhausted couple. The script of this harrowing thriller Running Time: is based on a true incident in which a resort boat crew 81 minutes made a faulty headcount and overlooked the last two Presentation Format: 35mm divers, not realizing their mistake for a full 24 hours.

International Sales: Writer/director Chris Kentis uses that incident as the Lions Gate Films jumping off point for this spine-tingling tale about a Print Source: man and a woman struggling alone against the ele­ Lions Gate Films ments, and he takes every possible opportunity (like Film Website: www.openwatermovie.com chumming the water around the actors) to build the Selected Filmography: tension of their waking nightmare.

Grind (1997) Preceded by Wrong Way Up (Gabriel Hardman, USA, 2003,10 minutes) IWo guys go south of the border to pick up some very creepy but valuable contraband. When they are stopped by border patrol, things go terribly wrong.

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Quality of Life

Primer

SATURDAY MAY 2 9 9 :30 PM HARVARD EXIT

WEDNESDAY JUNE 9 4 :30 PM BROADWAY PERFORMANCE HALL

MONDAY MAY 3I 9 3 OPM HARVARD EXIT

FRIDYA JUNE 11 7PM BROADWAY PERFORMANCE HALL

USA 2004 Director: Shane Carruth Producer: Shane Carruth Screenwriter: Shane Carruth Cinematographers: Anand Upadhyaya Daniel Bueche Film Editor: Shane Carruth Music: Shane Carruth Cast: David Sullivan Shane Carruth Anand Upadhyaya Casey Gooden Carrie Crawford Running Time: 78 minutes Presentation Format: 35mm Print Source: THINKFilm Film Website: www.primermovie.com Selected Filmography: Feature Film Debut

A mind-bending, densely-packed, head-trip of a movie about the nuts and bolts of time travel, Primer opens in a garage, where a small group of engineers have been working in secret on projects they hope will boost them out of their dead-end jobs. Having very little money, they work overnight, ripping parts out of their cars and making detailed lists of tools and objects to be gathered on Home Depot runs. Unbeknownst to their partners, Aaron (played by writer-director Shane Car­ ruth) and Robert (Casey Gooden) have inadvertently created a machine that can take its contents back in time. Recognizing the significance of their creation, they keep it quiet and do more experiments, eventual­ ly discovering that time in the machine moves at the same pace as time outside the machine, only back­ ward. Soon they construct larger versions of their time machines, big enough for people to fit inside. At first they use them only in the interest of experimentation, then for small financial gain; eventually they must make a difficult decision about whether they should use a machine to prevent a tragic chain of events. But not everything is as clearly defined as it seems, espe­ cially when it starts to appear that someone else might be using one of the machines for his own purpose.

Like the engineers in his film , Carruth made the most of a limited budget, and his movie turns out to be just as mind-bending as the invention his characters cre­ ate.

Awards: Sundance 2004 (Alfred P. Sloan, Dramatic Grand Jury Prize)

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Even though 80% of American schools don’t offer art lessons, between $15 and $18 m illion are spent annu­ ally on removing graffiti. San Francisco-born director Benjamin Morgan sees a correlation, believing that the proliferation of graffiti is a response to the lack of other outlets of artistic expression. This led him to his feature film debut, Quality of Life. Michael Rose (Lane Garrison) and Curtis Smith (Brian Bumam) are graffiti artists living in San Francisco’s Mission District. As kids, in a search for fame and a sense of identity, they began to leave their “tags” all over the city. Ten years later, their work has become an integral part of the urban landscape. Then one night the two are caught in a police sweep and prosecuted under the “quality of life” laws governing such urban blights as drugs, prostitution and vagrancy. Faced with res­ titution and the prospect of serving hard time under California’s draconian three-strikes law, the lifelong friends are forced down diverging paths. This thoughtprovoking, highly accomplished film is blessed with an eclectic soundtrack of the rising stars of hip-hop, electrónica, punk and indie rock (including Death Cab For Cutie, Modest Mouse, Sebadoh, Amon Tobin and Built To Spill) and stand-out performances from Garrison as the conflicted Mikey and Bumam as the destructive Curtis. , Awards: Berlin 2004 (Special Mention)

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USA 2004 Director: Benjamin Morgan Producers: Benjamin Morgan Brant Smith Meika Rouda Screenwriters: Benjamin Morgan Brian Burnham Cinematographer: Kev Robertson Film Editor: Sharon Franklin Music: Count Cast: Lane Garrison Brian Bumam Luis Saguar Mackenzie Firgens Running Time: 85 minutes Presentation Format: 35mm Print Source: Quality of Life Film, LLC Film Website: www.qualityoflife-themovie.com Selected Filmography: Feature Film Debut

CONTEMPORARY

Revolution

S8S

WORLD

Straight-Jacket

TUESDAY JUNE 1 9 3 0P M EGYPTIAN

FRIDAY JUNE 11 7 :15PM HARVARD EXIT

WEDNESDAY JUNE 2 4 :45 PM EGYPTIAN

SUNDAY JUNE 13 9 3 OPM HARVARD EXIT

USA 2004 Director: Lorene Machado Producer: Lorene Machado Screenwriter: Maragaret Cho Film Editor: Lorene Machado Cast: Margaret Cho Bruce Daniels Running Time: 85 minutes Presentation Format: DigiBeta Print Source: Sundance Channel Selected Filmography: Notorious C.H.O. (2002) I'm the One That I Want (1999)

Margaret Cho’s critically acclaimed Revolution Tour played to sold-out audiences across the country, and this film captures her unbridled, no-holds-barred humor. In Margaret Cho’s head, Condoleezza Rice makes flash cards for President Bush, sex shows in Thailand have catchy slogans, and QVC carries a line of self-injectable Botox called Cho-tox. “ I’m considered a highly inappropriate person,” says Cho, whose sometimes raunchy, sometimes bizarre, some­ times poignant and always hilarious mix of wit and activism sets her apart from most other comedians.

Absurd personal stories about Cho’s mother explain­ ing how rice can be used as an adhesive are smashed against priceless impressions of North Korean leader Kim Jong-II smiling for the camera and Anna Nicole Smith at her Christmas party. Not afraid of any sub­ ject, Margaret also delves into some weightier topics, challenging ethnic, gender and sexual stereotypes.

Hysterical commentary on being a Korean-American entertainer, dieting and eating disorders, and the advantages of having gay children are augmented by exaggerated facial expressions that convey just as much as her words. Margaret Cho knows her audi­ ence, she knows how to stand up for what she believes in, she knows how to make people laugh and, most importantly, she knows how to laugh at herself. She will continue to offend and amuse long into the fu­ ture, and if you don’t like it, that’s tough. For those that do, this will be an hour and a half of entertaining commentary that just might have you laughing right out of your seat.

CINEMA

MEW AMERICAN CINEMA

If Rock Hudson could have made a screwball com­ edy about his closeted lifestyle in ’50s Hollywood, the result might have come close to Straight-Jacket. Guy Stone (Matt Letscher) is the biggest box office star for embattled SRO Studios. While the celebrity press por­ trays him as a womanizing heartthrob, Guy actually spends most of his evenings in the city’s underground gay clubs picking up dumb, blonde or virile men (preferably all three). Unfortunately, during one such night, a rival actor engineers a police raid that leads to some rather incriminating pictures of Guy being leaked to the press. In order to repair his reputation and save a new million-dollar picture, SRO’s studio chief along with Guy’s agent Jerry (played with ballsy bravado by Veronica Cartwright) concoct the ultimate public relations stunt: Guy Stone is getting married!

They find his perfect match in Sally, the studio chief’s naïve secretary. Unaware that the marriage is a sham, Sally enthusiastically attempts to settle Guy into the joys of wedded bliss. Meanwhile, on the set of his latest feature, Guy meets Rick Foster— an idealistic novelist turned screenwriter. The two have undeniable chemistry, but Rick’s social consciousness clashes with Guy’s frivolity and, of course, his wife. Just as the couple becomes intimately close, their closeted lives fall beneath the auspices of zealous anti-Communists.

Combining droll wit and brazen camp, writer/director Richard Day delivers a perfect homage to the era: a glossy Technicolor Hollywood steeped in the dark paranoia of McCarthyism.

USA 2004 Director: Richard Day Producer: Michael Warwick Screenwriter: Richard Day Cinematographer: Michael Pinkey Film Editor: Chris Conlee Music: Steve Edwards Cast: Matt Letscher Carrie Preston Adam Greer Clinton Leupp Veronica Cartwright Jack Plotnick Michael Emerson Running Time: 96 minutes Presentation Format: 35mm Print Source: SRO Pictures Film Website: www.straight-jacket.com Selected Filmography: Girls Will Be Girls (2002)

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O v e r th e c o u r s e o f th e la st se v e ra l y e a rs, d o c u m e n ta rie s h a ve e m e rg e d a s a m a jo r fo rc e in th e th e atrical m a rke tp lace . W ith pro vo cative su b je ct m atter an d innovative stylistic flourishes, d o cu m e n tary film m a k e rs h ave c a p tu re d th e im a g in a tio n o f w id e r a u d ie n ce s th a n ever b e fo re . T h e d o cu m e n ta ry fe a tu re s in clu d e d in th is y e a r's Festival provide a d a zzlin g o verview o f co n te m p o rary n o n -fictio n cin em a.

M e n tio n s h o u ld a lso be m a d e o f S e a ttle 's b u rg e o n in g c o n trib u tio n s, fin a n cia lly a n d cre atively, to th e d o c u m e n ta ry p la y in g fie ld w ith th re e n e w S p a w n e d in Seattle film s: Up Thornton Creek, Busting

Out a n d Big City Dick. W ith Fly Film s p re m ie rin g ten b ran d n e w d o cu m e n ta ry sh o rts a n d a Festival F o ru m s p a n e l d isc u ssio n w ith so m e o f th e m o st a cc o m p lish e d n e w ta le n ts cu rre n tly w o r k in g in th e d o c u m e n ta ry fie ld , it's cle a r th a t th e fo rm a t has b e co m e a vital part o f th e in d e p e n d e n t film scen e .

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The Basque Ball: Skin Against the Stone (Spain) 180 Big City Dick (usa ) 181 Born Into Brothels (India) 181 Bright Leaves (USA) 182 Busting 0 u t (u s A ) i8 2 Checkpoint (Israel/Japan) 183 Control Room (Egypt) 184 The Corporation (Canada) 184 Death in Gaza (Great Britain) 185 DIG! (USA) 185 Festival Express (Canada) 187 The Five Obstructions (Denmark/Belgium/Switzerland/France)187 The Game of their Lives (South Korea/Great Britain) 188 Go Further (Canada) 188 Guerrilla: The Taking of Patty Hearst (USA) 189 Heir to an Execution (usa ) 189 Imelda (USA) 191 In the Realms of the Unreal (usa ) 191 A Letter to True (USA) 180 Los Angeles Plays Itself (USA) 192 M e ta llic a : Some Kind of Monster (USA) 192 Monster Road (USA) 193 Nobody Knows How to Talk to Children (usa ) 193 Original Child Bomb (USA) 194 Orwell Rolls in His Grave (usa ) 195 Paper Clips (usa )1 9 5 Paternal Instinct (USA) 196 Persons of Interest (usa ) 1 96 Riding Giants (usa )1 9 7 Searching for the Wrong-eyed Jesus (Great Britain) 197 Thirst (USA) 198 Trollywood (Great Britain/USA) 199 Up Thornton Creek (usa ) 199 Bulleted films are vying for the Festival's documentary competition.

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ALetter to True

The Basque Ball: Skin Against the Stone LA PELOTA VASCA: LA PIEL CONTRA LA PIEDRA

FRIDAY MAY 2 8 7 :15PM HARVARD EXIT

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SUNDAY MAY 30 1130AM HARVARD EXIT

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USA 2004 Director: Bruce Weber Producer: Nan Bush Screenwriter: Bruce Weber Cinematographers: Pete Zuccarini Evan Estern Shane Sigler Theo Stanley Jim Fealy Film Editor: Chad Sipkin Music: John Leftwich Narration by: Marianne Faithfull Julie Christie Running Time: 80 minutes Presentation Format: 35mm Print Source: Zeitgeist Films Ltd. Film Website: www.bruceweber.com Selected Filmography: Chop Suey (2001) Let's Get Lost (1988) Broken Noses (1987)

Bruce Weber’s visually stunning tribute to man’s best friend (and in particular Weber’s own five golden re­ trievers) is a truly odd bit of cinema, encompassing an ethereal overview of the state of the world today, deftly interwoven with archival footage of classic Hollywood movies, reminiscences about such icons as Dirk Bog­ arde, Julie Christie’s voiceover narration of a Rainer Maria Rilke sonnet, and Marianne Faithful doing a gorgeous take on Stephen Spender’s “The Truly Great.” The titular True is one of director/photographer Weber’s five dogs, to whom he is writing a let­ ter throughout the course of the film . He intersperses those thoughts with footage and reminiscences about his travels, his career as a professional photographer, his heroes, his celebrity friends and world affairs. With A Letter to True, Weber creates a richly textured col­ lage of his life and times, even as the object of the exploration is man’s (and woman’s) best friend. What emerges from this heady brew isa gorgeous, mesmer­ izing tone poem celebrating the ways in which our pets provide solace and soul-soothing love in a world gone slightly mad. An impeccable selection of cool jazz, classical and pop tunes add greatly to this pecu­ liar film ’s many unexpected pleasures.

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DOCUMENTARY COMPETITION Julio Medem, known for his bold, stylish fiction films (Lovers of theArctic Circle, SIFF 1999; Sex and Lu­ cia, SIFF 2002), turns a native eye— or, more precise­ ly, an ear— to the seemingly interminable struggle for Basque independence. “This film aims to be an invitation to discussion,” declares Medem, “conceived with respect to all opinions.” To this end, his discursive documentary is a forum reflecting on Basque identity: its land, language, culture and history. Including some 70 interviews ranging from Basque political leaders to musicians, from scholars to victims of violence, from priests to novelists, this spectrum of often competing voices draws an enigmatic picture of a misunderstood movement. To its credit, the film sparked bitter debate when it premiered at the San Sebastián Film Festival, in the heart of Basque country. Medem lets his sub­ jects do the talking, masterfully editing arguments into an unprecedented “dialogue” that speaks across the boundaries of the conflict. Dense, difficult and humane, TheBasque Ball is a plaintive call for com­ munication as a step toward resolution, crucial in this difficult chapter of Spanish history, and too relevant for the rest of us to ignore.

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D IR E C C IÓ N G EN ER A L DE RELACIO NES CULTURALES Y CIENTÍFICAS

MINISTERIO D E ASUNTOS EXTERIORES DE ESPAÑ A

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Spain 2003 Director: Julio Medem Producers: Julio Medem Koldo Zuazua Screenwriter: Julio Medem Cinematographers: Javier Aguirre Jon Elicegul Ricardo de Gracia Film Editor: Julio Medem Music: Mikel Laboa Running Time: 106 minutes Presentation Format: 35mm, in Spanish and Basque with English subtitles Print Source: Alicia Produce, S.L. Selected Filmography: Sex and Lucia (2001) The Lovers of the Arctic Circle (1998) Earth (1996) The Red Squirrel (1993) Cows (1991)

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Big City Dick

Bom Into Brothels

CINEMA

MONDAY MAY 31 9PM EGYPTIAN

THURSDAY JUNE 3 6:45PM BROADWAY PERFORMANCE HALL SUNDAY JUNE 6 1 :45PM BROADWAY PERFORMANCE HALL

USA 2004 Directors: Scott Milam Ken Harder Todd Pöttinger Producers: Scott Milam Ken Harder Todd Pöttinger Cinematographers: Scott Milam Ken Harder Todd Pöttinger Film Editor: Scott Milam Music: Richard Peterson Cast: Richard Peterson Jeff Bridges Johnny Mathis Pat Cashman John Keister Running Time: 129 minutes Presentation Format: BetaSP Print Source: New Ziv Pictures Selected Filmography: Feature Film Debut

Richard Peterson is much more than your average autistic street performer. The son of a loving mother and distant father, he grew up fascinated by the music of 1950s television shows, particularly “Sea Hunt.” A self-taught trumpet player, he took to the streets of Se­ attle to play for the American coins of passers-by (no Loonies!), and was soon noticed by the local press.

He’s been asked to play with bands like the Young Fresh Fellows, and has now composed four albums that evoke the lush orchestrations of his TV inspira­ tions, records that seem totally at odds with his brash trumpet playing. From his idol Johnny Mathis to any number of local TV “personality buddies,” he has a love for celebrities and a tendency to stalk them.

When Jeff “son of ‘Sea Hunt’” Bridges was in town film ing American Heart, Peterson stood outside the hotel playing musical hits from the show, eventually striking up a friendship with Bridges. But there’s more to Peterson than music, celebrities and stalking. He’s got a precious collection of balls, a fondness for hand­ crafted purple ties that reach the floor, a love for a “petrified elephant trunk” carved out of wood, and an ability to know the day of the week for any date you give him. Big City Dick includes interviews with Scott McCaughey of the Young Fresh Fellows, John Kiester and other members of “Almost Live!,” Jeff Bridges, and even Johnny Mathis. It’s a fascinating film about a unique Seattle icon.

The most stigmatized people in Sonagachi, Calcutta’s India red light district, are not the prostitutes, but their chil­ 2003 dren. Faced with abject poverty, abuse and despair, Directors: these kids have little possibility of escaping the harsh Ross Kauffman fate of their mothers. Yet when they are encouraged to Zana Briski utilize their creativity, they are given the gift of hope. Producers: British photographer Zana Briski intervenes in the Ross Kauffman Zana Briski lives of the these children, bringing them to doctors, Cinematographers: placing them in school, taking them on field trips, Ross Kauffman and teaching them about photography. Director Briski Zana Briski first went to India in 1995, and three years later began Film Editors: Nancy Baker living with prostitutes in order to photograph them. Ross Kauffman Rebelling against the children’s likely dead-end fates, Music: she brought the kids some point-and-shoot cameras John McDowell and gave them basic instructions. Through this proj­ Running Time: ect, the children are transformed. There is an intimate 83 minutes Presentation Format: feel to this film , as the camera goes deep into the world DigiBeta, in English and of poverty and prostitution and still manages to find Bengali with English color, humor and warmth. Variety writes, “Although subtitles some may chafe at the image of the concerned West­ Print Source: Red Light Pictures erner playing God in the lives of unfortunate Third World moppets, few could deny that these are kids desperately in need of a helping hand... It’s a story of a woman urgently motivated to help on a person-toperson level, with no greater political agenda, and as such, the film generates genuine emotion.”

Awards: Sundance 2004 (Documentary Audience Award)

Awards: Slamdance 2004 (Best Feature Audience Award)

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Bright Leaves

Busting Out

MONDAY JUNE 7 7PM EGYPTIAN

WEDNESDAY JUNE 2 6 :45 PM BROADWAY PERFORMANCE HALL SATURDAY JUNE 5 9 :15PM BROADWAY PERFORMANCE HALL

USA 2003 Director: Ross McElwee Producer: Ross McElwee Screenwriter: Ross McElwee Cinematographer: Ross McElwee Film Editors: Ross McElwee Mark Meatto Running Time: 107 minutes Presentation Format: 35mm International Sales: First Run Features Print Source: First Run Features Film Website: www.brightleaves.com Selected Filmography: Time Indefinite (1993) Sherman's March (1986) Space Coast (1979)

Director Ross McElwee (,Sherman’s March, Six O’clock News) has mastered a unique style of docu­ mentary filmmaking: finding universal stories in id­ iosyncratic, personal experiences. In this film , he uses his own family legacy as a springboard. The opening shots of Bright Leaves show fields of giant green leaves baking in the Southern sun. From there, we journey across the social, economic and psychologi­ cal terrain of McElwee’s home state of North Carolina.

When he leams that an obscure Hollywood melodra­ ma starring Gary Cooper may be based on his own great-grandfather’s struggles in the tobacco industry, he sets out to explore the history of his family and this newfound cinematic heirloom. His great-grandfather, the originator of the famous Bull Durham brand of tobacco, lost his fortune to competitor James B. Duke, who reportedly stole the formula and built both an empire and a national pathology from its success.

McElwee visits friends and strangers, farmers and film buffs, doctors and beauty queens, and revisits his own home movies. The witty film essay finds surpris­ ing connections and juxtapositions that swirl around the phenomenon of smoking and unfold into an il­ luminating meditation on life and legacy in America.

As much about family and the movies as it is about the mysterious allure of cigarettes, Bright Leaves is a masterful bit of personal cinema.

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Do your breasts make you happy, or do they make you USA feel worried and vulnerable? Told from the point of 2004 view of co-producer Francine Strickwerda, who lost Directors: her mother to breast cancer, Busting Out explores the Laurel Spellman Smith relationship between America and the female mam­ Francine Strickwerda mary glands. Francine was only six when her mom Producers: died, and her dad and sister never talked about it. Laurel Spellman Smith Francine Strickwerda “The boobs of doom took my mother, and now they Screenwriters: might take me” was her attitude when she hit puberty. Laurel Spellman Smith Strickwerda and Northwest-based director Laurel Francine Strickwerda Spellman Smith take us on a tour of cultural attitudes Cinematographer: Roy Wilson toward breasts. Why are we so obsessed with breasts?

Film Editor: In 1951, a major study of sexuality looked at sexual Roy Wilson attitudes in 190 non-Westem cultures, from Africa Music: to the South Pacific. In only 13 cultures were breasts Erik Aho considered sexy. In most they were simply considered Running Time: 59 minutes instruments of life-sustaining nutrition. (In M ali, the Presentation Format: thigh is considered the sexiest body part.) Back in DigiBeta America, we visit the “Tom Leykis Show” in Seattle Print Source: and stand in line with torqued-out testosterone-filled Stir It Up Productions men attending “Flash Your Breasts Friday.” We wit­ ness breast reduction surgery, and are introduced to a woman and her prosthetic breast, after having had radical surgery. More Americans have died of breast cancer in the last 20 years than were killed in both World Wars, the Korean War and Vietnam combined.

Smith and Strickwerda take us on a liberating tour of breasts that is both amusing and unsettling.

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Checkpoint MAHSOMIM

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Director: Yoav Shamir Producers: Amit Breuer Edna Kowarsky Elinor Kowarsky Screenwriter: Yoav Shamir Cinematographer: Yoav Shamir Film Editor: Era Lapid Running Time: 80 minutes Presentation Format: DigiBeta, in Hebrew, Arabic and English with English subtitles International Sales: First Hand Films Print Source: Eden Productions Selected Filmography: Feature Film Debut

DOCUMENTARY COMPETITION

Awards: Amsterdam Documentary Festival 2003 (Best Feature)

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Checkpoints are scattered throughout the West Bank and the Gaza Strip, manned by the Israel Defense Forces. Thousands of Palestinians pass through them every day, making them major meeting points for both sides in the Palestinian-Israeli conflict. Filmed over two years, from 2001 to 2003, Yoav Shamir’s documentary depicts the harsh and banal routines of these crossing points— in heat, rain and snow— and shows a reality with its own rules and absurdities. The scenes we witness are sad, tense, funny and horrify­ ing; Shamir’s cinema-verite style camerawork makes us feel like we are there. The result is a chilling look at the destructive impact of the occupation on both soci­ eties. “Checkpoint is my own cry for help. It represents my part in the struggle against the injustices of oc­ cupation, and was made for my people— my family and friends who represent a large section of Israeli so­ ciety who choose to not know what is going on,” says Shamir. Checkpoint is an unconventional and honest look at the cumulative effect of occupation. “Terror­ ists don’t use checkpoints,” one Palestinian shouts while waiting in a long line. “You people caused all this trouble,” a soldier snaps back. Who can say who started the trouble, or which entrances terrorists use?

No matter, because the checkpoints seem “arbitrary, porous, low-tech, authoritarian and maddening” and don’t seem to ease anyone’s apprehension.

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2003

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Israel/Japan

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Control Room

CINEMA

The Corporation

WEDNESDAY JUNE 9 7PM EGYPTIAN

THURSDAY MAY 27 4 :15PM HARVARD EXIT

THURSDAY JUNE 10 4 :45PM EGYPTIAN

SATURDAY MAY 2 9 6PM EGYPTIAN

Egypt/USA 2 004 Director: Jehane Noujaim Producers: Hani Salama Rosadel Varela Cinematographers: Jehane Noujaim Hani Salama Film Editors: Julia Bacha Lilah Bankier Charles Marquardt Music: Mona Eldaief Running Time: 84 minutes Presentation Format: 35mm, in Arabic and English with English subtitles International Sales: Films Transit International Print Source: Magnolia Pictures Selected Filmography: Down From the Mountain (2003) Startup.com (2001)

We’ve been watching the Iraq War on television for quite some time now, but it’s difficult to find the truth beneath the split-screen military rhetoric and American-flag graphics. Control Room gives us a new perspective. Last year, with the US and Iraq on the brink of war, Egyptian-American filmmaker Je­ hane Noujaim entrenched herself with the indepen­ dent Arab news agency, Al-Jazeera. Framed roughly between President Bush’s 48-hour ultimatum and his aircraft-carrier speech after the fall of Baghdad, this fascinating documentary explores the distinc­ tions between coverage of the war by Al-Jazeera and American broadcasters. The first news network in the Middle East free of government control, Al-Jazeera prides itself on showing all sides of the war— includ­ ing the human costs. Because they show footage of casualties and POWs, the network has been criticized and demonized by US officials, and even targeted by the US military. Noujaim follows a number of their reporters and producers, and even gains access to the Coalition Media Center at Central Command, where we see US media liaison Lieutenant Rushing strug­ gling to reckon with the differing perspectives. Con­ trol Room provides a rare window into international perceptions of the war in Iraq, and exposes the myth of journalistic impartiality during wartime.

From the filmmakers who brought us Manufacturing Canada Consent, The Corporation takes on what has become 2003 the hallmark institution of the free market economy.

Directors: 150 years ago, incorporating was one of many ways to Mark Achbar structure a company. In the mid-1800s, however, the Jennifer Abbott corporation was granted certain rights that defined it Producers: as a legal “person.” The next hundred years saw the Bart Simpson Mark Achbar corporation’s rise to dominance. Co-directors Mark Screenwriters: Achbar and Jennifer Abbott present a thesis that the Joel Bakan personality of the corporation is psychologically diag- Harold Crooks nosable; apparently it is a bit of a psychopath. Achbar Mark Achbar, from the book and Abbott explore topics from the prevailing mindsets

by Joel Bakan of the people who work for corporations (many lack Cinematographers: any indication of free will or sense of global respon­ Mark Achbar sibility) to case-study examples of morally bankrupt Rolf Cutts decisions made in the name of profit, such as IBM’s Jeff Koffman Kirk Tougas strategic alliance with Nazi Germany and Fox News’s Film Editor: recent blacklisting of two investigative reporters who Jennifer Abbott were blowing the whistle on questionable practices re­ Music: garding the nation’s m ilk supply. Featuring interviews Leonard J. Paul Narration by: with Noam Chomsky, Howard Zinn, Michael Moore, Mikela J. Mikael Dr. Vandana Shiva and others— including a corpo­ Running Time: rate spy, a commodities broker and the first “corpo­ 145 minutes rately sponsored” university students in the US— The Presentation Format: Corporation calls into question the capitalistic phe­ 35mm Print Source: nomenon that rules our everyday lives.

Zeitgeist Films Ltd. Awards: Sundance 2004 (World Cinema Documentary Audience Award) Calgary 2003 (Best Canadian Documentary) Vancouver 2003 (Most Popular Canadian Film)

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Film Website: www.thecorporation.com Selected Filmography: Manufacturing Consent: Noam Chomsky and the Media (Achbar) (1993) A Cow at My Table (Abbott) (1998)

All Canadian films are sponsored in part by..

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^B^Canada-Am erica Society

NATIONAL ENDOW M ENT FOR THE ARTS

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Death in Gaza

FRIDAY MAY 21 4 :45 PM BROADWAY PERFORMANCE HALL

DIG!

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WOMEN CINEMA

SATURDAY MAY 2 2 9PM EGYPTIAN

SATURDAY MAY 2 2 6:15PM BROADWAY PERFORMANCE HALL

Great Britain 2003 Director: James Miller Producers: James Miller Saira Shah Screenwriter: Saira Shah Cinematographer: James Miller Film Editor: Misha Manson-Smith Music: Nick Powell Running Time: 77 minutes Presentation Format: BetaSP, in English, Arabic and Hebrew with English subtitles International Sales: HBO Documentaries Print Source: HBO Documentaries Selected Filmography: The Betrayed (2002) Unholy War (2001) Beneath the Veil (2000)

Though it began as a project about children living in the Arab-Israeli war zone, this riveting docu­ mentary evolved into something altogether different when Emmy Award-winning director James Miller CBeneath The Veil) became the victim of the very violence he went to capture, in his quest to cover the tragic consequences of ethnic strife in the Middle East. Working together with co-director Saira Shah, Miller arrived in the West Bank intent upon filming his “children’s project” about the effect the war was having on children on both sides of the Arab-Israeli conflict. Journeying to the bullet-riddled city of Rafah, on the southern edge of the Gaza strip, the film was to focus on three Palestinian children whose daily lives were infused with the kind of horror that living in the midst of such carnage creates. This carnage became all the more vivid when Miller himself, using a flashlight to illuminate a white flag while filming at night in the midst of a pitched battle, was hit by Israeli gunfire and killed. Miller’s ultimate legacy is that his exposé of the injustice of war is made even more cogent through his own fate.

Sex, drugs and rock ‘n’ roll are nothing new to the USA world of rock music, but they remain fascinating 2004 despite their ubiquity. Throw in some rivalries, both Director: professional and creative, and a few punches, and Ondi Timoner you’ve stepped into the world of DIG!, the award-win­ Producer: ning documentary that follows the Portland-based Ondi Timoner band The Dandy Warhols and Anton Newcombe of the Screenwriter: Ondi Timoner Brian Jonestown Massacre through seven years (and Cinematographers: 1,500 hours of culled footage) of their tumultuous re­ Ondi Timoner lationship. Director Ondi Timoner produced, directed, Vasco Lucas Nunes edited and co-shot the film, starting in 1996 when she David Timoner met Anton Newcombe, an irascible one-man musi­ Film Editor: Ondi Timoner cal dynamo. His band, the Brian Jonestown Massa­ Music: cre, seemed on the cusp of success. Enter the Dandy The Dandy Warhols Warhols and lead singer Courtney Taylor (who, in a The Brian Jonestown Massacre bold choice by Timoner, narrates the film ). Taylor Narration by: Courtney Taylor puts it like this: “Anton is my friend and my enemy, Running Time: the greatest inspiration and, ultimately, the greatest 110 minutes regret.” Tracking both bands’ ups and downs— and Presentation Format: downs and outs—DIG! captures moments in this BetaSP Print Source: creative rivalry that are shocking and insightful. As Palm Pictures the Dandys become more and more successful, Anton Film Website: consistently shoots his band in the proverbial foot, www.digthemovie.com alienating record company executives and his band Selected Filmography: mates alike. Still, his talent and charisma keep music The Nature of the Beast (1994) lovers inside and outside of the industry enthralled.

He’s a doomed musical genius caught up in the ageold conflict between business and art. DIG! is a sexy, mesmerizing chronicle of an artist before, during and after a train wreck. It’s got a fantastic soundtrack too.

Awards: Sundance 2004 (Documentary Grand Jury Prize)

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Festival Express

REALITY

The Five Obstructions ■ / DE FEM BENSPÆND

THURSDAY JUNE 3 9 :30 PM EGYPTIAN

SUNDAY MAY 23 6 :45PM PACIFIC PLACE

SATURDAY JUNE 5 3 :45PM EGYPTIAN

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Canada 2003 Director: Bob Smeaton Producers: Gavin Poolman John Trapman Cinematographers: Peter Biziou Bob Fiore Film Editor: Eamonn Power Cast: The Grateful Dead Janis Joplin The Band The Flying Burrito Brothers Buddy Guy Eric Andersen Great Speckled Bird Running Time: 90 minutes Presentation Format: 35mm International Sales: HanWay Print Source: THINKFIIm

In the summer of 1970, a series of music festivals were booked across Canada. After the first concert in To­ ronto, the musicians, roadies and a film crew boarded a private train and proceeded to rock, roll and jam together in an extended bacchanal that chugged its way from coast to coast. The Festival Express was the brainchild of two brash young promoters, Ken Walker and Thor Eaton, who assembled one of the most in­ credible traveling concert bills in history (performers included Janis Joplin, the Grateful Dead, The Band, the Flying Burrito Brothers, Eric Andersen and Buddy Guy). Putting the greatest musicians of their day (ar­ guably of any day) in such a leisurely mode of trans­ port made for a combustible bell jar that vibrated with artistic camaraderie. Along the way, angry protesters confronted the artists about the ticket price ($14! Ca­ nadian!!), but this didn’t prevent them giving their all in the powerful performances immortalized by this unique documentary. The footage was tied up in legal wranglings for years, but 90 hours of raw negative and 40 hours of sound fortuitously found their way into the National Film Archives of Canada and were compiled into Festival Express. The resulting movie is much more than the sum of its extraordinary parts, as it captures the spirit of a long-gone age in the per­ formances of some of the all-time great hellraisers of rock and roll.

This astonishingly entertaining collaboration between acclaimed Danish directors Lars von Trier and Jprgen Leth revolves around a characteristic challenge that von Trier has created for the unconventional director: remake his celebrated— and much-admired by von Trier— 1967 short ThePerfect Human, but with five creative restrictions placed on the production by von Trier. Some of the restrictions are purely formal, like having no shot last for longer than 12 frames. Others are personal, like having to shoot in “the most miser­ able place in the world.” Other rules assume moral, or even metaphysical dimensions. Leth rises to the chal­ lenge, which in essence is a provocation to deconstruct the very film that von Trier claims to admire so much.

What emerges from this giddily straight-faced record of his attempts to meet that challenge is a fascinating and amusing portrait of both talented directors, and a surprisingly intimate exploration of the nature of artistic creativity.

All Canadian films are sponsored in part by..

Canada-America Society

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Denmark/ Belgium/ Switzerland/ France 2003 Directors: Jorgen Leth Lars von Trier Producers: Carsten Holst Mariane Christensen Screenwriters: Jorgen Leth Lars von Trier Cinematographer: Dan Holmberg Film Editors: Camilla Skousen Morten Hojberg Cast: Jorgen Leth Lars von Trier Jacqueline Arenal Daniel Hernández Rodriguez Patrick Bauchau Alexandra Vandernoot Running Time: 90 minutes Presentation Format: 35mm, In Danish, English, French and Spanish with English subtitles International Sales: Trust Film Sales Print Source: Koch Lorber Selected Filmography: Jorgen Leth: New Scenes from America (2002) Haiti. Untitled (1996) 66 Scenes from America (1981) A Sunday in Hell (1976) Lars von Trier: Dogville (2003) Dancer in the Dark (2000) Breaking the Waves (1999) The Idiots (1998) The Kingdom (1994) Europa (1991)_______

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The Game of Their Lives

Go Further

TUESDAY MAY 25 6 :45PM BROADWAY PERFORMANCE HALL

FRIDAY MAY 21 4 :30 PM EGYPTIAN

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SUNDAY MAY 23 9 3 OPM PACIFIC PLACE

South Korea/ Great Britain 2003 Director: Daniel Gordon Producer: Daniel Gordon Cinematographers: Nick Bennett Darryl Kibblewhite Film Editor: Justine Wright Music: James Baker Running Time: 80 minutes Presentation Format: 35mm, in English, Korean and Italian with English subtitles Print Source: E Pictures Film Website: www.thegameoftheirlives.com

DOCUMENTARY COMPETITION

DOCUMENTARY COMPETITION

Profoundly moving and uplifting, The Game of Their Lives throws the spotlight onto a culture that has managed to keep itself separate from the outside world. Though upsets in the sporting world are not uncommon, the one perpetrated by North Korea’s soccer team in the 1966 World Cup in England has to be among the greatest ever. Encamped in the drab northern town of Middlesboro, the Koreans— with their captivating cheerfulness, unfailing courtesy and cast-iron self-discipline— won the hearts and minds of their hosts, who got behind them as if they were their own and roared them onto victory after astonishing victory. Eliminating such giants as Italy and Russia, they ran up against one of the greatest single performances ever seen on a football field from Portugal’s Eusebio. After their amazing performance they returned to their Stalinist state, never to be heard of again— at least until two intrepid British journal­ ists talked their way into the country and gained ac­ cess to the remaining players, and members of the public who recall those bygone glories. Remarkable color footage of the action has survived, but what re­ ally stands out is the interviews with the former team members, how their loyalty to the memory of their “ glorious leader” Kim Il-sung (allegedly an adviser to the team) remains as strong today as it was in the days of his iron-fisted rule. Their reminiscences of their moment in the sun, and the comrades who have not lived to tell the tale, give a unique and often touching look at a society that has remained hidden from view.

Inspired by Ken Kesey’s Merry Pranksters, actor/activist Woody Harrelson and an eclectic array of companions board his brightly-colored, hemp-fueled bus— The Mothership— in Seattle and set off on an eco-consciousness-raising excursion down the Pacific Coast highway. Stopping along the way to deliver motiva­ tional speeches and hold mass yoga sessions (and oc­ casionally rile some of the more conservative bystand­ ers), the raggle-taggle crew encounters many skeptics and opponents, as well as a growing number of eager converts to their cause of sustainable organic living.

Believing that each individual’s actions are the keys to large-scale change, Harrelson’s enthusiasm is infec­ tious enough to convince even the most recidivist of junk-food consumers, including borderline redneck production assistant Steve Clark, who, by the time they hit Los Angeles, is widely proclaiming the wonders of wheat grass juice. Leading Canadian documentarían Ron Mann (1Comic Book Confidential, Grass) refers to his latest work as an “Electric Kool-Aid Acid Test on Tofu,” and you want to make sure you get on board so as not to miss the fun. Featuring appearances from eco-minded musical celebrities Natalie Merchant, The String Cheese Incident, Medeski, Martin and Wood, and Bob Wélr of The Grateful Dead, Go Further is more than a simple lesson in organic living, as the film ’s frequent offbeat humor adds a fresh take to seri­ ous issues.

Canada 2 003 Director: Ron Mann Producer: Ron Mann Screenwriter: Soloman Vesta Cinematographer: Robert Fresco Film Editor: Robert Kennedy Music: Guido Luciani Cast: Woody Harrelson Ken Kesey Michael Franti Anthony Kiedis Running Time: 80 minutes Presentation Format: 35mm Print Source: Sphinx Productions Film Website: www.sphinxproductions.com/pages/ film_gofurther.html Selected Filmography: Grass (1999) Twist (1991) Comic Book Confidential (1988)

Preceded by Underdog (Scott Leberecht, USA, 2003,10 minutes) Outsider kid makes the school wrestling team by a fluke, loses matches. Can he redeem himself?

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Guerrilla: The Taking of Patty Hearst

Heir to an Execution

REALITY

CINEMA

MONDAY MAY 31 6:15PM BROADWAY PERFORMANCE HALL

FRIDAY MAY 21 7PM BROADWAY PERFORMANCE HALL

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A half-century after Julius and Ethel Rosenberg were USA put to death in the electric chair for being found guilty 2 004 of passing America’s atomic bomb secrets to the So­ Director: viets, their granddaughter Ivy Meeropol searches for Ivy Meeropol the human story behind their arrest and execution, Producers: tracing the ways in which their crime and their plight Marc Levin affected the members of her family. What emerges is Ivy Meeropol Daphne Pinkerson an engrossing account of American history during the Cinematographers: Red-baiting era, and a unique example of cinematic Ivy Meeropol emotional turmoil far beyond the realm of ordinary Matthew Akers familial dysfunction. Revered by some and vilified by Film Editors: others, the Rosenbergs refused to defend themselves by Ken Eluto Eric Seuel Davies speaking out during their trial, and Meeropol explores Running Time: the ramifications of that loud silence: Were they sim­ 99 minutes ply so dedicated to their ideological convictions that Presentation Format: they refused to sell out their beliefs? Was Ethel Rosen­ BetaSP Print Source: berg an active participant, or only a silent and sup­ HBO Documentaries portive witness to her husband’s treasonous activities? Selected Filmography: Did prosecutorial misconduct sway the eventual ver­ Feature Film Debut dicts in the case? These and other questions are raised and explored in a startlingly personal way, framing one of the definitive moments in modem American history from a curious and singular perspective, mak­ ing it one of the most interesting documentaries of the year.

2004 Director: Robert Stone Producer: Robert Stone Cinematographers: Howard Shack Robert Stone Richard Neill Film Editor: Don Kleszy Music: Gary Lionelli Running Time: 89 minutes Presentation Format: HDCAM International Sales: Jane Balfour Services Print Source: Robert Stone Productions Film Website: www.guerrillathemovie.com Selected Filmography: American Babylon (2000) World War Three (1998) Farewell Good Brothers (1992) The Satellite Sky (1990) Radio Bikini (1988)

DOCUMENTARY COMPETITION The latest film of British-born, Oscar-nominated documentarían Robert Stone, Guerrilla is an el­ egant, fascinating account of the rise and fall of the quixotic band of “visionaries” who were the leaders and foot soldiers of the Symbionese Liberation Army, one of the most notorious domestic terrorist orga­ nization in American history. This obscure group, dedicated to the rights of prisoners and the working class, remained below the radar until their audacious kidnapping of teenage newspaper heiress Patty Hearst in 1974 catapulted them into the spotlight. Over the course of some three years, the rag-tag group of fe­ rociously m ilitant political radicals robbed banks, senselessly killed two people and instigated a firefight after attempting to shoplift a pair of socks. Patty Hearst’s disappearance and subsequent embracing of the aims of her abductors took them to a new level, precipitating what could justifiably be called the first modem media frenzy— not surprising, considering the power the Hearsts wielded in America’s press or­ gans at the time. Despite questionable objectives and the bungling of their attempted acts of “social jus­ tice,” the SLA proved themselves masterful manipula­ tors of the media, and raised questions about its role in American society— mouthpiece? messenger? truth seeker?— that are no less relevant today.

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The Broadway B IA Congratulates SIFF on 30 Years of Entertaining Seattle

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clean, beautify, and promote the di­

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E Pine Street

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Broadway Business Improvement A rea 2150 N orth 10 7th Street, N° 2 0 5 * Seattle, WA 9^133 2 0 6 -3 6 7 -8 7 0 4 • www.hroadwayhia.org

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Imelda

CINEMA

In the Realms of the Unreal

SATURDAY MAY 2 2 11AM EGYPTIAN

MONDAY MAY 2 4 4 :30 PM BROADWAY PERFORMANCE HALL

TUESDAY MAY 25 7PM EGYPTIAN

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U SA 2003 Director: Ramona S. Diaz Producer: Ramona S. Diaz Cinem atographer: Feme Pearlstein Film Editor: Leah Marino Music: Grace Non Bob Aves Running Tim e: 103 minutes Presentation Format: HDCAM, in English and Tagalog with English subtitles Print Source: Cinediaz, Inc Selected Film ography: Spirits Rising (1996)

DOCUMENTARY COMPETITION Lock your doors and hide your shoes! Imelda is back, and she ain’t takin’ no guff from nobody. The always fascinating and equally polarizing personality of for­ mer Philippines first lady Imelda Marcos comes under the microscope in this remarkably candid yet wonder­ fully open-minded portrait, which won an award for cinematography at the recent Sundance Film Festi­ val. “ I’ve been very misunderstood,” Imelda opines, referring to the media’s preoccupation with her fabled shoe collection. Indeed, she seems convinced that her personal charm and persuasive powers will turn the record in her favor, and the film proceeds to lay out both sides of her story, in a thorough and strangely entertaining way. Encompassing fascinating archival newsreel footage of her early rise to prominence as a beauty pageant queen to her courting by and sub­ sequent marriage to rising Philippines political star Ferdinand Marcos and beyond, the film paints a por­ trait of a vivid and remarkable life. Evoking adoration among her hoards of admirers akin to that afforded Evita Peron, and reviled by opponents as a dragon lady, she is equal parts pragmatic, generous, manipu­ lative and emotionally vulnerable. Imelda’s largerthan-life persona makes for riveting viewing. This fascinating documentary from filmmaker Ramona S. Diaz paints an utterly compelling portrait of one of the most prominent women of the past half-century.

Aw ards:

REALITY

DOCUMENTARY COMPETITION By all accounts, Henry Darger was a man who kept to himself. Janitor by day, reclusive bachelor by night, Darger went through life quietly and without much notice. When he died in 1973, the landlords of his apartment came across an amazing discovery. In Darger’s single-occupancy room they found forty years’ worth of brilliantly illustrated and sometimes beautifully violent paintings, plus a 15,000-page novel called In the Realms of the Unreal, an epic, otherworldly story of seven sisters who waged a rebel war against child-enslaving men. Filmmaker Jessica Yu, who tackled the topic of Outsider Art in her 1999 film TheLivingMuseum, has her work cut out for her here. Only three photos of Darger exist. His biography had to be pieced together through written memoirs, the recollections of his neighbors and the art itself.

From his traumatic childhood in an orphanage and then an asylum, to his seemingly uneventful adult life in Chicago, Yu puts together a portrait of an ordinary man with an extraordinary inner life. Through ani­ mation and a voice-over provided by the young actress Dakota Fanning {Man on Fire, I Am Sam), In the Realms of the Unreal transports its viewers in Yu’s homage to one man’s imagination.

Preceded by Icons and Legends (William Phelps, USA, 2003,20 minutes) A portrait of the celebrity photographer Michael Childers.

WOMEN CINEMA

U SA 2003 Director: Jessica Yu Producers: Susan West Kara Vallow Screenwriter: Jessica Yu Cinem atographers: Tim Bieber Shana Hagan Michael Barrow Russ Harper Film Editors: Jessica Yu Thom Whitehead Music: Matthew ladarola Narration and voicing by: Dakota Fanning Larry Pine Running Time: 81 minutes Presentation Format: 35mm Print Source: Diorama Films, LLC Film W ebsite: www.realmsoftheunreal.com Selected Film ography: The Living Museum (1999)

Sundance 2004 (Excellence in Cinematography Award)

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Los Angeles Plays Itself

Metallica: Some Kind of Monster

SUNDAY MAY 3 0 6:15PM BROADWAY PERFORMANCE HALL

MONDAY JUNE 7 9 3 0 M PACIFIC PLACE

MONDAY MAY 3 1 11AM BROADWAY PERFORMANCE HALL

SUNDAY JUNE 13 6 PM EGYPTIAN

U SA 2003 Director: Thom Andersen Producer: Thom Andersen Cinem atographer: Deborah Stratman Film Editor: Yoo Seung-hyun Music: Thor Moser Craig Smith Narration by: Encke King Running Time: 169 minutes Presentation Format: BetaSP International Sales: Submarine Entertainment Print Source: Thom Andersen Selected Film ography: Red Hollywood (1995) Eadweard Muybridge, Zoopraxographer (1974)

DOCUMENTARY COMPETITION This is a cinematic tour— nay, excavation— of that oft-photographed but most invisible city, Los Angeles, that takes as its guide the movies themselves. Director Thom Andersen, a film historian and documentar­ ían, is first and foremost a citizen, and his consum­ mately well-researched essay attempts to correct, even reconstruct, the cinematic landscape of Los Angeles by treating the fictions that attend the city with docu­ mentary value. The film ’s generous sifting of celluloid evidence leaves no genre exempt; everything is game, from blockbusters to drive-in, noir to pom, with Double Indemnity held as accountable as Cobra.

Los Angeles Plays Itselfdeclares that the city is most faithfully served by the aesthetics of necessity inher­ ent in B-movies, films by and about minorities, “high tourist” art-house fare from foreign-bom directors, and the skepticism of film noir. As such, Chinatown, Dragnet, Jacques Demy’s Model Shop, Antonioni’s Zabriskie Point, and Kent MacKenzie’s rare The Ex­ iles are a few that receive high billing on the film ’s crammed marquee. Clocking in at just under three hours, this film actually seems too short. Like the city itself, the film sprawls into unforeseen territory, dislo­ cating the viewer only in the overwhelming nature of its argument: the mirror that cinema holds up to our life is often woefully distorted, perhaps sadly incom­ mensurate with how and where we really dwell.

Dr. Phil, reality TV, self-help bestsellers. We are U S A officially in the Age of Therapy. But as well versed as 2004 our society is in the language of pop psychology, you Directors: haven’t seen anything until you’ve seen one of the Joe Berlinger world’s most successful metal bands work things out Bruce Sinofsky in group therapy. Metallica: Some Kind of Monster Producers: tracks the tumultuous period the group went through Joe Berlinger Bruce Sinofsky while recording their first studio album in five years, Cinem atographer: a time that included Metallica’s war with Napster, the Bob Richman resignation of bassist Jason Newsted, and lead singer Film Editors: James Hetfield’s year-long stint in rehab. Documen­ Doug Abel M. Watanabe Milmore tary filmmakers Joe Berlinger and Bruce Sinofsky Music: (Brother’s Keeper, Paradise Lost) were invited to Metallica make a film about Metallica as the band embarked Cast: on recording what would become their 2003 release James Hetfield “St. Anger.” They ended up with more than just a Lars Ulrich Kirk Hammett “making of an album” film . What they got was, as Robert Trujillo Lars Ulrich said to Rolling Stone magazine, “ a film Running Time: about relationships.” As the stakes keep rising, each 139 minutes band member is forced to examine his own personal Presentation Format: 35mm demons and roles in a massively successful musical Print Source: enterprise. Anger, substance abuse and frustrated egos IFC Films threaten to disintegrate Metallica, so their managers Film W ebsite: suggest they hire an in-house therapist/performance www.someklndofmonster.com enhancement coach. Anyone who has had to work Selected Film ography: Paradise Lost 2: Revelations (2000) with a team will appreciate what comes of this. A fas­ Paradise Lost (1996) cinating look at the creative process, Metallica: Some Brother's Keeper (1991) Kind of Monster gives plenty of insight into human nature along its turbulent path.

Awards: Vancouver 2003 (Best Documentary Feature)

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REALITY

Nobody Knows Howto Talk to Children

Monster Road agggpi

WEDNESDAY MAY 26 6 :45 PM BROADWAY PERFORMANCE HALL

SATURDAY JUNE 12 9PM EGYPTIAN

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P R E M I E R E

U SA 2004 Director: Brett Ingram Producers: Brett Ingram Jim Haverkamp Cinem atographer: Brett Ingram Film Editors: Brett Ingram Jim Haverkamp Music: Shark Quest Cast: Bruce Bickford George Bickford Running Tim e: 80 minutes Presentation Form at: BetaS P Print Source: Bright Eye Pictures Film W ebsite: www.brighteyepictures. com/monsterroad.html Selected Film ography: Feature Film Debut

DOCUMENTARY COMPETITION For nearly 40 years, self-taught animator Bruce Bick­ ford has been creating small-scale symphonies of clay madness— worlds of constant movement, battle and transformation. While his collaborations with Frank Zappa in the 1970s {Baby Snakes, TheAmazingMr. Bickford) have achieved worldwide cult status, much of his work has never been seen by the public, and many don’t realize that he continues to work tire­ lessly on new films, in the garage of his house just outside Seattle. Decades of his films and drawings— a surreal chronicle of observations, frustrations, perver­ sions and personal mythology— provide the perfect backdrop for this documentary portrait. Monster Road traces the domination and destruction found in Bickford’s cinematic visions back to his child­ hood years in an extremely competitive household during the paranoia of the Cold War. The film also visits his father George, a retired Boeing engineer who now faces the onset of Alzheimer’s disease. While it is clear that George Bickford was a far-from-perfect father, there is also no denying the strong influence that his engineer’s sensibility and dinnertime discus­ sions of missile tests had on Bruce’s imagination and art. Early in the film , Bruce suggests that the world’s problems would be solved if, instead of creating ac­ tual wars and destruction, we worked out our aggres­ sions artistically. In illuminating both the real and imagined worlds of this unique film artist, Monster Road shows that philosophy in practice.

DOCUMENTARY COMPETITION Dirty, gritty, garage, raucous, shameless, confident, cheeky, significant; these are all words that describe The White Stripes. Regardless of worldwide recogni­ tion and raving reviews, Jack and Meg White seem to shy away from the limelight amidst questions about their personal lives and, perhaps more significantly, their ability to impact the music world. Are they really brother and sister, or are they a divorced couple? How do they feel about their impending fame? Nobody Knows How to Talk to Children speaks through this courageous new band and tells us the truth about rock ‘n’ roll in the 21st century. In April 2002 the White Stripes played four sold-out shows in a row at NYC’s landmark Bowery Ballroom. Comprised of footage from one of these performances, this you-are-there document also offers viewers a backstage (warts and all!) pass as Jack and Meg party with tour buddies Ju­ lian Casablancas (lead singer of The Strokes), Albert Hammond Jr. (guitarist for The Strokes), and actor Macaulay Culkin. Defiant of their detractors again and again, Jack gargles salt water between cigarettes to alleviate his throat condition while Meg eases the pain from her severely blistered hands with shots of whiskey before going on stage to repeatedly shock and awe their enthusiastic fans.

U SA 2004 Director: George Roca Producers: Matt Burns Jack La Pick Cinem atographers: George Roca Nicole Lovett Film Editor: George Roca Music: The White Stripes Featuring: Jack White Meg White Julian Casablancas Albert Hammond Jr. Macaulay Culkin Running Time: 97 minutes Presentation Format: DigiBeta Print Source: ROCA Productions Selected Film ography: Feature Film Debut

Aw ards: Slamdance 2004 (Best Documentary)

Preceded by The OldMan & theStudio (Eric Champnella, USA, 2003,13 minutes) Comedic short pits Hemingway vs. Hollywood.

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BISTRO 6 LOUNGE

Original Child Bomb

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Inspired by Thomas Merton’s poem of the same name, U S A this loosely structured documentary meditation on 2004 the origins of the atomic age focuses primarily on D irector: the long-term effects of the bombings on Hiroshima Carey Schonegevel and Nagasaki. The film uncovers old newsreel footage Producer: of both cities before the war, when they were not yet Holly Becker Screenw riter: fully industrialized. Survivors and eyewitnesses testify Carey Schonegevel to their own injuries, and the monstrous injuries and Cinem atographer: deaths they saw. The film reveals details that are not Aaron Phillips widely known about the history of the bombings, such Film Editor: as the fact that Tokyo was the US’ original choice, ex­ Mako Kamitsuna Music: cept that it had already been too thoroughly destroyed Ryuichi Sakamoto by conventional bombs. Contemporary Hiroshima Running Tim e: and Nagasaki are visited in a montage that juxtaposes 57 minutes today’s bustling population with the devastation from Presentation Format: nearly sixty years ago. Students in an American class­ DigiBeta Print Source: room share their perception of the horrific nature of Unquiet Projects LLC weapons of mass destruction, and their fear that the world could be destroyed by these devices. The film also explores contemporary politics, and examines how fear of the bomb has been appropriated to serve specific political agendas. As an alphabet game near the end points out, Original Child Bomb is a lesson about the nature and the effects of destruction deliv­ ered on a massive scale.

Plays with Persons ofInterest (Page 196)

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Orwell Rolls in His Grave

Paper Clips

THURSDAY JUNE 3 9PM BROADWAY PERFORMANCE HALL

SUNDAY JUNE 6 430PM PACIFIC PLACE

SUNDAY 6 9 :15PM BROADWAY PERFORMANCE HALL

WEDNESDAY JUNE 9 4 :45PM EGYPTIAN

USA

2003 D irector: Robert Kane Pappas Producer: Robert Kane Pappas Screenw riters: Robert Kane Pappas Tom Blackburn Cinem atographers: Robert Kane Pappas Alan Hostetter Film Editor: Robert Kane Pappas Music: Eric Wood Cast: Bernie Sanders Charles Lewis Vincent Bugliosi Running Tim e: 95 minutes Presentation Format: DigIBeta Print Source: Magic Lamp Film W ebsite: www.orwellrollsinhisgrave.com Selected Film ography: Some Fish Can Fly (1999) Now I Know (1988)

“That’s the ultimate power in a political realm: controlling perceptions.”

- Charles Lewis, former “ 60 Minutes” producer

Using George Orwell’s dystopian classic 1984 as a springboard, Robert Kane Pappas’ timely documenta­ ry explores the many ways in which the media protects the powerful at the expense of the powerless. Pappas (Now I Know, Some Fish Can Fly) began working on his chilling non-fiction debut over 20 years ago, back when American hostages were released from Iran just in time for Ronald Reagan to take the oath of office. Was the timing of their release merely coin­ cidental or were there more insidious forces behind it?

Pappas focuses his lens on a number of similar devel­ opments that have taken place since, about which the public has only been provided the sketchiest and most selective of information. These include the estate tax, the Enron crisis, the 2000 presidential election and media deregulation. The latter is cited as a prime ex­ ample of Orwellian double-speak— it sounds like a good thing, but is it really? And why didn’t it gamer more attention? Some of the media experts who are interviewed include Professor Robert McChesney, Ver­ mont Congressman Bernie Sanders, author/attomey Vincent Bugliosi (The Betrayal ofAmerica: How the

REALITY

In 1998, when the students of Whitwell Middle School USA decided to launch a project focusing on diversity and 2003 tolerance, they had no notion that their journey would Directors: resonate around the world, touching the hearts and Elliott Berlin minds of celebrities, politicians and ordinary folks Joe Fab alike, and galvanizing tens of thousands of people Producers: into action. Whitwell, a town of 1,600 people, mostly Joe Fab Robert M. Johnson poor, white families, lies in rural Tennessee, a mere Ari Daniel Pinchot 100 miles from another notorious small burg-the Screenwriter: birthplace of the Ku Klux Klan. The inspired project Joe Fab these eighth-grade students initiated had a simple Cinem atographer: Michael Marton premise: choose an item to symbolize each of the 6 Film Editor: million Jews exterminated in the Holocaust, and col­ Julia Dixon Eddy lect 6 million of the items to demonstrate the vast Music: number of human souls lost to humanity through Charlie Barnett acts of intolerance and hate. They chose paper clips. Running Time: 83 minutes This astonishing record of their campaign traces the Presentation Format: ways in which their effort attracted the attention of 35mm people and media all over the world, resulting in an International Sales: enduring, deeply moving memorial to all who have Miramax Films Print Source: suffered from intolerance.

Miramax Films Awards: Palm Springs 2004 (Audience Award, Best Documentary)

Supreme Court Undermined the Constitution and Chose Our President), and Charles Lewis, founder of the Center for Public Integrity. Oscar-winners Michael Moore (Bowlingfor Columbine) and Tim Robbins (Mystic River) are also featured in this persuasive and thought-provoking film .

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Persons of Interest

Paternal Instinct

SATURDAY JUNE 5 6 :15 PM BROADWAY PERFORMANCE HALL

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USA

DOCUMENTARY COMPETITION

2004 A fascinating documentary about a very uncon­ Director: Murray Nossel Producers: Craig Harwood Murray Nossel Cinem atographer: Edward Marritz Film Editor: Susanne Rostock Music: Hahn Rowe Running Time: 74 minutes Presentation Format: BetaSP Print Source: Two Spirit Productions Selected Film ography: A Brooklyn Family Tale (2001)

ventional approach to the breeding process. Mark and Erik, an affluent gay couple in a committed relationship, have placed an Internet notice: NYC GAY COUPLE SEEKING SURROGATE. They want a baby, and they want to share with it a genetic bond.

In this astonishing film , these two men embark on a process that will utterly transform them, a process that heterosexual couples might take for granted: the quest for a biological child. We follow the young pair in their search for a suitable surrogate mother, and join them in wondering what kind of person would be willing to receive their sperm for a fee of $10,000 to $15,000, and then nine months later relinquish the baby? After their lawyer calls to say that he’s found a suitable woman, they both have fits of nerves along with doubts about fatherhood and even potency. This too-good-to-be-true person is Wen, a follower of the Wicca religion who lives in Maine with a husband and a 12-year-old son. Eventually Mark and Erik’s rela­ tionship with Wen goes beyond the nine months of incubation, and they get much more than they bar­ gained for. After three years of miscarriages, they must take the tragedy with humor, as they repeat the comi­ cal and frustrating conception rituals. Ultimately, a documentary with more drama and love would be difficult to conceive.

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The most dangerous time in America for Arabs and USA Muslims was in the weeks and months following the 2004 terrorist attacks of Sept. 11,2001. The atmosphere of Directors: distrust and apprehension allowed Attorney General Alison Maclean John Ashcroft to invoke “national security” as justi­ Tobias Perse fication for detaining some 5,000 immigrants (the Producer: Lawrence Konner Department of Justice hasn’t released actual numbers Cinem atographer: or names). Ashcroft called them terrorists—they call Richard Rutkowski themselves Americans. Alison Maclean (Jesus’ Son) Film Editor: and Tobias Perse (documentary filmmaker and for­ Sandrine Isambert mer editor of Rolling Stone) examine the stories of 12 Music: Stewart Wallace such detainees. Their experiences are all unique, yet Running Tim e: unfortunately similar: Every one of them was arrested 63 minutes on immigration charges, detained without access to Presentation Form at: legal representation (in some cases for over a year) BetaSP, in English, Arabic and Spanish with and denied access to their own families. Some were English subtitles held in solitary confinement for months, and others International Sales: ended up being deported (not always along with their Deckert Distribution families, or even to their home countries). Many of Print Source: the detainees lost their jobs, friends and hopes. Per­ The Documentary Campaign Film W ebsite: sons of Interest was instigated by The Documentary www.personsofinterest.org Campaign, a production company that promotes so­ Selected Film ography: cial justice and human rights documentaries, found­ Jesus' Son (Maclean-1999) ed by screenwriter Lawrence Konner. The cumulative Crush (Madean-1992) Bald (Perse-1999) effect of the’film is chilling and does a great service in offering new information at a time when open discus­ sion is more important than ever.

Plays with Original ChildBomb (Page 194)

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REFRACTING

Searching for the Wrong-EyedJesus

Riding Giants

FRIDAY JUNE 11 9PM EGYPTIAN

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USA

2004 Director: Stacy Peralta Producers: Agi Orsi Stacy Peralta Jane Kachmer Screenw riters: Stacy Peralta Sam George Cinem atographer: Peter Pilafian Film Editor: Paul Crowder Cast: Laird Hamilton Greg Noll Jeff Clark N arration by: Sean Penn Running Tim e: 105 minutes Presentation Form at: 35mm International Sales: Studio Canal Print Source: Sony Pictures Classics Selected Film ography:

Stacy Peralta planted the proverbial goofy foot down with his documentary Dogtoum and Z-Boys, a vi­ brant film about the skateboard culture that grew on the fringes of Santa Monica and Venice Beach. Now, with Riding Giants, he delves into his other big ob­ session: surfing. Beginning with surfing’s origins in pre-Captain Cook Hawaii, through the popularity of the Gidget movies and up to the Jet Ski towed derring-do of the modem day big wave surfers, Peralta captures the lure of surf culture. Riding Giants fo­ cuses on the big wave hunters, the men who build themselves up to near-religious mindsets in order to experience the ultimate stoke. It’s not just about pushing oneself to the extreme and achieving what at first seems impossible, though they certainly take risks that your Average Joe could never comprehend, like riding 70-foot waves. Theirs became the iconic lifestyle of California sand, sun and ocean. Never a bunch to be satisfied with just money or fame, these surfers kept on pushing further. Meanwhile, Peralta visits the hotspots of California, Hawaii and Fiji with some of the top big-surf riders of the past and present: Greg Noll, Jeff Clark, and Laird Hamilton to name but a few. And just when you think the pinnacle has been reached, Riding Giants tips it one step beyond.

Dogtown and Z-Boys (2001)

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DOCUMENTARY COMPETITION British filmmaker Andrew Douglas was so intrigued by quirky Florida musician Jim White’s album “WrongEyed Jesus” that he decided to find out more about it.

The result is this beguiling and wonderfully cinematic road movie in which White goes in search of the soul of the American South, where everybody is a storyteller and Jesus is never far away. Starting out with a statue of Christ salvaged from a wrecker’s junkyard protrud­ ing from the bumper of his battered 1970 Chevy, White probes the “Ulan Bator of America,” and imparts pearls of wisdom in his laconic manner. White’s own story threads through the film, as he traces his search for the meaning of faith in a modem world within the haunting atmosphere of the South or, as White puts it, “looking for the gold tooth in God’s crooked smile.”

En route he gleans a cornucopia of hair-raising tales, including some funny, gritty and profound stories from celebrated Southern writer Harry Crews. Music is omnipresent and musicians pop up in various un­ likely locations, including blues singer Johnny Dowd, former New York Doll-tumed-musicologist David Jo­ hansen, and 16 Horsepower front-man David Eugene Edwards, as well as the Handsome Family playing on the porch of a house that seems to be fighting a los­ ing battle with a flood. All in all, this is an entrancing journey into the heart of the southern US— a culture that is poor and marginalized, yet extraordinarily rich in creative spirit.

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2003

Director: Andrew Douglas Producers: Andrew Douglas Martin Rosenbaum Jonathan Shoemaker Screenwriter: Steve Haisman Cinem atographer: Flor Collins Film Editor: Michael Elliot Cast: Handsome Family David Johansen Lee Sexton Harry Crews Narration by: Jim White Running Time: 86 minutes Presentation Format: BetaSP International Sales: Films Transit International Print Source: Films Transit International Film W ebsite: www.searchingforthewrongeyedjesus.com Selected Film ography: Feature Film Debut

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Still Doing It: The Intimate Lives of Women Over 65

Thirst

WEDNESDAY JUNE 2 6:45 PM BROADWAY PERFORMANCE HALL

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USA Young people tend to think they’ve cornered the mar­

2003 Director: Deirdre Fishel Producers: Deirdre Fishel Diana Holtzberg Cinem atographers: Deirdre Fishel Caroline Kim Film Editor: Deirdre Fishel Running Time: 54 minutes Print Source:

Films Transit International Film W ebsite: www.filmstransit.com/ stilldoing.html Selected Film ography: Risk (1994)

ket on sexual intimacy, but older people can and do have healthy, happy sex lives. And menopause is not the same for every woman; some get stronger sexual appetites as they mature. This documentary takes an intimate and good-natured look at the sexuality of woman over 65. Nine women, from the age of 65 to 87— partnered, single, straight, gay, black and white— express themselves with startling honesty about sexuality, sex, love and the politics of aging.

Outspoken for their generation, these women mark the beginning of a sea tide of change. Women over 65 are already the fastest growing segment of the popula­ tion, and when the baby boomers begin to turn 65 in 2011, their numbers will swell. How can we continue to remain so obsessed with youth, marginalizing so many? Still Doing It studies the lives of these women and the politics of aging, with revelatory results. With startling candor that would make even Sex and the City’s Samantha Jones blush, Still Doing It is one of the first documentaries to delve into the complex is­ sues of desire and identity for the aging generation of women influenced by the sexual revolution. Director Deirdre Fishel spent over two years finding and creat­ ing relationships with nine courageous women and discovered the poignant realities of growing older.

Water is a natural right to everyone on the planet, like USA the air we breathe, right? Maybe not. There is a grow­ 2004 ing business group that believes water is a commodity Directors: to be bought and sold by global corporate suppliers! Alan Snitow At the 2003 Third World Water Forum, politicians, in­ Deborah Kaufman ternational bankers, and corporate executives gather Producers: to decide who will control the earth’s fresh water sup­ Alan Snitow Deborah Kaufman plies. They are challenged by experts and activists from Cinem atographer: around the world, who assert that water is and should Avijit Mukul Kishore remain a human right, not a commodity to be traded Film Editor: on the open market. Thirst looks at this growing de­ Kenji Yamamoto Running Tim e: bate from points around the globe. In Bolivia, tens of 63 minutes thousands of people, led by Oscar Olivera, battle police Presentation Form at: and the army to protect their water rights. In India, DigiBeta Rajendra Singh leads a grass-roots water conserva­ Print Source: tion effort in opposition to the government’s attempts Snitow-Kaufman Productions Selected Film ography: to sell water rights to companies like Coke and Pepsi. Secrets of Silicon Valley (2001) Much closer to home, in California, Stockton’s Mayor Blacks and Jews (1997) Gary Podesto proposes giving control of the city’s water system to a group of global water corporations, which leads the residents to form a coalition to demand— at the very least— a say in the decision. Alan Snitow and Deborah Kaufman have created a fascinating and dis­ turbing look at an issue that will affect all of our lives in the future.

Screens w ith Up Thornton Creek (Page 199)

Screens with Busting Out (Page 182)

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UpThornton Creek

FRIDAY JUNE 11 9 :15 PM BROADWAY PERFORMANCE HALL SUNDAY JUNE 13 4 :15PM HARVARD EXIT

Great Britain/ USA

2003

D irector: Madeleine Farley Producers: Phillip Moross Simon White Cinem atographer: Robert Bennett Film Editor: Helen Lindley Music: Jess Bailey Running Tim e: 78 minutes Presentation Format: 35mm Print Source: Trollywood LLP Selected Film ography: Feature Film Debut

REALITY

N. AMERICAN PREMI ERE

DOCUMENTARY COMPETITION This astonishingly entertaining documentary exam­ ines an outcast subspecies in the heart of the Hollywood dream factory: the homeless hordes who carry all of their worldly possessions with them in shopping carts they liberate from Southern Californian supermarkets.

Fascinated by the subject of homelessness in a city famous for its show of wealth, British journalist and photographer Madeleine Farley set about exploring the contradiction between rich and poor in Hollywood, and settled upon the shopping cart— “trolley” to the Brits— as the perfect symbol for the deep divide between the haves and the have-nots. On the one hand, these carts are used by consumers in supermarkets and malls to convey provisions and luxury goods, while others use them as repositories for all of their worldly goods. The further her exploration takes her, the more engrossed she becomes with the homeless people she encoun­ ters. The striking personalities of those she interviews form a rich catalogue of characters, as entertaining as any dreamed up for a fictional movie. Utilizing great camerawork and an enviable soundtrack of pop clas­ sics, director Farley’s striking first documentary feature embraces these singular fringe-dwellers with a healthy heaping of heart and soul.

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WORLD PREMIERE

A parking lot or a piece of nature: Which would you USA rather have in your backyard? The answer is easy, but 2004 it’s not always up to individuals to decide. Local film­ Director: maker Peter J. Vogt captured such a dispute in Shore­ Peter Vogt line, Washington, and you can’t help but think, “This Producer: can’t be happening here!” Oh, but it can. When Tim Peter Vogt and Patty Crawford bought their home, part of the al­ Cinem atographer: Lars Larson lure was that it was on a river with an active salmon Film Editor: run. New neighbors bought the plot next to them, Peter Vogt and those neighbors turned out to be a California de­ Music: velopment company planning to build a retirement Peter Vogt Cast: center. Their building plans said they would respect Patty Crawford the stream as a local, living natural resource. Then Tim Crawford they started construction. Desperately trying to stop Freeman House permanent damage to the river, the Crawfords talked Running Time: to the development company, to the city, and finally 55 minutes Presentation Format: to the courts. The courts issued an order to stop con­ DigiBeta struction, but the building continued. The Crawfords Print Source: also continued to fight, in spite of the growing costs of Outsider Films time, energy and money. Local filmmaker PeterJ. Vogt Selected Film ography: Nuts & Bolts (short 2001) began making films and videos in the mid-1980s. He co-produced Hype!, which premiered at Sundance in 1996 and won SIFF’s feature documentary prize.

Vogt’s short, Nuts & Bolts won a special jury prize at SIFF 2001. Up Thornton Creek represents his first step into the activist film world.

Screens with Thirst (Page 198)

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The Goddess SHENNU SATURDAY MAY 2 9 3 :45 PM EGYPTIAN

China

1934

D irector: Wu Yonggang Producer: Lianhua Film Company Screenw riter: Wu Yonggang Cinem atographer: Hong Weilie Music: Kevin Purrone, live musical accompaniment Cast: Ruan Ling-Yu Zhang Zhizhi Li Keng Running Time: 77 minutes Presentation Form at: 35mm, in Cantonese with English subtitles Print Source: China Film Archive

Often called the pinnacle of Chinese silent film , The Goddess (1934) stars one of C h in a’s greatest actresses, Ruan Ling-Yu. The movie is not about beautiful immortals, mythical creatures or idyllic fantasy worlds, how­ ever. In Shanghai, the term “ Goddess” was a way of describing a prostitute. Here R uan plays a single mother who sells her body to support her son. R unning from the police, she crosses paths with a local gangster who hides her, but then forces her to work for him and give him her earnings at the end of each night. At great risk, she keeps some of her money in order to continue payments to her son’s school. When the school board dis­ covers her occupation they expel the boy, despite the pleading of the sympathetic headmaster. Meanwhile, her struggle with the gangster continues to a violent clim ax. An expressive actress, R uan often played the symbol of Chin a’s suffering, and this beautiful film follows her character’s heart-rending choices as she tries to do the right thing while living the wrong life. The Goddess was one of her last films. She committed suicide in 1935 at the age of 24, having made 29 films before her tragic death. Her funeral in Shanghai was bigger than Rudolph Valentino’s in Hollywood.

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Playtime MONDAY JUNE 7 7PM CINERAMA

France

1967

Director: Jacques Tati Producer: René Silvera Screenw riters: Jacques Tati Jacques Lagrange Art Buchwald Cinem atographers: Jean Badal Andréas Winding Music: James Campbell Francis Lemarque Cast: Jacques Tati Barbara Dennek Jean Luc Montante Running Time: 126 minutes Presentation Form at: 70mm, in French, with English subtitles Print Source: Janus Film W ebsite: www.tativille.com

In Jacques Tati’s brilliant Playtime, a m inim al plot is held together by the precision orchestration of visual,

Selected Film ography: Parade (1973)

aural and conceptual gags. Tati’s famous alter ego, M. Hulot, makes his way through the rigid, automated

Traffic (1972) Mon Onde (1958) Mr. Hulot's Holiday (1953)

environment of 1967 Paris, as a band of American tourists also explore this antiseptically modem city. But

Jour de Fete (1948)

finds kindred spirits in an obnoxious millionaire and a beautiful but quiet American named Barbara. When

chaos follows Hulot around, and a little anarchy introduces a sense of fun to the city’s businesslike aura. He a top-of-the-line restaurant is just about to open up, things start falling apart, but Hulot helps to pick up the pieces and transform disaster into an unforgettable evening. One of the true classics of French cinema, Jacques Tati’s masterpiece was so far ahead of its time that the rest of the world has yet to catch up. A strange, hilarious film , Playtime marks the pinnacle of Tati’s art and humor. Though famous for its enormous set (nicknamed Tativille), it was the film in which he most fully realized his ambitions to create a “ democratic comedy”— a style of slapstick grounded in everyday reality, in which the gags are spread out among the entire cast. It’s presented here as it was originally intended, in glorious 70mm.

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The Debut NACHALO SUNDAY MAY 23 4 :15 PM HARVARD EXIT

Russia

1970

D irector; Gleb Panfilov Screenw riters: Gleb Panfilov Evgeny Gabrilovich Cinem atographer; Dmitry Dolinin Film Editor: Mariya Amosova Music: Vadim Bibergan Cast: Inna Churikova Leonid Kuravlev Valentina Telichkina Tatyana Stepanova Running Tim e: 91 minutes Presentation Form at: 35mm, in Russian with English subtitles Print Source: Seagull Films Selected Film ography: The Romanovs (2000) Mother (1989)

In a wide-open field, a lone rider gallops toward a group of horsemen. Is it an army gathering for battle? The camera pulls back into a monastery where Jo ap of Arc is brought in front of her accusers for final judgement. “ How do you plead?” For seven minutes you swear you’re viewing the Russian version of Jo an of Arc— but you

Vassa (1983) Valentina (1981) Theme (1979) No Path Through the Fire (1970)

aren’t. Suddenly the director yells “ Stop!” and appears in the shot while the wardrobe ladies quickly collect costumes. So begins this 1970 Soviet comedy/social dram a The Debut (also known as The Beginning), star­ ring the great Russian actress Inna Churikova. Arguably the greatest actress in contemporary Russian cinem a, Churikova’s films are rarely seen outside of Russia (the exception being V. Krishtofovich’s 1990 film Adam ’s Rib). Director Gleb Panfilov takes us back to the Soviet 1970s and into the life of factory girl and amateur actress Pasha Stroganova. Her career in children’s theater is interrupted when she’s cast as Jo an of Arc, and meets the married Arkady (Leonid Kuravlev), an irresistible, weak m an with whom she begins an affair. Written

by Panfilov, Churikova’s husband, The Debut won the Silver Lion at the 1971 Venice Film Festival.

Awards: Venice 1971 (Silver Lion)

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Before Sunrise SATUDAY JUNE 5 2PM HARVARD EXIT

USA

1995 Director: Richard Linklater Producer: Anne Walker-McBay Screenw riters: Richard Linklater Kim Krizan Cinem atographer: Lee Daniel Film Editor: Sandra Adair Cast: Ethan Hawke Julie Delpy Running Time: 105 minutes Presentation Format: 35mm Print Source: Warner Independent Films Selected Film ography: Before Sunset (2004) The School of Rock (2003) Tape (2001) Waking Life (2001) The Newton Boys (1998) Dazed and Confused (1993) Slacker (1991)

Strangers on a train; it’s one of the oldest romantic formulas in the book. Jesse (Ethan Hawke) is a young American traveling through Europe on a Eurail pass. Celine (Julie Delpy) is a French graduate student at the Sorbonne, returning to Paris from a holiday. Some sparks fly when they talk, but then the train pulls into Vienna, where Jesse is due to catch a flight back to the States the next morning. He convinces her to get off the train with him and spend the hours until his plane departs exploring Vienna and getting to know one another. Watching and listening to these two do just that is a charming experience; their conversation has a ring of truthfulness, and rarely does the viewer’s interest stray. The film achieves a spontaneous feel, thanks to the performances of Hawke and Delpy, whose intelligence and seductiveness fill out their characters. Before Sunrise also marks the maturation of Richard Linklater’s work in terms of theme and character development.

As in his previous films, Slacker and D azed a n d Confused, he maintains a great attentiveness to characters and the influence of time, but with Before Sunrise his focus begins to include larger human issues. The result is a “ thinking person’s” romance that breathes new life into the old formula. An opportunity to see a sparkling new print of a modem classic.

Aw ards: Berlin 1995 (Silver Bear - Best Director)

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FILMS

4 FAMILIES

Jester Till TILL EULENSPIEGEL

To further Cinema Seattle's mission of creating a world that savors the finest of homegrown and foreign cinema, we offer our early indoctrination program— Films4Families. This hand­

SATURDAY MAY 2 2 1130AM PACIFIC PLACE SUNDAY MAY 23 1130AM PACIFIC PLACE

picked series presents the best films from around the globe to wow, regale and flat-out occupy the rabid attention spans of modern family units. Join us each Saturday and Sunday during the Festival for a matinee excursion into imaginative programming for young people. Remember: culturally savvy kids grow into artistically openminded adults. And who doesn't want more of those?

Jester Till

(Page 205)

Preceded by Rick & Rocky (Brandon Osterman, USA, 2004,8 minutes) Beautifully animated adaptation of the children’s book.

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Max Rules

One of Europe’s most beloved folktale characters Germany/Belgium comes to colorful life in this new animated version 2003 of the adventures of Till Eulenspiegel, the original Director: class clown. Till is a free spirit representing the sim­ Eberhard Junkersdorf ple wisdom and earthy humor of the peasant folk. Producers: In countless legends, he wanders the landscape of Eberhard Junkersdorf the late Middle Ages, getting into and out of trouble Roland Pellegrino Linda van Tulden and making fun of the rich and powerful. He has Screenwriters: the universal appeal of the clown or the court jester, Peter Carpenter instantly understood and embraced in every country. Eberhard Junkersdorf Here young Till makes his way to the bustling city of Christopher Vogler Boomstadt to visit his old grandfather, the slightly Film Editor: Uli Schön off-center wizard Marcus. The old man and his Music: faithful assistant, the owl Cornelius, cook up a spe­ Soren Hyldgaard cial magic potion of happiness for Till to give to the Voices of: people of the city. Unfortunately, Marcus’ old enemy Lee Evans Sharon Alexander Dr. Death, a spooky skeletal figure, sabotages the po­ Doug Parker tion and Marcus disappears in a terrible explosion. Ellen Kennedy In order to find Marcus, Till must experience further Ian James Corlett Running Time: adventures as well as hilarious and hectic battles.

(Page 206)

SATURDAY JUNE 12 11AM EGYPTIAN SUNDAY JUNE 13 1:30 PM EGYPTIAN

Moi, Cesar

84 minutes Presentation Format: 35mm, in English Print Source: Munich Animation Film W ebsite: www.tilleulenspiegel-film.de Selected Film ography: The Fearless Four (1997)

(Page 84)

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Wondrous Oblivion

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Moi, César M OI, CÉSAR, 10 ANS l/2, 1M39

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Combining pathos and whimsy, Moi, César is a charm- France ing modem fairy tale about childhood, by famous 2 0 0 3 French actor Richard Berry. César (the deadpan Jules Director; Sitruk, who narrates) is a chubby 10-year-old with R¡chard Berry only one skill: he’s an ace at memorization. He never Producer: thought classmate Sarah (Josephine Berry) would Michel Feller notice him, but an impressive poetry recital earns ^ e® "^ ters' her friendship. He would prefer a girlfriend, and pal Rjchard Berry Morgan (Mabô Kouyaté) feels the same way. The cinem atograp her: three become inseparable, like a grade-school Jules Thomas Hardmeier andJim. Back at home, his dad (Jean-Philippe Écof- p,lm Ed,t® ^ fey, Dirty Pretty Things, SIFF 2003) doesn’t talk to L^^pferffer him at all, he just scolds; while his mom (Maria de Music; Medeiros, Pulp Fiction) is having a baby to improve Reno Isaac on the mistakes she made with him— or so he thinks. Cast.

César, Sarah and Morgan are united as much by their ¡J ada“ edeiros love of hip-hop and bawdy humor as by the perceived j ean-phii¡ppe Écoffey neglect of their parents. The trio decides on a change Joséphine Berry of scenery, so it’s off to London they go. Along the way, Mabô Kouyaté they meet a variety of colorful characters, including Anna ,Kan"?

Anna Karina as a punk-rock Aunty Marne. It s a life- gi m|nutes changing trip, especially for César, who finally grows presentation Form at: into his name.

35mm, in French with English subtitles Parental Advisory:

• Prescription Oakley & Maui Jim lenses

International Sales:

Som e sw earing, m ild sexual references and one brief

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Don't m iss the short film "Perfection"

dossiers/moi_cesar Selected Film ography: Feature Film Debut

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FILMS 4 FAM ILIES

Max Rules

Wondrous Oblivion

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W ORLD

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P R E M I E R E

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USA

2004 Director: Robert Burke Producers: Robert Burke Jerry Mahan Screenw riter: Robert Burke Cinem atographer: John Jeffcoat Film Editor: Robert Burke Music: Matthew Bennett Cast: William B. Davis Andrew C. Maier Jennifer Lancheros Spencer Esau Paul Eenhoorn Jason Dittmer Running Tim e: 70 minutes Presentation Format: HDCAM Print Source: Jumpshot Productions Selected Film ography: Feature Film Debut

Young Max Brinkley seems to be your typical smartaleck middle-school student. He talks back to his teacher, makes frequent visits to the principal’s office and organizes a precisely timed food fight in the caf­ eteria. What nobody else knows is that, at night, he and his two best friends dress all in black and practice spying techniques. At their disposal is a large collec­ tion of high-tech gadgetry and technological wonders from his uncle’s company. When the principal pun­ ishes Max, along with his friends Jessica, a standout kickboxer and lacrosse player, and Scott, a computer whiz, by making them work as volunteers for a video game company, they stumble upon the hiding place of a stolen microchip that contains highly confidential information. Figuring that the FBI would not be able to reach the chip in time, they take a huge risk and try to recover it on their own. As they uncover more information about the microchip, they realize that they can’t trust anyone with their secret, and have no choice but to proceed by themselves. All they need is a ride. With high-spirited fun in the same vein as Spy Kids and Agent Cody Banks, Max Rules is wonderful entertainment for the whole family.

Preceded by The Climactic Death of Dark Ninja (Peter Craig, USA, 2003,12 minutes) The frustrations of a group of pre-teen would-be filmmakers.

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It’s South London, i 960. David Wiseman is an 11- Great Britain year-old son of Polish Jews attending a prestigious day 2003 school where the game of cricket is taken very seri­ Director: ously. For someone so keen on the game, who knows Paul Morrison the names of every international player, he is surpris­ Producer: ingly inept on the field, and ends up offthe field as the Jonny Persey scoreboard keeper. When a Jamaican family moves Screenwriter: Paul Morrison in next door and turns their backyard into a cricket Cinem atographer: court, David is ecstatic. The father (Delroy Undo) Nina Kellgren offers to teach David the finer points of the game, and Film Editor: the pair forges a special relationship that transcends David Freeman their cultural differences. His approach to the game Music: Ilona Sekacz is entirely positive, unlike the authoritarian confor­ Cast: mity at school where masters dictate and boys meekly Delroy Undo comply: “Yes, sir. Thank you, sir.” In this little South Sam Smith London garden, cricket is fun, and David learns so Leonie Elliott Emily Woof quickly that he can give up scoring because he’s given Stanley Townsend a place on the team. Then come complaints from the Running Time: bigoted neighbors, which prompts David’s mother to 106 minutes bar him from the cricket pitch. But her own emotional Presentation Format: 35mm stirrings— and the realization that she is an outsider International Sales: too— may make her reconsider. This heartwarming Pathe International UK film beautifully captures the complexity of racial and Print Source: religious divisions as they are seen through the eyes Pathe International UK Selected Film ography: of young people.

Solomon and Gaenor (1999)

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Legend of the Sacred Stone 6/5 ATale of Two Sisters 5/27 The Locals 5/21 Undead 6/11

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Azumi

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In Japan’s feudal Tokugawa Shogun era, a warrior 2003 whose son was slain during a pointless battle is as­ signed a private mission by a high priest. His task: to Director: compose a team of ten assassins recruited from the Ryuhei Kitamura orphans of battle. Retreating to a secret location in Producers: the mountains, he trains these young children to be­ Mataichiro Yamamoto Toshiaki Nakazawa come skilled and deadly assassins. After years of be­ Screenw riters: ing taught nothing but the cruel way of the sword, Rikiya Mizushima he announces that they are ready to engage in their Isao Kiriyama, from the mission. For the first time ever, these assassins are let comic by Yu Koyama out into the world. Together they must assassinate the Cinem atographer: Takumi Furuya power-hungry warlords who have ravaged the land.

Film Editor: Based on a popular manga and with a sequel already Shuichi Kakesu in the works, Azumi interweaves romance, political Music: history, and psychological observation into an adren­ Taro Iwashiro Cast: aline-fueled triumph of filmmaking. Director Ryuhei Aya Ueto Kitamura, who is fast becoming a legend after the Kenji Kohashi success of his film Versus, one-ups Tarantino’s M l Yoshio Harada Bill with his distinct style that is as elegant as it is Hiroki Narimiya graphically violent. Aya Ueto is a revelation as Azumi, Jo Odagiri Aya Okumoto one of the toughest female heroes in cinema history.

Running Time: Jam-packed with action throughout, the film ’s pen­ 128 minutes ultimate battle scene is at once ethereal and precisely Presentation Format: calculated to create an epic clim ax that will rock your 35mm, in Japanese with English subtitles world.

Japan

A film so riveting it has already earned its young France director a ticket to Hollywood, Haute Tension adds 2003 some French flair and despair to the horror genre, D irector: but wisely never takes its eyes off the main goal: to Alexandre Aja scare an audience to death. Marie and Alex are two Producers: young, attractive college girls heading for a holiday at Alexandre Arcady Robert Benmussa Marie’s parents’ isolated farm. Unfortunately, they’re Screenw riters: followed by a psychopathic truck driver (Philippe Na- Alexandre Aja hon, even scarier than in his notorious I StandAlone Gregory Levasseur role). What follows harkens back to the glory days of Cinem atographer: 1970s American horror cinema. Taking cues from Maxime Alexandre

The Texas Chainsaw Massacre, Last House on the Left, and others, director Alexandre Aja ratchets up the tension with enough gore to please hardcore horror films, but with enough eTan and intelligence to mirror the concerns of contemporary French filmmakers like Gasper Noé or Bruno Dumont. Aja further intensifies the film ’s remarkable effect with a pounding, oppres­ sive soundtrack, ensuring that even closing your eyes offers no escape. The film received a very rare NC-16 rating in notoriously unshockable France; a testa­ ment not only to the gore that comes fast and furious on screen, but also to the unshakable sense of terror that lingers long after the images fade.

Baxter Music: François Eudes Cast: Cécile De France Maïwenn Le Besco Philippe Nahon Franck Khalfoun Running Tim e: 89 minutes Presentation Form at: 35mm, in French with English subtitles International Sales: Lions Gate Films Print Source: Lions Gate Films Selected Film ography:

Print Source: Bogeydom Licensing Selected Film ography: Versus (2001)

Furia (2000)

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Legend of the Sacred Stone

The Locals

SHENC SHE CHUAN SHUO

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Taiwan 2000 Director: Chris Huang Producers: Liu Li-hui Tsai Chun-yang Screenw riter: Chris Huang Cinem atographer: Tsai Meng-yu Film Editor: Hsiao Ru-guang Music: Monster Rock Running Tim e: 96 minutes Presentation Format: 35mm, in Mandarin with English subtitles Print Source: Golden Network Asia Ltd. Film W ebsite: http://movie.pili.com.tw/ Selected Film ography: Feature Film Debut

Set 400 years ago, LegendoftheSacredStone has all of the elements of a classic wuxia motion picture— stunningly choreographed fight scenes, enemies with mystical powers, painstaking attention to period de­ tail, and devotion to the concept of heroism through honor and chivalry. There’s just one important differ­ ence: this story is told entirely with puppets. An oth­ erworldly evil has been awakened in China. The Un­ friendlies, powerful, shape-shifting demons, will stop at nothing in their quest for the Heaven Stone. Lord Jian of the Ming-jian village was a victim of these de­ mons. Almost all of his family was killed and he was left frighteningly disfigured, abandoned by his allies.

But Lord Jian has found the Heaven Stone and knows that to possess it is to wield immeasurable power. He sends his daughter, Jian Ru-bing, to enlist the aid of two heroes by telling them that the Heaven Stone could destroy the demons. But Lord Jian’s true mo­ tives are hidden and threaten all involved, including his daughter. Will the heroes discover his treachery in time to save the day? The unique art of Pi-li puppetry, extremely popular in its native Taiwan, is given the feature film treatment in this jaw-dropping tour-de­ force of cinematic magic.

US P R E M IE R E

TWo best friends, Grant and Paul, hit the road for a New Zealand weekend of surfing, booze and (hopefully) girls. With 2003 night falling, they take a short cut and unexpectedly Director: meet Lisa and Kelly, who invite them to a party. Lust Greg Page takes the wheel and a game of cat and mouse begins, Producer: leading them directly into the path of evil, where they Steve Sachs m eet... the locals. This debut feature by Greg Page— Screenwriter: Greg Page whose award-winning short films Sarah’s Washing Cinem atographer: and Decaff\mt brought him international recogni­ Bret Nichols tion— is the latest addition to the internationally suc­ Film Editor: cessful New Zealand horror genre, which includes The Wayne Cook Ugly, The Irrefutable Truth About Demons, Death Music: Victoria Kelly Warmed Up as well as Peter Jackson’s early films. Cast: Page’s twist is to make a deeply chilling ghost story John Barker rather than a splatter-comedy or more traditional hor­ Dwayne Cameron ror film . Set in the dead of night, in the scariest part Kate Elliott Aidee Walker of the heartland of New Zealand, The Locals presents Paul Glover likeable young characters pitted against the things Running Time: that humans fear most: being lost, being in the dark 88 minutes and being unable to outrun an unknown, menacing Presentation Format: 35mm foe. It’s the living versus the dead, played out against International Sales: an inescapable curse, with escalating levels of terror. New Zealand Film Commission Preceded by The Catskill Chainsaw Redemption (Matt Unger, USA, 2004,16 minutes) The story of a chainsaw-wielding maniac who goes on an unexpected odyssey of self-discovery. After a life­ time of cutting people open, can he leam what they’re really like inside?

Print Source; New Zealand Film Commission Selected Film ography: Feature Film Debut

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Save the Green Planet

Raspberry Reich

JICUREUL JIKYEORA.I

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Canada/ “Heterosexuality is the opiate of the masses!” declares Germany a revolutionary in this rude, crude and maniacal

2004

Director: Bruce LaBruce Producer: Jürgen Brüning Screenwriter: Bruce LaBruce Cinem atographer: James Carman Film Editor: Jorn Hartmann Music: Luis Hoyos Cast: Susanne Sachsse Daniel Bätscher Andreas Rupprecht Dean Stathis Anton Z. Risan Sherry Vine Running Time: 91 minutes Presentation Format: BetaSP, in English and German with English subtitles Print Source: Strand Releasing Selected Film ography: Skin Flick (1999) Hustler White (1996) Super 8 1/2 (1993)

spoof of terrorist chic, Germans, pornography and revolutionaries, from Bruce LaBruce, the bad boy of cinema. The ever-aroused East German fraulein Gudrun can’t wait to put the “dominate” in dom inate as she rounds up a gang of anti-capitalist, anti-war hotties in order to overthrow the government. Eager to have the regime change begin at home, she orders her agents (all conveniently good-looking) to first have sex with one another so that the apparatus of hetero-monogamy can be smashed. With orgasm as their new Marxism, and flashing ass faster than Mao’s little red book, Gudrun’s army may indeed take over the world, or at least her bedroom. Director LaBruce took his inspiration from the real-life Baader-Meinhoff gang (which simultaneously terrorized and fas­ cinated Berlin during the 1970s), and shot his film entirely in Germany for better “realism.” Merging graphic gay sex with anti-capitalist slogans (either shouted out by the characters, or amusingly scrolled across the screen when they are otherwise occupied), Raspberry Reich may have its tongue firmly in its cheek (or other places), but its blend of provocation and perversity is a much-needed tonic for today’s cul­ ture of paranoia.

No one under the age of 18 will be admitted.

A w ards: Moscow 2003 (Best Director) Puchon Fantasy 2003 (Best Film, Actor, Audience Award)

No Skin Off My Ass (1991)

212

Lee Byung-goo, the hero of Save the Green Planet, South Korea is a mentally unbalanced young man on medication 2003 who believes that aliens are plotting an imminent as­ Director: sault on the planet Earth. After much research, mostly Jang Jun-hwan through viewing B-grade science fiction films and Producer: reading some very non-mainstream books, he deter­ Kim Sun-a Screenw riter: mines that the Alien Prince of Andromeda, leader of Jang Jun-hwan the invasion, is already on earth masquerading as Cinem atographer: Kang, the successful CEO of a large corporate con­ Hong Gyung-pyo glomerate. The only way to stop the aliens is to kidnap Film Editor: Kang and learn the genetic code of the aliens before Park Gok-il Music: the next lunar eclipse. With the survival of humanity Lee Dong-jun on the line, Lee and his girlfriend Sunni, a sympa­ Cast: thetic circus tightrope walker, take it upon themselves Shin Ha-kyun to avert the invasion. All that’s required is a bit of inge­ Baek Yun-sik Hwang Jeong-min nuity in the old torture chamber Lee keeps hidden in Lee Jae-yong the cellar of his remote and isolated house. . . . Mean­ Running Tim e: while the bungling cops try to locate Kang, who also 116 minutes happens to be the son-in-law of the Chief of Police. Presentation Form at: Coincidence or conspiracy? With some surprisingly 35mm, in Korean with English subtitles violent moments, this movie is not for the sensitive International Sales: viewer. But the old proverb about not judging a book CJ Entertainment by its cover can be used properly here, as it appears Print Source: that we can add a new name to the list of Korea’s most CJ Entertainment distinctive and talented filmmakers. Jang Jun-hwan Selected Film ography: Feature Film Debut directs with a strong hand, and his screenplay is also quite daring, showing little regard for playing it safe.

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Undead

JANGHW A, HONGNYEON

THURSDAY MAY 2 7 4 :30 PM EGYPTIAN

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SATURDAY MAY 2 9 MIDNIGHT EGYPTIAN

South Korea

2003

Director: Kim Ji-woon Producers: Oh Ki-min Oh Jung-wan Screenw riter: Kim Jee-woon Cinem atographer: Lee Mo-gae Film Editor: Ko Im-pyo Music: Lee Byeong-woo Cast: Yeom Jeong-ah Im Soo-jung Moon Geun-young Kim Gap-su Running Time: 114 minutes Presentation Format: 35mm, in Korean with English subtitles International Sales: Cinedick Asia Print Source: Vitagraph Selected Film ography: Three (2002) The Foul King (2000)

SUNDAY MAY 30 930PM DRIVE-IN PARTY AT THE VALLEY 6

After being treated for an unspecified illness, sisters Su-mi and Su-yeon return to their idyllic, remote lakeside home. The setting may be beautiful, but living under the same roof as Eun-ju, their new step­ mother who rules over the family with an iron fist, is a nightmare. Su-mi, the elder of the two, is very protec­ tive of her weaker sister Su-yeon, and has tried many times to explain the situation to their father, but his relationship with Eun-ju has not changed. When Eun-ju finally snaps at Su-mi’s constant hostility and locks a screaming Su-yeon in a creepy closet, things go from bad to worse. And strange incidents are occurring; unexplained noises are heard at night and a distinct otherworldly presence can be felt within the house. Is Eun-ju trying to scare the girls into submis­ sion, or is the spirit of the girls’ departed, real mother taking revenge on their behalf? This third feature by writer-director Kim Ji-woon is very different in tone from his previous movies, the black horror-comedy The Quiet Family and charming wrestling fantasia The Foul King. Its clean, controlled approach recalls the best aspects of Stanley Kubrick’s TheShining and remains faithful to the recent trend of classy Asian horror movies that emphasize genuine chills over blood and gore. You’re guaranteed to be sleeping with the lights on tonight!

In the charming Australian town of Berkeley, residents Australia can be seen walking their cows on Main Street. Their 2003 peaceful life is disrupted when a spaceship sends a Directors: shower of basketball-sized meteors crashing down Peter Spierig upon them. Property damage, however, is the least of Michael Spierig their problems. Immediately after impact, the dead Producers: start to rise and they’re hungry for brains. Slow-mov­ Peter Spierig Michael Spierig ing but vicious killing machines, these zombies effort­ Screenwriters: lessly punch through skulls and tear off body parts. Peter Spierig Seemingly unstoppable, they start to outnumber the Michael Spierig living. Local “fish queen” Rene (Felicity Mason) Cinem atographer: joins a small band of survivors led by a mysterious Andrew Strahorn Film Editors: hermit named Marion, a former gun store owner who Peter Spierig is amazingly proficient with his endless supply of Michael Spierig firearms. Along with two overly territorial policemen Music: and a young couple, they’re having enough trouble Cliff Bradley Cast: escaping the mounting army of the undead when they Felicity Mason discover that space aliens may be behind the entire at­ Mungo McKay tack. With zombies on one side and a gigantic space­ Rob Jenkins ship on the other, the group also has to avoid a sting­ Lisa Cunningham ing rain that has also something to do with the ordeal. Running Time: 104 minutes An exuberant gore fest in the tradition of Sam Raimi’s Presentation Format: Evil Dead and Peter Jackson’s Dead Alive, Undead 35mm has a high-spirited mix of horror, comedy and gallons International Sales: Ardight Films, Australia of stage blood.

Print Source: Lions Gate Films Film W ebsite: www.undeadmovie.com Selected Film ography: Feature Film Debut

Awards: Melbourne 2003 (Best Film)

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R E P U B L I C S E A T T L E ’S E L I T E N I G H T C L U B A N D B A R

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P.S. Convertibles recommended.

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Info line with directions: ( 253) 854-1250

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SHORTS

SHORT FILMS This year SIFF is excited to present seven packages of short films. In addition to the excitement of this being the inaugural year of the SIFF Short Film Competition, these programs are sure to thrill and intrigue you!

Animato!

MONDAY JUNE 7 6 :45 PM BROADWAY PERFORMANCE HALL

This collection of animated shorts reveals the imagined worlds of a diversity of film artists from the US, Mexico, Ireland and Australia.

Their stories range from silly to serious to downright surreal!

(73 minutes) T h e Spirit o f Gravity

United States, 2003, 6 minutes, Director: Victor Beilomo A unique animated musical starring Friedrich Nietzsche.

H ello

Australia, 2003, 6 minutes, Director: Jonathan Nix In a digital world, can analog find true love? A wise old gramophone has the answer.

Overpass United States, 2003, 7 minutes, Director: Alan Price A boy takes a ride through a desert filled with highway systems.

Nesting Grounds United States, 2004, 5 minutes, Director: John Bergin

Saturday May 22 (Page 217)

A stone head on an isolated island has an unexpected visitor.

The Feminine Vision

P u lcin e llo

United States, 2004, 5 minutes, Director: David Donar

Monday May 24 (Page 219)

A clown drowns more than just his sorrows in a Chianti bottle.

Love’s Labours Lost& Found

Oedipus United States, 2004, 9 minutes, Director: Jason Wishnow

Monday May 31 (Page 221)

In the tradition of Hollywood epics, the story of Oedipus is performed by vegetables.

Relativity

Day Off the Dead United States, 2003, 7 minutes, Directors: Lee Lanier, Jeffrey Dates What do the dead do on their day off?

Saturday June 5 (Page217)

The Great Unspoken Monday June 7 (Page216)

This Is Not a Film United States, 2003, 3 minutes, Director: James Kelly A computer-animated jaunt through the world of surrealist painter René Magritte.

Escape

Animato!

A m an sentenced to life in prison is tormented by the memory of his crime of passion.

Monday June 7 (Page 219)

White Line Syndrome

Ireland, 2003, 8 minutes, Director: John Rice

KAFAnime!

Mexico, 2004, 7 minutes, Director: Lourdes Villagomez The imaginary life of a young girl as seen through her white-line silhouette

Monday June 10 (Page221)

Our Story

Strange Tales

Migrant Mexican children share their life stories through clay animation.

2 1 6

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Mexico, 2004,10 minutes, Director: Blanca X. Aguerra

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The Feminine Vision

The Great Unspoken

SATURDAY MAY 2 2 11:15AM BROADWAY PERFORMANCE HALL

SATURDAY JUNE 5 4PM BROADWAY PERFORMANCE HALL

Leave your gender politics at the door; Betty Friedan won't save you now. Instead, discover a strikingly rich compendium of short films that entertainingly blends vivacity and intelligence. (96 minutes)

Awake United States, 2003,13 minutes, Director: Lori Lovoy-Goran In the moment before sunrise a child dreams of the future, an old woman remembers the past, and an adult confronts the possibilities of the present.

Free of dialogue, these shorts prove Chekhov's observation that "Silence accompanies the most significant expressions of happiness and unhappiness...." (80 minutes)

li 15.03

United States, 2003, 8 minutes, Director: William Ross A young man awakens to the things that matter most as he prepares for a life transition.

Apart

Dysenchanted United States, 2003,13 minutes, Director: Terri Edda Miller

United States, 2003,10 minutes, Director: Eric Atwood Lying awake in bed, awaiting the morning, everything falls into place.

Seven fairytale heroines come together for their weekly group therapy session.

Aspiration

Nigel’s Fingerprints

Canada, 2003,12 minutes, Director: Constant Mentzas

Canada, 2003,16 minutes, Director: Amy McConnell

On a secluded beach, a haunted man steps out of his car and awaits high tide.

In early 70s Toronto, six-year-old Nigel wonders why he is brown, his mother black, and his father white.

Foster Island United States, 2003, 7 minutes, Director: Serge Gregory

Perfection United States, 2003, 7 minutes, Director: Karen Lin

Seattle filmmaker’s visual montage of textual images juxtaposes Foster Island’s lush scenery with the Seattle cityscape.

A game of Milton-Bradley’s Perfection mirrors an Asian-American woman’s struggle, from infancy to adulthood, to achieve success and gain her parents’ approval.

Perpetual Tvilight of Gregor Black

Seven’s Eleven

United Kingdom, 2003,11 minutes.

Directors: Nigel Atkinson, Huw Davies

United States, 2003,13 minutes, Director: Amy lorio

An everyday tale of married life: a husband, a wife and a pair of shoes.

Sixth-graders Frankie Lake and his girl pal Noodle pull together five friends in an ingenious plot to rip off enough candy from the local convenience store to last through high school.

Tackle Box

Sparks

After a dead woman’s ashes are stolen, her lingering passion for fishing spreads throughout a small community.

United States, 2004,13 minutes, Director: Matthew Mebane

United States, 2003,14 minutes, Director: Virginie DanGlades An aspiring dancer working as a hospital janitor performs for the ICU patients and, quite literally, takes their breath away.

Threshold United States, 2003, 5 minute, Director: Jeremy R. Nichols A girl, a promise, a train. . . it’s all about a choice.

Ugly United States, 2003, 20 minutes, Director: Moon Unit Zappa

Wildflowers

When a devious, insincere student photographer targets desperate Gwen Gromley for his school project (to find beauty in ugliness), he inadvertently becomes part of her scheme to realize maternal ambitions.

An elderly artist under the watchful tutelage of a young girl finds it difficult to complete his masterpiece.

30TH

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Canada, 2003,14 minutes, Director: Geoffrey Uloth

I N T E R N A T I O N A L FILM FESTIVAL 2004

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SHORTS

KAFAnime!

Love’s Labours Lost & Found

MONDAY JUNE 7 9 :15PM BROADWAY PERFORMANCE HALL

MONDAY MAY 2 4 9PM BROADWAY PERFORMANCE HALL

This collection from the Korean Academy of Film Arts (KAFA) high­ lights the best in new Korean animation. These imaginative short films range from silly stories to spectacular works of art in motion.

(82 minutes)

Recollections of lovers lost are always better than what you can hope for in the future... until someone new walks into your life.

(82 minutes)

The Accordion Player

The Monkey That Loved a Fish South Korea, 2003, 7 minutes, Director: Kim Ki-won A monkey brings a fish home to his tree house, only to fall in love.

Intimate Feeling With My Friend

United States, 2003,14 minutes. Director: Jason Conforto An Italian restaurant’s newly employed musician holds the diners— and the owner’s daughter— in his mysterious, musical sway.

Archipiélago

South Korea, 2003, 3 minutes, Director: Kim Joon A moment of contemplation as a man has coffee with a friend in a bustling café.

The Newspaper South Korea, 2003, 9 minutes, Directors: Bang Eui-seok, Kwon Taek-hwa Surprising adventures at a newspaper headquarters at night.

Spain, 2003,18 minutes, Director: León Siminiani Honeymooning with her husband Ben, Nina returns to the Caribbean Island she left long ago. The two enjoy perfect love on a deserted beach until a stranger from the past appears.

Boutique United States, 2004,14 minutes, Director: Steven Schardt

May... In the Bus South Korea, 2003, 5 minutes, Director: Park Yun-kyung An ethereal portrait of a bus ride.

When his girlfriend leaves him, a man finds himself strangely compelled to buy a hat from the new clothing boutique across the street.

B urnin g the Bed

The Old Man With a Knapsack

Ireland, 2003,13 minutes, Director: Denis McArdle

South Korea, 2003,11 minutes, Director: Park Hyun-kyung The contents of an old man’s knapsack become the center of the town’s speculation.

A separating couple divides their home in the west of Ireland, but before finally leaving, they commit one last cathartic act together.

Make a Smile

Consent

South Korea, 2003,10 minutes, Director: Seo ln-kyoung

United States, 2004, 6 minutes, Director: Jason Reitman

A scientist attempting to manufacture laughs is continually disturbed by a giddy child.

TWo college kids in bed negotiate, with some assistance, a sexual consent form.

Blue Sunday

Greenlake: Mosca Amor

South Korea, 2003, 5 minutes, Director: Ahn Ji-min

United States, 2003, 4 minutes, Director: Mark Carsterson

With couples everywhere, a young girl feels utterly alone.

A fly’s-eye view of romance in a favorite Seattle park.

The Letter South Korea, 2003, 7 minutes, Director: Chang Hyung-yun Hyung-bin sends letters to a girl he loves, but they are intercepted by a post office worker Ami.

A Part of the Day

Keys of Life United States, 2003,13 minutes, Director: Jeremy Rail During the worst day of his life, a young locksmith unexpectedly comes to terms with his past disappointments.

South Korea, 2003, 3 minutes, Director: Jung Yeon-joo An artful animation created by painting on glass.

Zulgui (Jul-Gui) South Korea, 2003,10 min, Director: Park Si-Won A nightmarish CGI tale about the Zulgui: a shape-shifting spirit who steals the souls of infants.

Hi South Korea, 2003,12 min, Director: Choi Won-Jae A boy keeps himself isolated from the other children till someone quite literally steps over his defenses.

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Strange Tales

MONDAY MAY 31 2:15PM BROADWAY PERFORMANCE HALL

THURSDAY JUNE 10 6 :45PM BROADWAY PERFORMANCE HALL

Our connections with people form our concepts of ourselves and of life. This collection of short films explores relationships with family, friends, neighbors and the world. (73 minutes)

Journey into alternate realities with this collection of bizarre tales and visions of the future. Lonely hearts, robots and madmen balance on the tightrope between dreams and reality, desires and delusions.

(75 minutes)

Claustrophobia United States, 2003, 7 minutes. Director: Brad McLaughlin True feelings and fears are revealed when a family’s living room walls begin to move in on them.

Recharge United States, 2003,12 minutes, Director: Chris Meyer Set in the near future, a factory worker must travel across a hostile industrial wasteland to get to work every day.

Robot Boy United States, 2003,19 minutes. Director: Ted Passon A unique tale of a boy with robot parts, and his dream of freedom. The film features music by Adam Green and Kimya Dawson of The Moldy Peaches.

A Stolen Moment Canada, 2004,16 minutes, Director: Audrey Cummings In the future, the world is a clinical and cold place. But after catching the eyes of a stranger, Sophie finds herself longing for human interaction.

Junebug and Hurricane United States, 2004,11 minutes, Director: James Ponsoldt A mother 0aneane Garofalo) and her young daughter travel and play. But are they just playing games, or are they running from something?

King of the Tango United States, 2003,16 minutes, Director: Karen Friedberg 11-year-old Dough is annoyed by his mother and the odd characters that surround him in the trailer park, but is intrigued when aging tango dancer “El Rey” moves in.

Conversations

United States, 2003,16 minutes, Director: Ben Rock A lonely small-town mortician (Curtis Armstrong) just wants to talk. But his best interactions are with dead people.

Flash United States, 2003,11 minutes, Director: Laurence Swanson After an accident, Jack Dunne’s life flashes before his eyes. But are the images real memories or delusions?

Fragile Germany, 2003, 20 minutes, Director: Sikander Goldman A hauntingly beautiful and meditative tale in which a woman looks at her life and visits the people she loves in order to say goodbye.

3 0T H SEATTLE

Black Wedding

United States, 2003, 20 minutes, Director: Scott Peters Based on a true story, this is a haunting tale of a doctor who can’t bear to part with his patient, even after her death.

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5 Doors U p ................................. 206

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Alaska A irlin es........... ................... 4

Fairmont H o te l............................. 34

Pyramid Ales............................... 241

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Real Networks............................. 134

American A irlines........................ 24

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Scarecrow V ideo........... ...........208

Argosy University.........................18

Gargoyles Statuary t ..................223

Seattle Central C C ...................... 158

Asian Star Newspaper................151

Henry Art Gallery.........................250

Seattle Eye M D s .........................206

B & O Espresso...........................250

Henry Cogswell College.............. 92

Seattle Film Institute..................

Baby & Company .. .In Back Cover

HIV Vaccine Trials U n it........... 183

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Ballet Restaurant........... . 194

Hong Kong Trade Commission. 126

Seattle M agazine........................ 96

BCSR ............................ . . . . . . 2 2 2

Howard H o u se ............................. 97

Silver Platters............................. 228

Bell Harbor....................................70

Hugo H o use................................158

Sneak Films.............................

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IATSE Local 1 5 ........................... 128

Sorrento Hotel............................. 154

B ra sa ............................................ 38

Infiniti of Kirkland .. In Front Cover

Space Needle ............................. 62

Broadway B IA ............................. 190

K E X P .............................................42

Speakeasy...................................... 68

Broadway G r ill...........................151

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Sp ex............................................. 252

Broadway Performance H a ll... 114

KIRO/KNW X..................................68

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Café Flora....................................194

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Stella A rto is ..................................60

Campagne Restaurant..................85

Kock Lorber................................. 132

Sterling Vineyards.........................26

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Holden Payne Staging Coordinator

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3 0T H SEATTLE

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2004 Seattle International Film Festival Staff

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Lorette (Lulu) Thorson Suze Wood Jeremy Tolbert Anutaran Worapan Zeynep Tolon Andrea Smalley Cassandra Tondreau Wordelman Claire Topalian Kevin Wordelman François Toussaint Brienne Wright Tu Tran A. Heidi Wrightsman Kevin Traywick Howard Wu Kenneth Trease Diana Wurn Meg Trembla Marsha Wyatt Farrah Trinker Kaori Yamada Liisa Trocki Alicia Yamamoto Chris Trujillo Li Yan Daniele Tsevana Jadyn Yang Evelyne Tsevana Yoko Yano Jenny Tsiakals Mir Yarfitz Yuriko Tsuda Afshin Yegan Kris Tsujikawa Marina Yerkes Ai Tsumagari Sha Ping Yin Eric Tuch Vicky Yin Lucy Tung Yeonsil You Connie Turman Emery Young Tim Turner Alan Younker Elizabeth Umbanhowar Lulu Yu Masataka Urakawa Cristina Zaharia Takamasa Urakawa Nadia Zanofa Joaquin Uy Jennifer Zewin Jana Uyeda Li Zhang Kevin Van Driesche Rasa Zipfel Kimberly Van Dyke Erin Van Noy Eric Van Noy Yvonne Vazquez Carol Veatch Brett Veling-Nickele Yvonne Vesquez Sarah Vest Christine Villasenor Gerry Vitello Tara Vodopich David Volk Ami Vora Daren Wade Neil Waite Richie Wang Jim Ward Lisa Wardle Debbie Warnock Ratna Warouw Mitsuko Watanabe Mary Weatherley Michael Weiss Zach Weissman Travis Wellborn Sarah Weller Connie Wellnitz PJ Welsh Lauren Dana Westberg Bruce Weyer Kiyoko Weyer Christine White Lyam White Candice Williams MAJESTIC Lilia Williams Stephen Williamson La-Tonia Willis Erin Wilson Jessi Wilson THEATRES Mandy Wilson Nicole Wilson The Volunteer Eric D. Windfrey Program of Kaie Wise Cinema Seattle is Kim Wisecup supported in part Erika Wolfe

by The Majestic J Wong Bay Theatre.

Jeffrey Wong Kristine Wong Thank You! Victor Wong FESTIVAL

2004

231

CINEMA

SEATTLE

PLATINUM LIFETIME

Cartmell Holdings, LLC Deborah Person Mina Person Nancy Shriver LIFETIME

William Affleck-Asch Sherman Alexie Russell Bennett Mrs. Robert R. Braun Jr. BeBe Burns Virginia Callison Dolan Paul Canniff Ricardo Ceja Deb Clark Allen Cohn Christopher Conrad Conrad Denke Elva Gonzalez Carrie Gorringe Patrick Halstead Bruce Hawley Paula Hlastala Steve Kelley June Krumpotick Stephen McCandless Stephen Mellander Judith Mercer Walter Moore David Nyberg Deborah Parsons Jeff Parsons J, McLaren Peters Kevin Phaup Jessica Prince Robin Reynolds Wilt Daniel Roben Rosie Saunders Tom Skerritt Jane Suzick Sylvester Thomas III Julie Tokashiki Joe Welinske Ken Williams Bagley Wright DIRECTORS

Directors, Ltd. Harold Matzner Catherine Reed DIRECTOR PARTNERS

Brian Smith Laurel Smith PATRONS

John Burdick Kelly Clark Jack Cowan Jessica Eisner Sue Gilbert Dan Poliak Tracy Sharpe PATRON PARTNERS Anita Braker Elizabeth Davidson Clark Hodder Peggy McCluskey Ron Peterson Jeffrey Sakuma Bob Spence Kathryn Spence Dennis Willingham BENEFACTORS

Joan Algarin Howard Anderson

232

MEMBERS

Julia Bahner Andrea Barbier Cindy Bohorfoush Bonnie Bouman Jennifer Cecil Lily Chan Linda Cornfield Tristan DeCoster Michael Dopp Lewis Edelheit Eric Edgeworth Paul Feavel Chris Gorley Doug Griffin Timothy Hale Mary Beth Hasselquist Bryan Henrickson Jack Holtman Christina Isacson David Ishii Joanne Ivanek Melina Jagdman Jeanne Johnson Terri Johnson Terry Anne Johnson Richard Kamicar Helene Kaplan Khris Kline Diana Knauf Arthur Kuniyuki Mark Lacey Ronald Laeremans Karin Lee Virginia Liley Colleen Little Jennifer Lucas A. Carol McDaniel Bill McDaniel John McIntyre Mary Metastasio Kelly Monis Michael Morrow Curtis Mueller Jon Newman Ann Nielsen Eric Ovestrud Chris Pak Sandra Palmer Randall Parr Nicholas Peddy Peggy Platt Meredith Potochnic ^ Adrian Raftery Joy Ralph Mark Reed Melissa Reese Maria Ripley Bruce Ritzen Karl Roebke Tim Saito Ron Shoemaker Pamela Silimperi Sandra Zu Smith Russell Spence Charles Stahlhut Christopher Stewart Nan Sullins Lea Sund Shelly Sundberg Vincent Szopa Miles Takahashi Laurel Tepper Grace Tracy Tina Trenkler Kim Turner Richard Washerman Donna Webb Carolyn Wedekind 3 0T H SEATTLE

Michael Weidemann M. Colton Windsor BENEFACTOR PARTNERS

Mark Aggar Tanya Aggar Jerome Arbes Avi Belinsky James Bergstrom Marilyn Bergstrom Lisa Brummel Steven Burdick Dan Cantrell Leonard Costello Carol Ann Davis John Davis Joan Fiset Louis Fiset David Hamilton Lara Hamilton Paul Haverson Rena Haverson Donna James Mike James Mary Johnston Raymond Johnston Heidi Kappes Howard Kaylan Celeste Keaton Karen Kirby Lois Kirby Anne Knight Vaishali Kukreja Alida Latham Christopher Latham Dianne Loeb Steve Loeb Mary Lonien Robert Marritz Alice McIntyre Robert McIntyre Kim Mdver Patricia McKenzie Tracy Michigami Wayne Michigami Donna Murphy Randall Odegard Lynn Pasley Jean Patton Rich Patton Lucy Pond Ron Ryder Sandy Ryder David Smith Gretchen Smith Jessica Smith Paul Smith Sandy Smith Deborah Terry-Hayes L. Anne Thompson William Thompson Elliot Waingold Brad West Dennis West Joan West Ray Willis Sarah Willis FRIENDS

Sandra Ahola Najabat Aleskerzade Rick Allen Holly Alonzo Joan Alworth Jenae Andershonis Renate Anderson Rosalyn Arntzen

Margot Ayer Jim Bacon Marcia Bennison Jim Bergquist Pirkko Borland Jeff Botten Michael Bracy Aaron Bregel Jill Briggs David Browermaster Elizabeth Bruning Clifford Bunch Sharon Carmody David Carroll Texanna Casey Maxine Chan Nick Chou Shelby Clayton Michele Clise Jean Colman Jackie Compton Donna Cook Pamela Crone Mary Cross Sharon Cumberland Ken Dale Elon de Arcana Gillian Didier Cara Diehm Lynn Dissinger Bob Douglas Christine Downer Johann Drewett Ruth Dunlop David Duntley Karen Dupuis Evan Emery Max Estoque Lucy Everett Nelson Faustino Nelson Fausto Michaele Ferguson Julie Ferkingstad Dwayne Flansburgh Stephen Friend Erin Fry Robert Gallup Michael Galvez Jim Geldmacher Stephanie Gianarelli Anastasia Giannoulas Shelley Gibson Bruce Goodnow Jake Gordon Evyan Gray Jan Gray Marsha Green Heike Grodecki Shelley Guidry Gary Haarsager George Haldeman Jodi Hartley Annette Hausman Kristin Hayden Kathryn Heacock L.A. Heberlein Susan Heideke Judy Hill Gianna Hill Stephen Hochberg Shane Hoffman Terry Holm Peggy Hotes Fan Huang Heidi Hubbard Robert Huberth DeeAnna Hulbert Lisa Irwin

INTERNATIONAL

FILM

Megan Jacobsen Michael Jacobus Marilyn Jarrell Phyllis Jordon David Kaludy Heidi Kauffman Nancy Kazanjian Jackie Kelly Laurene Kelly Fred Ketteman Heidi Kiemle Joan Kinsey Scott Kline Dustin Knievel Shane Koball Helen Koger Christian Konig Natalie Konzen Michelle Kunkel Brian LaMacchia Jon Lange Dave Langford Sylvaian Lauzac Craig Lawson Alan Lefcourt Bonnie Lehenbauer Sara Levin Audrey Lew Cheryl Lieberman Bob Lilly Matt Lindquist Stephen Littlepage Warren Littrel Mary Lively Christine Livingston Leslie Loeb Jerry Luiten George Mable Mary Madachlan Virginia Marabetta Carol Marquess Edgar Marquez Ray Marquez Craig Martin Laura Mason J.A. Matter Dennis Matthies Barbara Mauer Damon May Declan McArdle Stephen McCallister Steve McCarthy Susan McCloskey Colleen McElroy Rob McKaughan Michael McKinnon Ted Mears Vinod Menon David Miller Jacquelyn Miller Maren Misevich Brannon Moore Wendy Morgan Paul Muesegades Dawn Nelson Liz Nichols Kate Noon Nader Noorfeshan Nick Nussbaum Leonard Orth Frank Paiva, Sr Katherine Paiva Lisa Palmatier Daniel Parsons Reginald Paulding Dov Pearl Urania Perez Elaine Perrone

FESTIVAL

2 004

Thornton Perry Michael Peskura Andrea Rabinowitz Sharon Redeker Brian Reeh Jon Ridge Alyson Rieke Dayna Roberson Ken Robertson Christina Rohila Augusto Romano Ann Romeo Kenneth Romig Catherine Runden Deborah Rustin Anna Segal Susan Segalla Laura Sheppard John Silva Paul Simpson Cydly Smith Steven Smith Nancy Snapp Mary Sobczyk Miriam Soudah Rachel Speaks Stacey Spears Allen Spruill Ray Stark Stacy Steck Stephanie Steiner Stewart Stern Jeff Stout Jeremy Stringer Peggy Suehiro Tania Tanaka Judy Teshima June Thomas Havens Tipps Jason Toews Jil Tolia Whitney Trepel Amy Tullis Heidi Turner Scott Unrein Lino Valdivia Marcia Valdivia Marla Vandewater Denise Vaughn Christine Villasenor Alan W Jones Jessica Wagoner Eva Wahl Lenore Waldron Jeff Walls Michael Wautier Arne Wellman Diana Wells William Wichgers Rex Wick Diane Willett Peter Wilsnack Mandy Wilson Reita Wood Kathryn Yusi Aleksandar Zambelli Ru Zeng FRIEND PARTNERS

Raymond Achen Beth Alderman Bronwyn Allen Monette Allen Ginger Alonzo David Amdal Thomas Anson Dana Armstrong Clare Arnow

CINEMA Elizabeth Austen Judy Averill David Bair Karen Barnes Kathleen Bennett Rob Bingham Luther Black Tamar Blau Mark Bloome Sharon Bloome Rich Bonneau Rana Bonnice Edward Boyko James Broadus Jack Brockman David Brotherton Kim Brotherton James Buchanan Gretchen Burger Maria Cardenas-Anson Cathy Carlson David Carpenter Scott Carter-Eldred Melissa Chadwick Chris Chaney David Chick Frances Clark Kim Colaprete Marilyn Converse Richard Converse Bill Coon Lisa Coon Anthony Cooper Stephanie Cooper Liza Couchman Shannon Coughlin Kaye Counts Chris Crites Susan Cudnohfsky Deb Dahrling Elise Daniel Josh Daniel Danielle Darling Stephen de Tasnady Kristina De Vadder Harvey Dean Nancy Dean Jennifer DeCamp Stuart DeSpain Anita Dingrani Jack Dingrani Michael Djordjevich Chris Dragich Viki Dragich Natania Dumont David Dunneback Richard E. Smith Gretchen Ehrsam Richard Ehrsam Karen Eikoos Bob Fahrer Izumi Fairbanks Woods Fairbanks Scott Faulkner Julie Fay Justin Ferrari Francine Fielding Henry Fielding Wilhelm Fitzpatrick Catherine Fleming Eric Fleming Jan Flesher Darington Forbes Andrea Frabotta Mark Frabotta Karl Freske Gene Frogge James Fulton

Mareth Fulton Diana Gard Mary Geary Anthea Goffe Julia Gray Sahoko Hama Gretchen Hamm Jeffrey Hanna Rosario Hanna Mia Hannula Charles Hansen Keith Harris Jan Hartley Russell Heglund Scott Hildebrand Ann Hilman Kevin Hilman Carolyn Hitter Jim Hitter Michelle Honeycutt Margaret Hooks Douglas Hunt Joe Janes Eric Jordan Kathleen Judd Mel Kang Ric Kasnoff Carolyn Kavanagm Paul Kerbrat Rachel Kerbrat Maureen Kerschbaum Michael Kerschbaum Paul Kimball Charles Klei Denise Koch Barbara Koler Debbie Koss Mike Koss Dace Krasts George Kulstad Ruth Kulstad Cheryl LaBrum Troy LaBrum George Lamb Linda Lamb Dean Larson Sheryl Larson Veronica Lavenz Frank Lawrence Molly Lawrence Frank Lee Margaret Lee Patty Lesky Parker Lindner Joe Lograsso Susan Lonac Harry Longstreet Renee Longstreet Mark MacDonald Katie McClendon Bryan McKenna Sally McKenzie Leslie McMichael Jeff McMillen Kim McMillen Tim Mendes Aaron Meola Michele Meola Andrea Miller Vincent Miller Rick Morchison Nojan Moshiri Linda Moy Wayne Murphy Maxine Nelson Victoria Nugent Francoise O'Donnell John O'Donnell

Rabih Abou-Jaoude Duane Adams Andrew Adamyk Holly Adiele

3 0T H SEATTLE

INTERNATIONAL

Rose O'Donnell Peggy O'Neill Lisa Ogdie Lee Olsen Bart Ozretich John Palmer Larry Palmer George Parisotto Josh Parks Eric Pravitz Jeffrey Putnam Becky Quimby Paul Rafanelli Kevin Reed Lois Regen Eric Rehm Harry Reinert Jennifer Roberson Elaine Robin Celeste Robinette Paul Robinette Janet Ross Timothy Ross Lynn Rosskamp Anna Rudd Christine Ruiz Kraig Rury Stephanie Ryder Sylvia Salget Marty Schafer Bill Scott Jim Scott Joan Scott Patrick Sexton Michael Sheldon Paulene Sheldon Julia Shin Lauralee Smith Lisa Smith-Putnam Terri Speidell Bart Spellman James St. John Derek Stanley Scott Sterling Jennifer Stewart John Stewart Lori Stutz Paul Sureddin Ahmad Taie Matthew Tebbs Catherine Trestrail Helen Turner Caroline Davoli Waggoner Corey Waggoner Ruth Watt Tina Weirauch Joseph White Joe Willhoft Suzy Willhoft Dan Williams Gary Williams Wayne Winters Helen Witter Lisa Wolterink Lisa Woodruff-Miller Jim Woods Christina Wright Lisa Wright Judy Yorozu Zelda Zabinsky Ann Zavitkovsky GOODWILL

SEATTLE

Nasrin Afrouz Maryna Ajaja Adelina Alba Maritza Alfonso Ernest Allen John Allan Kimberly Allen Raymond Allen Marilyn Alterman Eddie Alvira Carol Anderson Kathi Anderson Rebecca Anderson Melinda Andrews Vikki Anselmo David Antonsen Shelly Appleton Sagiri Arima Barbara Ash Wendy Ashford Corazon Averia Keyes Fred Averick Gregg Ayakawa Bob Bader Lainy Bagwell Angela Baker M-Jo Baker Dana Baldwin Lisa Bale Rachel Balsam Deborah Banker Greg Barnes Veronica Barnes Larry Barney Beth Barrett Craig Bartholomew Steve Bartlett Ellen Barton Scot Bastian Zander Batchelder Marc Bateman Allison Bauman JoDean Baush Joshua Beach Natalie Beauchene Darryl Beckmann Amanda Bedell Celina Bednar Michael Beebe Curtis Beech Jennifer Beers Kaya Bekiroglu Sandra Bennett Carl Bergstrom Kathleen Bernhard Sachin Bhatia Laura Bienen Brenda Biernat Brad Bigelow Kerry Billingham Cris Blair Jeff Blair Eilee Bleeker Maria Blees Judith Blinder Brian Blue Joe Boldan Mary Bond David Bondi Phillip Bornes Andrew Boscardin Misa Bourdoiseau Marilyn Boyd Barbara Bradshaw Stephanie Bradshaw Mary Brazeau Denise Breitenbucher Pauline Brim FILM

MEMBERS

Harry Broad Heidi Broadhead Sandra Broberg Elliot Bronstein Teressa Brooks Jason Brotman Gary Brown Katherine Brown Susan Brown Tracy Brown David Brunelle Clare Brunskill Steven Buckman Robin Buerki Maria BullonFernandeZ Jennifer Bunis Teresa Burrows Susan Busbice George Butchko Nora Butler Saby Cabrera Mysie Cairns James Callan Jamie Campbell Michal Campeau William Cantwell Linda Capell Rebecca Carlson Eric Carnell Joe Casola Courtney Caswell Frank Cervenka Benjamin Chamberlain Aldo Chan Cynthia Chapman Gregg Chastain Jennifer Chayes Peg Cheng Mandy Chilson Melissa Chilson Mona Ching Rebecca Christianson Nora Chun Denise Cinciripini Judy Cites Gary Clark Simon Clarke Kern eleven Caryn Cline Pat Cockburn Marjorie Cogan Matthew Cohen Judith Coito James Colburn Cali Coles Thomas Conlon Brian Conn Denise Connors David Cook Sharon Cooper Brian Coppedge Jerry Corso Jennifer Coursen John Creighton Meg Cristofalo Steven Crazier Melvin Crump Messial Cruz Matthew Cunningham Brian Curless Amy Curtis Helen Curtis Kristine Cutter Michael Cutts Juliette Dahl Jason Daniels Deborah Danskin

FESTIVAL

2004

Annette Daoust Henry Dardenne Jaideep Dasgupta Elise Davis Judy Davis Mike Davis Thomas Davis Laurie Dawson Darren Dean William Deaton Jonathan Decker Georgeanne Delahanty Ann Delmore Jason Denton Jay Dertinger Swapneil Deshmuk Rik Deskin Kimberly deSoto John Dickson Andrew Dillman Kristin Distelhorst Marsha Donaldson Marco Doni Dan Doody Michael Dooley Kate Dooley Joshua Drake Lori Dugdale Mary Alice Duhme Suzy Dutton Leslie Easton Steve Edmiston Joanne Edwards Paula Eisenrich Ramsey El-Moslimany Meagan Ellis Evelyn Emanuel Pauline Erera Allen Erickson Viola Erickson Anne Erlandson Dan Erlandson Penny Espinoza Karen Evans Larry Evans Neil Evans Samantha Everett Carla Faini Shelley Faivre Chris Famy Kevin Fansler Kathy Fennessy Wendy Ferrell Lisa Ferrow Chris Feser Albert Fields Beth Suzanne Findley Matthew Finn Judith Fisher Karen Fite Terry Flanagan Marion Folkemer Patricia Fong Bryan Ford Dan Forsch Kenneth Forster Ken Foster Gladys Fox Glenn Fox Mary Lou Fox Jennifer Francisco Brittany Friesner Elinor Frothingham Deborah Froula Karlis Gailitis Michael Gaines Kate Galbraith Barbara Gallagher

233

CINEMA John Garnett Russ Garrison Serge Gart Dwight Gaut Sally Gee Sue Geisler Kate Gerken Jennifer Geske John Gibbons Judith Gibson Richard Gilbert Frances Gilroy Tom Gleason Patrick Gleesing Larry Glickman Joel Glynn Jennifer Goetz Paul Goetz Laurie Gogic Judy Goldin Joan Golston Scott Goodrich Elie Goral Claudia Gorbman Anna Gordon Barbara Gordon David Gow Alain Gowing Leslie Grace Jim Graham Richard Grant Shannon Gray Sharon Green Dave Gross Brendan Guise Renata Guiterrez Holly Gundacker Marla Gundle Linda Gwilym Laurel Haapanen Matthew Haber Amy Haedt Michael Hagy Alon Halevy Marvin Halpern Margaret Hammerstad Faith Hanna Casstinna Hansen Greg Hara Chris Harling Caron Harrang Amy Harris Becky Harris Ruth Hayler Lei He Michael Healy Alex Heaton Paul Heckel Carrie Hecker Anne Heil Fiona Henderson Cheri Hendricks Holly Henke Richard Henry Chris Hernandez Jeffrey Herre Nathan Herring Karel Hewanicki Miriam Hewitt Bill Hibler Tom Hickey Anthony Hicks Sue Higginbottom Chesley Hill Mark Hinshaw Holly Hinton Richard Hirschberg Paula Hoffman

234

SEATTLE

MEMBERS

Robert Holbrook James Holcomb, Jr. Johnette Holland Jim Holm David Hopkins Pat Houck Leslie Hoyt Megan Hoyt Rebecca Hughes Sean Hummel Tom Hundley Miriam Hunt Kathlyn Huson Thomas Hussey Sylvie Hutchings John Iki Lowell Ing Nancy Ingallinesi Valerie Ingram Patrick Inouye Laura Ishak Ryan Jackson Wendy Jackson Jennifer Jackson Mark Jarashow Amy Jessberger Ajay Jindal Richard Jobes Marjorie Jodoin Cherry Johnson Don Johnson Elena Johnson Jennifer Johnson Leslie Johnson Lyla Johnson Ryan Johnson Sandra Johnson David Johnston Robert Johnston Christopher Jones Maxine Jones Rosemary Jones Tommy Jones, Jr. Richard Jost Heather Jurado William Kapfer Jonathan Karakowski Dustin Kaspar Kenneth Kaspersen Ronnie Kaufman Hiroyuki Kawai Jon Kawamura David Keepnews Margaret Kelly Barbara Kempf Bill Kennedy Nancy Kennedy Amy Keroack Christine Key Uzma Khan Claudia Kienholz Jennifer Kim Ji Hyun Kim Wes Kim Charles Kincy Joseph King Jan Kingsley Amy Kinsella George Kirita Marcia Knadle Richard Knox Karen Ko Fukuko Kobayashi Kristian Kofoed Judy Koven David Kowalsky David Krafchick Brian Kramer 3 0T H SEATTLE

Tanya Kriese Corinne Kuehling Curtis Kuhn Kimberly Kuni John Kunitsugu Judith Kuo Natalie Kuranko Michael Kurtz.

Amy Laly Edwin Lambert Karyn Lamborn Brent Lane Daphne Langley Marilyn Larson Richard Lasser Collette Lastant Rebecca Laszlo Mark Leavitt Jess Lebow Laremy Legel Gary Lehde Connie Lennstrom Li Mui Leong D'Vorah Levy Darlene Lewis Lisa Lewis Gabriel Lewison Brad Lichtenstein Karen Liebert Amy Lillard Andrea Lingenfelter James Lipe Nikola Litven Brian Llapitan Manuela Locarno Andrea Loewen Mark Logsdon David Long Eric Long Laurence Loubiere James Louie Helen Loveridge Billy Lu Peter Lucas Matt Luders Gail Ludvigson Troy Lund Linda Lunsford Kevin Luu Julie Lyderson-Jackson Katherine Lynch Sheila Lyon Joe Mabel Andrea Macaione Darryl Macdonald Pat Maggard Linda Maki Stephanie Kay Malcom Royceann Malnik Eric Mandel Michelle Mansfield Robin Mar Melody Marcelja Greg Mariotti Ed Marshall Greg Martinez Serena Marx Kelli Mason Mary Anne Masterson Todd Mathison Julie Matteson Jim Matthews Otto Mattson Steven Maxood Beth Mayer Denise Mayer Jane McCahill Nancy McCann

Glen McCarthy Matt McCarthy Shannon McClendon Andrea McConchie Katherine McDermott Kerry McDonald Nancy McFadden Patrick McFadden Lorri McGinnis Michael McGloin Kathleen Mdnnis Ted McIntyre Lucinda McLaren Mike McMahon Janette McMillan Jacqueline McMurtrie James McNamara Rebecca McNeill Matthew McQuilkin David McRae Elizabeth Meade Chris Mergerson Janet Micka Lisa Middlebrook John Middleton James Miersma Rick Migliore Kathy Milam Frank Miles April Millar Brian Miller Don Miller Julie Miller Emmanuel MirandaSteiner Bob Monk Taya Montgomery Heather Moore Lisa Moore Joan Morgan Dara Morgenstern Neli Morillo Catharine Morisset Scott Morrison Marcello Mottola Marisa Mouton Nora Mukaihata Heather Muller Tim Mulligan Elena Mullin Bridgette Murphy Nick Nakadate Dale Nash Tami Neighbors Daniel Nelson Julie Nelson Marisis Nelson Rosemary Ness Sarah Ness Peter Nesveg Robert Neuffer Alexander Neureuter Wanda Ng Hayley Nicholas Jeff Nichols Nicholas Nikadate Cat Nilan Gabrielle Nonast Francina Noordhoek M. Ziad Nowelati Mimi Noyes Reed O'Beirne Joan O'Brien Paddy O'Brien David O'Connor Mark O'Kelly Bill O'Meara Karen O'Reilly

INTERNATIONAL

FILM

Thomas O'Shea Kerri Oakley Deborah Ocicen June Ogawa Fukiko Ogisu Naoko Oguchi Joseph Olson Julianne Olson Linden Ontjes Paul Opheim Felicity Oram Andrew Pachuta Margaret Palmquest Helen Palumbarit Pia Park Dan Parry Holden Payne Jennie Peabody Joshua Peck Melissa Peffers Esta Pekow William Pelke Arthur Pellman Karen Perry Maisha Peterson Pamela Peterson James Petroskas Heidi Petry Paulette Pettis Katrina Pflaumer Valerie Phinney Zbyszek Pietrzyk Kay Pilcher Gregg Pilgreen Delta Pinkston Michele Plorde Jason Plourde Mark Pollard Wendy Polio Randy Poole Donna Poppe Rick Poulin Aaron Power Chris Prall Ken Price Larry Price Marissa Price Rodrigo Priego Michael Primont Celestina Prochilo Brian Quinn Ajay Radhakrishnan Leslie Rado Mary Rainwater Erik Raistakka Matthew Ralston Joe Randazzo Inma Raneda Ray Rasmussen Susannah Raulino Archana Ravichandran Stanley Rawrysz Elizabeth Reese David Reid Jason Reid Laura Reinhardt Tsvi Reiter Sara Revell Tom Reynolds Lisa Richards Brian Richardson Aaron Ridenour Christopher Rieber Summer Rieland Paul Ripperger Deborah Ro William Roach Lorraine Roberto

FESTIVAL

2 004

Denise Roberts Lisa Robinson Peter Rogerson Robert Rohan Angela Romig Carrie Root Beverly Rosenow Daniel Rosenthal Anne Ross Elias Ross Sarah Ross Dan Rosson Jennifer Roth Tim Rounds Gary Roundtree Randy Rowland Darlene Rudd Nan Rush Winn Ryman Susan Saks David Salesin Shinn Salzer Todd Sanchez Irene Sandholm Robert Santucci Leela Sasaki Chrissie Scannell Sue Schellenbaum Bernadette Scheller Gordon Scherer Michael Schick Julie Schickling Sara Schneider Debbie Schorzman Margaret Schuler Sherri Schultz Michel Schummer Michael Schuppert Lynn Schwendiman Shannon Schwimmer Andrea Sciaudone Jennifer Scott Xylia Scott Mike Sebring Michael Seeley Roy Seliber Anne Senter Sam Severn Robert Shackelford Sherry Shanabarger Kathryn Shane-Kumler Joe Shapiro Steven Shaviro Vonnie Shaw Jane Sheridan Amie Simon Joyce Simons Clarisse Sirianni Veronica Skeels Lynette Skinner Amy Slanis Cheryl Slean Kimberly Smith Todd Smith Melissa Snider Jill Snyder Wade Sowers Carrie Sparlin Robert Spencer Roxanne Spiegel Weston Sprigg Ray Sprinkle Linda Squires Gerald Stanley Winifred Stanton Heather Steffenson Paul Steffenson Marcy Stein

CINEMA Betsy Steinke Erica Stevens Riki Stevens Irinia Stevenson Jim Stickman William Stier Ann Stillwater John Strand Aimee Strasko Bradford Lee Strohm Jan Strout Dan Suehr Jeanette Sullivan Katherine Sultan Ray Sun Neil Sussman Lois Suzuki Lacey Swain Camille Swanson Sharon Swanson Lara Swimmer Evelyn Sybor Mihai Szabo Henry Szymonik Raymond Takeuchi Rohan Takhar Anne Tarpey Yvonne Tate Cathy Taylor Doug Taylor Michael Taylor Lisa Terry Matthew Terry Albert Teter Jeanette Thomas Morgan Thomas John Tilden Eric Tilleson David Tilman Carol Tobin Tim Tomlinson Michael Tosch Eric Totherow Kristine Towne Richard Treston Jason Triolo Kelly True Gary Tucker Tulane Oliver Tuthill Marcelo Uemura Jennifer Ulstein Michelle Vaden Leigh Valentine Elisabeth Van Every Ron Veach Sylvia Vega Alan Veigel Andrew Villone Jasminka Vukcevic Bonita Wade Angela Wagner Carl Wagoner Kate Wakefield Bill Waldo Ethel Waldo Scott Walker Lee Walkling Douglas Wallace Jean Walsh Betty Walton Zheng Wang Zhuoyi Wang Jon Ward Marc Warner Judith Warshal Lucinda Watters Jerry Waugh

Mary Weatherley Eugene Wei Nora Weidemann Nancy Weiner Todd Weiner Katie Weiss Alex Wells Woody West Robert Wheaton Parker Whittle Bernandeta Wilk Jana Wilkins Candice Williams Eric Williams Sharon Williams Douglas Willott Mike Wilson Christopher Wing George Wing Linda Witkowski Eli Wolff Bic Wong Josephine Wong Jason Wood Ann Woodmansee Dick Woodruff Katherine Woolverton Jon Wright Christine Wu Robert Wyman Donald Yee Ann Yoder Faramak Zahraie Maziar Zarrinbal Karin Zaugg Nathan Zentz Sonia Zimak Sheldon Zwerling STUDENTS/SENIORS

Zach Adair Kathy Agather Michael Agather Alexander Astrakhan Thi Thi Aye Jeanne Azure Jessica Bachman David Ball-Romney Phyllis Bannister Lee-Wah Bao Dan Barr Michelle Bates Maxwell Bennett Jon Bennett Tom Bermel Ellen Bezona Alfred Birnbaum Josh Bis Diane Bisset Bonnie Black Joyce Boewe Bob Boustedt Gunnel Brydolf Kris Bushley Andrea Calle Barbara Campbell Patrick Campbell James Carey Sue Carroll Pornchai Chaiseeha Elizabeth Coady Roberta Cole Colleen Craig Alice Cunningham John Daise Jonis Davis Ellie DeLong Cheryl Diffenderfer

Tracy Doherty Barbara Dolman Patricia Doran Rob Downen Ellen Downey John DuBois Rama Eachempati Scott Eastman Stephen Ebrey Peggy Elder Katy Ellingsen Sheryl Feldman Becky Fish Carmen Flak Ruth Flanders Gerald Frug Dane Fukumoto Norman Gahm Ruthellen Gahm Arlene Giesmann Christine Gilbert Angela Gilliam Steve Graham Patricia Groves Setyo Guritno Sandy Gutting Nicki Hamilton Chris Harmon Bryn Harris Jean Henderson Janet Hitchcock Jeff Hitchcock Morgan Hodder Terry Hoenhous Ji-Yon Hong Jody Hunt Lindsay Husel Andrée Jacovich Leona Johnston Victoria Kaplan Barbara Karoly Amy Karpinski Timothy Keller Jo Anne Kirkland Laura Kitchings Katey Klump Nikki Klump Claar Kreijkamp Herb Krohn Elmer Kruger Henry Kuharic Christina Kyllo Addie Land Isaac Lane Barbara Lazzaro Benjamin Legrand Dale Lehrman Scott Lemieux Phyllis Leventhal Kelly Lisbakken Michael-Litven Thomas Long Leticia Lopez Miriam Lowin Tove Lund Vikram Mangharam Lyndee Mann Mary Jane Marcus Jaime Mastromonica Mausam Anne May Maria McCallister Norman Meyer Tammi Miller Medora Moburg Georgia Monsen Robin Moore Bev Morgan

3 0T H SEATTLE

Don Moss Haruko Mukasa Theo Nassar Carol Nelson Deanna Nelson Ann Nieder Peggy Olafson Ramona Owen Frankie Paiva James Pedrick Pedro Pelayo Wanda Pelayo Robert Peterson Ruby Phillips Carmel Pope Janelle Poulsen Orion Protonentis Carol Pruzan Elizabeth Rave Joyce Ray Bootie Reckin Beverly Reich Georgina Robinson Kyle Rogers Roy Rogers Hitomi Ross Matthew Rowe Robin Rowedder Ken Rudolph Mimia Sanchez Clifford Schmidt Shane Schwendiman David Severski Lillian Shagrin Don Shallow Lil Shallow Jim Stapleton Paul Steinke Grisha Stewart David Stugart Phillip Swanson Yoshimi Takabatake Ande Thollander Park Thoreson Patricia Thorpe Tom Thurber Sharon Tighe Marin van Schaik Alix Van Zant MaryAnne Vandervelde Vladimir Vigdorovich Joanna von Behringer D Lynne Walker Sharyn Wallin Yanfen Wang Ardee Warshal Sabella Wells Dorothy Wendler Dana Wilber Stuart Williams Robb Wilson Derek Woodward Karen Young C.Q. Zaentz

SEATTLE

MEMBERS

Cinema Seattle Program Fund Contributors and Donors-Thank You!

Ivy Anderson Anne Marie Anis Rachelle Ballmer Andrea Barbier Elizabeth Bembenek Luther Black & Christine Wright James Chandler Christopher Conrad Jura Danihol & Petra Faiferova William Deaton Michael Dopp Ruth Dunlop Maryel Duzan Kimberly Early Julie Fay Stanley Gartler Marsha Green Sybil James Adrian Johnson Terry Johnson Howard Kaylan Michelle Kunkel Connie Lennstrom Mary Lonien Darryl Macdonald Stephanie McKnight Mary Metastasio Mark Milgard Shirley Morrison Barbara Parrish Mina Person Timothy Probst Joyce Ray Melissa Reese Darren Robertson Leela Sasaki Tom Skerritt Stewart & Marilee Stern Lea Sund Bill True Doug Wallace Carolyne Wedekind Tatyana Yelkin Cameron Young

KIDS

Ian Affleck-Asch Miranda Balch Chase De Alessi Evan Easton-Calabria Frances Foody Neale Foody Jonah Hlastala Karina Hlastala Josie Parks Nolan Parks Alexander Stevenson Grant Wilson

INTERNATIONAL

FILM

Cinema Seattle Members as of April 28, 2004 FESTIVAL

2004

235

ACKNOWLEDGMENTS Nancy Abraham Richard Abramowitz Nicolette Aizenberg Valeri Ajaja Kathlyn Albright Andy and Susan Aldrich Aaron Alhadeff Ken Alhadeff Sarah Ali David Allen J.P. Allen Gunnar Aimer Thom Andersen Erik Anderson Jean Anderson Kevin Anderson Ryan Anderson Stephanie Anderson Claudia Antonnucci Gretchen Apgar Ed Arentz Paul Armstrong Jennifer Arndt Stas Artimovich Erkki Astala Andrea Auge Chandra Auge Thomas Augsberger Chu Po Au Yeung Jose Carlos Avellar George Ayoub Reza Bagheri Matt Bain Carole Baraton Wouter Barendrecht Michael Barker Beth Barrett Doug Barry Keith Bean Lynn Beck Mary Becker Amanda Bedell Scott Bedno Richard Beer Radiance Bellavita Marcia Bennison Jen Bergman Ingrid Berkhout Tom Bernard Bob Berney Aleksandra Biernacka Matt Birkeland Neal Block Laura Bobovski James Bolton Arianna Bocco Deb Bowen Tyler Bradford Paulo Branco Francesca Breccia Cristina Brosed Rudy Bruggemann Robert Burke Shangjun Cai Alfredo Calvino Martin Cameron Phyllis Campbell Kim Cape Wayne Carignan Nate Carson Holly Carter Scott Carter-Eldred Cherif Castel Alejandra Guevara Castillo David Castro Raymond Cha San-ling Chang

236

Bruce Chatterly Peggy Chiao Jennifer Clapper Rich Clark Kaci Clot Susan Coliton Taylor Coleman Nick Collecchi Patrick Comisky Elizabeth Compton Rebeca Conget Christine Cook Kevin Cook Linda Coomas John Cooper Susan Coulter Patrice Courtaban Jack Cowan Steve Cstouras Matt Cunningham Jeff Davis Heino Deckert Christopher Dee Marie-Do de la Patelliere Steve Dewalt Jenny Diaz Ramona Diaz Jeff Diffner David Dinerstein Bruce Donelan Peter Donnelly Lance Doty Sonia Dove Tamara Dover Rachael DuBoff Kathleen Drum Sarah Eaton Klaus Eder Ingrid Eggers Clay Eide Daniela Elstner Ceil Erickson Danny Eskenazi Luis Esteban Rodney Evans Sue Evans Sandra Eynon Nadine Fabbi Carol Fabi Nikki Fair Beth Farnham Dave Fassio Rich Fassio Jennifer Faye David Fenkel Jason Ferguson Elodie Ferrer Simon Field Sarah Finklea David Fisher Alan Franey Jan Flesher Alan Franey Jude Freeman Karen Fried Mary Frye Heather Fuentes Glen Gaidos Jolanta Galicka Dwight Gaut Jason Gearhart Victoria Gentry Jon Gerrans Nancy Gerstman Lisa Gill Rob Glaser Robert Glatzer Larry Gleason 3 0T H SEATTLE

Joan Godden Feral Gokcen John Gokcen Golden Globe Crew Jesse Goldman Erin Gollwitzer Silvia Gomez Mike Goodridge .

Lizette Gram Hank Green Amy Greene Candy Gruber Rodrigo Guerrero Elsa Guillot Marie-Therese Guirgis Christine Haebler Mark Halperin Marla Halperin Christina Hammer Condor Han Eric Handberg Sarah Hanks Greg Hara Angie Harrison Craig Harwood Ruth Hayler Julie Healey Fiona Henderson Bill Hendricks Nena Hendricks Lendy Hensley Amy Herndon Aude Hesbert Dan Hiatt Ian Hierons Crystal Hillin-German Melissa Hines Rodney Hines Danijel Hocevar Carol Hodge Jack Hodge Tiffany Holdahl Lara Holeman Diana Holtzberg Billy Howard Dave Howe Spenser Hoyt Marcus Hu Dave Huddle Ann Hung Jason Hunke Dale Hylton Allen D. Igawa Ryo Ikeuchi Brett Ingram Stephen Israel Barbara Jacobson Darrell Jameison Dale Jarvis Marnie Jenkins Nick Jensen Mike Jenson Uli Johnson Michael Johnston Cathy Johnstone Rose Jones Kiyo Joo Sara Kali Lucie Kalmar Bill Kapfer Ross Kauffman Deborah Kaufman Jim Kelly Evan Kentop Victor Kepler Pete Kerchinsky Marisa Keselica William Keys

Antoine Khalife Michael Killoren Laura Kim George Kindle Peter Kindlon Houston King John Kirk Rachel Kitten David Koh Kana Koido Nick Kolias Eva Kolodner Stan Kott Elinor Kowarsky Zach Krupp Susan Kunimatsu Emily Künstler Josh LaBelle Sal Ladestro Jason LaFavor Eric Lagesse Claudia Landsberger Mick Lane Sasha Lannon Josh Lanser Eglantine Lasserre Anne Laurent Mike Lavielle Jamie Lee June Lee Karin Lesli Pamela Leu Lammi Li Caroline Libresco Rich Lim Cristi Lima Jens Lindquist Jordan Lindquist Mark D. Lindquist Mike Lipka Guillaume Lirondière Mary Little Brian Llapitan Nancy Locke Carlos Lopez Richard Lorber Dennis Lorence Robert Lovy Mike Luiz Michael Lumpkin Mary Maduzia Tim Maffia Ida Martins Serena Marx Juliana Matta Marc Mauceri Linda McBlane Kathie McCallister Marsha McCroskey David McRae Miles McRae Sherry McRae Federica Mei Grégoire Melin Pierre Menahem Betty and Bill Meyer Richie Meyer Virginia Meyer Kate Meyer Marta Mikkelsen RJ Millard Rob Miller Bradley Mills Matt Monroe Ron Moore Jose Maria Morales Kari Morford Andrew Morones

INTERNATIONAL

FILM

Dan Sheeran George Mount Jennifer Showe Tiffany Naiman David Shultz Russell Nelson Michael Seiwerath Paul Nieto Trent Siegel Takashi Nishimura Brent Siewert Lori Novitski Roger Simmons Jeff Nuyts Olga Sledziewski Dennis O'Connor Brant Smith Mary Okeke Dale Smith Joe Olson Milton Smith III ,Marty Oppenheimer Julian Soler Tom Ortenberg Paulo Souza Shan Ottey Dena Sparks Jonathan Page Laurel Spellman Smith Zach Pahl Paul Sposare Carrie Palk John Starkey Isabelle Palluaud Tyler Steele Gary Palmucci Meg Stevens Hengameh Panahi Chris Stewart Michelle Panzer Damon Stewart Catherine Park Don Stier Duk-ho Park Curtis Steiner Kiyong Park Robert Stone Jo Allen Patton Jennifer Stott Travis Pauck Cristina Sutherland Carol Pawlak Chris Swenson Ron Pedersen Akira Takeda Alison Perris Annie Tang Mina Person Christoph Tannenberger David Phelps John Teegarden Thomas Phillipson Desiree Tew Terry Pierson Tom Thew Catherine Piot Laura Thielen leva Pitruka Jimmy Allen Thompson Raylene Plant Lewis Tice Jason Plourde Françoise Tomczak Todd Pottinger Wing Yan Tong Tom Prassis Jim Touhey Bill Predmore Anne-Dominique Stuart H. Prestrud Toussaint Duncan Price Chris Towey Larry Price LoicTrocme Robin Price Helen Tse Lee Pridemore Fred Tsui Celeste Primeau Marko Tubic Jitka Prochazkova Gary Tucker Marco Prozzo Bruce Tuesley Ryan Purcell Johnna Turiano Ron Purple Jesse Turner Kaie-Ene Raak Erica Tyner Pascale Ramonda Gal Uchocsky Stephen Raphael Ryan Ulhorn Orly Ravid Helen Underwood Bingham Ray Mark Urman Shaun Redick Katalin Vajda T.C. Rice Jimena Valades Paul Richer Lamar Van Dyke Aaron Ridinour Marnix van Wijk Paul Rippinger Nicole Vandenberg Mariette Rissenbeek Kelly Vander Linda George Roca Alla Verlotsky Guido Ronge Catherine Verret Anne Rosellini Chuck Viele Paul Rosenblum Pilar Torre Villaverde Ina Rossow Claudia Rudolph-Hartman Kyle Vixie Peter Vogt Mike Runagall Michael Vollman Emily Russo Huong Vu Yoichi Sakaii Michael Vu Pham Hidekazu Sakata Miroljub Vuckovic Simon De Santiago Janet Wainwright Areizaga Geof Walker Thorsten Schaumann Mark Ward Robert Schulze Laura Wang Weiman Seid Ratna Warouw Massimo Seidel Michael Warwick Christian Seifert Michael Weber Beatriz Setuain

FESTIVAL

2 004

ACKNOWLEDGMENTS Ted Weinbaum PJ Weise Jennifer Weiss Ruby Wells Michael Werner Ryan Werner Susan West David Wheeler Sam Whiting Teri White Brian Whitish David Whitlock Pebbles Willekes Kevin Williams Wendy Wills Laura Wilson Jeffery Winter Seymour Wishman Joy Wong Tracy Wong Victor Wong "White Rabbit" Emily Woodburne Molly Woodruff Derrick Wycoff Yelena Yatsura Paul Yi Larry Yocum Francois Yon Healey Young Shan Ding Yuin Stephanie Zeitler Lise Zipci Oliver Zobrist Sheldon Zwerling

1200 Bistro & Lounge 13 Coins Restaurant 4 Culture 5thAvenue Theatre 710KIRO Radio 727 Pine 911 Media Arts Center Adobe Systems Alarming Pictures LLC Alaska Airlines Allen Foundation for The Arts Allied McDonald Alpha Cine Labs AMC Theatres American Airlines American Music Rentals Amgen Foundation Antique Liquidators AOL for Broadband Apple Computer Argosy Cruises Art Access Artform Custom Framing ArtsFund Austrian Film Commission Bad Animals BCSR Computer Rentals Bell Harbor Blue Mouse Boeing Company Bogart, Bremmer & Bradley Antiques

Bon Appétit Catering Les Boulangers Associés The Braeburn Brasa Brechemin Family Foundation Broadway BIA Broadway NewAmerican Grill Broadway Performance Hall Café Campagne Canada America Society Canadian Consulate General/Seattle Canadian Studies Center-U.W. Center for Spanish Studies-U.W. China Film Archive Chinese Book Company Cinerama City Catering C K Graphics Classical KING FM Club Monaco Comcast Comedy Court The Commons Newspaper Computer Stores Northwest Consulate General of France Consulate General of the Federal Republic of Germany Consulate General of Japan Consulate General of the Republic of Korea Consulate General of Russia Consulate General of Spain Consulate General of Turkey Consulate of Mexico Cranium CSA Images Davis Wright Tremaine LLP Day Wireless Systems DHL Dick's Drive-In Dilettante Chocolates Downtown Seattle Association Edgewise Media Elliott Bay Book Company Elttaes Enterprise Evian Export Union of German Cinema Federal Express The Film School The Flower Company Fodor's Freixenet Gallery Frames Goethe Institute Golden Globe Grand Cinema Grand Hyatt Seattle Grand Illusion Cinema GSBA Herban Feast Hertz Equipment Rentals HIV Vaccine Trials Unit Hollywood Theatre Hong Kong Economic and Trade Office House of Hong Chinese Restaurant Howard House Hugo House Hunt Club I.A.T.S.E. Local 15

The Icon Grill II Fornaio IKON Infiniti of Kirkland International Channel Italian Film Commission in Tech Japan Foundation JEN Newspaper Jonas Jenson Studios Julia's on Broadway KEXP 90.3 Kiehls King FM KIRO / KNWX KISS FM KKMO KNDD The End KNHC 89.5 Koch Lorber Films Kodak KOMOTV KPLU Krispy Kreme - Kreme Works KUOW 94.9 KVTI KWJZ 98.9 KXPA Landmark Theatres Lark Lawdesk Computers Loews/Cineplex Lucky Strike Cigarettes Majestic Bay Theatres Matrix Professional Video Systems Inc. Mayor's Office of Arts &Cultural Affairs Mayor's Office of Film & Music McDonald Insurance Group, Inc. McRae Theatre Equipment Microsoft Corporation Millennium Digital Media Modern Digital Posts &Graphics Mon Hei Bakery Montreal Film Festival MWP National Endowment for the Arts NewAn dong Grocery & Chinese Herbs Norman Archibald Foundation Nth Degree Nutella NW Film Center, Portland, OR Odwalla One Reel Oppenheimer Cine Rentals, LLC Oxford Film Group Pacific Grip & Lighting Stage Pacific Place Mall/Pine Street Group LLC Pacific Publications Pagliacci's Pizza Palm Springs International Film Festival PNTA Ponti POP Portage Bay Solutions Premier Media Group Pyramid Ales and Lagers Queen Anne Office Supply Qwest Real Networks

Re-New Cleaners &Alterations Resonance Magazine Robinson Newspaper Rock Star Energy Drink Rocket Pictures Rosebud Restaurant & Bar Russian, East European Study Center Safeway San Francisco Film Society San Sebastian Film Festival Sazerac Scarecrow Video Scene-lt?

Scopes Magazine Seattle Central Community College Seattle Composers Alliance Seattle Foundation Seattle Grip & Lighting Seattle Homes & Lifestyles Seattle Mac Store Seattle Magazine Seattle Theatre Group Seattle's Best Tea Serafina SGN Newspaper Shred-lt of Washington Slice Editorial Sonic Boom Records The Sorrento Hotel Soy Source The Space Needle Speakeasy Starbucks Coffee Company Stella Artois Sterling Vineyards The Stranger Sun May Company Sundance Channel Swedish Film Institute Tablet Magazine Tango Techtonic Computing Telecom Labs Thomas Kemper Sodas Thrifty Car &Truck Rental Tom Douglas Toronto International Film Festival Tost Lounge Trammell Crow Company Troiani Turkish Consulate TV5 Monde Unijapan Vaishali Kukreja Vancouver Film Festival Vivanda Vulcan Inc. Vulcan Productions W Hotel Seattle Washington State Arts Commission Washington State Film Office Western Washington Beverage Wigglyworld Studios WONGDOODY World Wraps Write Brothers

THANK YOU! 3 OT H S E A T T L E

INTERNATIONAL

FILM

FESTIVAL

2004

237

30th Annual Seattle International Film Festival To think we knew you when you were ju st a tiny little m ovie show ...

A nd ju s t look at you now

—

the biggest film festival in Am erica!

Thanks for 30 years o f m aking your hometown proud.

C I N E R A M A . C O M

PRINT SOURCES / WORLD S A L E S Alicia Produce, S.L.

Bogeydom Licensing

San Bernardo, 24-2° Madrid 28015 Spain T: 34.91.701.0151 F: 34.91.701.0153 aliciaproduce@arrakis.es

PO Box 523, St. Q Toronto ON M4T 2M5 Canada T: 416.618.8748 georgeyayoub@cs.com

Altavista Films S.A. de C. V.

300 Corona Street Winston-Salem NC 27103 T: 336.725.8048 ingrambr@wfu.edu www.brighteyepictures.com

T: 52.55.5201.9000 F: 52.55.5201.9058 eguevara@altavistafilms.com.mx Antarctic Pictures

1933 Grace Avenue #14 Los Angeles CA 90068 T: 213.874.2407 F: 213.874.2407 Are Light Films, Taiwan

1 F, No. 19, Ln 2, Wan-Ii St. Taipei 116 Taiwan T: 88.62.2230.7639 F: 88.62.2230.7454 mail@arclightfilms.com.tw www.arclightfilms.com.tw Ardight Films, Australia

1201/39 MacLaren St North Sydney 2060 NSW Australia T: 61.2.9955.8825 F: 61.2.9955.8828 gary@arclightfilms.com www.arclightfilms.com Arenas

100 North Crescent Drive, Garden Level Beverly Hills CA 90210 T: 310.385.4401 F: 310.385.4402 info@arenasgroup.com ARTE France

8, rue Marceau Issy-Ies-Moulineaux Cedex 9 France T: 33.1.5500.7157 F: 33.1.5500.7394 d-pertus@paris.arte.fr Austrian Film Commission

Stiftgasse 6 Vienna 1070 Austria T: 43.1.526.332.3200 F: 43.1.526.332.6801 ¡nfo@afc.at www.afc.at Bavaria Film International

Bavariafilmplatz 7 Geiselgasteig 82031 Germany T: 49.89.6499.2687 F: 49.89.6499.3720 bavaria.intemational@bavaria-film.de www.bavaria-film-intemational.de Behnegar

78 East Motahari Avenue Tehran 15667, Iran T: (+98-21) 8410585 F: (+98-21) 2061137 festivals@behnegar.com www.behnegar.com Beijing Youth Film Studio

7-1306 No 4 Xitucheng Road Beijing 100088 China T: 86.10.8204.8863 Beta Cinema

Robert-Buerkle-Str.2 Ismaning D-85737 Germany T: 49.89.9956.2134 F: 49.89.9956.2703 beta@betafilm.com www.betacinema.de Bitters End

#302,10-13 Sakuragaoka-cho, Shibuya-ku Tokyo150-0031Japan T: 81.3.3462.0345 F: 81.3.3462.0621 info@bitters.co.jp www.bitters.co.jp

240

Bright Eye Pictures

Brussels Ave

Rue des Visitandines 1 Bte 48 Brussels 1000 Belgium T: 32.2.511.9156 F: 32.2.511.8139 brusselsavenue@compuserve.com Burns Film Ltd.

1537 9th Ave, S. E. Calgary AB T2G 5N4 Canada T: 403.265.6023 F: 403.262.8469 burnsfilmltd@telus.net Cacerolazo Producciones

Piran 227 Wide Buenos Aires 1875 Brazil T: 310.313.2085 chanbira@earthlink.net Celluloid Dreams

2 rue Turgot Paris 75009 France T: 33.1.4970.0370 F: 33.1.4970.0371 info@celluloid-dreams.com www.celluloid-dreams.com China Film Archive

No. 3 Wen Huiyan Road Xiao Xi Tian Beijing China T: 86.10.6225.0916 F: 86.10.6225.9315 China Star Ent. Group

Unit 503C, Miramar Tower, Kowloon TST Hong Kong T: 852.2313.1888 F: 852.2191.9988 movie@chinastar.com.hk www.chinastar.com.hk Cinedick Asia

Incline Bldg / 3F 891-37, Daechi-Dong, Kangnam-Gu SeouM35-280 South Korea T: 82.2.538.0211 F: 82.2.538.0479 yjsuh@cineclickasia.com www.cineclickasia.com Cinediaz, Inc.

1904 Greenberry Road Baltimore MD 21209 T: 410.367.9780 F: 410.510.9780 ramona@dnediaz.com Cinemaguild

130 Madison Ave., 2nd Floor New York NY 10016 T: 212.685.6242 F: 212.685.4717 info@cinemaguild.com Cinemavault Releasing

434 Queen Street East Toronto ON M5A1T5 Canada T: 416.363.6060 F: 416.393.2305 sales@cinemavault.com G Entertainment

12F, Cheiljedang Bid 500, 5 Ganamdaemoon-No Chung-Ku Seoul 100-095 South Korea T: 82.2.726.8484 F: 82.2.726.8291 ¡nfofilm@cjent.co.kr www.cjent.co.kr

30T H SEATTLE

Cobalt Pictures

EKE Pictures

Flach Pyramide International

HBO Films

4th Floor, 5-7 Carnaby Street London W1F9PB UK T: 44.20.7292.2800 F: 44.20.7292.2830 info@cobaltmg.com www.cobaltmg.com

4527 137th Ave. SE Bellevue WA 98006 T: 425.641.5398 F: 425.641.0277 victorkepler@earthlink.net

5, rue du Chevalier de St George, Paris 75008 France T: 33.1.4296.0220 F: 33.1.4020.0551 info@flach-pyramide.com www.flach-pyramide.com

2049 Century Park East Los Angeles, CA 90067 T: 310.201.9465 F: 310.201 9552 Dennis.OConnor@hbo.com www.hbo.com

Condor Han

22-3-403 Liupu kang Beijing 100011 China T: 86.10.6202.9019 F: 86.10.6418.2022 condorhan@sina.com

Kersnikova 4 Ljubljana SI-1000 Slovenia T: 386.1.430.3531 F: 386.1.430.3530 danijel@emotionfilm,si www.emotionfilm.com

Crescent Releasing

555 Brooksbank Ave, Bldg. 9, Suite 330 N. Vancouver V7J 3S5 Canada T: 604.983.5136 F: 604.983.5015 chaebler@crescent.ca www.crescent.3 Cutting Edge

137 rue de Fauborg St-Honoré Paris 75008 France T: 33.1.5383.0303 F: 33.1.5383.0370 gmelin@europacorp.com www.europacorp.com

10201W. Pico Blvd Bldg 12/211 Los Angeles CA 90035 T: 310.369.2921 F: 310.659.1453 healey.young@fox.com

F For Film

Gaumont

Homestead Editorial

16 rue de l'ancienne forge Fontaine-sous-jouy 27120 France T: 33.1.4201.7691 F: 33.1.323.8649 seguy@f-for-film.com

30 Avenue Charles de Gaulle Neuilly Sur Seine 92200 France T: 33.1.4643.2180 F: 33.1.4643.2033 eguillot@gaumont.fr

48 West 25th Street New York NY 10010 T: 646.221.9540 ldoty@homesteadedit.com

Global Film Initiative

F-Seitse

200 Varick Street Suite 500A New York NY10014 T: 212.206.7790 F: 212.206.6828 nicky@globalfilm.org

1040 Hamilton St., Suite 205 Vancouver V6B 2R9 Canada T: 604.632.1707 F: 604.632.1607 film@filmhorizon.com

3rdFloor, 53 Frith Street London W1D4SN UK T: 44.77.8691.4003 arnoldh@cutting-edge.uk.com Czech Television

Kavci Hoty 140 70 Prague 4 Czech Republic T: 420.261.212.945 F: 420.261.211.354 telexport@czech-tv.cz www.czech-tv.cz Danish Film Institute

Gothersgade 55 Copenhagen 1123 Denmark T: 45.33.74.3506 F: 45.33.74.3445 lizetteg@dfi.dk www.dfi.dk Decked Distribution

Peterssteinweg 13 Leipzig D-04107 Germany T: 49 341 215 66 38 F: 49 341 215 66 39 info@deckert-distribution.com Diorama Films, LLC

616 N. Avenue 65 Los Angeles CA 90042-2921 T: 818.260.4402 slwest@aol.com Distant Horizon

8282 Sunset Blvd., Suite A Los Angeles CA 90046 T: 323.848.4140 F: 323.848.4144 la@distant-horizon.com Down To the Bone Prods.

55 East 11th Street No. 11 New York NY 10003 T: 212.420.8797 arosellini@bway.net Duo Films

154, rue Oberkampf Paris 75011 France T: 33.1.4807.5919 F: 33.1.4807.0867 duofilms@club-internet.fr E Pictures

1824 San Jacinto Street Los Angeles CA 90026 T: 323.669.7367 F: 323.417.5052 pyi@ix.netcom.com Eden Productions

84 Arlozorov Street Tel Aviv 62647 Isreal F: 97.2.3523.6076 nasto@netvision.net.il Eden Rock Media

1416 N. LaBrea Ave. Los Angeles CA 90028 T: 323.802.1718 F: 323.802.1832 taugsberger@edenrockmendia.com

Emotionfilm

Flying Elephant Films

HBO Films London

326 Hanworth Road Hounslow Middx TW3 3SH United Kingdom T: 44.20.8230.6920 info@flyingelephant.co.uk

Warner House, 98 Theobalds Rd London WC1X8WB UK T: 44.20.7984.5051 F: 44.20.7984.5052 penny.wolf@hbo.com

Empire Pictures

Fortissimo Film Sales

High Point Films

595 Madison Ave., 39th Floor New York NY 10022 T: 212.629.3097 F: 212.629.3629 jc@empirepicturesusa.com www.empirepicturesusa.com

Veemarkt 77-79 Amsterdam 1019 the Netherlands T: 31.20.627.3215 F: 31.20.626.1155 info@fortissimo.nl www.fortissimo.nl

25 Elizabeth Mews London NW3 4UH UK T: 44.20.7586.3686 F: 44.20.7586.3117 sales@highpointfilms.co.uk www.highpointfilms.co.uk

Fox Searchlight

No 27 Shuang He Street, 234 R.O.C. Yung Ho Taipei Taiwan T: 886.2.2920.8422 F: 886.2.2920.8421 hgfilms@ispeed.com.tw

Europa Corp

Narva mnt 63 Tallinn 10152 Estonia T: 372.242.1808 F: 372.242.1803 fseitse@online.ee www.fseitse.ee Films Distribution

6 rue de l'Ecole de Médecine Paris 75006 France T: 33.1.5310.3399 F: 33.1.5310.3398 info@filmsdistribution.com www.filmsdistribution.com Films Transit International

252 boulevard Gouin East Montréal H2Y 1C8 Canada T: 514.844.3358 F: 514.844.7298 info@filmstransit.com www.filmstransit.com Fine Line Features

888 Seventh Avenue New York NY 10106 T: 212.649.4803 F: 212.956.1942 jennifer.stott@newline.com First Hand Films

Schaffhauserstr. 359 Zurich 8050 Switzerland T: 41.1.312.2080 info@firsthandfilms.com First Look Media

8000 Sunset Blvd., East Penthouse Los Angeles CA 90046 T: 323.337.1062 F: 323.337.1078 info@firstlookmedia.com www.firstlookmedia.com

Go Fish Pictures

100 Universal Plaza Universal City CA 91608 T: 818.695.7740 Goldview Co.

Houston King

1041 North Formosa Ave. Hollywood CA 90046 T: 323.850.2757 F: 323.850.2787 houstonim@yahoo.com IDP

1133 Broadway, Suite 926 New York NY 10010 T: 212.367.9435 F: 212.367.0853 nicolette@idpfilm.com www.idp.com

Golden Network Asia Ltd.

IFC Films

Room 2205, Futura Plaza, 111113 How Ming St. Kwun Tong Hong Kong T: 85.2.2751.1886 F: 85.2.2750.4862 goldnet@netvigator.com

200 Jericho Quadrangle Jericho NY11753 T: 516.803.4514 F: 516.803.4506 ghlentz@rainbow-media.com

Grupo Novo de Cinema e TV

Nova ves 45 Zagreb HR-10000 Croatia T: 3.851.466.7291 F: 3.851.466.7022 interfilm@zg.tel.hr

Rua Capitao Salomao, 42 Rio de Janeiro 22271-040 Brazil T: 55.21.2539.1538 F: 55.21.2266.3637 international@gnctv.com.br Hallmark Entertainment Dist, LLC

1325 Ave of America, 21st Fir New York NY 10019 HanWay

24 Hanway St. London W1T1 UH UK T: 44.20.7290.0750 F: 44.20.7290.0751 info@hanwayfilms.com www. hanwayfilms.com HBO Documentaries

153 Waverly Place New York, NY 10014 T: 212.243.0600 F: 212.989.7649 info@firstrun-features.com www.firstrunfeatures.com

1100Ave. oftheAmericas, Rm1335 New York NY 10036 T: 212.512.1658 F: 212.512.7452 sara.ali@HBO.com www.hbo.com

FILM

Horizon Entertainment

3-50-5 #1201, Asagaya minami, Sugunami-ku Tokyo 166-0004 Japan T: 81.3.5347.2501 F: 81.3.5347.2505 goldkiyo@goldview.co.jp www.goldview.co.jp

First Run Features

INTERNATIONAL

Homegreen Films Co.

FESTIVAL

2 004

Interfilm

International Creative Management

8942 Wilshire Blvd Beverly Hills CA 90254 T: 310.550.4377 F: 310.550.4127 sredick@icmtalent.com Intra Movies

Via Manfredi 15 Rome 00197 Italy T: 39.06.807.6157 F: 39.06.807.6156 sales@intramovies.com interfilm@zg.tel.hr Jane Balfour Services

122 Elgin Crescent, Flat 2 London W11-2JN UK T: 44.20.7727.1528 F: 44.20.7221.9007 info@jbslondon.fsnet.co.uk

ww. PyramidBrew. com

W

W W

.T K S

PRINT SOURCES / WORLD SALES Janus

210 East 52ndStreet, Fifth floor New York NY 10022 T: 212.756.9922 F: 253.756.9950 sarah@criterionco.com Jumpshot Productions

2810 127 Ave NE Bellevue WA 98005 T: 425.885.0755 F: 425.803.6830 jumpshot99@aol.com

Magnolia Pictures

Moving Malcolm Productions

Paramount Classics

Seagull Films

Submarine Entertainment

115 West 27th St - 8th Fl New York NY 10001 T: 212.924.6701 F: 212.924.6742 ebowles@magpictures.com

707-318 Homer St. Vancouver BC V6B 2V2 Canada T: 604.734.8339 F: 604.934.8373 paularmstrong@telus.net

526 W. 111 St, Suite 2 CC New York NY 10025 T: 212.531.2754 F: 212.531.2367 seagullfilms@att.net

Magyar Filmunio

Munich Animation

5555 Melrose Ave, Chevalier 220 Hollywood CA 90038 T: 323.956.4545 F: 323.862.1103 pantea_ghaderi@ paramount.com

123 Crosby Street, Suite 8 New York NY10012 T: 212.625.1410 F: 212.625.9931 josh@submarine.com www.submarine.com

Varosligeti Fasor 38 Budapest 1068 Hungary T: 36.1.351.7760 F: 36.1.351.6734 filmunio@filmunio.hu

Rosenheimerstrasse 143D Munich D-81671 Germany T: 49.89.383.8820 F: 49.89.383.8222 info@munich-animation.com

Pathe International UK

4-1-1 Tsukiji, Togeki Bldg.

12F, Chuo-Ku Tokyo 104-8422 Japan T: 81.3.5550.1623 F: 81.3.5550.1645 ibd@shochiku.co.jp

Manhattan Pictures

Neofight Film

1-14-7 Tsukishima Chuo-ku Tokyo 104-0052 Japan T: 81.3.5548.5681 F: 81.3.5548.5664 naakanlshi@kinetique.co.jp www.kinetique.co.jp

369 Lexington Avenue New York NY 10017 T: 212.453.5055 F: 212.453.5080 tcrice@manhattanpics.com

8501 Ridpath Drive Los Angeles CA 90046 T: 323.822.2927 F: 413.622.2435 stephen@neofightfilm.com

Maxmedia

New Line Cinema

Kinobureau No. 1

1620 Broadway, Suite C Santa Monica CA 90404 T: 310.828.6313 F: 310.829.0599 maxmedia99@earthlink.net www.maxmedia.org

116 N. Robertson Blvd., Ste 509 Los Angeles CA 90048 T: 310.854.5811 F: 310.657.2836 info@newline.com www.newline.com

MDC International GmbH

New Yorker Films

Schillerstrasse 7A Berlin 10625 Germany T: 49.30.2649.7900 F: 49.30.2649.7910 info@mdc-int.de www.mdc-int.de

85 Fifth Ave -1 1th Floor New York NY 10003 T: 212.645.4600 F: 212.645.3030 info@newyorkerfilms.com www.newyorkerfilms.com

Media Asia Distribution

New Zealand Film Commission

24/F Causeway Bay Plaza 2, 463-483 Lockhart Rd. Causeway Bay Hong Kong T: 85.2.2314.4288 F: 85.2.2314.4248 wwdlst@mediaasia.com www.mediaasia.com

PO Box 11-546 Wellington New Zealand T: 64.4.382.7685 F: 64.4.384.9719

Kinetique

1 Mosfilmovskaya str.1, #527 Moscow 119992 Russia T: 70.95.143.9160 F: 70.95.143.4917 kinoslovo@kinoslovo.ru www.kinoslovo.ru Kinotar Oy

Meritullinkatu 33E 00170 Finland T: 358.09.135.1864 F: 358.09.135.7864 kinotar@kinotar.com www.kinotar.com Koch Lorber

2166 Broadway Penthouse New York NY10024 212.787.3577 212.987.1276 www.kochlorberfilms.com KWA-Kevin Williams Associates

Media Luna Entertainment

Estrecho de Mesina 12-2 Madrid 28043 Spain T: 34.9.1388.5355 F: 34.9.1300.2202 kevin@kevinwa.com www.kevinwa.com

Hochstadenstrasse 1-3 Cologne D-50674 Germany T: 49.22.1139.2222 F: 49.22.1139.2224

Latido Films

Menemsha Entertainment

C/Veneras 9,6° Madrid E-28013 Spain T: 91.548.8877 F: 91.542.8710 marigc@latidofilms.com www.latidofilms.com

festival@medialuna-entertainment.de

1157 S Beverly Drive, 2nd Floor Los Angeles, CA 90035 T: 310.712.3720 F: 310.277.6602 neilf@menemshafilms.com www.menemshafilms.com

Latvian National Film Center

Mettray Reformatory Pictures

Elizabetes lela 49 Riga LV1010 Latvia T: 37.1.750.5084 F: 37.1.750.5077 ieva.pitruka@nfc.gov.lv

2135 NW Flanders #305 Portland OR 97210 T: 503.380.3667 jimmybca@aol.com

Les Films du Losange

469 State St. #2R Brooklyn NY 11217 T: 718.246.8235 rodneyevans@earthlink.net

22, ave Pierre 1er de Serbie Paris 75116 France T: 33.1.4443.8724 F: 33.1.4952.0640 info@filmsdulosange.fr Lions Gate Films

2700 Colorado Ave. #200 Santa Monica CA 90404 T: 310.449.9200 F: 310.392.0252 info@lgecorp.com www.lionsgatefilms.com Lovesick Ltd.

36 Pines Street Tel Aviv 65146 Isreal T: 97.2.3510.1996 F: 97.2.3510.7674 assoulin1@bezeqint.net Magic Lamp

9530 Haines Canyon Ave Los Angeles CA 90048 T: 818.951.7914 F: 818.951.7924 jreichert@earthlink.net

242

Miasma Films

Miramax Films

99 Hudson St., 5th Floor New York NY 10013 T: 212.965.4609 F: 212.941.3928 info@miramax.com Mirovision

4 FL. Kyounghee Bldg. 1-153 Shinmunro 2-Ga, Chongro-Gu Seoul 110-062 S. Korea T: 82.2.737.1185 F: 82.2.737.1184 info@mirovison.com www.mirovision.com Mix Pix Productions

T: 36.3.0250.2067 rlovy@mixthemovie.com Motor Film

New Ziv Pictures

8644 39thAve SW Seattle WA 98136 T: 206.282.4204 todd@bigcitydick.com Newmarket Films

597 Fifth Ave, 7th Floor New York NY 10017 T: 212.303.1700 F: 212.421.1163 info@newmarketfilms.com www.newmarketfilms.com NonStop Sales AB

Dôbelnsgatan 24 Stockholm 52 Sweden T: 46.8.673.999 F: 46.8.673.9988 info@nonstopsales.net www.nonstopsales.net Nordisk Film Inti. Sales

Halmtorvet 29 Copenhagen 1700 Denmark T: 45.3326.6880 F: 45.3326.6889 contact@nordiskfilm.dk www.sales.nordiskfilm.dk Outsider Films

1050 West Nickerson Seattle WA 98119 T: 206.285.7334 pjvogtr@aol.com Palm Pictures

601 W. 26th Street, 11th Floor New York NY 10001 T: 212.320.3598 F: 212.320.3709 neal.block@palmpictures.com www.palmpictures.com Paragon Film Group

209 E. Alameda Ave Burbank CA 91502 T: 818.845.7148 F: 818.566.6639 bedno@paragonfilmgroup.com

Kent House, 14-17 Market Place London W1W8AR UK T: 44.20.7462.4427 F: 44.20.7436.7891 international.sales@pathe-uk.com www.pathe-uk.com Phoenix World Investment

Cruz del Sur 133,4th floor Santiago Chile T: 56.2.207.2760 F: 56.2.207.2963 marango@pwi.media.com www.pwimedia.com Quality of Life Film, LLC

589 Howard St., 4th Floor San Francisco CA 94105 T: 510.459.4560 brarrt@qualityoflife-themovie.com

Shochiku Co. Ltd.

Showtime Independent Film

1633 Broadway, 17th Floor New York NY 10019 T: 212.708.1525 F: 212.708.1217 Jennifer.Weiss@showtime.net Sisyphus Productions

2335 S. Graham St Seattle WA 98108 T: 206.725.0389 sisyphus@compassusa.net Snitow-Kaufman Productions

T: 310.264.3978 paulrosenblum@hotmail.com

2600 10th St. Berkeley CA 94710 T: 510.841.1068 amsnitow@igc.org

Quinta Communications USA

Rai Trade

Sogepaq

Via Umberto Novara 18 Rome 00195 Italy T: 39.06.3749.8469 F: 39.06.3751.6222 ¡nfo@raitrade.it www.raitrade.it

Gran Via 32,1st floor Madrid 28013 Spain T: 34.9.1524.7220 F: 34.9.1521.0875 bsetuaine@sogecable.com

Red Light Pictures

550 Madison Ave., 8th Floor New York NY 10022 T: 212.833.8838 F: 212.833.7911 info@sonyclassic.com www.sonyclassic.com

185 East 3rdStreet #6A New York NY 10009 T: 917.797.8848 rosskaufman@earthlink.net Renaissance Films

34-35 Berwick Street London W1V3RF UK T: 44.20.747.5191 www.renaissance-films.com Retaguardia Films Ltd.

Alberto Decombe 1242, Prov Santiago Chile T: 562.946.2725 F: 562.209.2878 awaissbluth@retaguardiafllms.cl Rhombus Media Inc.

99 Spadina Ave., Suite 600 Toronto M5V 3P8 Canada T: 416.971.7856 F: 416.971.9647 rhombus@rhombusmedia.com www.rhombusmedia.com Rioja Audiovisual

Sony Pictures Classics

Sphinx Productions

24 Mercer St., 2nd Floor Toronto ON M5V 1H3 Canada T: 416.971.9131 F: 416.971.6014 mann@sphinxproductions.com www.sphinxproductions.com

17, J.P Woronicza Str. Warsaw 00-999 Poland T: 48.22.547.8515 F: 48.22.547.4248 festivals@tvp.pl Tesela Productions Cinematographicas

T: 34.91.367.6776 F: 34.91.367.7416 mktg@tesela.com www.tflinternational.com TF1 International

305, Avenue Le Jour se Leve Boulogne 92656 France T: 33.1.4141.4267 F: 33.1.4141.3160 capiot@tf1,fr www.tflinternational.com The Documentary Campaign

38 Greene St 4th Floor New York NY 10013 T: 212.219.1273 www.documentarycampaign.org

Portland House, 4th Floor, Great Portland Street London W1W8QJ UK T: 44.20.7612.1080 F: 44.20.7612.1081

Stir It Up Productions

THINKFilm

6140 Washington Blvd.

Culver City CA 90232 T: 310.836.7500 F: 310.836.7510 veronique@strandreleasing.com

FILM

Telewizja Polska SA Film Agency

48 Perry St. #3C New York NY10014 T: 917.287.1679 sterapha@aol.com

Strand Releasing

INTERNATIONAL

180 S. Spruce Ave, Suite 250 San Francisco CA 94080 T: 650.871.8761 F: 650.871.2887

Steven Raphael

StudioCanal

Espace Lumière, 5-13 Boulevard de la Republique Boulogne-Billancourt 92100 France T: 33.1.71758968 F: 33.1.7175.8973 mlpetiteau@studiocanal.com

Rue des Visitandines 1 Bte 48 Brussels1000 Belgium T: 32.2.511.9156 F: 32.2.511.8139

3 0T H SEATTLE

Tai Seng Entertainment

375 West Broadway, 2nd Floor New York NY 10012 T: 212.941.7744 rich@fllmmovement.com

Robert Stone Productions

104 W. 14th Street, 4th Floor New York NY 10011 T: 212.924.1601 F: 212.924.2306 eva@saltyfeatures.com

Box 27126 Stockholm S-102 522 Sweden T: 46.8.665.1100 F: 46.8.8661.1820 gunnar.almer@sfi.se

The Film Movement

758 Queens Highway Accord NY 12404 T: 845.626.7411 rsproductions@mac.com

Salty Features

Swedish Film Institute

15260 Ventura Blvd. Ste 1040 Sherman Oaks CA 91403 T: 310.993.5524 mwarwick71@aol.com www.sropictures.com

2201 3rd. Ave. #2203 Seattle WA 98121 T: 206.999.3547 lbs@cablespeed.com

125 Cross Hwy. Westport CT 6880 T: 917.533.1630 geoigeroca@rocaproductions.com

10880 Wilshire Blvd, Ste 1500 Los Angeles CA 90024 T: 310.234.5285 F: 310.234.5390 steve.evans@sundancechannelcom www.sundancechannel.com

SRO Pictures

La Pedriza, 8 Madrid E-28002 Spain 34.9.1416.0232 34.9.1415.4327 correo@riojafilms.com

ROCA Productions

Sundance Channel

FESTIVAL

2 004

The Works

155 Avenue of the Americas, 7th Floor New York NY 10013 T: 646.293.9414 F: 646.293.9407 dfenkel@thinkfilmcompany.com Thom Andersen

1735 Micheltorena Street Los Angeles CA 90026 T: 323.666.6977 F: 661.253.7824 icepickslim@earthlink.net Trinetraa Sri Lanka

549 W. 123rd St, Apt 8D New York NY 10027 T: 212.665.9245 F: 212.504.2799 geraym@earthlink.net

PRINT SOURCES / WORLD S A L E S Trust Film Sales

Wiggly World Studios

Filmbyen 12 Hvidovre DK-2650 Denmark T: 45.36.868.788 F: 45.36.774.448 trust@trust-film.dk www.trust-film.dk

1515-12,hAvenue Seattle WA 98112 T: 206.329.2629 www.nwfilmforum.org

Tube Entertainment

664-21 Shinsa-dong, Kangnam-lu Seoul 135-120 Korea T: 82.2.547.5926 F: 82.2.547.3279 cat@tube-entertainment.co.kr www.tube-entertainment.co.kr Two Spirit Productions

525 West 22nd Street, #3D New York NY 10025 T: 212.255.4748 F: 212.647.8396 charwood@aol.com UGC International

2, rue des Quatre-Fils Paris 75003 France T: 33.1.4029.8900 F: 33.1.4029.8901 hernst@ugc.fr www.ugc.fr

Wild Bunch, Paris

99, rue de la Verrerie Paris 75116 France T: 33.1.5301.5020 F: 33.1.5301.5049 lkalmar@exception-wb.com Ying E Chi Limited

Rm 901, Star Commercial Bldg 366 Lockhart Road Wanchai Hong Kong T: 852.2836.6282 F: 852.2836.6383 info@yec.com Zeitgeist Films Ltd.

247 Center Street, 2nd Floor New York NY10013 T: 212.274.1989 F: 212.274.1644 woodburne@zeitgeistfilm.com

United Artists

2500 Broadway Street, Bldg F Santa Monica CA 90404 T: 310.449.3370 F: 310.586.8358 Unquiet Projects LLC

1400 Willow Avenue Louisville KY 40204 T: 502.744.8325 mbecker@1400willow.com Vision International

27 rue de Solferino Boulogne Billancourt 92100 France T: 33.1.4694.8802 F: 33.1.4694.0169 intemational@visiongroupe.com Vitagraph

1800 N. Highland Ave. Ste 717 Los Angeles CA 90024 T: 310.390.1916 F: 323.461.9737 vitagraph@earthlink.net Wan Ji Communications

HighTech Ex. Cnyr Bldg 1A-19CD Beijing 100086 China T: 86.10.6216.1307 F: 86.20.8251.2697 wxyny@yahoo.com.cn Warner Brothers

4000 Warner Blvd Bldg Burbank CA 91522 T: 818.954.6627 F: 818.954.6654 info@warnerbros.com Warner Brothers, Hong Kong

33/F, Oxford House, Taikeo PI. Quarry Bay Hong Kong T: 85.2.3128.1666 F: 85.2.3128.1606 miahsia@warnerbros.com Warner Independent Films

4000 Warner Blvd, Building 76 Burbank CA 91522 T: 818.954.6333 F: 818.954.6330 steven.friedlander@ warnerbros.com Wellspring

419 Park Ave S., 20th Floor New York NY 10016 T: 212.686.6777 F: 212.545.9931 jstrauss@wellspring.com www.wellspring.com

SHORT FILM SOURCES 11.15.03

William Ross T: 912.596.8786 bill_ross_4@hotmail.com The Accordion Player

Jason Conforto T: 801.280.8889 conforton@msn.com Apart

Eric Atwood T: 816.651.9281 persona@no-self.org

The Catskill Chainsaw Redemption

Intimate Feeling With My Friend

Matt Unger T: 917.693.9209 mattunger@hotmail.com www.roastchicken.com/ chainsaw

KAFA T: 82.2.752.0746 F: 82.2.752.0742

Claustrophobia

Chapman Studios T: 714.744.7931 F: 714.997.6885 dhorne@chapman.edu The Climactic Death of Dark Ninja

Junebug and Hurricane

James Ponsoldt T: 917.428.3308 jponsoldt@hotmail.com Keys of Life

Black Chili Productions T: 323.856.8633 curly2670@earthlink.net

Spaceman X Media Productions, LLC T: 217.224.5322 F: 217.224.5324 rcraig@spacemanx.com www.thedimacticdeathofdar kninja.com

The King of the Tango

Consent

Magda

Phika Films kfriedberg@yahoo.com The Letter

KAFA T: 82.2.752.0746 F: 82.2.752.0742

Tate USA T: 310.828.8989 F: 310.828.1707 thebear@tateusa.com

Chel White Films T: 503.228.6183 F: 503.228.1007 chelfilm@teleport.com

Conversations

Make a Smile

Neptune Salad Ent. T: 213.321.7898 alicia_conway@hotmail.com

KAFA T: 82.2.752.0746 F: 82.2.752.0742

Day Off the Dead

M ay.Jn the Bus

Lee Lanier T: 702.203.1487 F: 702.293.2164 beezlbug@beezlebugbit.com www.dayoffthedead.com

KAFA T: 82.2.752.0746 F: 82.2.752.0742

Dysenchanted

KAFA T: 82.2.752.0746 F: 82.2.752.0742

Terriland, Inc. T: 310.459.0815 info@dysenchanted.com www.dysenchanted.com

Archipiélago

Prosopopeya Producciones T: 34.91.308.2810 info@archipelagothemovie.com Aspiration

Cosmodeon Films T: 514.529.9257 F: 514.529.9498 cmentzas@videotron.ca awake

Lori Lovoy-Goran T: 323.459.9178 F: 323.442.4103 lovoygoran@mac.com Backseat Bingo

University of Southern California T: 213.740.4432 F: 213.740.5226 ahirose@cinema.usc.edu Black Wedding

Mimi Nguyen T: 323.595.1206 F: 714.894.5552 oomimioooo@aol .com mimi@langvan.com Blue Sunday

KAFA T: 82.2.752.0746 F: 82.2.752.0742 Boutique

Escape

Jam Media T: 353.1.617.4816 ¡nfo@jammedia.ie Exposure

Lux Distribution T: 44.20.7503.3908 F: 44.20.7503.1606 sales@lux.org.uk Flash

Big Top Movies T: 212.998.1685 laurenceswanson@ hotmail.com Foster Island

Vaskino Films T: 425.687.4068 serge.gregory@comcast.net Fragile

Creative Pictures T: 49.89.173.679.2332 F: 49.89.5230.0964 info@creativepictures.de www.fragile-der-film.de

Icons and Legends

Michael Childers

3 0T H SEATTLE

The Monkey That Loved a Fish

Perfection

This is Not a Film

Zuzu Films T: 323.610.2413 info@zuzufilms.com The Perpetual Twilight Of Gregor Black

Nesting Grounds

Grinder Tool and Die T: 816.363.0435 F: 816.363.0435 grindx@sbcglobal.net The Newspaper

KAFA T: 82.2.752.0746 F: 82.2.752.0742 Nigel's Fingerprint

Dish Pictures Ltd. T: 416.921.5977 F: 416.921.4380 kim@dishpictures.com Oedipus

Mama's Boy Productions T: 310.650.8368 jason@wishnow.com www.oedipusthemovie.com The Old Man and the River

Singapore History Museum T: 65.6332.3251 F: 65.6332.3587 Dorothy_ng@nhb.gov.sg

The Phantom Museum

Toreador

Zeitgeist Films Ltd. T: 212.274.1989 F: 212.274.1644 mail@zeitgeistfilms.com

Albatross Films T: 604.936.9328 kerribeattie@shaw.ca

Pits

NZ Film T: 64.4.382.7683 pam@nzfilm.co.nz

FILM

Underdog

Scott Leberecht T: 323.953.0992 scottleberecht@earthlink.net White Line Syndrome

Robot Boy

Wildflowers

All Ages Productions T: 215.300.7089 F: 856.486.0005 ted@allagesproductions.com www.allagesproductions.com

Evergon Arts T: 514.252.7367 F: 514.252.8569 adesan@total.net

RockFish

OK Plus Productions T: 323.878.0248 okplusproductions@yahoo. com

Artisans PR T: 310.837.6008 kgayhart@artisanspr.com Rugged Rich and the Ona Ona

Eric Finkel T: 713.932.9344 eric@finkelfilms.com

Wrong Way Up

Zulgui

KAFA T; 82.2.752.0746 F: 82.2.752.0742

Seven's Eleven

Ralph Barton T: 425.453.1708 ralphbarton@hotmail.com Seventeen

Holland Film T: 31.20.570.7575 F: 31.20.570.7570 hf@hollandfilm.nl Sparks

Flying Pancakes Prods T: 917.804.4803 info@flyingpancakes.net The Spirit of Gravity

Standing Room Only

INTERNATIONAL

UGLY

Carolyn Paxton Jansen T: 626.398.9878 sugarbird@sbcglobal.net

Altavista Films T: 52.55.5201.9000 F: 52.55.5201.9058 aguevara@altavistafilms. com.mx

Our Story

Alan Price price@umbc.edu

Two Cars, One Night

Savannah College of Art and Design T: 912.525.5204 ncollins@scad.edu

Thrillionaire Productions T: 650.323.1217 www.thespiritofgravity.com

Overpass

Threshold

Pix Productions Jeremy R. Nichols T: 310.894.2844 F: 818.501.3482 jrn@pixproductions.com

KAFA T: 82.2.752.0746 F: 82.2.752.0742 Altavista Films T: 52.55.5201.9000 F: 52.55.5201.9058 aguevara@altavistafilms. com.mx

Form Color Movement Sound T: 917.545.3585 jkelly@focomoso.com

Bryony McIntyre Scottish Screen T: 44.14.1302.1756 F: 44.14.1302.1778 distribution@scottishscreen.com

Rick and Rocky

The Old Man With a Knapsack

Burning The Bed

Avatar Entertainment T: 310.678.7317 jaybog@earthlink.net

Chris Meyer T: 310.396.6003 angrymunky@hotmail.com

Hello

Songway Films T: 353.86.804.4614 info@burningthebed.com www.burningthebed .com

Tea Time

KAFA T: 82.2.752.0746 F: 82.2.752.0742

Recharge

Diag Productions T: 818.981.5558 uofmalum@aol.com

KAFA T: 82.2.752.0746 F: 82.2.752.0742

A Part of the Day

David Donar T: 810.610.8775 ddonar@hotmail.com

Time Flies Productions LLC T: 206.465.9984 osmerj@hotmail.com

Hi

Matthew Mebane T: 323.935.4645 mmebane@hotmail.com

Pulcinello

The Old Man and the Studio

Emily Gardiner Brioche Films LLC T: 917.533.7443 ecgardin@aol.com

Charlene Shih T: 310.313.4924 charleneshih@yahoo.com

True Fiction Films T: 604.739.4165 truefictionfilms@hotmail.com

Greenlake: Mosca Amor

Nix Entertainment T: 61.02.9389.2885 kathrynbrownhill@yahoo. com.au

Tackle Box

Papa Blue

Miramax T: 212.941.3800 F: 212.941.3834 A Stolen Moment

Narrow Edge Productions T: 416.789.0322 audrey.cummings@rci. rogers.com

FESTIVAL

2004

243

How to Festival

ADVANCE TICKETS

DAY-OF-SHOW TICKETS

In Person Advance tickets for all films and events are available Monday through Saturday, 11 a.m. to 7 p.m., and Sunday, noon to 6 p.m., at the Seattle International Film Festival's two outlets:

On the day of screening, tickets are for sale at the screening theater only, subject to availability. Theater box offices open 1/2 hour before the first screening of the day. If day-of-show tickets are no longer available, rush tickets may be purchased, subject to availability. Cash only.

RUSH TICKETS

SIFF Main Box Office Pacific Place 6th & Pine, third level SIFF Single Ticket Outlet Broadway Performance Hall 1625 Broadway (Advance single tickets only. Includes Film Buff 20-Pack, Cinematic 6-Pack and Student/Senior Reel Deal.)

By Phone Charge by phone: 206.324.9996 All tickets and passes, with the exception of Cinematic Six-Packs, The Film Buff 20Pack, Student & Senior Reel Deals and membership for the Secret Festival, may be purchased by phone with Visa, MasterCard, or American Express during regular Box Office hours. Subject to a $3.50 handling charge per order.

Charge on the Web www.seattlefilm.com Subject to a $3.50 handling charge per order.

Individual Ticket Prices $10.00 Festival Forum events, except An Evening with Stephen Fry ($15) $9.00 Evening screenings (except where noted) $8.00 Evening screenings for Cinema Seattle members when purchased in advance $6.50 Group rate (30 or more, per film no group rate for matinees) $6.50 Matinees and Midnights $4 Films4Families screenings F E S T IV A L IN F O R M A T IO N

206. 324.9997 FESTIVAL CHARGE

BY PHONE

206. 324.9996

When advance tickets are sold out, a limited number of rush tickets may be available at the door. Rush tickets are available on a first-come, first-served basis, depending on how many seats are available after passholders and advance ticket-holders are admitted. Rush tickets are normally sold 5-10 minutes prior to the screening. Cash only.

PASSES A generous allotment of seats at every screening is reserved for passholders.

While a pass (with the exception of Platinum) does not guarantee seating, passholders are allowed priority entry up to 20 minutes before showtime or until the passholder seat allotment has been reached. Passholders are strongly encouraged to arrive 30 minutes before showtime. All passes are strictly nontransferable and photo ID must be shown at the theater.

Festival Forums Passes are $100 for admission to all Festival Forum events.

Cinematic Six-Packs are $45 and include admission to any six films priced $9.00 or less, limited to a maximum of one ticket per film. Films must be selected at the time of purchase. A limited number of Six-Pack tickets are available for each film.

Student and Senior Reel Deals are $32.50 for any five films priced $9.00 or less, and are available to all students and seniors (65+) with valid ID. The Reel Deals are limited to a maximum of one ticket per film; a limited number of tickets are available for each film. Student and Senior Reel Deals may only be purchased in person at the SIFF Main Box Office at Pacific Place and Single Ticket Outlet at Broadway Performance Hall.

Film Buff 20-Packs are $150 and include admission to any 20 films priced $9.00 or less, depending on individual ticket availability. There is a two (2) ticket limit per film and films must be selected at the time of purchase.

Films4Families are $4 for admission to each screening taking place on Saturdays and Sundays. Films4Families will be screening at both the Egyptian and AMC Pacific Place 11. Please check schedule for venue and times. Films4Families gives families and young people of all ages a chance to view the best movies by youngat-heart filmmakers from around the world.

Platinum Passes are $750 and include admission to all Festival screenings, the Festival Forums, and Press screenings (with the exception of the Secret Festival), reserved seating at the Opening and Closing Night Galas, and an invitation for the passholder and a guest to attend a private Festival reception.

Full Series Passes are $425 and include admission to all public screenings and press screenings, excluding Opening Night, Anniversary Gala screenings, the Secret Festival, the Festival Forums, and the Closing Night Gala.

Secret Festival memberships are $30 for admission to the four Secret Festival screenings on Sundays at 11:30 a.m. at the Egyptian Theatre. Members are required to sign the Oath of Silence, promising not to disclose any information about the films shown in the series. Film titles are not announced until showtime.

Limit: two per person.

Weekly Passes are $145 and grant admission to all public screenings, excluding Opening Night, Anniversary Gala screenings, the Secret Festival, the Festival Forums, and the Closing Night Gala.

30th Anniversary Gala Passes are $150 for admission to all four gala Anniversary screenings and receptions, as well as the Opening and Closing Night Galas.

WWW.SEATTLEFILM.COM

244

3 0T H SEATTLE

INTERNATIONAL

FILM

FESTIVAL

2004

SPECIAL EVENTS VIP Opening Night Gala: $125 Opening Night Gala: $50 Closing Night Gala: $40 An Evening With Stephen Fry and screening of Bright Young Things: $20 An Evening With Stephen Fry. $15 Anniversary Gala: $25 Anniversary Gala (screening only): $12

THE NOT-SO-FINE PRINT All programs are subject to change without notice. No refunds or exchanges are given, except in the case of program cancellations.

• Seating is available at all performances on a first-come, first-served basis.

Ticketholder seating is guaranteed up to 10 minutes prior to screening. No late seating.

•No babes in arms and, with the exception of the Films4Families series, no children under six years old will be admitted. Please be aware that films may not be suitable for ages 16 and under.

Parental discretion is advised.

•Film length, as listed in the program, represents the best available information at press time. Length of film does not include introductions or Q&A sessions following the screening.

• All audience members must leave the theater following each screening. Saving seats between shows is not allowed.

Please do not leave empty seats in the middle of a row. Rush seating is less disruptive to the rest of the audience if empty seats are available on the aisles.

• Cameras and recording devices are not permitted in the theater. Please silence all cellular phones, pagers and watches when in the theater.

• Each film will be shown in its original language with English subtitles, unless otherwise noted.

SOUVENIRS Limited-edition T-shirts, posters and other souvenir items are available for purchase at the SIFF Main Box Office and other Festival venues.

BUSES Metro buses are available from all points in Seattle and surrounding areas.

For more information: call the Metro Information Line at 206.553.3000 (800.542.7876) or go to http://transit. metrokc.gov. Bus routes listed to the right are all within walking distance of theater locations.

THEATER LOCATIONS

Broadway Performance Hall 1625 Broadway 206.325.3113 Metro routes: 7, 8, 9,10,11,12, 43, 60

Cinerama 2100 Fourth Avenue 206.441.3080 Metro routes: 1-5,13,16, 19, 24, 26, 28, 33, 358

Egyptian 801 E. Pine Street 206.781.5755 Metro routes: 7, 8, 9,10, 11,12, 43, 60

Harvard Exit 807 E. Roy Street 206.781.5755 Metro routes 7, 9,14, 60

AMC Pacific Place 11 600 Pine Street 206.652.2404 Metro routes 7,10,11,14, 43

■ n

m i/ i

E Roy St

Broadway Performance Hall (bph)

Mercer St

Cinerama Theatre ( o n ) Egyptian Theatre © Harvard Exit Theatre (haj^ Pacific Place Cinemas © 5th Avenue Theatre 0

3 0 T H S E A T T L E I N T E R N A T I O N A L FILM F E S T I V A L 2 0 0 4

E John St

245

2004 SIFF SCHEDULE

May 22

Su n d ay

25

M onday

9

May 23

May 24

Tu esd ay

May 26

T h u rsd ay

G O FU R21 T W ILI2 1 TO RRE21 LO CA L21

188 140 156 211

4:45 pm 7:00 pm 9:15 pm

D e a th in G a z a H e ir t o a n E x e c u tio n F e a th e rs in M y H e a d

G A ZA X21 H EIR T 2 1 FEA TH 21

185 189 103

11:00 am 1:30 pm 3:45 pm 6:15 pm 9:00 pm M id n ig h t

im e ld a T h e M o th e r T o rr e m o lin o s 73 S a ve d !

D IG !

A zu m i

IM E L D 2 2 M O TH E22 TO RRE22 SA VED22 D IG X X 2 2 A Z U M I2 2

191 122 156 28 185 159

11:15 am 1:45 pm 4:00 pm 6:15 pm 9:15 pm

Sh o rts: F e m in in e V is io n F o ru m : S e x y S e llin g ...

H e ir t o a n E x e c u tio n D e a th in G a z a C o w a rd s B e n d th e K n e e

F E M IN 2 2 SEXYS22 H E IR T 2 2 G A ZA X22 CO W AR22

216 54 189 185 106

11:00 am 1:30 pm 3:45 pm 6:00 pm 9:00 pm

S e cre t Fe stiva l 1 S a d d e st M u s ic ...

S n o w W a lk e r R o se n stra sse P e rfe c t S t ra n g e rs

SA D D E23 SN O W W 23 RO SEN 23 PER FE23

43 108 109 121 147

1:45 pm 4:00 pm 6:15 pm 9:15 pm

E v e ry d a y P e o p le C o w a rd s B e n d th e K n e e S o m n a m b u la n c e I A lw a y s W a n te d ...

EVERY23 COW AR23 SO M N A23 IA LW 2 3

168 106 119 143

4:30 pm 7:00 pm 9:15 pm

El A la m e in :...

S n o w W a lk e r T h e T e sse ra ct

ELA LA 24 SN O W W 24 TESSE24

133 109 161

4:30 pm 6:45 pm 9:00 pm

In th e R e alm s o f th e U n real IN T H E 2 4 CHECK24 C h e c k p o in t LO V ES24 S h o rts: Lo ve 's L a b o u rs ...

191 183 217

R aja Im e ld a T a m a la 2 0 1 0 ...

R A JA X 2 5 IM E L D 2 5 TA M A L25

87 191 139

4:30 pm 6:45 pm 9:00 pm

CH ECK25 C h e c k p o in t G A M E025 T h e G a m e o f T h e ir Live s In th e R e a lm s o f th e U n real IN T H E 2 5

183 188 191

T h e T e sse ra ct S e x Is C o m e d y A n a to m y o f H ell

TESSE26 S E X IS 2 6 ANAT026

161 88 80

4:30 pm 6:45 pm 9:00 pm

T h e B a s q u e B ali M o n s te r R o a d S o m n a m b u la n c e

BA SQ U 26 M O N ST26 SO M N A26

180 193 119

4:30 pm 6:45 pm 9:00 pm

D a n d e lio n B ro th e r t o B ro th e r U n ifo rm

DANDE27 BRO TH27 U N IF 0 2 7

165 164 115

4:45 pm 7:00 pm 9:15 pm

T h e G a m e o f T h e ir Live s B -H a p p y D o w n t o th e B o n e

G AM E028 BHAPP28 DO W NT28

188 111 167

11:15 am 1:45 pm 4:00 pm 6:15 pm 9:15 pm

B -H a p p y U n ifo rm A c t in g M a ste r C lass S c re e n w rite rs S a lo n S e a rc h in g ...Je s u s

BHAPP29 U N IF 0 2 9 A C T IN 2 9 SCREE29 SEA RC29

111 115 37 52 197

4:45 pm 7:00 pm 9:15 pm 4:30 pm 7:00 pm 9:15 pm

May 27

Frid ay

May 28

Sa tu rd a y

May 29

•

27

June 13 6pm Cinerama

W ed n esd ay

May 30 9:30pm Valley Drive-In •

DRIVE-IIU PARTY Haute Tension, % Undead, The Locals DRIVE30 •

G o F u rth e r T w ilig h t S a m u ra i T o rre m o lin o s 73 T h e L o ca ls

4:45 pm 7:00 pm 9:15 pm

May 25

S u n d ay

May 30

M o nday

May 31

Tu esd ay

W ed n esd ay

T a le o f T w o Siste rs E v e r g re e n T o u ch o f P in k

TA LE027 EV ERG 27 TO U CH27

213 167

110 193

4:30 pm 6:45 pm 9:00 pm M id n ig h t

M o n s te r R o a d D a n n y D e c k c h a ir O p e n W a te r R a s p b e rry R e ich

M O NST28 DAN N Y28 O PENW 28 RA SPB28

173 212

11:00 am 1:30 pm 3:45 pm 6:00 pm 9:00 pm M id n ig h t

E v e r g re e n O p e n W a te r T h e G odd ess T h e C o rp o ra tio n T w ist T a le o f T w o Siste rs

EV ERG 29 O PENW 29 G O D D E29 CO RP029 T W IS T 2 9 TA LE029

167 173 200 184 111 213

11:00 am 1:30 pm 3:45 pm 6:00 pm 9:00 pm

S e cre t Fe stiva l 2 Fly F ilm m a k in g D a n n y D e c k c h a ir A R e la tiv e T h in g D a n d e lio n

F LY F I3 0 DAN N Y30 RELA T30 DANDE30

11:00 am 1:30 pm 3:45 pm 6:00 pm 9:00 pm

Buddy S tra y e d T o u ch o f P in k It's E a sie r f o r a C a m e l.. .

B ig C ity D ic k

BU DDY31 STRAY31 TO U CH 31 IT S E A 3 1 B IG C I3 1

4:45 pm 7:00 pm 9:30 pm

June 1

June 2

4:30 pm 6:45 pm 9:15 pm M id n ig h t

4:45 pm 7:00 pm 9:15 pm

T w ist U n to ld S c a n d a l R e v o lu tio n R e v o lu tio n T u rn L e ft T u rn R ig h t R u n n in g o n K a rm a

T W IS T 0 1 U N T O L0 1 REVO L01 REVO L02 TU R N L02 R U N N I0 2

101

43 56

101 161 165 147 89

110 81 181 111 155 175

175 127 126

1:45 pm 4:00 pm 6:15 pm 9:30 pm

P a te r F a m ilia s D o w n t o th e B o n e Lo s A n g e le s Plays Itse lf T h e B a s q u e B all

F A M IL 3 0 DO W NT30 LO SA N 30 BA SQ U 30

135 167 192 180

11:00 am 2:15 pm 4:00 pm 6:15 pm 9:15 pm

Lo s A n g e le s P lays Itse lf S h o rts: R e la tiv ity B u ffa lo B ill's D e fu n c t G u e rrilla :...P a tty H e a rst A rim p a ra

LO SA N 31 R E LA T 3 1 B U FF A 3 1 G U ERR31 A R IM P 3 1

192 217 164 189 128

G U ERR01 A R IM P 0 1 CAPO N01

189 197 80

4:30 pm 6:45 pm 9:00 pm

4:30 pm 6:45 pm 9:15 pm

Th u rsd ay

June 3

4:45 pm 7:00 pm 9:30 pm

R ELA T03 CAVED03 F E S T I0 3

161 165 187

INTERNATIONAL

FILM

A R e la tiv e T h in g C a v e d w e lle r Festiva l Exp re ss

30T H SEATTLE

4:30 pm 6:45 pm 9:00 pm

G u e r r illa :...P a tty H e a rst S e a rc h in g ...Je s u s Capone Capone B u stin g O u t / Still D o in g It N o ise T h e La st T ra in B o rn in to B ro th e ls O rw e ll R o lls in H is G ra v e

FESTIVAL

2004

80 CAPO N02 B U S T I0 2 182/198 172 N O IS E 0 2

LA STT03 B O R N I0 3 O RW EL03

149 181 195

Frid ay

May 21

Use Ticket Codes on this chart when ordering tickets.

For More Inform ation, updated throughout the festival, check SIFF's official website:

Sa tu rd a y

DATE

Page

Sa tu rd a y

May 22

Su n d a y

May 23

M ond ay

May 24

Tu e sd ay

May 25

e E 0 y■ E

* S (U 01 (A■

W ed n esd ay

May 26

T h u rsd a y

May 27

Frid ay

May 28

Sa tu rd a y

J

May 29

Su n d a y

May 30

M ond ay

May 31

Tu e sd ay

June 1

W ed n esd ay

June 2

T h u rsd a y

June 3

HARVARD E X IT

^

PACIFIC PLACE

Page

5:00 pm 7:15 pm 9:30 pm

La Pe tite Lili E v e ryd a y P e o p le S a d d e st M u sic...

LA P ET 2 1 EVERY21 SA D D E21

83 168 108

5:00 pm 7:15 pm 9:30 pm

S t o r y ...W e e p in g C a m e l Red L ig h ts C a ra n d iru

CA M EL21 R E D LI2 1 CARAN21

145 75 104

11:30 am 2:00 pm 4:15 pm 6:30 pm 9:30 pm

A G o o d Law y er's W ife M an o n th e Train W h e n R u o m a W as 17 T h o u s a n d C lo u d s ...

B A AD A SSSSS!

G O O D L22 M AN O N 22 RUO M A22 TH O U S22 BAADA22

152 94 115 144 163

11:30 am 2:00 pm 4:15 pm 6:30 pm 9:30 pm

Je ste r Till R o b e rt Sueco Red L ig h ts R aja O ff th e M ap

JE S T E 2 2 RO BER22 R E D L I2 2 R A JA X 2 2 O FFTH 22

205 75 75 87 173

11:30 am 1:30 pm 4:15 pm 6:30 pm 9:30 pm

T h o u s a n d C lo u d s ...

T w ilig h t Sa m u ra i The D ebut S to ry ...W e e p in g C a m e l La P e tite Lili

THO U S23 T W ILI2 3 D EBU T23 CA M EL23 LA P E T 2 3

144 140 202 145 83

11:30 am 1:30 pm 4:30 pm 6:45 pm 9:30 pm

Je ste r Till C a ra n d iru O ff th e M ap T h e Five O b stru ctio n s G o F u rth e r

JE S T E 2 3 CARAN23 O FFTH 23 F IV E 0 2 3 G O FU R23

205 104 173 187 188

5:00 pm 7:15 pm 9:30 pm

W h e n R u o m a W as 17 A G o o d Law y er's W ife T h e K ite

RU O M A24 G O O D L24 K IT E X 2 4

115 152 142

2:00 pm 5:00 pm 7:15 pm 9:30 pm

T h e M ira cle o f B ern e R e co n stru ctio n J a g o d a .. .S u p e rm a rk e t H a n g in g O ffe n s e

M IR A C 2 4 RECO N 24 JA G O D 2 4 H A N G I2 4

121 118 150 82

5:00 pm 7:15 pm 9:30 pm

B A AD A SSSSS! F ra n k ie a n d Jo h n n y ...

M an o f th e Y e a r

BAADA25 FRANK25 M AN O F25

163 168 104

2:00 pm 5:00 pm 7:15 pm 9:30 pm

R o sen strasse H a n g in g O ffe n s e T h e M o th e r P e rfe c t S tra n g e rs

RO SEN 25 H A N G I2 5 M O TH E25 P E R FE 2 5

121 82 122 147

5:00 pm 7:15 pm 9:30 pm

F ra n k ie a n d Jo h n n y ...

B rig h t F u tu re D o p p e lg ä n g e r

FRANK26 FU T U R 2 6 DO PPE26

168 137 137

2:00 pm 5:00 pm 7:15 pm 9:30 pm

Ja g o d a ...S u p e rm a r k e t T h e Five O b stru ctio n s M aria Full o f G ra ce T h e M iracle o f B e rn e

JA G O D 2 6 F IV E 0 2 6 M A R IA 2 6 M IR A C 2 6

150 187 172 121

4:15 pm 7:15 pm 9:30 pm

T h e C o rp o ra tio n L e a rn in g to Lie R e co n stru ctio n

C0RP027 LE A R N 2 7 RECO N 27

184 120 118

2:00 pm 5:00 pm 7:15 pm 9:30 pm

I A lw a y s W a n te d ...

M aria Full o f G ra ce In Y o u r H a n d s El A la m e in :...

IA L W A 2 7 M A R IA 2 7 IN Y O U 2 7 ELA LA 27

143 172 74 133

5:00 pm 7:15 pm 9:30 pm

M an o f th e Y e a r A Le tte r to T ru e Buddy

M AN O F28 LE T T E 2 8 BU DDY28

104 180 147

2:00 pm 5:00 pm 7:15 pm 9:30 pm

T h e K ite In Y o u r H a n d s J a g g e d H a rm o n ie s W h o K ille d B a m b i?

K IT E X 2 8 IN Y O U 2 8 JA G G E 2 8 W H O K I2 8

142 74 120 91

11:30 am 2:00 pm 4:15 pm 6:30 pm 9:30 pm

S in ce O ta r L e ft G irl o n th e B rid g e Se x Is C o m e d y R a m b le rs P rim e r

S IN C E 2 9 G IR L 0 2 9 S E X IS 2 9 R A M B L2 9 PR IM E2 9

88 94 88 139 174

11:30 am 2:00 pm 4:15 pm 6:30 pm 9:30 pm

W o n d ro u s O b liv io n M in o r M ish ap s J a g g e d H a rm o n ie s D o n n ie D a rk o :...

Straye d

W ONDR29 W H O K I2 9 JA G G E 2 9 D O N N I2 9 STRA Y29

207 74 120 29 89

11:30 am 2:00 pm 4:15 pm 6:30 pm 9:30 pm

A L e tte r to T ru e F e a th e rs in M y H e a d A n a to m y o f H ell N ovem ber S in c e O ta r L e ft

LE T T E 3 0 FEA TH 30 ANATO30 N O VEM 30 S IN C E 3 0

180 103 80 155 88

11:30 am 2:00 pm 4:45 pm 7:15 pm 9:30 pm

W o n d ro u s O b liv io n W h o K ille d B a m b i?

9 So u ls B o n jo u r M o n sie u r Sh lo m i M id d le o f th e W o rld

W ONDR30 W H O K I3 0 SO U LS30 B O N JO 3 0 M ID D L 3 0

207 91 136 131 105

11:30 am 1:45 pm 4:15 pm 6:30 pm 9:30 pm

L e a rn in g t o Lie D rifte rs R a m b le rs P a te r F a m ilia s P rim e r

LEA R N 3 1 D RIFT31 R A M B L3 1 FA M IL31 PRIM E31

120 113 139 135 174

11:00 am 2:00 pm 4:15 pm 6:30 pm 9:30 pm

S to ry o f M a rie a n d Ju lie n D o p p e lg ä n g e r B o n jo u r M o n sie u r Sh lo m i M y G ra n d p a 9 So u ls

M A R IA 3 1 D O PPE3 1 B 0 N J0 3 1 M YG RA 31 SO U LS31

89 137 131 138 136

5:00 pm 7:15 pm 9:30 pm

N ovem ber In h e rita n c e D rifte rs

N O VEM 01 IN H ER01 D RIFT01

155 118 113

2:00 pm 5:00 pm 7:00 pm 9:30 pm

S p a re Parts B rig h t F u tu re D o n a u , D u n a , D u n a j...

T h e P y th o n

SP A R E0 1 FU TU R 0 1 DO NAU01 PYTH O 01

151 137 101 142

5:00 pm 7:15 pm 9:30 pm

It's E a sie r f o r a C a m e l...

T h e F o re st T rip le A g e n t

IT S E A 0 2 FO RES02 T R IP L0 2

81 106 91

2:00 pm 5:00 pm 7:15 pm 9:30 pm

T h e P y th o n M id d le o f th e W o rld M oi, C é sa r S p a re Parts

PYTH O 02 M ID D L 0 2 M O IC E 0 2 SPARE02

142 105 84 151

5:00 pm 7:15 pm 9:30 pm

T rip le A g e n t T o m o rro w 's W e a th e r S to ry o f M a rie a n d Ju lie n

T R IP L0 3 TO M O R03 M A R IE 0 3

91 148 89

2:00 pm 5:00 pm 7:15 pm 9:30 pm

A rim p a ra M y G ra n d p a D e a r F ra n k ie M an W h o C o p ie d

A R IM P 0 3 M YG RA03 D EA RF03 M AN W H03

128 138 150 105

30TH

SEATTLE

INTERNATIONAL

FILM

FESTIVAL

2004

247

SCHEDULE

CLOSING IUIGHT GALA In tim a te S tra n g e rs C LO SI13

Frid ay

P ag e

SIFF

246

EG YPTIAN

DATE

BROADW AY PERFORM ANCE H A LL

2004

• OPENING WIGHT GALA • The N o te b o o k OPEN 120

J May 20 7:30pm 5th Avenue

2004 SIFF SCHEDULE

2004 SIFF SCH ED U LE

2004 SIFF SCHEDULE BROADW AY PERFORM ANCE H A LL

4:30 pm 6:45 pm 9:00 pm M id n ig h t

T h e Fo re st B e re ft F e a r a n d T r e m b lin g H a u te T e n sio n

FO RES04 BEREF04 FEA RA 04 H AU TE04

106 163 82 210

4:45 pm 7:00 pm 9:15 pm

N O IS E 0 4 N o ise Cinem atography Master Class C IN E M 0 4 R IG H T 0 4 W h e n th e R ig h t O n e ...

172 36 159

11:00 am 1:30 pm 3:45 pm 6:00 pm 9:00 pm M id n igh t

C a v e d w e lle r B e re ft Festiva l E xp re ss S e d u c in g D o c to r L e w is Sk y B lu e L e g e n d ...S a c r e d S to n e

CAVED05 BEREF05 F E S T I0 5 SED U C05 SK YB L05 LEG EN 05

165 163 187 109 154 211

11:15 am 1:00 pm 4:00 pm 6:15 pm 9:15 pm

W h e n th e R ig h t O n e ...

U p T h o r n to n C re e k / T h irst Sh o rts: G re a t U n sp o k e n P e rs o n s .. ./ O r ig in a l...

B u s tin g O u t/Still D o in g It

R IG H T 0 5 U PTH O 05 G REA T05 PERSO 05 B U S T I0 5

159 199/198 221 196/194 182/198

11:00 am 1:30 pm

S e cre t F e stiva l 3 B e st o f Y o u th : P a rt 1

BESTO 06

43 133

5:15 pm 9:00 pm

B est o f Y o u th : P a rt 2 E a g e r B o d ie s

BESTT06 EA G ER 06

133 81

1:45 pm 4:00 pm 6:15 pm 9:15 pm

B o rn in to B ro th e ls T o m o rro w 's W e a th e r U p T h o r n to n C re e k / T h irst O rw e ll R o lls in H is G ra v e

B O R N I0 6 181 148 TO M O R06 U PTH O 0 6 199/198 195 O RW EL06

4:45 pm 7:00 pm 9:15 pm

Sk y B lu e B r ig h t L e a ve s Rem em ber Me

SK YB L07 LEA V E07 REM EM 07

154 182 135

4:15 pm 6:45 pm 9:15 pm

P e rs o n s .../ O rig in a l...

Sh o rts: A n im a to !

Sh o rts: K A F A n im e !

P E R S O 0 7 196/194 A N IM A 0 7 219 219 KAFAN 07

4:45 pm 7:00 pm 9:15 pm

A ssh a k : T a le s ...S a h a r a Sexual D ep end ency N ico tin a

ASSH A08 SEXU A 08 N IC O T 0 8

159 103 144

4:15 pm 6:45 pm 9:00 pm

R em em ber M e M y Love P a te rn a l In stin ct B a y to n g

REM EM 08 IN S T I0 8 BAYTO 08

135 196 160

4:45 pm 7:00 pm 9:15 pm

P a p e r C lip s C o n t ro l R o o m W itn e sse s

PAPER09 CO NTR09 W IT N E 0 9

195 184 116

4:30 pm 6:45 pm 9:00 pm

Q u a lity o f L ife T a m a la 2 0 1 0 ...

D e a th & Te x as

Q U A L I0 9 TA M A L09 TEXAS09

174 139 166

4:45 pm 7:00 pm 9:15 pm

C o n tro l R o o m P ro te u s In c id e n t a t L o ch N ess

CONTRI 0 P R O T E 10 IN C ID IO

184 108 171

4:30 pm 6:45 pm 9:00 pm

P a te rn a l In stin ct Sh o rts: S t r a n g e T a le s T h e G ra ffiti A rtis t

IN S T I1 0 STRA N 10 G R A FF10

196 221 169

4:30 pm 6:45 pm 9:00 pm M id n igh t

Fly F ilm m a k in g L o v e M e If Y o u D a re R id in g G ia n ts U ndead

FLYFI11 LO V EM 11 R ID IN 1 1 U NDEA11

56 84 197 213

2:30 pm 4:45 pm 7:00 pm 9:15 pm

T h re e M in u te ...

D e a th & Te xas Q u a lity o f L ife T ro lly w o o d

TH R EE11 TEXAS11 Q UAU11 TR O LL11

65 166 174 199

11:00 pm 1:30 pm 3:45 pm 6:00 pm 9:00 pm M id n igh t

M ax R u le s L o v e M e If Y o u D a re In c id e n t a t L o ch N ess H e d d a G a b le r N o b o d y K n o w s ...C h ild r e n Sa v e th e G re e n P la n e t

M AXRU12 LO V EM 12 IN C ID 1 2 H ED D A 12 NOBOD12 SA V ET12

207 84 171 171 193 212

11:15 am 1:45 pm 4:00 pm 6:00 pm 9:15 pm

F o ru m : W h e re 's ...M o n e y F o ru m : D is trib u t io n ...

F o ru m : Pitch Sla m F o ru m : H o t Tra ck s A P ro b le m W ith F e a r

W H ERE12 D IS T R 1 2 P IT C H 1 2 H O TTR12 PRO BL12

55 55 55 54 107

11:00 am 1:30 pm 3:45 pm 6:00 pm 9:00 pm

S e cre t F e stiva l 4 M ax R u le s H e d d a G a b le r M e ta llica :...

N o b o d y K n o w s ...C h ild r e n

M AXRU13 HED D A13 M ETA L13 NO BO D13

43 207 171 192 193

1:45 pm 4:00 pm 6:15 pm 9:15 pm

A f t e r n o o n .. .L e c o n te T h e G ra ffiti A rtis t L ittle M en Stan d e r

LECO N 13 G RA FF13 LIT T L 1 3 STA N D 13

51 169 140 152

June 4

Sa tu rd a y

June 5

Su n d ay

June 6

M onday

June 7

Tuesday

June 8

W ednesday

June 9

T h u rsd ay

June 10

Frid ay

June 11

S a tu rd a y

June 12

Su n d ay

June 13

DATE

HARVARD E X IT

Frid ay

5:00 pm 7:15 pm 9:30 pm

D on au , D u na, D u n a j... D O N A U 0 4 101 N a th alie...

N A TH A 04 86 M o vin g M alcom M O VIN 04 107

2:00 pm 5:00 pm 7:15 pm 9:30 pm

Roads to Koktebel Nina's Tragedies Facing W in d o w Los D ebutantes

11:30 am 2:00 pm 4:15 pm 6:30 pm 9:30 pm

V o d ka Lem on B efo re Sunrise Rid icu le Sc e n t...Lo tu s Pond H arry an d M ax

VO D KA05 SU N RI05 RID IC05 SC EN T05 H A R R Y 05

100 203 95 143 170

11:30 am 2:00 pm 4:15 pm 6:30 pm 9:30 pm

11:30 am 2:00 pm 4:00 pm 6:30 pm 9:30 pm

M o vin g M alcom H arry an d M ax Los D eb u tan tes A ssh ak: T a le s...Sa h ara V o d ka Lem on

M O VIN 06 HARRY06 LO SD E 0 6 A SSH A 06 VO D KA06

107 170 112 159 100

5:00 pm 7:15 pm 9:30 pm

La V ie Prom ise Road s to K o kte b el D ee p Breath

LA V IE07 R O A D S0 7 D EEPB07

3:45 pm 6:00 pm 8:00 pm

June 4

S a tu rd a y

June 5

Su n d a y

June 6

M ond ay

June 7

Tu e sd ay

June 8

W ed n esd ay

June 9

Th u rsd a y

June 10

F rid a y

June 11

S a tu rd a y

June 12

Sunday

June 13

PACIFIC PLACE

Page

CINERAMA

R O A D S0 4 N IN A S04 FACIN 04 LO SD E 0 4

149 131 76 112

1:00 pm 4:00 pm 6:45 pm 9:00 pm

Tw in Sisters U ntold Scandal Blind Sw o rd sm an ...

N atural City

TW IN S0 4 U N TO L0 4 ZA TO I0 4 N ATU R04

145 155 136 153

M oi, César Steam : Turkish Bath Facing W in d o w Slim Susie Seven Days, Seven...

M O ICE05 STEA M 05 FACIN 05 SLIM S05 SEV EN 05

84 76 76 158 116

11:00 am 1:30 pm 3:45 pm 7:00 pm 9:15 pm

Infernal A ffairs Infernal A ffairs 2 Infernal A ffairs 3 B efore Sunset Hero

IN O N E05 IN TW O 05 IN TH R05 SU N SE0 5 H ER O X 0 5

124 125 125 30 113

11:15 am 2:00 pm 4:30 pm 6:30 pm 9:30 pm

M onsieur N M an W h o Copied Paper Clips Bloom Nina's Tragedies

M O N SI06 86 M A N W H 0 6 105 PAPER06 195 BLO O M 06 130 N IN A S06 131

11:00 am 1:15 pm 3:45 pm 6:15 pm 9:00 pm

D ear Frankie D EA RF06 150 M aqbool M A Q BO 06 129 B righ t You n q Th in q s Y O U N G 0 6 122 Even in g...Ste p h e n Fry FR Y X X 06 50 Blind Sw ordsm an...

ZA TO I06 136

83 149 129

2:00 pm 5:00 pm 7:15 pm 9:30 pm

Bloom Inheritance Silent W aters M etallica:...

BLO O M 07 INHER07 SILEN 07 M ETAL07

130 118 148 192

1:30 pm 4:00 pm 7:00 pm 10:00 pm

Turn Left Turn R igh t Hero Playtim e Infernal A ffairs

TU RN R07 H ER O X 0 7 PLA YT07 IN O N E07

S e d u cin g D o cto r Lew is SE D U C 0 8 La V ie Prom ise LA V IE08 Best o f Y ou th : Part 1 B ESTO 08

109 83 133

2:00 pm 5:00 pm 7:15 pm 9:30 pm

Scen t...Lotu s Pond B righ t Younq Thinqs G oodbye D ragon Inn M onsieur N

SCEN T08 143 Y O U N G 0 8 122 G O O D B 08 160 M O N SI08 86

2:00 pm 5:00 pm 7:15 pm 9:45 pm

Ea ge r Bodies Slim Susie Tulse Luper: Part 1 Infernal A ffairs 2

EA G ER 08 81 SLIM S08 158 M O A B X 0 8 123 IN TW O 08 125

3:45 pm 6:00 pm 8:00 pm

N ath a lie ...

T h e Last Train Best o f Y o u th : Part 2

N A TH A 09 LA ST T0 9 B ESTT09

86 149 133

2:00 pm 4:45 pm 7:00 pm 9:45 pm

Silent W aters Bored in Brno Tw in Sisters Little Men

SILEN 09 BO RED 09 TW IN S09 LITTL09

148 117 145 140

2:00 pm 5:00 pm 7:15 pm 9:30 pm

M aqbool Stander Tulse Luper: Part 2 Infernal A ffairs 3

M A Q B O 0 9 129 STA N D 09 152 V A U X X 0 9 123 IN TH R09 125

5:00 pm 7:15 pm 9:30 pm

B a y to n g W e a k n e ss.. .B olsh evik D arkness B ride

B A YT O 1 0 160 W E A K N 1 0 157 D A R K N 1 0 124

2:00 pm 5:00 pm 7:15 pm 9:30 pm

D eep Breath DEEPB10 A Problem W ith Fear PRO BL10 Bored in Brno B O RED 10 25 D egrees in W in ter D EG RE10

129 107 117 102

2:00 pm Sexual D ependency 5:00 pm Take My Eyes 7:15 pm T h e G reen Butchers 9:30 pm B o ys...C o u n ty Clare

SE X U A 1 0 TA K EM 1 0 G REEN 10 B O YSF1 0

5:00 pm 7:15 pm 9:30 pm

D arkness Bride Stra ig h t-Ja c k e t M ix

D A RKN 11 STRAI11 M IX XX 11

124 175 127

2:00 pm 4:45 pm 7:15 pm 9:30 pm

Seven Days, Seven...

Y our Next Life Last Life...U niverse Captive

SEVEN 11 YO U RN 11 LA STL11 CAPTI11

116 157 77 100

2:00 pm 4:30 pm 6:45 pm 9:15 pm

RUNNI11 1126 B O YSF11 130 G A RD E11 169 RU BYQ 11 87

11:30 am 2:00 pm 4:15 pm 6:30 pm 9:30 pm

W e a k n e ss... B olshevik W ild Sid e M ix T h e C o ld e st D ay W itnesses

W EAKN 12 W ILD S 1 2 M IX X X 1 2 C O LD E 1 2 W ITN E12

157 92 127 112 116

11:30 am 2:00 pm 4:15 pm 6:30 pm 9:30 pm

Proteus 6ixtynin9 Last Life...U niverse Take My Eyes W alk on W ater

PRO TE 12 108 SIX TY 12 77 LA STL12 77 TA KEM 12 156 W A L K 0 1 2 132

11:00 am M em ories o f M urder M EM O R12 153 N ICO T12 144 1:30 pm Nicotina 3:45 pm W id o w o f Saint-Pierre W ID O W 12 95 CRIM I12 31 6:15 pm Crim inal G H O ST12 138 9:00 pm G host 2: Innocence

11:30 am 2:00 pm 4:15 pm 6:30 pm 9:30 pm

T h e C o ld e st D ay R id in g G ian ts T rollyw o o d 25 D eg re e s in W in te r S tra ig h t-Ja c k e t

C O LD E 1 3 RI DIN 13 T R O LL1 3 D EG R E13 STRA113

112 197 199 102 175

11:30 am G arden State 2:00 pm W alk on W ater 4:15 pm Y ou r Next Life 6:30 pm W ild Side 9:30 pm Fear and Trem bling

G A RD E13 169 W A L K 0 1 3 132 Y O U R N 13 157 W ILD S13 92 82 FEA RA 13

11:00 am Th e G reen Butchers 1:15 pm Captive 3:45 pm Ruby & Q uentin 6:00 pm Intim ate Stran gers 9:00 pm M em ories o f M urder

Page

R u n n in g on Karm a B o ys...C o u n ty Clare G ard en State Ruby & Q uentin

Page

127 113 201 124

103 156 117 130

G REEN 13 117 100 CAPT113 87 RU B YQ 13 27 C LO SI13 M EM O R13 153

MAC Adobe

R hJ

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Apple Computer

The SIFF 2004 Program Guide was designed and laid out on Apple Macintosh computers with the Adobe Cre­ ative Suite: InDesign CS, Illustrator CS, Photoshop CS, and Adobe Acrobat 6.0 Professional. Huge thanks to Adobe and the Seattle MAC Store for supplying our creative team with creative tools. The Program Guide was produced by the SIFF PubPod: Amy, Andy, Beth, Elisa, Julius, and Steve - supported by all the dedicated and hard-working staff and volunteers of the Seattle International Film Festival. Thanks again to amazing Denise and the wizards at Valeo Graphics.

248

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3 0T H SEATTLE

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249

SCHEDULE

Frid ay

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SIFF

EG YPTIAN

2004

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DANCE AND A R T IN D IA LO G U E, 1 9 6 1 -2 0 0 1

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Raja..................................87 Red Lights...........................75 Ridicule..............................95 Roberto Succo...................... 75 Ruby &Quentin.................... 87 Sex Is Comedy..................... 88 Since Otar Left..................... 88 The Story of Marie and Julien....89 Strayed.............................. 89 TripleAgent......................... 91 Who Killed Bambi?................ 91 TheWidowof Saint-Pierre........95 Wild Side........................... 92 Germany

Fragile.............................. 217 Jagged Harmonies................ 120 Jester Till...........................205 Learning To Lie....................120 The Miracle of Berne.............121 Rosenstrasse..................... 121 Great Britain

Bright Young Things.............. 122 Death In Gaza.....................185 Exposure...........................103 Standing RoomOnly..............150 The Mother........................122 PerpetualTwilight of Gregor Black.221 The Phantom Museum........... 106 Searching For the Wrong-Eyed Jesus.............197 Trollywood.........................199 TheTulse Luper Suitcases: Part 1, The Moab Story........123 TheTulse Luper Suitcases: Part 2, FromVaux tothe Sea ... 123 Wondrous Oblivion...............207

Hong Kong

Hungary

Mix................................. 127

India

Arimpara...........................128 Born Into Brothels................181 Maqbool...........................129

Iran

Deep Breath....................... 129

Ireland

Israel

Bonjour Monsieur Shlomi...... 131 Checkpoint........................ 183 Nina's Tragedies.................. 131 Walk OnWater....................132

Italy

The Best of Youth.................133 El Alamein: In the Line of Fire... 133 Facing Window..................... 76 Pater Familias..................... 135 Remember Me, My Love.........135 Steam: TheTurkish Bath.......... 76

Japan

9 Souls..............................136 Azumi.............................. 210 The Blind Swordsman: Zatoichi 136 Bright Future...................... 137 Doppelgänger.....................137 Ghost In the Shell 2.............. 138 My Grandpa....................... 138 Ramblers........................... 139 Tamala 2010: PunkCat inSpace.. 139 TheTwilight Samurai.............140

Kazakhstan

Little Men..........................140

Latvia

The Python.........................142

Lebanon

The Kite............................ 142

Luxem bourg

IAlwaysWantedTo Be a Saint... 143

3 OT H S E A T T L E

M ongolia

The Story of theWeeping Camel 145 the Netherlands

Seventeen......................... 139 Twin Sisters........................145

New Zealand

The Locals......................... 211 Perfect Strangers................. 147 Two Cars, One Night.............147

Norway

Buddy.............................. 147

Pakistan

Silent Waters...................... 148

Poland

Tomorrow's Weather.............148

Russia

The Debut......................... 202 The Last Train..................... 149 Roads To Koktebel................149

Scotland

Dear Frankie....................... 150

Serbia

Jagoda In the Supermarket......150

Singapore

TTie Old Man and the River......148

Slovenia

Spare Parts.........................151

South Africa

Stander............................ 152

South Korea

Blue Sunday.......................219 The Game ofTheir Lives..........188 A Good Lawyer's Wife........... 152 Hi...................................219 Intimate Feeling with My Friend 219 The Letter..........................219 Make a Smile..................... 219 May...In the Bus.................. 219 Memories of Murder............. 153 The MonkeyThat Loved a Fish ..219 Natural City........................153 The Newspaper...................219 The Old ManWith a Knapsack... 219 A Part of the Day................. 219 Save the Green Planet...........212 Sky Blue............................154 ATale ofTwo Sisters............. 213 Untold Scandal....................155 219 Zulgui...............

Spain

Archipiélago.......................217 The Basque Ball................... 180 November........................ 155 Take My Eyes...................... 156 Torremolinos 73.................. 156 Your Next Life.....................157 TheWeakness of the Bolshevik..157

Sri Lanka

Scent of the Lotus Pond..........143

Sweden

Slim Susie......................... 158

Sw itzerland

Asshak, Tales of the Sahara....159 Whenthe Right OneComesAlong159

Taiwan

Goodbye Dragon Inn.............160 Legend Of the Sacred Stone....211 Papa Blue...........1............. 160

Thailand

6ixtynin9............................ 77 Baytong............................160 Last Life In the Universe.......... 77 TheTesseract...................... 161

USA

11.15.03 221 TheAccordion Player............ 217 Apart.......... .................... 221 awake..............................216 BAADASSSSS!.....................163 Backseat Bingo.................... 88 Before Sunrise.................... 203 Before Sunset.......................30 Bereft.............................. 163

INTERNATIONAL

FILM

FESTIVAL

Big City Dick.............................181 Black Wedding..........................221 Boutique...................................217 Bright Leaves............................ 182 Brother To Brother.....................164 Buffalo Bill's Defunct.................164 Busting Out............................... 182 The Catskill Chainsaw Redemption211 Cavedweller..............................165 Claustrophobia........................ 217 The Climactic Death of Dark Ninja 207 Consent....................................217 Conversations...........................221 Criminal......................................31 Dandelion................................. 165 Day Off the Dead..................... 219 Death & Texas...........................166 DIG!......................................... 185 Donnie Darko-The Director's Cut... 29 Down To the Bone.....................167 Dysenchanted...........................216 Evergreen.................................. 167 Everyday People........................168 Flash.........................................221 Foster Island..............................221 Frankie and Johnny Are Married. 168 Garden State.............................169 The Graffiti Artist.......................169 Greenlake: Mosca Amor............ 217 Guerrilla: The Taking Of Patty Hearst 189 Harry and Max..........................170 Hedda Gabler............................171 Heir To an Execution..................189 Icons and Legends.....................191 Imelda...................................... 191 In The Realms of the Unreal..... 191 Incident At Loch Ness................171 Junebug and Hurricane............. 217 Keys of Life...............................217 The King of the Tango............... 217 A Letter To True '.........................180 Los Angeles Plays Itself........ „..192 Magda...................................... 108 Maria Full Of Grace...................172 Max Rules.............. ..................207 Metallica: Some Kind Of Monster 192 Monster Road...........................193 Nesting Grounds...................... 219 Nobody Knows How To Talk To Children......................193 Noise........................................ 172 The Notebook............................25 Oedipus....................................219 Off the Map..............................173 The Old Man and the Studio.... 193 Open Water............................... 173 Original Child Bomb..................194 Orwell Rolls in His Grave.......... 195 Overpass...................................219 Paper Clips................................195 Paternal Instinct........................196 Perfection..................................216 Persons Of Interest....................196 Primer....................................... 174 Pulcinello....................

219 Quality of Life............................174 Recharge..................................221 A Relative Thing.......................161 Revolution................................175 Rick and Rocky..........................205 Riding Giants............................197 Robot Boy.................................217 RockFish...................................154 Saved!........................................28 Seven's Eleven.......................... 216 Sparks.......................................216 The Spirit of Gravity.................. 219 Still Doing It..............................198 Straight-Jacket..........................175 Tackle Box.................................221 Tea Time...................................158 Thirst........................................ 198 This is Not a Film.......................219 Threshold..................................221 UGLY........................................216 Underdog.................................. 188 Up Thornton Creek....................199 Wrong Way Up..........................173

20 0 4

251

INDEX

Bloom.............................. 130 The Boys FromCounty Clare...130 Burning The Bed.................. 217 Escape............................. 219

Nicotina..................... ..... 144 Our Story......................... 219 A Thousand Clouds of Peace...144 White Line Syndrome............219

/ FILM

Darkness Bride....................124 Infernal Affairs....................124 Infernal Affairs 2..................125 Infernal Affairs 3 ................. 125 Running on Karma............. ; 126 Turn Left Turn Right.............. 127

Mexico

COUNTRY

Argentina Captive.............................100 Armenia Vodka Lemon..... ................100 Australia Danny Deckchair..................101 Hello................................ 219 213 Undead.....................

Austria Donau, Duna, Dunaj..............101 Belgium 25 Degrees InWinter............. 102 Feathers In My Head.............103 Bolivia Sexua(Dependency.............. 103 Brazil Carandiru...........................104 The Man of the Year..............104 The ManWho Copied............ 105 The Middle Of the World.........105 Cameroon The Forest..........................106 Canada Aspiration..........................221 The Corporation...................184 Cowards Bend the Knee.........106 Festival Express................... 187 Go Further......................... 188 Moving Malcolm..................107 Nigel's Fingerprint.................216 Pits..................................107 A Problemwith Fear..............107 Proteus............................. 108 Raspberry Reich.................. 212 Rugged Rich and the Ona Ona... 101 The Saddest Music in the World 108 Seducing Doctor Lewis...........109 SnowWalker.......................109 A Stolen Moment.................221 Toreador............................102 Touch Of Pink......................110 Twist................................ 111 Wildflowers........................ 221 Chile B - Happy...........................111 Los Debutantes................... 112 China The Coldest Day....... ...........112 Drifters.............................. 113 The Goddess.......... ............200 Hero................................. 11 Uniform............................ 115 When Ruoma Was Seventeen... 115 Croatia Witnesses...... ................... 116 Cuba Seven Days, Seven Nights...... 116 Czech Republic Bored in Brno......................117 Denmark The Five Obstructions............ 187 The Green Butchers...............117 In Your Hands....................... 74 Inheritance......................... 118 Minor Mishaps......................74 Reconstruction.................... 118 Egypt Control Room..................... 184 Estonia Somnambulance............. 119 France Anatomy Of Hell....................80 Capone.............................. 80 Eager Bodies........................ 81 Fear and Trembling.................82 The Girl On the Bridge.............94 Hanging Offense................... 82 Haute Tension.....................210 Intimate Strangers..................27 It's Easier for a Camel............. 81 La Petite Lili .......... „...........83 LaVie Promise...................... 83 Love Me If You Dare....!..........84 The Man on the Train.............. 94 Moi, César.......................... 84 Monsieur N..........................86 Nathalie.............................. 86 Playtime............................ 201

SEPTEMBER

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McElwee, Ross..................182 McKay, Jim......................168 McLaughlin, Brad...............217 Mebane, Matthew............. 221 Medem, Julio ................... 180 Meeropol, Ivy................... 189 Mentzas, Constant............ 221 Mersch, Geneviève............ 143 Meyer, Chris.....................221 Michell, Roger.................. 122 Milam, Scott.....................181 Milgard, Mark.................. 165 Milic, Dusan.....................150 Miller, Claude.....................83 Miller, James.................... 185 Miller, Terri Edda................216 Miller, Tim ....................... 154 Ming-liang, Tsai.................160 Monteleone, Enzo ............. 133 Morâvek, Vladimir............. 117 Morgan, Benjamin............. 174 Morrison, Paul.................. 207 Muccino, Gabriele............. 135 Munch, Christopher............170 Nair, Murali......................128 Nichols, Jeremy R............... 221 Nidoux, Guillaume..............82 Nimibutr, Nonzee .............. 160 Nix, Jonathan...................219 Nossel, Murray................. 196 Noujaim, Jehane ............... 184 Olesen, Annette K................ 74 Oshii, Mamoru.................. 138 Osterman, Brandon ........... 205 Ouénangaré, Didier............106 Ozpetek, Ferzan ................. 76 Page, Greg...................... 211 Pakalnina, Laila.................142 Panfilov, Gleb...................202 Pang, Oxide......................161 Pappas, Robert Kane..........195 Passon,Ted..................... 217 Patierno, Francesco............ 135 Paulus, Oliver................... 159 Penn, Zak........................ 171 Peralta, Stacy................... 197 Perse, Tobias ....................196 Vogt, Peter...................... 199 Peters, Scott.................... 221 Phelps, William................. 191 Ponsoldt, James................ 217 Popogrebsky, Alexei............149 Pöttinger, Todd................. 181 Pouliot, Jean-François......... 109 Pressman, Michael............ 168 Preston, Gaylene...............147 Price, Alan....................... 219 Rail, Jeremy..................... 217 Rashid, Ian Iqbal ...............110 Ratanaruang, Pen-ek........... 77 Ratner, Benjamin...............107 Rebic, Goran....................101 Reitman, Jason................. 217 Rice, John........................219 Rivaz, Dominique de........... 120 Rivette, Jacques...................89 Roca, George................... 193 Rock, Ben........................ 221 Rodriguez, Hugo .......... 144 Rohmer, Eric...................... 91 Ross, William....................221 Sabbag, Randa Chahal........ 142 Saleem, Hiner................... 100 Samuell, Yann..................... 84 Sang-soo, Im.................... 152 Schardt, Steven ................ 217 Schonegevel, Carey............194 Scott, Campbell.................173 Shahbazi, Parviz................129

Shamir, Yoav..................... 183 Shih, Charlene.................. 160 Siminiani, Leon................. 217 Sinofsky, Bruce...................192 Si-Won, Park....................219 Smeaton, Bob................... 187 Smith, Charles Martin......... 109 Smith, Laurel Spellman.......182 Snitow.Alan......................198 Sombogaart, Ben .............. 145 Spierig, Michael................. 213 Spierig, Peter.....................213 Spiridakis, Tony..................172 Stone, Robert................... 189 Stuhr, Jerzy........................148 Sumar, Sabiha.................. 148 Swanson, Laurence............ 221 t.o.L.................................139 Taeg-wha, Kwon...............219 Tan, Royston ................... 148 Tati, Jacques.....................201 Téchiné, Andre................... 89 Tedeschi, Valeria Bruni.......... 81 Thier, Thomas de................103 Tierney, Jacob................... 111 Timoner, Ondi................... 185 To, Johnny.................126,127 Toyoda, Toshiaki................136 Turebayev, Nariman............140 Tyldum, Morten.................147 Uloth, Geoffrey................. 221 Unger, Matt......................211 Van Peebles, Mario............ 163 Veber, Francis.....................87 Villagomez, Lourdes...........219 von Trier, Lars................... 187 von Trotta, Margarethe........ 121 Vuillet, Stéphane............... 102 Waissbluth, Andrés............ 112 Waititi, Taika.................... 147 Walsh, Sean.....................130 Weber, Bruce.................... 180 White, Chel......................108 Wilkins, Matt.................... 164 Willis, Paul .......................171 Wishnow, Jason ................219 Won-Jae, Choi.................. 219 Wortmann, Sônke.............. 121 Xiaoshuai.Wang ............... 113 Yamada, Yoji .................... 140 Yamashita, Nobuhiro..........139 Yeon-joo, Jung ..................219 Yimou, Zhang................... 113 Yinan, Diao......................115 Yonggang.Wu.................. 200 Yu, Jessica....................... 191 Yun-kyung, Park................219 Yun-seong, Ryu.......... ......219 Zappa, Moon ................... 216 Zarhin, Shemi................... 131 Zentelis, Enid.....................167

INDEX

Furtado, Jorge.................. 105 Gabizon, Savi................... 131 German, Alexei A................149 Giannoli, Xavier.................. 81 Giordana, MarcoTullio ..132,133 Goldau, Sikander...............217 Gordon, Daniel..................188 Granik, Debra................... 167 Greenaway, Peter............... 123 Gregory, Serge ................. 221 Greyson, John .................. 108 Handloegten, Hendrik......... 120 Harder, Ken......................181 Hardman, Gabriel.............. 173 Hawes, Gary..................... 107 Hernández, Julián.............. 144 Higashi, Yoichi.................. 138 Hillebrand, Stefan.............. 159 Huang, Chris....................211 Hughes, Bronwen...............152 Hulsing, Hisko.................. 139 Hyung-yun, Chang ............ 219 Hyun-kyung, Park..............219 Ingram, Brett.................... 193 ln-kyoung, Seo................. 219 lorio, Amy.............

216 Irvin, John....................... 130 Jacobs, Gregory.................. 31 Jensen, Anders Thomas........ 117 Jiarui, Zhang .................... 115 Ji-min, Ahn...................... 219 Ji-woon, Kim....................213 Joon, Kim........................ 219 Joon-ho, Bong.................. 153 Jun-hwan, Jang................ 212 Junkersdorf, Eberhard.........205 Justiniano, Gonzalo............111 J-yong, E ......................... 155 Ka-fai, Wai............... 126,127 Kahn, Cédric..................... 75 Kauffman, Ross.................181 Keedus, Sulev................... 119 Kelly, James...................... 219 Kelly, Richard..................... 29 Kentis, Chris.....................173 Khlebnikov, Boris................149 Kim, Moon-sang................154 Kitamura, Ryuhei...............210 Kitano, Takeshi..................136 Ki-won, Kim.....................219 Koch, Ulrike......................159 Kozole, Damjan................ 151 Kurosawa, Kiyoshi ............. 137 Kwok, William.................. 124 LaBruce, Bruce ................. 212 Lanier, Lee........................ 219 Lau, Andrew..................... 125 Leberecht, Scott...............'.188 Leconte, Patrice........27,94,95 Lee-Furness, Deborra..........150 Leth, Jorgen......................187 Lifshitz, Sébastien................92 216 Lin, Karen .....

Linklater, Richard......... 30,203 Lovoy-Goran, Lori...............216 Lovy, Steven..................... 127 Machado, Lorene .............. 175 Maclean, Alison..................196 Maddin, Guy..............106,108 Maitipe, Satyajit................143 Mak,Alan........................125 Malmros, U lf.................... 158 Manas, Achero.................. 155 Mann, Ron.......................188 Marchand, Gilles................ 91 Marstonjoshua................ 172 Mathis, Clark.................... 163 McArdle, Denis................. 217 McConnell, Amy................216

DIRECTOR

Abbott, Jennifer.................184 Achbar, Mark.................... 184 Aguerre, Blanca X...............219 Aja, Alexandre................... 210 Alain, Jamie...................... 102 Amorim, Vicente.............. ...105 Andersen, Thom.................192 Aragón, Manuel Gutiérrez ....157 Atkinson, Nigel .................221 Atwood, Eric.................... 221 Auerbach, Shona............... 150 ba Kobhio, Bassek.............. 106 Babenco, Hector................ 104 Balsmeyer, Jeff...................101 Bellomo, Victor..................219 Bellott, Rodrigo.................103 Bennett, Garrett................ 161 Berger, Pablo..................... 156 Bergln, John..................... 219 Berlin, Elliott.................... 195 Berlinger, Joe.................... 192 Berry, Richard.....................84 Bertucelll, Julie................... 88 Bharadwaj, Vlshal.............. 129 Biraben, Gastón ................ 100 Blazer, Liz.......................... 88 Boe, Chrlstoffer.................118 Bogdanowltsch, Jay ............ 158 Bollaln, Iciar..................... 156 Bolton, James....................169 Braff, Zach.........................169 Brandólo, Jean Marc............ 80 Breillat, Catherine ......... 80,88 Bresan.VInko....................116 Brlski, Zana...................... 181 Brothers Quay....................106 Burke, Robert................... 207 Burns, Gary...................... 107 Byung-chun, Min............... 153 Cano, Joel........................116 Carruth, Shane..................174 Carsterson, Mark............... 217 Cassavetes, Nick .................25 Caunes, Antoine de.............. 86 Champnella, Eric............... 193 Cholodenko, Lisa............... 165 Collls, Peter...................... 103 Conforto, Jason.................217 Corneau, Alain ................... 82 Craig, Peter......................207 Cuenca, Manuel Martin......157 Cummings, Audrey............ 221 Dahan, Olivier.................... 83 Daly, Tim..........................163 Danglades, Virginie............ 216 Dannelly, Brian................... 28 Dates, Jeffery.................... 219 Davaa, Byambasuren.......... 145 Davies, Huw..................... 221 Day, Richard..................... 175 Diaz, Ramona S.................. 191 DiNovis, Kevin...................166 Doillon, Jacques.................. 87 Donar, David .................... 219 Dong, Xie......... ...............112 Douglas, Andrew............... 197 Eui-seok, Bang..................219 Evans, Rodney...................164 Fab, Joe........................... 195 Falorni, Luigi .................... 145 Farley, Madeleine.............. 199 Finkel, Eric........................ 101 Fishel, Deirdre...................198 Fly, Per............................. 118 Fonseca, José Henrique.... ...104 Fontaine, Anne................... 86 Fox, Eytan........................ 132 Friedberg, Karen................217 Fry, Stephen ..................... 122

1000 Lenora Street

Seattle WA 98121

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FEATURE FILMS

SEATTLE

INTERNATIONAL

FILM

1 1 .1 5 .0 3 ........................................221 The Accordion Player.....................217 A p art...............................................221 Archipiélago....................................217 Aspiration........................................221 awake...............................................216 Backseat B in go ................................ 88 Black W edding.......................... 221 Blue Sunday....................................219 Boutique..........................................217 Burning The Bed.............................217 Catskill Chainsaw Redemption.....211 Claustrophobia.............................. 217 Climactic Death of DarkNinja.........207 Consent........................................... 217 Conversations................................ 221 Day Off the D e ad .......................... 219 Dysenchanted................................ 216 Escape............................................. 219 Exposure......................................... 103 Flash.................................................221 Foster Island....................................221 Fragile.............................................. 217 Greenlake: Mosca Amor................217 Hello.................................................219 H i......................................................219 Icons and Legends.........................191 Intimate Feeling WithMy Friend. 219 Junebug and Hurricane.................217 Keys of L ife .................................... 217 The King of the Tango.................. 217 The Letter........................................219 M agda............................................ 108 Make a Sm ile................................ 219 May...In the B us............................219 The Monkey That Loved a F ish ... 219 Nesting Grounds...........................219 The Newspaper.............................219 Nigel's Fingerprint........................ 216 Oedipus..........................................219 The Old Man and the River........ 148 The Old Man and the Studio......193 The Old Man With a Knapsack... 219 Our Story....................................... 219 Overpass........................................ 219 Papa B lu e ....................................... 160 A Part of the Day........................... 219 Perfection....................................... 216 The Perpetual Twilight Of Gregor Black.................................. 221 The Phantom Museum..................106 Pits.............................. .................. 107 Pulcinello.......................................219 Recharge.......................................221 Rick and Rocky............................. 205 Robot Boy..................................... 217 RockFish.........................................154 Rugged Rich and the Ona O n a .. 101 Seven's Eleven.............................. 216 Seventeen...................................... 139 Sparks............................................. 216 The Spirit of Gravity......................219 Standing Room Only.................... 150 A Stolen Moment......................... 221 Tackle Box...................................... 221 Tea Tim e........................................ 158 This is Not a Film.......................... 219 Threshold....................................... 221 Toreador........................................ 102 Two Cars, One N igh t...................147 U G LY..............................................216 Underdog.......................................188 White Line Syndrom e..................219 Wildflowers................................... 221 Wrong Way Up............................. 173 Zulgu i............................................ 219

FESTIVAL

2004

255

Pr

INDEX

30TH

SHORT FILMS

FILM

¡

Hanging Offense... ................ 82 A Relative Th in g........................... 161 Harry and Max...................... 170 Remember M e ..............................135 25 Degrees InWinter..............102 Haute Tension.......................210 Revolution.....................................175 6ixtynin9..............................77 Hedda Gabler........................171 Ridicule.............................................. 95 9 Souls............................... 136 Heir To an Execution............... 189 Riding G iants................................197 Anatomy of Hell.................... 80 Hero...................................113 Roads To Koktebel....................... 149 Arimpara - A Story That Begins I Always Wanted To Be aSaint... 143 at the End........................... 128 Roberto Succo.................................. 75 191 Asshak, Tales From the Sahara... 159 Imelda................

Rosenstrasse................................. 121 Incident At Loch Ness..............171 Ruby & Quentin................................ 87 Azumi.......................... ......210 Infernal Affairs...................... 124 Running on Karm a...................... 126 B-Happy..............................111 Infernal Affairs 2 ....................125 ySaddest Music in the W orld....... 1 0 8 ^ BAADASSSSS!...................... 163 Infernal Affairs 3 ....................125 Saved!............................................... 28 The Basque Ball: Inheritance...........................118 Save the Green Planet.................212 Skin Against the Stone........... 180 In The Realms of the Unreal...... 191 Scent of the Lotus Pond................ 143 Baytong..............................160 Before Sunrise....................... 203 Intimate Strangers................... 27 Searching For the Before Sunset..........................30 In Your Hands......................... 74 Wrong-Eyed Jesus........................ 197 It's Easier for a Camel.............. 81 Seducing Doctor Lew is................. 109 Bereft.................................163 Jagged Harmonies.................120 Seven Days, Seven N ights............ 116 The Best of Youth.................. 133 Jagoda In the Supermarket......150 Sex Is Comedy.................................. 88 Big City Dick........................ 181 Jester Till............................. 205 Sexual Dependency....................... 103 Blind Swordsman: Zatoichi .... 136 The Kite.............................. 142 Silent Waters...................................148 Bloom.................................130 La Petite Lili ......................... 83 Since Otar Left................................. 88 Bonjour Monsieur Shlomi........131 Bored in Brno........................ 117 Last Life In the Universe............77 Sky Blue...........................................154 The Last Train........................149 Slim Su sie ....................................... 158 Born Into Brothels................. 181 La Vie Promise........................ 83 Snow Walker...................................109 The Boys From County Clare.... 130 Bright Future......................... 137 Learning To Lie......................120 Somnambulance............................119 Spare Parts.....................................151 Bright Leaves........................ 182 Legend Of the Sacred Stone.....211 ¡/Bright Young Things............... 122*' A Letter ToTrue..................... 180 Stander............................................ 152 Little Men............................140 Steam: The Turkish B a th .................76 Brother To Brother..................164 The Locals............................211 Still Doing It: The Intimate Lives of Buddy................................ 147 Los Angeles Plays Itself............ 192 Women Over 6 5 .............................198 Buffalo Bill's DefunctLos Debutantes..................... 112 The Story of Marie and Julien....... 89 Stories from the NewWest......164 Love Me If You Dare.................84 The Story of the Weeping Camel 145 Busting Out..........................182 The Man of the Year............... 104 Straight-Jacket............................... 175 Capone...............................80 The Man on the Train............. 94 Strayed..............................................89 Captive...............................100 The ManWho Copied..............105 Take My Eyes...................................156 Carandiru............................ 104 Maqbool..............................129 A Tale of Two Sisters..................... 213 Cavedweller.........................165 Maria Full Of Grace................ 172 Tamala 2010: A Punk Cat in Space. 139 Checkpoint......................... 183 Max Rules............................207 TheTesseract...................................161 The Coldest Day................... 112 Memories of Murder............... 153 Thirst...............................................198 Control Room......................184 Metallica: Some Kind Of Monster192 A Thousand Clouds of Peace......144 The Corporation................... 184 The Middle Of the World.......... 105 Tomorrow's W eather.................... 148 Cowards Bend the Knee......... 106 Minor Mishaps........................74 Torremolinos 7 3 .............................156 Criminal..............................31 The Miracle of Berne...............121 Touch Of Pink................................. 110 Dandelion........ .................. 165 Mix.........................

127 Triple Agent.......................................91 Danny Deckchair.................... 101 Darkness Bride.......................124 Moi, César.............................84 Trollywood...................................... 199 Dear Frankie..........................150 Monsieur N............................86 The Tulse Luper Suitcases: Death &Texas................

166 Monster Road....................... 193 Part 1, The Moab Story.................123 Death In Gaza....................... 185 The Mother.......................... 122 The Tulse Luper Suitcases: The Debut............................ 202 Moving Malcolm....................107 Part 2, From Vaux to the Sea......123 Deep Breath.......................... 129 My Grandpa......................... 138 Turn Left Turn R ight.......................127 DIG!................................... 185 Nathalie................................ 86 The Twilight Sam urai.................... 140 Natural City............. .....153 Twin Sisters.....................................145 Donau, Duna, Dunaj, Twist................................................ 111 Nicotina...............................144 Dunav, Dunarea.....................101 Donnie Darko-The Director's Cut... 29 Nina's Tragedies.................... 131 Undead............................................213 Uniform......................................... 115 Doppelgänger........................137 Nobody Knows HowTo Down To the Bone.................. 167 Talk To Children..................... 193 Untold Scandal.............................. 155 Drifters.................................113 Noise.................................. 172 Up Thornton Creek........................199 25 Vodka Lemon................................. 100 Eager Bodies...........................81 The Notebook................

El Alamein: In the Line of Fire...133 ^/November........................... 155 3 Walk On Water..............................132 Evergreen............................. 167 v-Off the Map..........................173¿ The Weakness of the Bolshevik.. 157 Everyday People.....................168 Open Water.......................... 173 When Ruoma Was Seventeen.... 115 Facing Window........................ 76 Original Child Bomb............... 194 When the Right One Comes Along. 159 Fear and Trembling...................82 Orwell Rolls in His Grave......... 195 Who Killed Bambi?..........................91 195 The Widow of Saint-Pierre............. 95 Feathers In My Head............... 103 Paperclips............

Festival Express......................187 Pater Familias........................135 Wild S id e .......................................... 92 v/The Five Obstructions............187^ Paternal Instinct.....................196 W itnesses....................................... 116 The Forest.............................106 Perfect Strangers....................147 Wondrous Oblivion........................207 Frankie and Johnny Are Married. 168 Persons Of Interest................. 196 Your Next L ife ................................ 157 The Game of Their Lives........... 188 ¡✓ Playtime.............................. 201 Garden State......................... 169 Primer................................. 174 Ghost In the Shell 2: Innocence... 138 A Problem with Fear............... 107 The Girl On the Bridge...............94 Proteus................................108 The Goddess.... .................... 200 The Python........................... 142 Go Further............................188 Quality of Life........................ 174 Goodbye Dragon Inn...............160 Raja..................................... 87 A Good Lawyer's Wife............. 152 Ramblers..............................139 The Graffiti Artist.................... 169 Raspberry Reich.................... 212 The Green Butchers.................117 Reconstruction...................... 118 Red Lights..............................75 Guerrilla: Taking of Patty Hearst.... 189

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M O RE C H O IC E S . M O RE LA T IT U D E . M O RE P O S S IB IL IT IE S .

Introducing the expanded KODAK VISION2 Color Negative Film family. Now you can choose from more film stocks than ever. All offering superior shadow and highlight detail. Excellent tone scale and flesh-to-neutral reproduction. And created for both traditional and digital post. KODAK VISI0N2 Motion Picture Films.

Keep exploring. To learn more, visit kodak.com/go/vision2.

THE FUTURE IS

WIDE OPEN KODAK VISI0N2 Motion Picture Film s. What’s next.

VISI0N2 100T 5212/7212

VISI0N 2 200T 5217/7217

VISI0N 2 Expression 500T 5229/7229

VISI0N 2 500T 5218/7218