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OLOMBI W ATER PROCESS

Mystery Romance. Foreign Intrigue.

You’ll see it all at the Seattle International Film- Festival. A nd at Starhucks. W here you I l f ind exotic coffees from around the world. In fact, we have nearly as many exceptional coffees as there are exceptional films. So before you watch the world on film, come into one of our stores and taste the world in a cup.

T a b le of C o n te n ts

Argentina A Place in the World Australia Hammers over the Anvil Hercules Returns The Nun and the Bandit Romper Stamper Austria Flaming Ears Belgium Man Bites Dog Night & Day Bulgaria The Well Canada Cadillac Girls Careful The Clean Machine Forbidden Love In Advance of Landing Manufacturing Consent On My Own Stepping Razor— Red X Twist Where Is Memory China Heart Strings Ripples Across Stagnant Water Story of Qiu Ju Czechoslovakia The Flying Sneaker Denmark The Boys from St. Petri Sofie Finland/France La Vie de Boheme France Betty Un Coeur en Hiver Dark at Noon Fortress Jacquot Kitchen & Other Rooms Milena La Sentinelle Les Visiteurs Le Zebre Germany Acting It Out Alone Among Women I Kiss Your Hand, Madame Olympic Summer Peter in Magicland Schtonk

Great Britain USA Bad Behaviour Billy Liar An Englishman Abroad Far from the Madding Crowd The Long Day Closes Much Ado About Nothing The Mystery of Edwin Drood Orlando Running Late Seven Songs for Malcolm X The Silent Touch Soft Top Hard Shoulder Sunday, Bloody Sunday Wild West Into the West Hong Kong Autumn Moon Mary from Beijing Savior of the Soul ‘92 Hungary The Scorpio Eats the Gemini for Breakfast Sweet Emma, Dear Bobe Iceland As in Heaven Israel Amazing Grace Italy Acla Al Lupo al Lupo Letters from Paris Verso Sud Japan About Love, Tokyo The Games Teachers Play Original Sin Mexico Angel of Fire Snakes and Ladders Netherlands For a Lost Soldier The Northerners The Three Best Things in Life New Zealand Crush Dead Alive (Braindead) Norway Warrior’s Heart Poland White Marriage Romania r?|he Conjugal Bed The Oak Outback Russia I Wanted to See Angels Senegal Hyenas Serbia Tango Argentino South Korea Our Twisted Hero White Badge Spain Acción Mutante The Fencing Master Jamón, Jamón The Red Squirrel Sweden House of Angels Switzerland\ Off Season Taiwan The Peach Blossom The Wedding

The Abyss— Special Edition (1989) Acting on Impulse Ambush of Ghosts Amongst Friends Baraka Bound by Honor La Carp Chain of Desire Changing Our Minds Children of Fate Dazed and Confused Don’t Call Me Frankie Eight-Tray Gangster Family Prayers Fly by Night The Harvest H ere sa yll House of Cards King of the Hill Last Call at Maud’s Me and Veronica Menace II Society Midnight Cowboy The Music of Chance National Velvet Passin’ It On Phantom of the Opera Port of Seven Seas Quick Road Scholar Sex Is... Shelf Life Shirtless Soul Silverlake Life: The View from Here Time Indefinite Tom and Jerry: The Mo Trouble Bound Twenty Bucks Vermont Is for Lovers Walt Disney Before Mickey Mouse Walt Disney in the Jazz Age

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Without the generous assistance of ourcorporate and media sponsors and the many supporters who provide essential

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services to SIFF, many of our most outstanding programs, special series and guest appearances would be Impossible

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to present. Their assistance both in ca|Œnd in kind is integral to making each year’s SIFF one of the most exciting

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and respected film festivals in the world. Our deepest thanks are most genuinely expressed to these sponsors, both new and old.

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G o v e r n o r ’s a n d M a y o r ’s A d d r e s s e s

May 1993 As Governor of the State of Washington, it gives me great pleasure to welcome you to the Seattle International Film Festival.She city of Seattle is proud to host this premier event, and we welcome you to enjoy the many attractions the city has to offer. The Seattle International Film Festival serves as a show case for films from all over the world and provides an opportunity for artistic interaction and exchange. The arts are an essential part of the human experience, providing communication across cultures and a timely historical record.

Governor’s and Mayor’s Addresses

The citizens of Seattle appreciate the medium of film as an educational tool, a source of entertainment and a major form of creative expression. The city is excited and pleased to be a part of an event that embraces cultural diversity. Best wishes for a successful event. Sincerely,

Mike Lowry Governor

May 1993 To the Staff, Volunteers and Audience of thé Seattle International Film Festival: As Mayor of the City of Seattle, I am pleased and proud to congratulate all of you on the 19th anniversary of this most prestigious film festival. The Seattle International Film Festival is part of what has made our City a mecca for filmgoers — drawing people from all overthe world. The past few years have seen huge growth in Seattle’s reputation as a place to make movies as well. So^-on behalf of the citizens of Seattle, I wish happy viewing to all the filmgoers and send thanks to all those who work so hard to make this event the first-class occasion it is. Sincerely,

Norman B^Rice Mayor

L eo n ard o d a V inci,

M r. Renaissance

His creative spirit, his vision, and his focus on the task at hand changed the world forever. The unparalleled genius of Leonardo da Vinci allowed him to transcend and expand the boundaries of human knowledge. Leonardo imagined rocketry and human flight, the helicopter, the parachute, the spinning wheel, the piston. And, of course, he coaxed that enigmatic smile from the Mona lisa.

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S ta ff • D ir e c t o r ’s M e s s a g e

Darryl Macdonald Festival Director

Left to right, back to front: Lucinda Payne, Nick Vroman, Jayne Craig, Ruth Hayler, Sandy Gow, Pascale Anziani, Nancy Kennedy, Annie Wilson, Jim Gibbs, Darryl Macdonald, Judy Koven, Ted Fry, Molly Brick, Deena Juras, Helen du Toit, Rose Custer, John Teegarden, Deb Mayo. Not Pictured: Amy Fritz

Director: Darryl Macdonald

Program:

Co-Founders: Darryl Macdonald and

Editor: Ted Fry

Dan Ireland

Coordinator: Helen du Toit

Festival Coordinator: Jim Gibbs

Copy Editors: Barry Foy, Ruth Hayler

Marketing Director: Nancy Kennedy

Editorial Assistants: Rose Custer,

Development Coordinator: Lucinda Payne PR and Marketing Coordinator:

Kerry Canfield Ad Sales: Deena Juras

Helen du Toit

Design: Art 0 Mat Design

Publicist: Ted Fry

Production: K & H Printers

Los Angeles Publicity: Karen Fried

Cover Art: Stephen Peringer

Media Assistant: Pascale Anziani Special Events Coordinator: Molly Brick

Radio and Trailer: Cole & W eber

Travel Coordinator: Jayne Craig

John Dietrich, Sam Walsh

Hospitality Coordinator: Amy Fritz

Steve Johnson, Kevin Jones

Film is a collaborative art, employing the combined efforts of a number of gifted artists and technicians to produce the best results: producers, directors, screenwriters, actors and cinematographers are merely the most visible elements of a creative team that pool their talents to effect the final work, for better or for worse. In much the same way, a large team of talented, committed individuals come together each year to create the showcase for this artform which you are about to experience. The board members , programmers, support staff, and volunteers who commit so much of themselves to the continuing success of this event do so because they share a profound belief that film can make a difference in this world; a belief that the incandescent glow that lights the motion picture screen unites its audience in yet another form of collaboration: a visceral human experience beyond the reach of everyday life. Film opens the door to a clearer understanding of the dark corners of a world beyond the physical reach of all but the most privileged among us.

Print Manager: Sandy Gow Print Traffic Coordinator: Deb Mayo

Box Office Staff:

Bookkeeper: Deena Juras

Margie Cogan Jennifer Jackson Fawn Martin Malcolm Martinez Amy Sweigert Bob Tangney Kip West Gwen Wilson

Ticketing Manager: Annie Wilson Ticketing Systems: D & D Ticketing Volunteer Coordinator: Judy Koven Administrative Assistants:

Rose Custer, John Teegarden Seminar and Jury Coordinator:

Helen du Toit Computer Consultant: Dwight Gaut Programming Committee:

Helen du Toit Sandy Gow Ruth Hayler Dan Ireland Darryl Macdonald John Teegarden Nick Vroman

Cinema Seattle Board of Directors:

Tamara Critch Ruth Hayler Dan Ireland Darryl Macdonald Burt Manzari Scott Marshall Lucy Mohl Ben Stephens Bob Stevens Jane Suzick J e f f Watts Wayne Wilson

Film is a powerful, multifaceted medium. At its best it links us to a universal Zeitgeist exem plified by the vast range of voices and visions that a film festival— if it is doing its job— provide^ ^ This year’s SIFF will introduce you to an incredible and diverse array of stories: people from all walks of life, toiling in every facet of human enterprise; people sharing glory and sharing grief— people just like you and me, but for the accident of fate that determines what nation, race, religion or language we call our own. This is what it all adds up to: a chance to celebrate our world. This is our community; these are our stories. Join us in the quest to better understand the world in which we live. Join us in celebration.

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Fly Through Delta’s Uncrowded GatewaysTo Six Major Asian Cities. Now you have two better routes to Asia through our gateways in Portland and Los Angeles. They’re better, because at each gateway, we put everything in one terminal. Arrivals. Departures. Even Customs and Immigration. And Deltas passengers are the only ones who H O PG KOHQ

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T i c k e t In f o rm a tio n

TICKET AND SCREENING INFORMATION Seating is available at all performances on a first-come, firstserved basis. All programs are subject to change without notice. No refunds or exchanges can be given, except in the case of a program change. All films will be shown in their original language with English subtitles. With the exception of Children’s Museum Film Festival events, children under six years old will not be admitted to screenings. Children six and over will be charged regular ticket prices. Tickets for all events are available at the Broadway Market Ticket Office, 425 Broadway East, Monday through Saturday from 11am to 7pm and Sunday from 12 noon to 6pm. Day-of-show tickets for weekday screenings are available until 4pm at the ticket office; day-of-show tickets forweekends and Memorial Day Monday will only be available at the individual theaters. If a film has sold out in advance, a limited number of tickets may be available at the theater 30 minutes prior to showtime.

Cinema Seattle

c/o The Egyptian Theatre 801 East Pine Street Seattle, WA 98112 Attn: Ticketing Ticket orders can be placed by fax Monday through Friday only. Fax number: (2 0 6 ) 324-9998.

NORTH 45TH STREET

Call the Festival Hotline for ticket and scheduling information: (2 0 6 ) 325-2485.

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Ticket Information

Tickets can be ordered by mail by sending a self-addressed, stamped envelope along with a check or your credit card information and the following: film title, date, theater and showtime; your name, address and day and evening phone. Send to:

Downtown at the Newmark, Second ■Avenue at Union, Main level, 62||1990;

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With over 13/000 titles on VHS and 2400 on laser disc, you'll be glad you've got a brainl

O p e n in g N ig h t G a la MUCH ADO ABOUT NOTHING Great Britaih/USA, 1993 Director: Kenneth Branagh Producers: Kenneth Branagh,

David Parfitt, Stephen Evans Screenwriter: Kenneth Branagh

(from the play by William Shakespeare) Cinematographer: Roger Lanser Editor: Andrew Marcus Music: Patrick Doyle Cast: Kenneth Branagh, Emma Thompson,

Denzel Washington, Robert Sean Leonard, Keanu Reeves, Michael Keaton Print Source: The Samuel Goldwyn

Company 100 minutes

Selected Filmography:

Henry 1/(1989)

MUCH ADO ABOUT NOTHING

Dead Again (1991)

Actor/director Kenneth Branagh, who first won American audiences with

Peter’s Friends (1992)

his spectacular screen version of Henry V, returns to his Shakespearean

Swan Song (short, 1993)

roots with one of the Bard’s brightest com edies. Conceived over 400 years ago, Much Ado About Nothing is a fast-paced tale of love and the many obstacles in its path, and it remains unrivaled by even the most

Opening Night Gale

Friday, May 15 ■ 5th Avenue Theatre, 8:00pm

alluring modern-day romances. The story contrasts two couples, one battling, the other sweet. Emma Thom pson, fresh from her Academy Award winning triumph in Howards End, plays the saucy Beatrice to Branagh’s m isogynist Benedick— a bachelor and determined to remain one. Still, they find them selves as susceptible to Cupid’s dart as their more innocent counterparts Claudio and Hero, played by Robert Sean Leonard and newcomer Kate Beckinsale. The star-studded cast (all of whom seem to be enjoying them selves immensely) includes Denzel Washington and Keanu Reeves, and Michael Keaton as the languagemangling Dogberry. Lush and expansive in its production, the film was made in and around the Tuscan villa that was once home to LaGioconda, Leonardo da V in ci’s Mona Lisa. Join the fun in this merry romp about the foolishness of life and love.

British

A ir w a y s 11

Cook Up A M ovie Q uestion Our Chef Can' t Answer, And W e' ll Put Our M oney W here Your M outh Is. W e' re T aking Bets. I f Y ou Can Stump O ur Chef, Dessert' s O n Us. H is nam e is Vince M iller. G ourm et che f by day. Avid film buff by night. This man is a w alking, talkin g encyclope dia o f film trivia. And w e ’re so im pressed, w e ’re ready to w a ger on it. So here’s the deal. S top by the Dahlia Lounge for lunch. Pop a question about any direc tor, leading man or leading lady during the last 25 yea rs. Then if Vince d o e s n ’t have a fa st answ er, your d e sse rt is on the house. If you know your flicks, th is could be a sw eet deal for you. S o com e se e us. Stum p our chef. And collect your ju s t d esse rts.

S e e yo u s o o n a t T h e D a h lia Lou 1904 Fourth Avenue • 206-682-

C lo s in g N ig h t G a la KING OF THE HILL USA, 1993

US Premiere Director: Steven Soderbergh Producers: Barbara Maltby, Albert

Berger, Ron Yerxa Screenwriter: Steven Soderbergh

(based on the memoirs of A.E. Hotchner) Cinematographer: Elliot Davis Editor: Steven Soderbergh Music: Cliff Martinez Cast: Jeroen Krabbe, Lisa Eichhorn,

Karen Allen, Spalding Gray, Elizabeth McGovern, Jesse Bradford Print Source: Gramercy Pictures 105 minutes

KING OF THE HILL

Selected Filmography:^

sex, lies and videotape (1989)

It’s easy to see why director Steven Soderbergh’s new film was one of

Kafka (1991)

only three from America to be accepted into competition at this year’s Cannes Film Festival: King of the Hill is by farthe m ost accomplished and powerful effort by this enorm ously gifted filmmaker. Set in D ep ression! era St. Louis, the film tells the story of a young boy named Aarori(Jesse

Closing Night Gala

Sunday, June 6 ■ Egyptian, 7:00pm

Bradford), who is virtually abandoned by his family. Financial hardship has obliged Aaron’s parents to send his younger brother to live with relatives. His mother (Lisa Eichhorn) has been placed in a sanitarium to recover from tuberculosis, and his father (Jeroen Krabbe) is forced to accept a job out of state, which leaves the boy penniless and alone in a hotel room that hasn't been paid for. Aa rog’s com passion, sensitivity, ils tin c t for survival and ability to deal with alm ost anything life throws at him quickly elevate him to the ranks of truly unforgettable screen characters. Aside from the dazzling cinematography, lush musical score and beautiful screenplay adapted from the memoirs of A.E. Hotchner, the m ost engaging elem ents of the film are Soderbergh’s perceptive direc tio n and the downright remarkable performance of Jesse Bradford. Like Francois Truffaut’s 400 Blows, Victor Erice’s Spirit of the Beehive and Lasse Hallstrom ’s My Life as a Dog, King of the Hill is a classic film about

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the joys and pains of childhood. We are honored to present the U.S. premiere.

Seven Gables/Landmark Theatres

Market • Qrest • E^ptian • Guild 45th • Harvard Exit • Metro • Neptune • SeverrGables *Vars - -

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G o ld e n S p a c e N e e d le A w a r d s

Last Year’s Winners:

Best Film: IP5, by Jean-Jacques Beineix

Best Director: Jean-Jacques Beineix for IP5 and Betty Blue I’lntegral

Best Actor: Dermot Mulroney for Where the Day Takes You and Samantha

Best Actress: Marianne Sagebrecht for Martha and

Best Documentary: A Brief History of Time, by Errol Morris

Best Short: Anima Mundi, by Godfrey Reggio

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Golden Space Needle Awards

An award from a film festival as presti gious as SIFF is a sure sign to other audiences, festivals and industry play ers that the work in question is truly something special. Recipients of the Golden Space Needle Awards are cho sen by the Seattle audience! whose judgments are highly regarded in other quarters. Your vote is valuable not only to the film that receives it, but to every one who relies on the opinions of this esteemed movie town. Ballots and boxes are provided in each theater lobby for tabulation of the results. At the end of your festival experience, cast your vote in the following categories: Best Film, Best Director, Best Actor, Best Actress, Best Documentary and Best Short. You may cast a ballot after viewing one film or 100; the only restric tion is that you not vote more than five times. Winners based on your choices will be announced at the closing night screening. The Golden Space Needle Awards are presented with the kind support of Starbucks Coffee.

pre se nts.

J o h n S c h le s in g e r T rib u te

John Schlesinger is quite unashamedly a humanist director. That’s a word and an attitude that isn’t much in fashion in the film business these days. But frankly, we are in urgent need of more humanists like him. Most of Schlesinger’s films are about people, about character; one way or another, the most percep tive of them are also about being in love and the foolish, desperate things we do in that demented state. Schlesinger’s observations on the subject are typically distinguished by a mixture of compassion, irony, and emotional empathy for the quest, and the intellectual acknowledgment of love’s almost inevitable failure. He has examined the theme in a variety of situations and milieus, beginning with his first feature, A Kind of Loving, made in 1962. This big-screen breakthrough did not come particularly easily or early in his life. By that time, he had served in the armed forces during World War II, studied at Oxford, worked as an actor in films, on TV, and on stage and been employed as a freelance director by the BBC. It was his unexpected success with the documentary short Terminus (a slice-of-life look at a busy London train station that won him a prize at the Venice Film Festival) that opened the door to feature filmmaking. He became one of the most respected and suc cessful directors of the 1960s, with films admired fortheir keen social awareness, impeccable craftsmanship and splendid performances. His gifted touch with actors helped make stars of Julie Christie, Alan Bates, Tom Courtenay and Jon Voight. Since then, he has divided his time among films, television and the stage on both sides of the Atlantic, always attempting to further our understanding of ourselves: “A director is an ob server,” Schlesinger once said. Clearly he observes us carefully and well— you need only to view his films to understand that. Filmography: A Kind of Loving ( 1962), Billy Liar (1963), Darling (1965), Far from the Madding Crowd (1967), Midnight Cowboy (1969), Sunday, Bloody Sunday (1971), Visions o f Eight (1973), The Day of the Locust (1975), Marathon Man (1976), Yanks (1979), Honky Tonk Freeway (1981), An Englishman Abroad (1983), The Falcon and the Snowman (1985), The Believers (1987), Madame Sousatzka (1988), Pacific Heights (1990), A Question of Attribution (1991), The Innocent (1993)

Tribute to John S chlesinger— Film will follow Thursday, May 27 ■ Egyptian, 7:15pm

MIDNIGHT COWBOY USA, 1969 Director: John Schlesinger Producer: Jerome Heilman Screenwriter: Waldo Salt (based on the novel by James Leo Herlihy) Cinematographer: Adam Holender Editor: Hugh A. Robertson Music: John Barry Cast: Jon Voight,

Dustin Hoffman, Sylvia Miles, Brenda Vaccaro, Ruth White, Viva Print Source: MGM Classics 113 minutes John Schlesinger’s first American film brought a startlingly fresh eye to New York’s mean streets. Chief among the pungent, low life schemers and dreamers is Joe Buck (Jon Voight), a sweetly naive Texas boy come to the big city to make his fortune servicing the rich, lonely ladies of Park Avenue. “I’ll tell you the truth now,” he says, “I ain’t a real cowboy, but I am one hell of a stud." “Ratso” Rizzo (Dustin Hoffman) is a scummy, crippled, two-bit con man whose most cherished fantasy is to escape New York for the perpetual sunshine of Florida. In no time the gullible would-be hustler Joe finds himself penniless and on the street with Ratso as his only friend. Born of desperate necessity but full of genuine affection, this relationship is at the unique heart of Midnight Cowboy. The film made Voight a star and impressed audiences who knew Hoffman only as The Graduate with the true range of his talent. Both actors were nominated for Oscars but lost to another cowboy, John Wayne. Slapped with an X rating on its release (it has since been rerated R, without cuts), the film was the surprise critical and commercial success of 1969. It won Academy Awards for Best Picture, Best Director and Best Screenplay (by Waldo Salt) and even made a top ten hit of singer Harry Nilsson’s “Everybody’s Talkin’.” Midnight Cowboy remains one of Schlesinger’s very best.

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J o h n S c h le s in g e r T rib u te

John Schlesinger Tribute

Saturday, May 15 ■ Neptune, 12:30pm

BILLY LIAR Great Britain, 1963 Director: John Schlesinger Producer: Joe Janni Screenwriters: Keith Waterhouse, Willis Hall Cinematographer: Denys Coop Music: Richard Rodney Bennett Cast: Tom Courtenay,

Julie Christie, Wilfred Pickles, Mona Washbourne, Ethel Griffies, Finlay Currie, Leonard RoSsiter Print Source: John Schlesinger 98 minutes One of John Schlesinger’s earliest films (made just after A Kind of Loving), Billy Liar stars Julie Christie in her first major screen role. Critic David Shipman describes her entrance as “one of the most beguiling things in 1960s cinema: a long fugue in which she wanders gaily through the streets of a Northern town swinging a large handbag. The sequence owes something to the nouvelle vague, and as that was a liberating movement, so is she a liberating spirit. She is Billy’s escape route.” The titular Billy is played by Tom Courtenay, an undertaker’s clerk who frequently escapes from his drab reality into a fantasy world. Apparently incapable of telling the truth, Billy lies even when there seems to be no need. The habit has landed him in plenty of trouble, including two simultaneous engagements to girls he does not want to marry. Billy Liar is a brilliant and influential comedy that slips easily in and out of delightful fantasy se quences.

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Saturday, May 22 ■ Neptune, 12:30pm

AN ENGLISHMAN ABROAD Great Britain, 1983 Director: John Schlesinger Producer: Innés Lloyd Screenwriter: Alan Bennett Cinematographer: Matt Crosby Editor: Ken Pearce Music: George Fenton Cast: Alan Bates, Coral Browne Print Source: BBC Television 70 minutes

Alan Bates gives an indelible performance as Guy Burgess, the infamous high-ranking British intelligence officer and enemy mole who has defected to Russia and now lives a dissolute life of self-loathing behind the iron curtain. Coral Browne(Dreamchild) plays an English actress on tour in Moscow who has a strange encounter with Burgess, who is more English than ever in his transposed setting. He begs her to help him obtain a suit from a real English tailor, the thing he misses most in exile. The superb screenplay by Alan Bennett is based on a true incident: Coral Browne really did meet Burgess in Moscow years earlier. A tour de force of writing, acting and directing, An Englishman Abroad was a phenomenal success and won nine British Acad emy of Film and Television Arts awards. It triumphantly reunited Schlesinger with Alan Bates, who had starred in the director’s debut, A Kind of Loving, 20 years earlier. Schlesinger’s marvel ous film A Question of Attribution (SIFF ’92), also scripted by Bennett, deals with Burgess’s fellow spy Sir Anthony Blunt.

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J o h n Se ti lesi n g e r T rib u te

FAR FROM THE MADDING CROWD Great Britain, 1967 Director: John Schlesinger Producer: Joseph Janni Screenwriter:

Frederic Raphael (based on the novel by Thomas Hardy) Cinematographer: Nicolas Roeg Editor: Malcolm Cooke Music: Richard Rodney Bennett Cast: Julie Christie, Alan Bates,

Peter Finch, Terence Stamp, Prunella Ransome Print Source: Turner Entertainment Co. 170 minutes

SUNDAY, BLOODY SUNDAY Great Britain, 1971 Director: John Schlesinger Producer: Joseph Janni Screenwriter: Penelope Gilliatt Cinematographer: Billy Williams Editor: Richard Marden Cast: Glenda Jackson, Peter Finch,

Murray Head, Peggy Ashcroft, Vivian Pickles, Bessie Love, Jon Finch Print Source: MGM Classics 110 minutes

Far from the Madding Crowd just looks better all the time. Based on the classic Thomas Hardy novel, it’s a superbly crafted, intelligent, beautiful big-screen romance of the kind they just can’t seem to make anymore. It’s also one of John Schlesinger’s most ironic and poignant looks at the nature of love. If only headstrong Bathsheba (Julie Christie) had said yes to the first marriage proposal from the shepherd Oak (Alan Bates); but she turns down this good man, avoids the gentlemanly advances of farmer Boldwood (Peter Finch), and gives her heart instead to the dashing, red-coated scalawagSergeantTroy (Terence Stamp). He responds to her pretty face and plump pocketbook, but in fact loves another. On one level the film is a comedy of human foolishness; on another it is a tragedy. The characters must experience much pain before Bathsheba grows to appreciate Oak’s simpler view of love: “Whenever I look up, there you will be and whenever you look up, there shall I be.” The lush, wide screen cinematography is by Nicolas Roeg (who went on to direct Walkabout, Don’t Look Now and The Man Who Fell to Earth, among others) and the wistful, melodic score by Richard Rodney Bennet.

Sunday, Bloody Sunday was the first film John Schlesinger made after winning the Oscar for Midnight Cowboy. Though it was only a qualified success at the time, it has remained one of his most enduring achievements. It is certainly the purest dramatic expression of his most frequent motif, the pursuit of love and alf the human follies and heartaches it entails. The simple story follows 10 days in the lives of two people (Glenda Jackson and Peter Finch) who are both in love with the same young man (Murray Head), and observes the ways they come to terms with his departure from their lives. In 1971, the film reportedly drew gasps from audiences shocked by a passionate kiss shared by the two male stars. What may have been more startling to them is that homosexuality is not mentioned as an issue— it simply exists in this wry, well-observed, grown-up movie about love. Jackson and Finch give what may be their most personal, deeply felt performances. The rest of the cast also makes the most of Penelope Gilliatt’s exceptional screenplay. Watch carefully for a glimpse of a young Daniel Day Lewis as a boy glumly scratching the sides of parked cars.

Award: Best Picture of the Year, National Board of Review,

Best Actress, Best Screenplay.

Awards: Oscar nominations, 1971- -Best Director, Best Actor,

1967.

m T

John Schlesinger Tribute

Saturday, June 5 ■ Egyptian, 12:30pm

Saturday, May 29 ■ Egyptian, 12;30pm

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most renowned filmmakers. Helena Bonham C arter in A Room With a View

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Martin Scorsese, Louis Malle,

Robert Altman, Gus Van Sant

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and Francis Ford Coppola.

Martin Scorsese ’S ItalianAmerican/The Big onave

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case for Cannes and Oscar®

Winners from the filmmaking

capitals of the world. de Bergerac

■

You can’t get much more high-concept than the infamous Secret Festival. An institution at SIFFsince 1983, this festwithin-a-fest provides a rare opportu nity for passhoiders to see films they literally can't see anyplace else. On the four Sundays of the festival this topsecret event will present world prem ieresllong-lost treasures, works-in progress, s p e c ia l presentations and guests, and just about anything else that’s off-limits to regular audiences. All Secret Festival passhoiders are re quired to sign a document attesting that they will not disclose any informa tion about the films screened. No other film festival in the world offers an event like this. Aware of the Secret Festival’s famed reputation in the industry, film makers, archivists and distinguished guests often queue upto lobby fortheir potential entry weeks before the pro gram is confirmed. Membership always sells out, which means the select few who are party to the proceedings are truly among an inner circle of festival devotees— and among the luckiest.

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G R O U N D H O G DAY .. . Bill sucks eggs sourly all through the day." — M ary B rennan, S e a t t l e W e e k l y f il m r e v ie w e r

The best date movie around. — T om K e o g h , E a s t s id e w e e k f il m r e v ie w e r

It may be a colossal o v e r s t a t e m e n t ,i t may be a leftist delusion, it may even be masturbation But it is a hell o f a film. 1 — T om K eo g h

"JFK is just a shapeless tirade, a can o f worms without a leader. I M a r y B rennan

REVIEWS Wil J 1C» SEATTLE WEEKLY,

Eastsideweek YOUR GUIDES TO FILM

A v a i l a b l e at n e w s s t a n d s t h ro ugh out the Puget Sound reg ion.

N e w D ire c to rs S h o w c a s e — J u r y

Cameron Crowe started his career as a journalist at the age of 15 and joined the staff of Rolling Stone magazi ne the next year. A few years later he went back to school to do research for the book Fast Times atRidgemontHigh. After his success as screen writer of the movie version, he made his debut as director with Say Anything, which he also wrote. His skill at blending pop music, pop culture and popular entertainment reached a pinnacle last year with his made-in-Seattle hit Singles.

Scott Rosenfelt’s Family Prayers, which plays in this year’s festival, puts him in the same league as the other new directors in this series. Before making his debut as a director, he produced Mystic Pizza and Home Alone, the third-highest-grossing movie in his tory. Other production credits include Roadhouse,

Russkies, Teen Wolf and Extremities.

Soon Mi Yoo is a Korean filmmaker based in Seattle. After receiving her master's degree in German literature from Yonsei University in Seoul, she worked as a translator and continued her studies in film. Her credits include work on several local, independent short feature productions, including The Liar and No Place like Home (S IFF1993). She is currently involved in directing and producing a short feature on Korean adoptees.

'SEATILEWEEKLY,

Daniel Sullivan assumed the artistic direc torship of the Seattle Rep Theatre in 1981 after two years as Resident Director, In addition to his numer ous local credits, he has directed many plays on Broadway and at New York’s Lincoln Center, including I ’m Not Rappaport and Conversations with My Father (both starring Judd Hirsch), as well as The Substance of Fire and The Sisters Rosensweig.

Eastsideweek 25

Jonathan Raban is an internationally known author and social critic whose books include Old Glory (1981), Foreign Land (1985), Coasting (1986), For Love and Money (1989), Hunting Mister Heartbreak (1991) and as editor The Oxford Book of the Sea (1992) . During the 1970s he wrote plays for BBC television and radio and for the stage.

New Directors Showcase

N e w D ire c to rs S h o w c a s e

MENACE II SOCIETY

THE NORTHERNERS

USA, 1993

(Der Noorderlingen) Netherlands, 1991

US Premiere Directors: Allen and Albert Hughes Producer: Darin Scott Screenwriter: Tyger Williams Cinematographer: Lisa Rinzler Editor: Christopher Koefed Music: Various artists Cast:

Tyrin Turner, Jada Pinkett, Larenz Tate, Vonte Sweet, Samuel L. Jackson, Charles S. Dutton Print Source: New Line Cinema 104 minutes The ’hood is a funny place sometimes. You can walk into the corner store with nothing more on your mind than picking up a 40-ounce, and walk out an accomplice to a double murder. The brutal, unrelenting world in which an incident like this barely raises an eyebrow is portrayed with an astonishing sense of reality in this sensational debut by 20-year-old twins Allen and Albert Hughes. Caine is young, black and going nowhere in the urban wasteland of Watts. His mom OD’d on heroin and his dad was murdered in a drug deal. Most of his friends are dead or in jail, and the others are headed in the same direction. Caine deals drugs because he has to— at least that’s his rationale. But he’s lucky: unlike most of his homeys, he’s got a spark of hope. Ronnie and her six-year-old son are the closest thing he has to a real family, and they pull hard at him in the direction opposite to that of the other elements in his life. Caine has to make a choice That literally means the difference between life and death. Filled with powerful images and impressive stylistic touches that linger long after it ends, the movie exposes a complex world too often forgotten by middle America. “Menace encompasses the whole spectrum of how America looks at minorities. From stockbrokers to street hustlers, w e’re a men ace to them .”— Allen Hughes

Director: Alex van Warmerdam Producers: Laurens Geels, Dick Maas Screenwriter: Alex van Warmerdam Cinematographer: Marc Felperlaan Editor: Rene Wiegmans Music: Vincent van Warmerdam Cast: Leonard Lucieer, Jack Wouterse, Rodolf Lucieer, Alex van Warmerdam, Annet Malherbe Print Source/lnternational Sales: First Floor Features 100 minutes

Alex van Warmerdam won multiple European awards for his previous short feature, Abel, and late last year won his first Felix (European Film Award) for Best Young European Film with this new Dutch treat. The hero of The Northerners is Thomas, a 12year-old boy whose bizarre experiences in the tiny country village where he lives owe much to the eccentric neighbors around him. With an overactive imagination and a peculiarcircle of family and friends, Thomas lives in the north of Holland on the only completed street of a planned housing development that has largely been abandoned. Apart from a local bus line that is unreliable at best, the mail and radio are the community’s only links with the outside world. News on the radio is dominated by events in the post-civil war Congo (the year is 1960), but the inhabitants of Thomas’s street seem much more concerned with their own pecadillos and infighting. Things heat up rapidly when a number of priests arrive for an evangelical exhibition. With them, they bring an unexpected visitor... Awards: Felix— Best Young Film, Composer, Production De

signer; Oscar submission, Best Foreign Language Film.

N e w D ire c to rs S h o w c a s e

Friday, May 21 ■ Harvard Exit, 7:15pm Tuesday, May 25 ■ Egyptian, 7:15pm

OUTBACK

THE PEACH BLOSSOM LAND

(Ou le Soleil Est Froid) Romania, 1991

(An Lian Taohuayuan) Taiwan, 1992

Director: Bogdan Dumitrescu Producer: Titi Popescu Screenwriter: Bogdan Dumitrescu Cinematographer: Doru Mitran Editor: Adina Georgescu Obrocea Music: Adrian Enescu Cast:

Director: Stan Lai (Lai Shengchuan) Producer: Nai-Chu Ding Screenwriter: Stan Lai (Lai Shengchuan) Cinematographer: Chris Doyle Editor: Chen Po-wen Music: Fumio Itabashi, Kazutoki Umezu Cast: Li Li-Chun, Ismene Ting, Ku Pao-Ming Print Source/lnternational Sales: Shu Kei’s Creative Workshop 107 minutes

Oana Pellea, Gheorghe Visu Print Source/lnternational Sales: K Films 90 minutes

Writer/d¡rector Bogdan Dumitrescu emigrated to Germany with his family as a child and now lives and teaches in Rome, but returned to his native Romania to make his first feature. A young woman finds herself abandoned at an isolated lighthouse on the coast of the Black Sea. Its rugged caretaker— who appears to be the only other human being as far as the eye can see— offers her little hope of rescue, claiming he has no phone, no car and an irreparable flat on his motorcycle. The clear implication is that he is not eager for her to leave. With little better to do, the two slowly begin to get acquainted. He shows herthe workings of the lighthouse, they walk on the beach and explore a rusting grounded ship. (Though the film is distinctly more personal than political, the abandoned ship may be a metaphorfor contempo rary Romania, “because it didn’t see the warning light— or didn’t want to see it.”) Initially the film is bleak and austere, but as the couple’s affection for one another grows, Outback gains a playful charm that leads to a surprising ending of considerable impact. The film is further distinguished by handsome black-andwhite cinematography and the appealing, natural performances of its two stars.

Wholly original and unexpectedly engaging, The Peach Blossom Land turns convention on its ear with its creation of electrifying cinema from material written for the stage. Two very different theater troupes have booked the same rehearsal space simul taneously. One wants to stage Hidden Love, a sob story about an old man’s memories of his one great love affair in Shanghai in the late 1940s. The other is shambling through a farcical parody of the classic play Peach Blossom Land, in which a cuckolded peasant stumbles upon Utopia but finds it inhabited by lookalikes of his wife and her lover. When the mayhem between the two battling companies becomes too much, the two troupe leaders strike a compromise and agree to share the stage. As the two plays begin to intersect, they trigger completely unintended reverberations, their meanings being altered and affected by the illogically logical interplay. Exceptionally well directed, The Peach Blossom Land is a true delight and a hilarious comedy of the unexpected. Awards: Berlin Film Festival, Caligari Prize

— 27

New Directors Showcase

Wednesday, May 26 ■ Harvard Exit, 7:15pm Tuesday, June 1 ■ Neptune, 9:30pm

New Directors Showcase

N e w D ire cto rs S h o w c a s e

Friday, May 28 ■ Egyptian, 9:30pm Saturday, May 29 ■ Egyptian, 12:00 midnight

ROMPER STOMPER

Saturday, May 15 P Neptune, 6:30pm Tuesday, May 18 ■ Egyptian, 9:30pm

SCHTONK

Australia, 1992

Germany, 1991

Director: Geoffrey Wright Producers: Ian Pringle, Daniel Scharf Screenwriter: Geoffrey Wright Cinematographer: Ron Hagen Editor: Bill Murphy Music: John Clifford White Cast: Russell Crowe, Daniel Pollock, Jacqueline McKenzie®

Director: Helmut Dietl Producer: Gunter Rohrbach Screenwriters: Helmut Dietl, Ulrich Limmer Cinematographer: Xavier Schwarzenberger Editor: Tanja Schmidbauer Music: Konstantin Wecker Cast: Gotz George, Uwe Ochsenknecht,

Alex Scott, Leigh Russell

Christiane Horbiger, Rof Hoppe, Dagmar Manzel

Print Source: Academy Entertainment 92 minutes

Print Source/lnternational Sales: Pyramide International 116 minutes

Romper Stompehs one of the most controversial films to hit the screen in years. Aggressively charting the exploits of a gang of white supremacist skinheads, it soared beyond explanation to tremendous success when it was released Down Under last year. Led by Hando (Russell Crowe), the gang engages in urban warfare with Vietnamese immigraffis over territorial rights to the neighborhood bar. In the film ’s exploration of the skinheads’ grim^fumultuous world, its breakneckSin-your-face energy is complemented by a high-octane rock soundtrack. Russell Crowe’s performance is intensely accurate and makes him almost unrecognizable from his roles in Proof and Hammers over the Anvil. Romper Stomper provides neither easy choices nor a righteous tone in its uncompromising depictions of brutality and racism.

The w ord^Schtonk” doesn’t mean anything. It was the word Charles Chaplin used when he pretended to speak German in his satire of Hitler and Nazi Germany, The Great Dictator. The film Schtonk is a hilarious, caustic satire of contemporary Germany and its various attitudes toward the past. The film is loosely based on the scandal surrounding the so-called Hitler diaries, 20 years ago. Fritz Kobel (Uwe Ochsenknecht) grows up in the ruins of postwar Berlin with a major talent: he is a master producer of fakes of all kinds. At first he contents himself with selling fake Hitler hats to the occupying soldiers. Later he is turning out paintings supposedly by artists as diverse as Hitler (portraits of Eva Braun) and Toulouse-Lautrec. By happenstance he meets Hermann Willie (Gotz George), an ambitious Deutschemarklusting journalist. Soon Fritz is hard at work on his masterpiece, The Hitler Diaries, which Hermann persuades his editor to buy and publish for piles of cash. Both men are at the top of the world, until... The humor in Schtonkis broad, with an accent on slapstick in the German fashion. The film ’s final effect is stinging and riotous.

“Skin culture is bold and imposing. Skinheads have strong views and they know what they want, no matter how morally bankrupt they are. They want to belong because to belong is to •have meaning and that’s what they crave. The meaning is ugly and grotesque, but they derive a lot of strength from this sense of belonging. I wanted to be true to that mythology and true to that world, even though that mythology comes to rubbish in the end. In the filngjl show what they do, and say, ‘Now its your turn to make up your minds about th is.”'— Geoffrey Wright

■

lot7

Award: Oscar Nomination, Best Foreign Language Film.

N e w D ire c to rs S h o w c a s e

Friday, May 21 ■ Neptune, 9:30pm Monday, May 24 ■ Neptune, 7:15pm

SOFIE

SOFT TOP, HARD SHOULDER

Denmark, 1992

Great Britain, 1992

Director: Liv Ullman Producer: Lars Kolvig Screenwriter: Liv Ullman Cinematographer: Jorgen Person Editor: Grete Moldrup Cast: Karen-Lise Mynster, Erland Josephson,

Director: Stefan Schwartz Producer: Richard Holmes Screenwriter: Peter Capaldi Cinematographer: Henry Braham Editor: Derek Trigg Music: Chris Rea Cast: Peter Capaldi, Frances Barber, Simon Callow Print Source/lnternational Sales: Mayfair Entertainment 95 minutes

Ghita Noerby, Jesper Christensen Print Source: Arrow Entertainment 152 minutes

Renowned actress Liv Ullman ( Persona, Scenes from a Mar riage) makes a stunning directorial debut with this rich, passion ate philosophical tale of a young Jewish woman growing up in Copenhagen at the close of the 19th century. Sofie’s story begins in 1886 when, at age 29, the young woman is considered almost too old for marriage. Dominated by a highly traditional family, she is forced to give up her budding romance with a gentile painter and is instead married off to a dull but respect able Orthodox Jew of whom her parents approve. As the years pass, Sofie’s son becomes her only solace. She also comes to embrace the rites and traditions of Judaism— the very beliefs that caused her to lose her one chance at true love. Sofie unfolds at a sumptuous, leisurely pace. Its gorgeous tableaux and sense of character development reflect all the best aspects of Scandi navian cinema. While the influence of her mentor, Ingmar Bergman, is readily apparent, Ullman's incisive script and stylistic panache mark her as an assured director in her own right.

New Directors Showcase

Sunday, May 16 ■ Egyptian, 6:30pm Sunday, May 23 ■ Neptune, 9:15pm

This utterly delightful comic road movie is reminiscent of Bill Forsyth films such as Gregory’s Girl and Local Hero, yet it boasts a freshness and beguiling charm that are wholly its own. Soft Top, Hard Shoulder follows the travails of Gavin Bellini, a struggling young artist whose grandfather struck it rich in the ice cream business when he immigrated (somewhat unintention ally) to Glasgow from Italy. Gavin is facing tough times in London, where his somewhat unorthodox artistic bent has hindered his success as an illustrator. When Gavin’s uncle Salvatore comes to town for an ice cream traders awards show, he suggests that if Gavin makes it home to Glasgow in time for his father’s 60th birthday party, a share of the Bellini ice cream fortune may be his. Dusting off his aged wreck of a car, Gavin sets off north on the M l in pursuit of fortune. But fate, a mysterious young woman and the decrepit engine under his Triumph’s hood conspire against his sharing in the riches of an ice cream legacy. Award: Audience Award, Most Popular British Film, London Film

Festival.

Awards: Special Grand Prix, Montreal Film Festival; Oscar

submission, Best Foreign Language Film.

British A irways

British A irways 29

N e w D ire c to rs S h o w c a s e

Pi i

New Directors Showcase

.....

■11

Thursday, May 20 ■ Egyptian, 9:30pm Saturday, May 22 ■ Neptune, 3:30pm

VERSO SUD (South Bound) Italy, 1992 Director: Pasquale Pozzessere Producer: Pasquale Pozzessere Screenwriter: Pasquale Pozzessere Cinematographer Bruno Cascio Editor: Carlo Valerio Music: Domenico Scuterio, Corrado Rizza Cast: Antonella Ponziani, Stefano Dionisi, Pierfrancesco Pergoli,

Tito Schlpa Jr., Luclo Zagaria Print SourceirLucky Red Distribuzlone International Sales: Intra Films Sri. 93 minutes

Paula and Eugene lead separate, lonely lives in the chaos of Rome’s inner city. Released from jail, awaiting trial and alone in the world, Paula looks in vain for old friends. Having walked out on her adoptive parents 10 years earlier, the only thing left in her life is visits to her 14-month-old son, Chicco, who has been placed in a foster home. But even that joy threatens to be short lived: the social worker in charge of Chicco’s case considers Paula an unfit mother and wants the child put up for adoption. Eugene is an alcoholic and a petty thief who specializes in stealing from church poor boxes. Like Paula, he was raised in orphanages and has spent much of his adult life in jail. One evening Paula and Eugene meet in a soup kitchen. The common bond of being down and out brings them together in a passion ate, tempestuous affair. Miraculously, their love for each other drives them both to improve their ,lives. They break into an abandoned factory and turn a corner of it into a home, making a place of their own for the first time in their lives. But Paula continues to swing between deep depression and hysteria. A series of unexpected events and their own precarious situation oblige Paula and Eugene to go south in the hope of building a new future and a brighter tomorrow.

British A irways

Saturday, May 15 ■ Egyptian, 6:30pm Sunday, May 16 ■ Harvard Exit, 3:30pm

LE ZEBRE France, 1992 Director: Jean Poiret Producer: Thierry de Ganay Screenwriters: Jean Poiret, Martin Lamotte Cinematographer: Eduardo Serra Editor: Catherine Kelber Music: Jean-Claude Petit Cast: Thierry Lhermitte, Caroline Cellier, Christian Pereira,

Carine Lemaire, Walter Allouch Print Source: Productions Audiovisuel Communications International Sales: President Films 94 minutes

This delicious screwball comedy successfully merges romantic fable and drawing room farce, then livens its broad humor with a bittersweet denouement that is as powerful as it is risky. Screenwriter/director Jean Poiret^a much-loved French play wright and actor (in large part responsible for the original stage version of La Cage aux Folles), was just putting the finishing touches on Le Zebre when he died last spring. The film went on to enjoy wide critical acclaim and popular success after its release in France. Based on a novel by Alexandre Jardin, the story centers on Hippolyte (played to perfection by French matinee idol Thierry Lhermitte) and his gorgeous wife, Camille, who have been married for 15 years. They have two precocious children and a beautiful home; the only thing missing is the passion that once fueled their relationship. Determined to rekindle the romantic fire, Hippolyte embarks on a dizzying succession of farcical ploys to recapture Camille’s affection. Meanwhile, she has begun to receive a number of provocative love letters from a secret admirer and her interest is more than a little piqued. Le Zebre takes a number of unexpected turns in both plot and tone. Alternately hilarious and touching, whimsical and deeply moving, it is a graceful comic valentine to the spirit of love.

British A irways

Last year, National Pubic Ratio aired 146 new s reports from K P U T s new s staff. Get your new s from the same source NPRuses.

Award winning local and regional news— a part of Morning Edition (weekdays 4:00-9:00am) All Things Considered (weekdays 3:30-6:30pm) Weekend Edition (weekends 6:00-10:00am) on KPLU 88.5 FM

Seattle International Film Festival Reports weekdays at 3:25pm KPLU is listener supported news, jazz and blues for western Washington and southwest British Columbia. For a free program guide call I-800-NPR-KPLU.

I f we were a movie, the chubby guy and the nerdy guy might actually

AGREE on somethingm

IProzìi sponsor o f the Seattle International Film Festival. J

S e m in a r s

This year’s SIFF presents another series of profes sional sem inars that address important issues in the world of contemporary filmmaking. Panels of guests and specialists in their fields will: examine the challenges of cinema in the 1990s— to them selves, their colleagues and their audiences.

May 29: Computer Animation

The Professional Sem inar series is sponsored by Alaska Airlines.

May 22: Screenwriting

As the mortar in any film, a screenplay can make or break an entire production. And yet sufficient attention is seldom paid to this highly specific form of writing. A panel of local and guest screenwriters will discuss problems and techniques faced in their work and the ways in which the screenplay affects the production process.

Los Angeles-based animator Bill Kroyerwill present a demonstra tion and lead a discussion on thefuture of this important medium. Fusing the traditional skills of animation with emerging technolo gies, Kroyer has become a leader in the animation industry. Learning his trade at the Walt Disney Studio, Kroyer drew characters forthe Disney films Pete’s Dragon and The Fox and the Hound. One of his first forays into computer animation was on the groundbreaking high-tech film Tron. Moving ahead quickly, he did extensive film and video work throughout the 1980s, topping off his recent achievements with directorship of last year’s animated hit feature Ferngully, The Last Rainforest. June 5: Actors and Directors

A panel of guests from this year’s festival will discuss the unique relationship that the camera creates between director and actor. This has changed considerably since the time movies made their debut nearly 100 years ago, but the central issues remain. Panel guests will include Steven Soderbergh, Richard Linklater, Tilda Swinton, Les Blair and others to be announced.

M icrosoft® C in e m a n ia . U s e it to fin d a fe w th o u s a n d g o o d m o v ie s . Nothing takes you inside the movies quite the way Cinemania does. Because no other movie guide offers so much information, joins it with such incredible resources of sight and sound, and makes it all so much fun to use. With Cinemania, you get instant access to thousands of entertain ing and enlightening capsule reviews, hundreds of in-depth reviews, 3000 fascinating biographies of movie celebrities, hundreds of photos of unforgettable faces and moments in film history, and even original audio clips of some of the most famous movie lines ever spoken. Short of moving to Hollywood, this could be the best way yet to get enough of the movies and to round out your knowledge of the cinema. Put together lists of must-see films in every category and find film titles for your family and friends. Or, to put it all another way: W hen it comes to movies, Cinemania is serious fun.

See Cinemania in action at Scarecrow Video.

A PLACE IN THE WORLD (Un Lugar en el Mundo) Argentina/Uruguay, 1992

Friday, May 28 ■ Egyptian, 7:15pm Monday, May 31 ■ Egyptian, 12:30pm

HAMMERS OVER THE ANVIL Australia, 1993 Director: Ann Turner Producer: Ben Gannon Screenwriters:

Director/ Producer: Adolfo Aristarain Screenwriters: Adolfo Aristaraln, Alberto Lecchl Cinematographer: Ricardo De Angelis Music: Patricio Kauderer Cast: Jose Sacristan, Federico Luppi,

Cecilia Roth, Leonor Benedetto Print Source: Peter Maral International Sales: Cooperative Productions 95 minutes

A stunning family drama about social injustice and personal struggle that was also the focus of a brief controversy when it was nominated and then disqualified for an Academy Award this year, A Place in the World focuses on the efforts of a strongwilled teacher and his doctor wife, who return to a small community near Buenos Aires after a long, politically imposed exile. Federico Luppi leads an effort in his community to get a fair return for the local farmers from the ruthless landowner. Mean while his wife, Cecilia, devotes herself to the medical needs of their neighbors, aided by a local nun and a cynical geologist who regains a measure of optimism through her efforts. The story is told in flashback from the perspective of the couple's son. His reminiscences have a haunting power that is eloquent and deeply moving. Selected Filmography: Time for Revenge (1981), Last Days of

the Victim (1982), Deadly (1986)

Peter Hepworth, Ann Turner (based on stories by Alan Marshall) Cinematographer: James Bartle Editor: Ken Sallows Music: Not Drowning, Waving Cast: Charlotte Rampling, Russell Crowe, Alexander Outhred, Frankie J. Holden, Jake Frost Print Source/lnternational Sales: Beyond Films 101 minutes Ann Turner, who made such a memorable debut a few years back as the director of Celia, here fashions another vivid, perceptive tale from the point of view of a child. Based on the autobiographi cal stories of Alan Marshall, the film unfolds with the dramatic richness of character and incident that distinguish an enthralling novel. Set during the summer of 1910 in an Australian farming community, it concerns a budding young writer who has begun to put down stories about the colorful foibles and follies of the people around him. Crippled by polio, Alan particularly idolizes the dashing horseman East (played by charismatic Russell Crowe, from Proof), and most fervently dreams of being able to ride like his hero one day. Central to the film is the boy’s com plicity in the secret romance between East and Grace, a lonely, unfulfilled lady of the manor (portrayed with moving dignity by Charlotte Rampling). This is a summer of growing awareness for Alan, with unforeseen blows that bring him ever closer to adulthood. Giving the film special resonance is Grace’s wise advice, that it takes courage to accept the limitations set by life. With lush cinematography by James Bartle, this tender, gener ous film is sure to put audiences favorably in mind of The GoBetween, Far from the Madding Crowd and other period ro mances that explore the dangers of unrepressed passion. Selected Filmography: Celia (1989)

Contemporary World Cinema

Friday, June 4 ■ Neptune, 7:15pm

Contemporary World Cinema

A u s t r a lia

Tuesday, May 18 ■ Harvard Exit, 7:15pm Sunday, May 23 ■ Broadway Market, 3:30pm

THE NUN AND THE BANDIT Australia, 1992 Director: Paul Cox Producers: Paul Ammitzboli, Paul Cox Screenwriter: Paul Cox Cinematographer: Nino Martinetti Editor: Paul Cox Music: Tom E. Lewis, Norman Kaye Cast: Gosia Dobrowolska, Chris Haywood, Victoria Eagger,

Charlotte Hughes Haywood, Tom E. Lewis Print Source/lnternational Sales: Alliance International 92 minutes

Best known for his graceful, hermetic, interior dramas ( Man of Flowers, Vincent and last year’s festival hit A Woman’s Tale), director Paul Cox here uses the Australian outback as the setting for this moral tale of desire and revenge. Michael Shanley, his dimwitted brother, Frankie, and their part-aboriginal half-brother, Bert, were long ago abandoned by their mother and abused by their father. They live like modern-day outlaws, heeding no rules except their own. Convinced that their well-to-do uncle has cheated the brothers out of their rightful inheritance, Michael hatches an ill-conceived plan to kidnap the uncle’s granddaugh ter and hold her for ransom. In the course of the botched ab duction, the men are forced to take the young girl’s visiting aunt, Sister Lucy, with them (a wonderful performance by Gosia Dobrowolska). The Nun and the Bandit is an unsettling drama, but its gentle tone also reveals a deeply spiritual center. Selected Filmography: Lonely Hearts (1981), Man of Flowers

(1983), My First Wife (1984), Cactus (1986), Vincent (1987), A Woman’s Tale (1992)

A u s t r ia

Monday, May 17 ■ Harvard Exit, 9:30pm

FLAMING EARS Austria, 1992 Directors/Producers/Screenwriters: Angela Hans Scheirl,

Ursula Purrer, Dietmar Schipek Cinematographers: Margarethe Neumann, Curd Duca, Hermann Lewetz, Manfred Neuwirth Music: Dietmar Schipek Cast: Susanna Heilmayr, Ursula Purrer, Angela Hans Scheirl Print Source: Women Make Movies 84 minutes

This pop sci-fi lesbian fantasy is set in the year 2700 in a burnedout city ruled by women. Brimming with sex (much of it bizarre) and violence and with some of the weirdest dialogue ever heard, Flaming Ears is a real eye-opener that is definitely not for everyone. Spy, a comic strip artist whose printing office has just been torched, chases pyromaniac sex addict Volley (co-director Ursula Purrer) to the lesbian club where she performs a nightly S&M act. The club’s bouncers beat up Spy, but she is rescued by Volley’s honey, Nun (co-director Angela Hans Scheirl), a crewcut charmer in shiny red plastic who enjoys eating crunchy reptiles. Shot in Super-8 and then transferred to 16 mm, Flaming Ears makes the most of its budgetary limitations by emphasizing garish primary colors, hand-held camera shots and stop-action animation for a deliberately artificial tone. “As sapphic thrillers go, it’s twenty times more fun that Basic Instinct.”— Graham Fuller, Interview

MAN BUES DOG

Friday, May 28 ■ Broadway Market, ^:,15pm Monday, May 31 ■ , Broadway Market,ijL2:30pm

NIGHT AND DAY

(C’est Arrive près de Chez Vous) Belgium, 1992

(Nuit et Jour) Belgium, 1991

Directors: Remy Belvaux, Andre Bonzel, Benoit Poelvoorde Producer: Les Artistes Anonymes Screenwriters:

Director: Chantal Akerman Producers: Martine Marignac, Maurice Tinchant Screenwriters: Chantal Akerman, Pascal Bonitzer Cinematographers: Jean-Claude Neckelbrouck, Pierre Gordower, Bernard Delville, Olivier Dessalles Editors: Francine Sandberg, Camille Bordes Resnais Music: Marc Herouet Cast: Guilaine Londez, Thomas Langmann, Francois Negret Print Source: International Film Circuit 90 minutes

Remy Belvaux, Andre Bonze, Benoit Poelvoorde, Vincent Tavier Cinematographer: Andre Bonzel Editor: Eric Dardill, Remy Belvaux Music: Jean-Marc Chenut Cast: Benoit Poelvoorde, Remy Belvaux, Andre Bonzel Print Source: Roxie Releasing International Sales: World Marketing Film 95 minutes Meet Ben, the most enterprising and certainly the most enter taining serial killer ever committed to film. Ben takes great pride in his work, so it’s only natural that when a documentary film crew approaches him about following his exploits on camera, Ben jumps at the chance. Whetherwaxing philosophic about the methods he employs, making bad jokes for the camera or reciting his terrible poetry, Ben bares all for his newfound collaborators. He even goes so far as to set up murders to suit the camera crew’s schedule. What begins as an earnest cinema verite-style documentary of social horrors evolves into a killing spree. The crew participates unwittingly at first, and later quite gleefully. Man Bites Dog is certainly one of the oddest and, inexplicably, funniest films to arrive on the screen in many a moon. Intending to thoroughly skewer the media’s fascination with splashy crime stories and voyeuristic sensationalism (America's Most Wanted, “Woman Gives Birth to Triplets and Serves Them for Brunch,” etc.), it carries the message to astonishing extremes. The film has alternately convulsed and horrified audiences from Paris to the New York Film Festival, but there is no denying its outrageous originality or lacerating black humor. Awards: Best Film, Best Actor, Stiges Film Festival; Metro Media

■

Press Prize, Toronto Film Festival.

(\wry, perceptive comedy about the course of love, Night and Day s Chantal Akerman’s most entertaining and accessible movie in /ears. The story finds Julie and Jack blissfully enthralled with each other. They have no phone and no friends and barely sleep so they can spend more time making love. They separate only at night, when Jack drives a cab and Julie prowls the streets of Paris. One night Jack introduces Julie to Joseph, the “day man” who shares his cab. The two are immediately attracted, and the insomniac Julie soon takes to spending her days not sleeping with Jack and her nights not sleeping with Joseph. But the delicate balancing act becomes increasingly precarious as the affairs go on. Night and D a yjla s been variously described as a neo-New Wave homage to the love stories of Truffaut, ..Malle and Godard, and as a witty parable about a woman’s awakening from the illusions of love. It is distinguished by sensual young stars (Guilaine Londez makes a promising screen debut as Julie), by elegant, impeccably composed camerawork, and by a Iteratecharmingly detailed screenplay. For those in love, or no longer in love, or about to fall in love, this film is not to be missed. Selected Filmography: Je... Tu... II... E//e(1974), Jeanne Dielman

(1975)) News from Home (1977)|7bufe une Nuit (1982), The Eighties (1983), Man with a Suitcase (1984), Window Shopping (1986), American Stories (1988)

British airways

Contemporary World Cinema

Thursday, May 27 ■ Harvard Exit, 9:30pm Monday, May 31 ■ Broadway Market, 9:15pm

B u lg a r ia • C a n a d a

■I

x * p t

Contemporary World Cinema

II!

Tuesday, May 25 ■ Broadway Market, 7:15pm Saturday, May 29 ■ Broadway Market, 3:30pm

Friday, May 28 ■ Neptune, 7:15pm Tuesday, June 1 ■ Egyptian, 7:15pm

THE WELL

CADILLAC GIRLS

Bulgaria, 1990

Canada, 1993 World Premiere

Director/Screenwriter: Docho Bodjakov Cinematographer: Ivan Varimezov Editor: Teddora Vepshek Music: Sergey Jokanov Cast: Luben Chatalov, Vania Tzvetkova,

Peter Popyordanov, Boyan Kovachev Print Source/lnternational Sales: E.R. Productions, Inc. 123 minutes

The Well is a richly symbolic and emotional epic about communism’s failed humanity that unfolds with the vividness of a dream— or a nightmare, Spanning several decades, the story opens in 1944 on the day the Communists seized power in Bulgaria. Two children are born on the same night: a girl whose father is executed as a traitor, and a boy whose father leads the slaughter. The lives and fates of the children prove inextricably linked, first as playmates who find escape and comfort together, and later as young adults coping with the far-from-perfect world their parents created. Docho Bodjakov’s beautiful film is distin guished by touches of poetry and magical realism, such as when the children see reflections of their lost parents by peering into a forgotten well. In one of the film ’s most haunting sequences a young violinist caught trying to escape the country is taken to a prison camp, stripped and ordered to play— which he does with poignant dignity. Much to his credit, Bodjakov never resorts to simple blacks and whites in telling the story; even the boy’s father is allowed moments of vulnerability despite the suffering that results from his deeds. Viewers with or without an interest in the history of Eastern European cinema will find The Well thoroughly satisfying and engaging.

Director: Nicholas Kendall Producers: Christian Bruyere, Christopher Zimmer, Nicholas Kendall Screenwriter: Peter Behrens Cinematographer: Glen MacPherson Editor: Lara Mazur Music: Simon Kendall Cast: Jennifer Dale,

Mia Kirshner, Gregory Harrison, Adam Beach, Louis Del Grande Print Source: Overdrive Motion Pictures 96 minutes Two of life’s most difficult challenges are being a parent and coping with parents as a teenager. Cadillac Girls weaves both these situations into the compelling story of a mother-daughter relationship. Sally MacKinnon (Jennifer Dale) has just received her doctorate and is looking to move on to a professional career. When her 18 -year-old daughter, Page (Mia Kirshner), is arrested for car theft, Sally is forced to take custody and bring Page on a trip to her hometown, where she must settle her father’s estate. Being confined in the small town and back among relatives forces Sally to confront her past. Meanwhile, frustrated and resenting her mother’s lack of affection, Page explores newfound family and friends using a camera and burgeoning photography skills. Though both mother and daughter soon find male distrac tions, the pressure of being together begins to take its toll. The pastoral Atlantic Coast setting provides a wonderful counter point to the emotional turbulence. Excellent performances by the leads highlight the film, as both try to protect their own interests and learn to love each other. In an age in which parental love is often at odds with personal goals, Cadillac Girls is a moving film about family and self-examination that proves reconciliation means more than just being there.

“The Well is the strongest of all post-1989 films to take on the long-forbidden subject of the Communist takeover.”— Katherine F. Cornell, Cineaste

C-894

Canada

Tuesday, May 25 I Neptune, 9:30pm Thursday, May 27 I I Harvard Exit, 5:00pm

CAREFUL

FORBIDDEN LOVE

Canada, 1992

Director: Guy Maddin Producers: Greg Klymkiw, Tracy Traeger Screenwriters: George Toles, Guy Maddin Cinematographer: Guy Maddin Editor: Guy Maddin Music: John McCulloch Cast: Kyle McCullough, Gosia Dobrowolska, Sarah Neville,

Directors: Aerlyn Weissman, Lynne Fernle Producers: Margaret Pettigrew, Ginny Stikeman Screenwriters: Aerlyn Weissman, Lynne Fernie Cinematographer: Zoe Dirse Editor: Cathy Gulkin, Denise Beaudoin Music: Kathryn Moses Cast: Lynne Adams, Stephanie Morganstern Print Source: Women Make Movies 85 minutes

Brent Neale, Paul Cox, Jackie Burroughs Print Source: Zeitgeist Films Ltd. 100 minutes

As SIFF audiences are well aware, Canadian Guy Maddin has one of the most inventive directorial visions of the day. Like his first two movies, Careful is set in a semimythical, brooding Nordic environment that powerfully symbolizes the dark forces of sexual repression and desire. The story is inspired by German expressionist “Mountain” films of the 1920s. In the village of Tolzbad, the threat of avalanche is so great that even the smallest sound can precipitate disaster. The inhabitants have long restricted their expression, so stifled emotions run riot just beneath the surface. This hilarious story involves star-crossed lovers, incestuous affairs, a blind ghost, suicide and a bizarre duel. “It’s a pro-repression movie,” says Maddin. “People are punished biblically in the film for uninhibiting themselves, for allowing themselves to express themselves both physically and verbally.” The long-discarded two-strip Technicolor process creates vibrantly colored, deliriously unreal scenes, and the soundtrack faithfully reproduces early Vitaphone. Along with his usual cast, Maddin features such talent as fellow director Paul Cox, Australian Gosia Dobrowolska and the always fascinating Jackie Burroughs. Careful may not please those who long for the standardized, bland and predictable, but its unique depiction of a wonderfully melodramatic fairy-tale world heralds the matura tion of a true original talent.

Forbidden Love is an inspiring look at lesbian lives in the 1940s and 1950s, when to be different was to be branded an outlaw. The documentary uses interviews and archival footage to give an insightful view of love and history. A wide variety of women from across Canada speak about the recognition of theirsexuality and the repressive climate in which they grew up. With humor and hindsight they tell stories of challenges to the status quo, of ostracism from family and friends and of grappling with sexual roles. An assemblage of lurid, trashy paperback covers with titles like Man Hater and Woman of the Shadows (whose author is one of those interviewed) provides evidence of the exploitation and the public curiosity surrounding lesbianism, as well as the backdrop for a dramatization of the fictional lives of “Mitch” and “Laura.” Beautifully interwoven are rare, archival glimpses at and discussions of the era’s lesbian bar scene. With its delightful sense of humor and celebration of experience, Forbidden Love is an uplifting portrayal of women who overcame a stifling political climate to set standards for contemporary society. Selected Filmography: A Winter Tan (Aerlyn Weissman, co

director, 1989)

Selected Filmography: Tales from the Gimli Hospital (1988),

Archangel (1990) RA D IO

Contemporary World Cinema

Thursday, May 20 ■ Harvard Exit, 9:30pm

Contemporary World Cinema

Canada

Thursday, May 20 ■ Harvard Exit, 7:15pm Sunday, May 23 ■ Neptune, 12:30pm

IN ADVANCE OF LANDING Canada, 1992 Director/Producer: Dan Curtis Cinematographer: Don Hutchison Editor: Kevin Schjerning Music: Fred Mollin Print Source/lnternational Sales: Cygnus Communications 90 minutes

This irresistible documentary is a humorous and affectionate chronicle of our infatuation with UFOs. Toronto-based filmmaker Dan Curtis traveled from Hollywood to New York to Vancouver in search of the UFO-obsessed. He has uncovered a delightfully diverse collection of oddball believers, including an unassuming Midwesterner who has built a full-scale saucer in his backyard and a stereotypical Southern California sect whose members attempt to store their Jprayer energy” in a special battery. There’s also the ninetysomething co-founder of the Unarius Education'Foundation, who claims to have lived 26 past lives, including those of Confucius, Socrates and Henry VIII. Wisely, Curtis has chosen to treat his subjects with respect, allowing them to tell their versions of events— no matter how outrageous. Though it may be easy to laugh, there is an undeniably hearten ing strength in the hope these people find in the night skies. In Advance of Landing covers the terrain :comprehensively with some extraordinary archival footage of people recounting their alien encounters, and deftly uses clips from numerous sci-fi films, including The Day the Earth Stood Still and Plan 9 from Outer Space. The film probably won’t make converts of non believers, but it just might start some thinking. “I didn’t set out to do a hatchet job or a cynical piece. I just wanted people to see what others believe. Are we alone in the universe? I can’t say. But I find that people who are eccentrics tend to be more interesting. They force us to think about things.”— Dan Curtis, director

Sunday, May 23 ■ Neptune, 3:30pm

MANUFACTURING CONSENT: NOAM CHOMSKY AND THE MEDIA Canada, 1992 Directors: Mark Achbar, Peter Wintonick Producers: Mark Achbar, Peter Wintonick, Adam Symansky Cinematographers: Mark Achbar, Norbert Bunge, Kip Durrin Editor: Peter Wintonick Music: Carl Schultz Print Source: Zeitgeist Pictures 165 minutes

“It is the responsibility of intellectuals to speak the truth and expose lies,”— Noam Chomsky Surprisingly accessible, Manufacturing Consent is a provoca tive, inventive and often amusing exploration of the life and ideas of world-renowned linguist and outspoken political activist Noam Chomsky. Though often embroiled in controversy, Chomsky has nonetheless established himself as one of the most important critics of power politics. Compiling an extensive collection of material that spans nearly three decades, the filmmakers follow Chomsky through the United States, Canada, Europe and Japan, documenting his challenges and confrontations with the public and press. The film is divided into two parts: first, Chomsky advances his theories of thought control and manipulation in democratic societies; he then proposes that people undertake a “course of intellectual self-defense” to counter the media and take back control of the democratic process. Filled with timely observations on the Gulf War and the 1992 presidential cam paign, Chomsky notes that he is^'not trying to convert, but to |nform. I don’t want people to believe me any more than they should believe the party line I’m criticizing.¿Through it all, his determination to speak out with honest concern despite oppo sition is uplifting and stimulating, even if you do not agree with his views. Awards: Most Popular Canadian Film,

Vancouver Film Festival; First Prize, Zurich Film Festival.

RADIO

Canada

ON MY OWN

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Contemporary World Cinema

Monday, May 17 ■ Egyptian,rf7:15pm Friday, May 21 ■ Neptune, 5:00pm

Friday, May 14 ■ Egyptian, 5:00pm Thursday, May 20 ■ Neptune, 9:30pm

TWIST

Canada, 1992

Director: Antonio Tibaldi Producers: Leo Pescarolo, Elisa Resegotti Cinematographer: Vic Sarin Editor: Edward McQueen-Mason Music: Franco Piersanti Cast: Judy Davis, Matthew Ferguson, David Mcllwraith Print Source/lnternational Sales: Alliance International 99 minutes

Director/Producer/Screenwriter: Ron Mann Cinematographer: Bob Fresco Editor: Robert Kennedy Music: Keith Elliott, Nicholas Stirling Cast: Hank Ballard,

On My Own is a haunting story about coming of age and coming to grips with a complicated family. The film introduces us to 15year-old Simon Hendersony a live-in student at a prestigious boy’s school who has a penchant for sports and making friends. Simon is anxiously looking forward to the upcoming Christmas vacation, when he’ll travel to Toronto for a reunion with his divorced parents. His mother (the always brilliant Judy Davis) is a high-strung beauty who lives in the English countryside. His father is a remote man now living in Hong Kong with a new girlfriend. When Simon arrives in Toronto he is met only by his father, who tells him his mother has taken ill and has been hospitalized. Simon sees her only briefly and blames his father for her condition. During the next term, Simon’s mother shows up unexpectedly at school and takes him to a nearby village, where they spend the night together. It turns out to be a night that will have a profound effect on young Simon’s life.

This smart and playful film looks at the infectious dance craze that took America by storm, marking the end of the repressed 1950s and the start of free expression in the 1960s. Chubby Checker, the Twist’s most famous proponent, colorfully de scribed the dance as “drying your bottom with a towel while putting out a cigarette with both feet.” Twist shows the dance’s musical roots, from its gestation at Harlem dance parties to its homogenization via “American Bandstand” to its exploitation by big business. Hank Ballard composed and introduced the song in 1959, but it was Chubby Checker who got the fame and riches when his “cleaner” version took off. Twist\s both an illuminating social document and a highly entertaining cultural portrait that mixes vintage rock ’n’ roll footage (Frankie Avalon, Elvis Presley, Checker, Smokey Robinson and many others) with news clips of the time (Eisenhower decrying the Twist as a subversion of culture, right-wingers suspicious of communist influence). For a rousing good time, don’t miss Twist.

Chubby Checker, Cholly Atkins, Joey Deefrig Mama bu Parks & the Parkettes, Dee Dee Sharp Print Source: f riton Pictures 78 minutes

Selected Filmography: Imagine the Sound (1981), Poetry in

Motion (1982), Comic Book Confidential (1988)

43 .

Contemporary World Cinema

Canada

Friday, May 21 ■ Harvard Exit, 5:00pm Sunday, May 30 ■ Neptune, 12:30pm

WHERE IS MEMORY

C h in a

Tuesday, June 1 ■ Broadway Market, 7:15pm Thursday, June 3 ■ Neptune, 5:00pm

HEART STRINGS (Xin Xiang) China, 1993

Canada, 1992 Director/Producer/Screenwriter: Chris Gallager Cinematographers: Chris Gallager, John Tarver Editor: Chris Gallager Music: Dennis Burke Cast: Peter Loeffler Print Source/lnternational Sales: Foxglove Films, Inc. 108 minutes

Vancouver filmmaker Chris Gallager presents a unique vision in this docudrama on the Third Reich. Mixing narrative with archival and new footage, Where is Memory traces the dreamlike journey of the “Sleepwalker” (Peter Loeffler) through contempo rary Germany. After finding a suitcase full of Nazi memorabilia at his door, he embarks on a quest to historic sites of the Third Reich, exploring the past with an antique movie camera and trying to mediate memories that may or may not be real. Gallager deftly Intercuts modern and historic footage of the 1936 Olympic Stadium, the bridge at Remagen, the Fuhrerbau (Hitler’s Munich office) and Hitler’s retreat high in the Bavarian Alps— often matching camera movement and placement and types of lenses used exactly. The effect is thoroughly disturbing and original. The Sleepwalker’s trek culminates in a meeting with Eva Adophina Hitler, who claims to be the Fuhrer’s granddaugh ter. As Gallager explains, “The Sleepwalker is the personifica tion of the future when there will be no memory of World War II; there will only be history. I feel that history becomes more theoretical and abstract as it loses the emotion of memory.” This unorthodox and passionate film essay vivifies questions of fact and fiction, memory and denial and the differences between written history, photographic evidence and individual memory.

Director: Sun Zhou Producer: Di Caisheng Screenwriters: Miao Yue, Sun Zhou Cinematographer: Yao Li Editor: Xu Jianping Composer: Zhao Jiping Cast: Fei Yang, Zhu Xu, Wang Yumei, He Jielin Print Source/lntemational Sales: ERA International 97 minutes

This captivating film explores changing values and family rela tionships in modern China through the eyes of a 10-year-old boy. Young Jingjing, a Peking opera student, is sent to live with his grandfather after his parents divorce. Initially the boy and the old man— who is a retired opera star— have trouble finding common ground. Jingjing even hides his singing ability, reluctant to continue the family’s performing tradition. But slowly their shared love of music becomes a bond. Director Sun Zhou is part of the so-called Fifth Generation of Chinese filmmakers, who started working in the 1980s and made films that bravely defied convention in both form and content. Heartstrings is a feast for the eyes, with handsome cinematography and atmospheric art direction. Sun Zhou has a confident way with actors, drawing finely shaded performances from veteran Zhu Xu as the testy grandfather and newcomer Fei Yang— an actual Peking opera student— as Jingjing. The film uses thrilling song and dance to suggest a spiritual texture beneath the ordinary austere lives of its characters and to convey its majortheme, “You can’t choose your family, but you can choose your own way.” This is a sure crowd-pleaser in the tradition of My Life as a Dog.

Award: Special Jury Prize, Hawaii International Film Festival. Selected Filmography: Undivided Attention (1987) Selected Filmography: Put Some Sugar in the Coffee (1987),

Blood at Dusk (1989)

C h in a

RIPPLES ACROSS STAGNANT WATER

Friday, May 14 ■ Egyptian, 9:30pm

THE STORY OF QIU JU

(Kuang) China« 1992

(Qiu Ju Da Guansi) China, 1992

Director: Ling Zifeng Producer: Skai Film Productions, Emei Rim Studio Screenwriter: Han Lanfang Cinematographer: Sun Yongtian Editors: Pan Zufei, Li Yuanyuan Cast: Xu Q in g« •

Director: Zhang Yimou Producers: Ma Fung-Kwok, Feng Yiting Screenwriter: Liu Heng Cinematographers: Chi Xiaoling, Yu Xiaoqun Editor: Du Yuan Music: Zhao Jiping Cast: Gong Li, Lei Laosheng, Ge Zhijun, Liu Peiqi Print Source: Sony Pictures Classics 100 minutes

You Yong, Zhao Jun, Cheng Xi, Yao Jianguo Print Source/lnternational Sales: Shu Kei’s Creative Workshop 91 minutes

Rich in historical detail and surprisingly modern in its perspec tive and attitudes, Ripples Across Stagnant Water tells the story of a young, strong-willed peasant woman who triumphs over circumstances in a society in which female individuality is suppressed. Raised in a small Chinese village at thp turn of the century, Xu Qing accepts an arranged marriage to a mildly retarded but well-connected shopkeeper. One of the few bonuses of the arrangement is that he will move her to a larger town. Once there, Xu Qing takes a fancy to her husband’s cousin and benefactor, a powerful man with shady dealings throughout the province. Eventually, the two start living together right under her husband’s nose. But Xu Qing’s iron will and self-possession begin to crack as “ripples” from the far-off Boxer Rebellion in Beijing begin to reach her community. Based on a novel written in 1935, Ripples Across Stagnant Water is a thoroughly fasci nating and exotic exploration in historical drama. Selected Filmography: Daughters of China (1949), Rickshaw

Boy (1982), Border Town (1985), A Woman for Two (1989)

Zhang Yimou, director of past festival hits such as Red Sorghum (1987), Raise the Red Lantern (1991), and Ju Dou (1990), here presents an adaptation of another famous Chinese novel with a resolute heroine. Unlike in his previous films, the directorial touch is light and comedic and the setting is contemporary rural China. His regular leading lady, Gong Li, provides another wonderful performance in the title role. Qiu Ju, a resourceful, pregnant peasant woman, is incensed at the village chief after her husband is laid low in a scurrilous fight with the older man. The fight concerned the matter of the chief’s honor: he has four daughters, and Chinese law forbids his trying again for a male heir. Jealous over the impending birth of Qiu Ju’s child, he gets in a heated argument with the young husband. When the issue of virility arises, the chief blithely kicks the other in the groin. Qiu Ju is determined that the village chief must apologize for the injury to her husband. Throwing caution and her own well-being to the wind, she pursues justice with ferocious abandon, not stopping until she’s put everything she holds dear— except her honor— in jeopardy. In the end she is victorious, but the outcome is bittersweet.

Contemporary World Cinema

Thursday, May 18 ■ Egyptian, 7:15pm Saturday, May 22 ■ Broadway Market, 12:30pm

Awards: Golden Lion (Best Film), Best Actress, Venice Film

Festival; Oscar submission, Best Foreign Language Film.

¿.DELTA

W;LoueTdFlyAndItShowsT 43

Contemporary World Cinema

D e n m a r k • F in la n d

Tuesday, May 25 I Harvard Exit, 7:15pm Saturday, May 29 I Broadway Market, 12:30pm

Thursday, May 27 ■ Broadway Market, 7:15pm Sunday, May 30 ■ Broadway Market, 12:30pm

THE BOYS FROM ST. PETRI

LA VIE DE BOHEME

(Drengene fra Sankt Petri) Denmark, 1991

(Bohemian Life) Finland/France, 1992

Director: Soren Kragh-Jacobsen Producer: Mads Egmont Christensen Screenwriters: Bjarme Reuter, Soren Kragh-Jacobsen Cinematographer: Dam Laustsen Editor: Leif Axel Kjeldsen Music: Jacob Groth Cast: Thomas Villum Jensen, Morten Buch Jorgensen, Nikolaj Lie Kaas, Xenia Lach-Nielsen Print Source: The Danish Film Institute 110 minutes International Sales: Mayfair Entertainment

Director/Producer/Screenwriter: Aki Kaurismaki (based on the

Set in German-occupied Denmark during World War II, The Boys from St. Petri follows the exploits of a circle of young students whose anti-Nazi pranks quickly escalate into armed resistance. The year is 1942, and brothers Gunnar and Lars are ringleaders of a group of boys from the posh private school St. Petri. Their resistance begins with a series of elaborate practical jokes aimed at the Nazis, even as the Danish government is urging people to cooperate with the German authorities. But the simple pranksterism soon becomes deadly serious, when the boys enlist the aid of a working-class youth who gains them access to German weaponry. Before long, the authorities focus their attention on the school, and the boys from St. Petri become prime targets of suspicion. Soren Kragh-Jacobsen ( Shower of Gold, Emma’s Shadow) has created a splendid historical adven ture story and a tribute to the universal struggle for freedom and independence. Selected Filmography: Wanna See My Beautiful Navel? (1979) I

Rubber Tarzan (1981), Shower of Gold (1986), Emma’s Shadow (1987)

novel Scenes de la Vie de Boheme, by Henri Murger) Cinematographer: Timo Salminen Editor: Veikko Aaltonen Music: Various artists Cast: Matti Pellonpaa, Evelyne Didi, Andre Wilms,

Kari Vaananen, Christine Murillo, Laika, Carlos Salgado Print Source: Kino International Corp. 100 minutes Employing the deliciously droll comedy-of-desperation form that has become his trademark, Aki Kaurismaki ( Hamlet Goes Business, SIFF 1987, and The Match Factory Girl, SIFF 1991) freely updates Henri Murger’s classic 19th-century novel about life on the fringes of bourgeois society. Three would-be-artistes are down-and-out in contemporary Paris. Rudolfo, an extremely marginal painter/refugee; Marcel, an incomparably awful poet; and Schaunard, a ludicrous Irish composer, are thrown together by circumstances involving a repossessed apartment and a twoheaded trout. Forced to improvise with the hand fate has dealt them, the men pool their meager resources in a hapless quest to attain fame and fortune. Love rears its head in the form of Mimi and Musette, who fulfill the somewhat lowered expecta tions of the three hilariously inept men. Together this maudlin group of life’s castaways seems always to be perched on the verge of total disaster or ecstatic success. It is their search for the latter that provides much of the film ’s pitch-black humor. Kaurismaki’s inspired use of Parisian locations and superb black-and-white cinematography provides the perfect context for this satiric exploration of life on the fringe. Selected Filmography: Crime and Punishment{1983), Calamarl

British airways

&89£

Union (1985), Shadows in Paradise (1986), Hamlet (1987), Ariel (1988), Leningrad Cowboys Go America (1989), The Match Factory Girl (1990), / Hired a Contract Killer (1990)

BETTY

UN COEUR EN HIVER

France, 1992

(A Heart of Stone) France, 1992 US Premiere

Director: Claude Chabrol Producer: Marin Karmltz Screenwriter:

Claude Chabrol (adapted from the novel by Georges Simenon) Cinematographer: Bernard Zitzermann Editor: Monique Fardoulis Music: Matthleu Chabrol Cast: Marie Trintignant,

Stephane Audran, Jean-Francois Garreaud, Yves Lambrecht Print Source: MK2 Productions USA 103 minutes A compelling exploration of character, Betty tells the story of a young woman (Marie Trintignant) trying to drown her sorrows in alcohol, and the sympathetic older woman who befriends her (Stephane Audran). Well-dressed butdisheveled and verydrunk, Betty is invited back to Laure’s hotel suite to sleep it off. The next day she reveals the chain of events leading to her current state: a stultifying marriage marked by betrayal, motherhood turned hollow and a sexuality that has become a dark impulse that ignores manners and morals. The more Betty confesses, the more enigmatic she remains, in this terrific portrayal by the daughter of actor Jean-Louis Trintignant. In the tradition of Chabrol’s Violette Noziere, his new film marks a return to the height of his powers. Selected Filmography: Le Beau Serge (1958), Les Bonnes

Femmes (1960), Les Biches (1968), Le Boucher (1970), Violette Noziere (1978), Story of Women (1988), Madame Bovary (1992)

Director: Claude Sautet Producers: Jean-Louis Levi, Phillipe Carcassone Screenwriters: Claude Sautet, Jacques Fieschi Cinematographer: Yves Angelo Editor: Jacquelines Thiedot Cast: Daniel Auteuil,

Emmanuelle Beart, Andre Dussolier, Elisabeth Bourgine Print Source: October Films 104 minutes This singularly stunning new work by Claude Sautet manages to be thoroughly captivating with a minimum of action. Relying on nuance and faith in the audience’s intelligence, it tells the story of an emotionally shipwrecked man at the center of a stormy romantic triangle. The story centers on Stephane (Daniel Auteuil) and Maxine (Andre Dussolier), friends since they studied music together and now partners in a successful company that makes and repairs musical instruments. Over lunch one day, the married Maxine confesses to Stephane that he has fallen deeply in love with Camille (the utterly gorgeous Emmanuelle Beart), a young violinist who happens to be lunching in the same restau rant. Although his reaction is muted, Stephane is clearly taken aback and resents Camille’s intrusion on his well-ordered world. In response he makes his own overtures to the young woman, which leads to an outcome none could have expected! Both Auteuil and Beart, who previously worked together in Manon des Sources, provide magnificent performances in a cool, mesmer izing exploration of I ’amour fou. But it is director Sautet who deserves the lion’s share of the accolades heaped upon this elegant romantic drama. Award: Cesar, Best Director. Selected Filmography: The Big Risk (1960), Borsalino (1970),

Vincent, Francois, Paul and the Others (1974), A Simple Story

British A irways

(1978), A Few Days with Me (1988)

British A irways

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Contemporary World Cinema

F ra n c e

Monday, May 24 ■ Egyptian, 9:30pm Sunday, May 30 ■ Broadway Market, 3:30pm

Sunday, May 23 ■ Harvard Exit, 6:30pm W ednesday, May 26 ■ Egyptian, 7:15pm

DARK AT NOON

JACQUOT

France, 1992

France, 1991

Director: Raul Ruiz Producer: Leonardo de la Fuente Screenwriter: Raul Ruiz Cinematographer: Ramon Suarez Editor: Helene Weissmuler Music: Jorge Arrlagada Cast: John Hurt, David Warner, Didier Bourbon,

Director: Agnes Varda (based on the memoirs of Jacques Demy) Producers: Agnes Varda, Perrine Bauduin Screenwriter: Agnes Varda Cinematographers: Patrick Blossier, Agnes Godard, Georges Strouve Editor: Marie-Jo Audiard Music: Joanna Bruzdowicz Cast: Philippe Maron, Edouard Joubeaud, Laurent Monnier, Brigitte de Villepoix, Daniel Dublet Print Source: Sony Pictures Classics 118 minutes

Lorraine Evanoff, Daniel Prevost Print Source/lnternational Sales: Sideral Productions & Distribution 102 minutes

Raul Ruiz ( Three Crowns of the Sailor, SIFF 1984) is much acclaimed in Europe but little known in the United States. With Dark at Noon he has concocted a blackly funny, absurdist horror tale that is as dazzling as it is obscure. Set in post-W orld War I Europe, the film centers on a meticulous young Frenchman named Felicien, who travels to a remote village in Portugal upon the death of his wealthy father to collect a sum of money owed the estate. The coach in which he is traveling dumps him unceremoniously partway there, refusing to go near the “Village of the Dogs.” With crutches springing from the earth as if in some Daliesque nightmare, the stoic Felicien ventures on, finally arriving at the door of his father’s business partner, Anthony (John Hurt). Together with his seemingly charming fiancee, Inez, Anthony welcomes Felicien into a bizarre mansion where things quickly go from bad to worse. Dark at Noon is an eccentric and dark delight. A storyline that is alternately lucid and obscure, a sumptuous visual style and startling, surrealistic tableaux— a giant vision of the Virgin Mary appears in the sky above the village with unsettling regularity, and God’s finger makes a quite literal appearance— mark Dark at Noon as the work of a true auteur. Selected Filmography: The Hypothesis of the Stolen Painting

(1978), The Territory (1983), Richard III (1986), The Golden Boat (1990)

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Like La Gloire de Mon Pere (SIFF ’91) and Cinema Paradiso, Jacquot is a magical story of a boy obsessed with make-believe. The boy grew up to become Jacques Demy (Jacquot), whose films include Bay of Angels, The Umbrellas of Cherbourg, and Donkey Skin. Jacquot \s a loving tribute to Demy by Agnes Varda, his wife of 30 years. In failing health, Demy began writing the memoirs of his happy childhood, and Varda decided to film them. Amazingly, she was able to shoot in the very garage in Nantes where Demy had grown up 45 years earlier. The entire production is a wonderfully convincing re-creation of provincial France during the years 1938 to 1948. With some narration by Demy himself, the film intersperses scenes from his childhood with clips from films of his that were inspired by those very experiences. The effect is fascinating. Performances by the three young actors who portray Jacquot are remarkable. The passage of time is delightfully captured by Jacquot’s discovery of Snow White and the Seven Dwarfs, Les Enfants du Paradis, Gilda, etc. For those who share Demy’s love of the cinema, Jacquot is a treat. Selected Filmography: La Pointe Courte (1954), Cleo from 5 to

7(1962), LeBonheur{1965), Les Creatures(1966), Lion’sLove (1969), One Sings, the Other Doesn’t (1977), Vagabond (1985), Kung Fu Master (1987)

F ra n c e

Saturday, May 22 ■ Egyptian, 9:15pm W ednesday, May 26 ■ Neptune, 9:30pm

KITCHEN AND OTHER ROOMS

MILENA

(Cuisine et Dependences) France, 1992

France, 1992

Director: Philippe Muyl Producer: Alain Poire Screenwriters: Jean-Pierre Bacri, Agnes Jaoui Cinematographer: Willy Kurant Music: Vladimir Cosma Editor: Francoise Berger-Garnault Cast: Jean-Pierre Bacri, Agnes Jaoui, Zabou, Sam Karmann, Jean-Pierre Darroussin Print Source/lnternational Sales: Gaumont

World Premiere Director/Producer/Screenwriter: Vera Belmont Cinematographer: Dietrich Lohmann Editors: Yves Langlois, Martine Giordano Music: Pierre Bachelet Cast: Valerie Kaprisky,

Stacy Keach, Gudrun Landgrebe, Nick Mancuso, Peter Gallagher, Philip Anglim Print Source/lnternational Sales: Stephan Films-Vera Belmont 139 minutes

96 minutes

Written by and starring renowned French stage actors JeanPierre Bacri and Agnes Jaoui, Cuisine et Dependences comes to the screen after a highly successful theater run. The writers explain their motivation for the script this way: “We were fed up with the fact that most people tend to think like everyone else, because people find it reassuring to share the most widely held opinion." Using Chekhov and Pinter as their inspirations, the team tells the story of Jacques and Martine and the old friend they invite to a dinner party. The friend has become a famous TV personality, and the question is, have they invited him because he’s a friend or because he’s a celebrity? The entire film takes place in and around the kitchen. Other guests include Georges, a friend from years back who has been camping out in the living room for six months; Martine’s brother Fred, an affable fellow with a penchant for gambling; and Fred’s highly desirable girlfriend, Marylin. When the charming, handsome, rich guest of honor and his attractive wife arrive two hours late, the evening is off to a somewhat awkward start. Selected Filmography: L’Arbre sous la Mer (1984)

Set in Prague and Vienna in the 1920s and ’30s, Milena is an evocative period drama about a young girl in love withJilterature. Milena involves herself inthe literary world of Prague against the wishes of her father, Dr. Jesenski, who wants her to become a doctor. Moving to Vienna, she marries a Jewish music critic and becomes passionately involved with the thriving intellectual and literary scene in the European hub city. She meets and begins working as translator and assistant to an intense young writer named Franz Kafka. Before long, she is entangled in another kind of passionate affair— with the author. Their fiery relation ship is based as much on love of mind as it is on love of body. As she lives through the years of change that consume Europe, her passion shifts again to helping Jews escape the growing peril of the Nazis. She is finally caught and deported, and she dies in the German concentration camp at Ravensbruck. Milena is a grand example of lush,Intelligent European filmmaking and boasts an assortment of impressive performances by its inter national cast.

Contemporary World Cinema

W ednesday, June 2 ■ Neptune, 5:00pm Saturday, June 5 ■ Neptune, 6:30pm

Contemporary World Cinema

F ra n c e

Saturday, May 22 ■ Broadway Market, 9:15pm Tuesday, May 25 ■ Harvard Exit, 9:30pm

Friday, June 4 ■ Egyptian, 7:15pm Sunday, June 6 ■ Egyptian, 3:30pm

LA SEIMTINELLE

LES VISITEURS

France, 1992

(The Visitors) France, 1992 US Premiere

Director: Arnaud Desplechin Producer: Pascal Caucheteux Screenwriters: Arnaud Desplechin, Pascal Ferran Cinematographer: Caroline Champetier Editor: Francois Gedigier Music: Marc Olivier Sommer Cast: Emmanuel Salinger, Thibault

de Montalembert, Jean-Louis Richard, Valerie Dreville Print Source/lnternational Sales: Why Not Productions 140 minutes

Recalling the work of such varied talents as Alfred Hitchcock, David Lynch and Claude Chabrol, La SentinelleteWs the haunt ing story of a young student of forensic medicine caught in an inescapable quagmire of political and psychological intrigue. Mathias Barillet, the son of a French diplomat, is studying necrology in Germany. On his nighttime return to Paris to continue his studies, his train is stopped at the border, where he is subjected to a brutal and humiliating interrogation by an overzealous customs official. For no apparent reason, the man seems to hold a personal grudge against him. When Mathias finally arrives at his hotel in Paris, he discovers a horrid and wholly unexpected object in his suitcase, a talisman of human origin that appears to be a parting gift from the borderguard who abused him so cruelly. What follows is a disturbing and alto gether original descent into political intrigue, obsession and betrayal.

Director: Jean-Marie Poire Producer: Alain Terzian Screenwriters: Jean-Marie Poire, Christian Clavier Cinematographer: Jean-Yves Le Mener Editor: Catherine Kelber Music: Eric Levi Cast: Christian Clavier, Jean Reno, Valerie

Lemercier, Marie-Anne Chazel Print Source/lnternational Sales: Gaumont 103 minutes

This rousing, comedic, fish-out-of-water story has become the biggest box office hit of the year in France, and no wonder: it combines perfect casting, superb direction and wonderful action-filled set pieces. The delightful story tells the tale of a 12th-century knight and his faithful squire, who are accidentally transported through time to 20th-century France, where they face the unimaginable changes of the intervening 800 years. The film begins in 1122 as knight Godefroy de Papincourt returns from doing battle with the British. He is on his way to propose to his beloved Frenegonde, who has been promised to him as a reward for saving the king’s life. En route to the castle, Godefroy and his men come upon a hideous black magic ceremony involving a wicked sorceress and her coven. Disrupt ing the rite, Godefroy takes the witch as his prisoner, intending to have her burned at the stake once his nuptials are out of the way. But the witch has other plans, which start a chain of uproarious events leading to Godefroy’s action-packed time travels. Selected Filmography: PapyFaitde la Resistance (1983), Mes

Meilleurs Copains (1988)

British A irways 48

G e rm a n y

Sunday, May 30 ■ Broadway Market, 6:30pm W ednesday, June 2 ■ Broadway Market, 5:00pm

ACTING IT OUT

ALONE AMONG WOMEN

Germany, 1992

Director: Sonke Wortmann Producer: Harry Kugler Screenwriter: Jurgen Egger Cinematographer: Gemot Roll Editor: Ueli Christen Music: Torsten Breuer Cast: Jurgen Vogel, Kai Wiesinger, Gedeon Burkhard Print Source/lnternational Sales: Scotia Film 87 minutes

This rambunctious road comedy about three struggling would-be actors was one of the big crowd-pleasers at the Chicago and Montreal film festivals. It is the follow-up to director Sonke Wortmann’s first film, Alone Among Women, which also plays in this year’s festival. Johannes is a determined, oft-rejected method actor who has a fatal fear of auditions. His cohort, Ingo, never planned on being an actor, but when he unwittingly passes an audition while on an errand at a drama school, he decides to go for the brass ring. Equally guileless, Al is a slick, handsome ladykiller who excels at the art of interpersonal manipulation. These three starstruck characters pool their collective strengths and weaknesses, hitting the road for Munich and a shot at roles in a big-time television series. The resulting adventures are a larkish delight, following the tortuous path that leads to stardom and artistic success.

Director: Sonke Wortmann Producer: Dietrich Mack Screenwriter: Philipp Weinges Cinematographer: Hans-Jorg Allgeier Editor: Gudrun Bohl Music: Torsten Breuer Cast: Jennifer Nitsch, Carin C. Tietze,

Meret Becker, Thomas Heinze Print Source/lnternational Sales: Scotia Film 90 minutes

Three gorgeous feminists hatch a plan to turn a typical male chauvinist pig into a sensitive househusband in this sly comedic exploration of the battle between the sexes. Alone Among Women, the first film by talented new director Sonke Wortmann (whose second film, Acting It Out, is also in this year’s festival), was a huge hit in Germany last year. Anette, Leah and Vio are three determined, career-oriented women who share a house in a good section of town and a strong disdain for loutish, arrogant men. Deciding to set a trap for the gum-chewing, leather-clad swine who comes on to them, the women offer him a job as their live-in housekeeper, believing that if they can convert a creep like this into a sensitive, caring person any man can be tamed. Tom, the lout in question, has no idea what the women are up to. Unemployed and convinced that he’s stumbled onto a good thing, he accepts the women’s offer and moves into the basement of their house. The way things work out are quite different than either party to the agreement expected.

Contemporary World Cinema

Monday, May 24 ■ Harvard Exit, 7:15pm Monday, May 31 ■ Broadway Market, 6:30pm

Contemporary World Cinema

G e r m a n y • G r e a t B r ita in

Tuesday, June 1 ■ Neptune, 7:15pm Thursday, June 3 ■ Broadway Market, 5:00pm

THE OLYMPIC SUMMER

BAD BEHAVIOUR

(Der Olympische Sommer) Germany, 1992 US Premiere

Great Britain, 1992 US Premiere

Director/Producer/Screenwriter: Gordian Maugg (based on the

novel The Apprentice, by Gunther Rucker) Cinematographer: Andreas Giesecke Editors: Monika Schindler, Behzad Beheshtipour Music: Heidi Aydt, Frank Will Cast: Jost Gernstein, Verena Plangger, Otto Ruck Print Source/lnternational Sales: Film- und Fernsehproduktionen GbR 85 minutes Writer/director Gordian Maugg’s uniquely evocative film was one of the true discoveries of this year’s Berlin Film Festival. Set in the summer of 1936, it tells the story of a naive country boy who journeys to Berlin forthe Olympic Games. Before he reaches the German capital, he encounters a wealthy widow who spirits him away for a lazy, idyllic summer of love. But as the sunny days turn chilly the woman visits her ardent lover less and less, until he falls on the desperate times that lead to a darkly ironic climax. This striking black-and-white film begins with a series of still pictures, establishing the place and period. Gradually they come to life, but Maugg never quite brings them up to full speed, instead choosing and manipulating the images with care and precision and sometimes to astonishing effect. (To achieve this unusual look, the film was shot entirely with a hand-cranked 1927 Askania camera.) The characters don’t speak for them selves, but rely on a narrator to tell their tale of passion and regret. The effect gives the movie the quality of a fable, which may be meant as a metaphor for Germany’s infatuation with Hitler (who appears briefly in some skillfully intercut documen tary footage from the ’36 Games). “It’s as though we are being transported through a dream.”—

Kino International Reports

Saturday, June 5 ■ Egyptian, 6:30pm Sunday, June 6 ■ Neptune, 6:30pm

Director: Les Blair Producer: Sarah Curtis Screenwriter: Les Blair Cinematographer: Witold Stok Editor: Martin Walsh Music: John Altman Cast: Stephen Rea, Sinead Cusack,

Phillip Jackson, Clare Higgins Print Source: October Films 103 minutes

Stephen Rea (from The Crying Game, and also currently enjoying a successful run in the Broadway hit Someone Who’ll Watch Over Me) and Sinead Cusack ( Waterland) are a married couple undergoing a mid-life crisis or two in this shaggy domestic comedy set in contemporary London. Bad Behaviourtouches on every drama you’ll never hope, to have with a deliciously witty style in the best tradition of Mike Leigh. The McAllister family’s house is in a constant state of disarray as Gerry and Ellie grapple with the problems of life, work, children— and how to get the bathroom fixed. Largely improvised, Bad Behaviour pokes fun at nearly every situation known to modern suburban man...and woman and child.

BRITISH A irways

G r e a t B r it a in

Saturday, May 22 ■ Broadway Market, 6:30pm Tuesday, May 25 ■ Harvard Exit, 5:00pm

INTO THE WEST

THE LONG DAY CLOSES

Great Britain, 1992

Director: Mike Newell Producers: Jonathan Cavendish, Tim Palmer Screenwriter: Jim Sheridan Cinematographer: Tom Sigel Editor: Peter Boyle Music: Patrick Doyle Cast: Gabriel Byrne, Ellen Barkin, Ciaran Fitzgerald, Ruaidhri Conroy Print Source: Miramax Films Inc. 102 minutes

Director: Terence Davies Producer: Olivia Stewart Screenwriter: Terence Davies Cinematographer: Michael Coulter Editor: William Divers Music: Bob Last Cast: Leigh McCormack, Marjorie Yates, Anthony Watson, Nicholar Lamont, Ayse Owens Print Source: Sony Picture Classics 82 minutes

Director Mike Newell, whose previous SIFF hits Dance with a Stranger and Enchanted April demonstrated the range of his talent, here tackles altogether different territory in a story of two boys whose love of a white stallion takes them on a near-mythic adventure. Based on a screenplay by Jim Sheridan {My Left Foot, The Field), Into the West focuses on Papa Reilly (Gabriel Byrne) and his two young sons, Ossie and Tito, who have wandered from place to place since the death of the boys’ mother years before. Into the life they’re currently leading in a rundown Dublin tenement comes their fanciful grandfather, a charming talespinner who has brought the boys a magnificent white stallion. When the boys attempt to move the animal into their cramped apartment, the police confiscate the horse and sell him to an unsavory horse breeder. The boys kidnap their beloved horse and head off into the wild west of Ireland, one step ahead of their irate father, the horse breeder and a posse of lawmen. The boys’ adventure pays homage to the myths of the traditional western and to the childhood longing for freedom from authority.

The Long Day Closes is Terence Davies’s first film since the acclaimed Distant Voices, Still Lives (S IFF’89), and it continues his career-long fascination with the power and seductiveness of memory. Set in Liverpool in the years 1955 and 1956, it tells Davies’s autobiographical story of a happy childhood. For 11year-old Bud, it is a joyous time of long summer days and trips to the movies, music on the radio and the boundless love of his mother, older sister and brothers. His contentment is clouded only by his struggle to adapt to life at a new school. Music plays a crucial role in the film, not only as a counterpoint to what happens on screen, but also as part of the narrative itself. Davies builds a series of emotional tableaux over a spectrum of music from Mahler to “Tammy,” as well as dialogue clips from movies such as Great Expectations and Meet Me in St. Louis. The music and story are entwined with elaborate camera movements in a sorcerous alchemy, giving The Long Day Closes the heartfelt resonance that a unique artist and cinema poet can create.

Selected Filmography: The Awakening (1980)g Dance with a Stranger (1985), The Good Father (1986), Amazing Grace and Chuck (1986), Soursweet (1987), Enchanted April (1992)

Selected Filmography: The Terence Davies Trilogy: Children (1976), Madonna and Child, (1980), Death and Transfiguration (1983); Distant Voices, Still Lives (1988)

Sheraton Seattle HOTEL & TOWERS

Contemporary World Cinema

Friday, May 14 ■ Egyptian, 7:15pm Sunday, May 16 ■ Harvard Exit, 12:30pm

Contemporary World Cinema

Friday, May 14 ■ Neptune, 7:15pm Saturday, May 15 ■ Egyptian, 12:30pm

THE MYSTERY OF EDWIN DR00D Great Britain, 1993 Director: Timothy Forder Producer: Keith Hayley Screenwriter: Timothy Forder Cinematographer: Martin McGrath Cast: Robert Powell, Finty Williams,

Jonathan Phillips, Michelle Evans Print Source/lnternational Sales: Pinnacle Pictures, Ltd. 100 minutes

Based on the final, unfinished novel by Charles Dickens, The Mystery of Edwin Drood is an atmospheric and sensational murder mystery involving the denizens of a small British cathe dral town. Hiding his feelings behind a cloak of decorum, choirmaster Jasper (Robert Powell) secretly lusts after beautiful young Rosa, who has long been betrothed to his nephew, Edwin. The innocent relationship shared by Rosa and Edwin is more like that of a brother and sister than of impassioned lovers. When a handsome stranger openly admires Rosa, sparks fly, in a situation more complicated and dangerous than the young people realize. Tragedy strikes on a dark and stormy night, and before the mystery is solved plenty of shivers are delivered. Combining the lush production values of a Merchant/lvory literary adaptation with a distinctly sinister bent, The Mystery of Edwin Drood will more than satisfy period buffs as well as lovers of melodrama.

Great Britain/Russia/ltaly/France/ Netherlands, 1992 Director/Screenwriter: Sally Potter (based on the novel by Virginia Woolf) Producer: Christopher Sheppard Cinematographer: Alexei Rodionov Editor: Herve Schneid Music: Sally Potter Cast: Tilda Swinton, Lothaire Bluteau, Billy Zane, John Wood, Quentin Crisp Print Source: Sony Pictures Classics 93 minutes

British filmmaker Sally Potter has created a masterful screen adaptation of Virginia W oo lfs epic satirical novel exploring gender roles and sexual identity over the last several centuries. Derek Jarman regular Tilda Swinton gives a star-making perfor mance as the delicately handsome nobleman Orlando, who is commanded by Queen Elizabeth in the year 1600 never to grow old. Astonishingly, he obeys and lives on for 400 years. Perhaps for variety’s sake, Orlando does change gender midway and becomes an attractive young woman. “I was the same person,” Orlando insists, “no difference at all just a different sex.” Making appearances along the way are Quentin Crisp as a very convincing Queen Elizabeth, Lothaire Bluteau as a Middle Eastern khan, John Wood as a lord who wants to wed Orlando and Billy Zane as an American adventurer who wants to bed her. Potter has created a provocative, breathtakingly beautiful film that clearly shows the influence of Jarman, Ken Russell and Peter Greenaway at their most accessible. Shot on location in St. Petersburg and Uzbekistan, this sumptuous piece of enter tainment is filled with evocative imagery, such as an elegant dinner with ice-skating waiters and a time transition that has Orlando passing through a maze shrouded in fog. A major hit at every festival it has played, this is a film that reawakens faith in the possibilities of cinema. Selected Filmography: Thriller { 1979), The Gold Rush (1983), London Story 1985), /Am an Ox, I Am a Horse, I Am a Man, I Am a Woman (1990)

G r e a t B r it a in

SEVEN SONGS FOR MALCOLM X

RUNNING LATE

Great Britain, 1993 World Premiere

Great Britain, 1992 Director: Udayan Prasad Producer: Verity Lambert Screenwriter: Simon Gray Cinematographer: Jason Lahel Editor: Barrie Vince Cast: Peter Bowles Print Source/lnternational Sales: BBC Television 75 minutes

Reminiscent of After Hours and Clockwise in its darkly comic tone and premise, Running Late is a hilariously twisted portrayal of an uptight, pompous individual thrown into a situation he is illequipped to handle. The story revolves around George Grant (Peter Bowles), a smug, megalomaniacal television host whose life turns into a madcap race against time when he suspects his wife has left him for another man. Suddenly forced to confront the fact that he may lose something he has always taken for granted, George undertakes a wild race through the urban chaos of modern London in search of both his wife and her newfound “Prince of Light.’’ The situations he confronts in his frantic quest force him to reassess everything he has become. Director Udayan Prasad invests the entire enterprise with a breathless, frenetic pace, and Simon Gray’s “de-vicious” script sparkles with pitch-black wit. Selected Filmography: 102 Boulevard Hausmann

Femme Fatale (1992)

(1990),

Director: John Akomfrah Producer: Lina Gopaul Screenwriters: John Akomfrah and Edward George Cinematographer: Arthur Jafa Editor: Joy Chamberlain Music: Trevor Mathison Print Source/lnternational Sales: Black Audio Film Collective 52 minutes

Filmed during the flurry of hype surrounding the release of Spike Lee’s Malcolm X, Seven Songs for Malcolm X provides a detailed portrait of the black leader who was once called “the angriest man in America.” This daunting, original and visually audacious meditation is not a documentary in the traditional sense; rather, its elements coalesce into a complex tapestry of the life and times of Malcolm X. The film uses stylized tableaux vivants of key incidents in his life, documentary footage and contemporarylfnterviews. Among the subjects are Malcolm’s wife, Betty Shabazz, Spike Lee, novelist Thulani Davis, his prison friend Malcom Jarvis, his brother Wilfred Little, and cultural critic Greg Tate. Not just another Malcolm X story, John Akomfrah’s Seven Songs for Malcolm ^delivers an inspired and inspiring reflection on one of the great black leaders of ourtime.

Contemporary World Cinema

Saturday, May 15 ■ Neptune, 3:30pm W ednesday, May 19 ■ Harvard Exit, 9:30pm

Friday, May 21 ■ Egyptian, 7:15pm Sunday, May 23 ■ Egyptian, 3:30pm

Showing with Passin’ It On. Selected Filmography: Handsworths Songs (1986)

Sunday, May 23 H Egyptian, 6:30pm W ednesday, May 26 ■ Neptune, 7:15pm

Saturday, May 22 ■ Neptune, 9:15pm W ednesday, May 26 ■ Egyptian, 9:30pm

THE SILENT TOUCH

WILD WEST

Great Britain/Poland/Denmark, 1991

Great Britain, 1992

Director: Krzysztof Zanussi Producers: Mark Forstater||p Mads Egmont Christensen Screenwriter: Peter Morgan, Mark Wadlow Cinematographer: Jarek Zamojda Editor: Marek Denys Composer: Wojciech Kilar Cast: Max Von Sydow, Lothaire Bluteau, Sarah Miles, Sophie Grabol

Director: David Attwood Producer: Eric Fellner Screenwriter: Harwant Bains Cinematographer: Nic Knowland Editor: Martin Walsh Music: Dominic Miller Cast: Naveen Andrews,

Print Source/lnternational Sales:

Sarita Choudhury, Ronny Jhutti, Ravi Kapoor, Ameet Chana, Bhasker, Lalita Ahmed, Shaun Scott Print Source: Samuel Goldwyn Company 85 minutes

Mayfair Entertainment 97 minutes The combination is enticing: a brilliant but reclusive elderly composer played by the always amazing Max von Sydow, a young protege played by Lothaire Bluteau, and legendary director Krzysztof Zanussi to bring them together. The Silent Touch opens with Stefan (Bluteau), a young Polish music student who be comes obsessed by a haunting melody he hears in his dreams. He eventually discovers that it bears a striking resemblance to works by the long-absent Scandinavian composer Henry Kesdi (von Sydow). Stefan tracks down Kesdi in Copenhagen, only to find a miserable man, destroyed by alcohol and neurosis. Finally breaking down his resistance, Stefan persuades Kesdi to com plete the complex work. Along with his loyal wife (Sarah Miles), the composer embarks on a mission of rejuvenation and affirma tion. Drawing from his own lifetime o f experience, von Sydow gives a wonderful performance. The Silent Touch is filled with music, fiery characters and poignant humor in much the same maner as Amadeus. Beautifully structured in Zanussi’s trade mark style, the film acts as a mirrorthrough the screen, reflecting our own predicaments, failures and strengths. The Silent Touch is a deeply moving film sure to win your heart.

David Attwood makes his feature debut with this off-the-wall tale of a Pakistani country-and-western band from deep in the heart o ’ London. Naveen Andrews ( London Kills Me) stars as Zaf, a cowboy wanna-be with an inability to hold down a job— he’s too busy focusing on a dream of Nashville stardom with the Honky Tonk Cowboys, the band he and his brother have formed. Screenwriter Harwant Bains ( Blood) envisions Southall in West London as a settlertown, a modern Wild West. Afantastical edge is added by the band’s manic manager, Jagdeep, who carries a pistol in his pocket and drives a Texas-sized Cadillac with bull horns as hood ornaments. Sarita Choudhury ( Mississippi Masala) leaves her abusive white husband and joins the Honky Tonk Cowboys as lead singer, providing a love interest for Zaf in the bargain. When the group’s demo tape becomes a huge hit with the record executives at Wild West Records, the story takes off at a furious pace bound for trouble and fun. The tone of Wild West is captured by a soundtrack full of country favorites, including the music of country singer/songwriter Steve Earle, who often; sings about working-class boys who are as desperate as the Honky Tonk Cowboys to leave it all behind.

Award: Best Actor, Japan Film Festival. Selected Filmography: Structure of Crystals (1969), Camou

flage (1976), Ways in the Night',(1980), The Constant Factor (1980), Year of the Quiet Sun (1985)

Br itish A irways

British A irways

d a toci

Hong Kong

AUTUMN MOON (Qiuyue) Hong Kong/Japan, 1992 Director: Clara Law Producers: Clara Law, Fong Ling-Ching Screenwriter: Fong Llng-Ching Cinematographer: Tony Leung Editor: Fong Ling-Ching Music: Lau Yee Tat Cast: Masatoshi Nagase,

Li Pui Wai, Choi Siu Wan, Maki Kiuchi

W ednesday, May 26 ■ Broadway Market, 7:15pm Friday, May 28 ■ Egyptian, 5:00pm

MARY FROM BEIJING Hong Kong, 1993 Director: Sylvia Chang Producer: Hon Pui-Chu Screenwriter: Sylvia Chang Cinematographer: To Ho-Fung Editors: Yu Shun, Kwong Chi-Leung Music: Music Factory Cast: Gong Li, Kenny Bee, Wilson Lam Print Source: Rim Film Distribution International Sales Agent: Golden Harvest 103 minutes

Print Source/lnternational Sales: Fortissimo Film Sales 108 minutes

Clara Law’s richest and most assured film to date, Autumn Moon is a perceptive, funny yet troubling look at relationships in an ever-changing world. The setting is contemporary Hong Kong as it braces for an imminent reunion with China. A friendship develops between Tokio, a hip young man from Japan, and Wai, a pouty teenage girl who is caringfor her aged grandmother while her parents hunt for a new home in Canada. To get acquainted, he suggests she take him to her favorite restaurant— ‘-tradi tional,’’ he says. They end up at McDonald’s, which may seem funny until the girl explains it’s the only “traditional” she knows. Provoking a laugh while revealing a melancholy truth is typical of the deadpan wit of Autumn Moon. It’s refreshing that the newfound friendship remains just a friendship; Wai turns to Tokio for advice about her first love for a fellow student, while he indulges in casual sex and laments the loss of his innocence. The two are constantly overshadowed by Hong Kong’s towering modern architecture, which cinematographer Tony Leung im bues with a cool, unsettling beauty. Evocative imagery, engaging characters and an insightful screenplay that touches on univer sal concerns make this one of the most memorable films to emerge from Hong Kong in recent years.

Featuring the combined talents of Sylvia Chang and Gong Li, Mary from Beijing is a rare combination of two of East Asia’s leading women of the cinema. Ma Lei is a Chinese citizen living illegally in Hong Kong as the kept woman of a jeweler. She dreams of someday obtaining a Hong Kong identity card so she can work legally and marry her boyfriend. But obtaining an identity card is a difficult procedure, almost as difficult as getting her boyfriend to introduce hereto his family. W iile waiting for her plans to unfold, she meets her charming neighbor Ken. But when her boyfriend shows too much reluc tance to commit to marriage, Ma Lei breaks up with him and moves out, effectively disappearing from Ken’s life. She is convinced they are fated never to see each other again, until they run into each other one day— literally. Gong Li has emerged as China’s premier actress in films by her off-screen partner, Zhang Yimou; their latest effort, The Story of Qiu Ju, is also featured in S IF F 1993. In the male-dominated Hong Kong film industry, Sylvia Chang has demonstrated her incredible talent as an actress, director, screenwriter and even a singer. She has appeared in over 80 films and has become one of the true stars of Asian cinema. Mary from Beijing wonderfully exemplifies Chang’s style— an intelligent, tough yet sensitive film.

Award: Golden Leopard (Grand Prize)| 1992 Locarno Film

Festival.

Selected Filmography: Passion (1986), The Game They Call

Selected Filmography: They Say the Moon Is Fuller Here (1985),

Sex (one of three sections, 1987), Sisters of the World Unite (co-director 1991)

The Other Half and the Other Half (1988), The Reincarnation of Golden Lotus (1989), Farewell China {1990), Fruit Punch (1991)

Contemporary World Cinema

Sunday, May 16 ■ Harvard Exit, 9:15pm W ednesday, May 19 ■ Egyptian, 7:15pm

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Sunday, May 16 ■ Harvard Exit, 6:30pm Saturday, May 22 ■ Egyptian, 12:30pm

THE SCORPIO EATS THE GEMINI FOR BREAKFAST (A Skorpio Megeszi az Ikreket Reggelire) Hungary, 1992 Director: Gardos Peter Producer: Egri Pal Screenwriters: Gardos Peter, Zsuzsa Toth Cinematographer: Mathe Tibor Editor: Rigo Maria Music: Novak Janos Cast: Rudolf Peter,

Eszenyl Eniko, Torocsik Mari, Garas Dezso Print Source/lnternational Sales: Hungarofilm, Festivals Ltd.

Monday, May 17 I Harvard Exit, 7:15pm Saturday, May 22 H Harvard Exit, 3:30pm

SWEET EMMA, DEAR BOBE (Edes Emma, Draga Bobe) Hungary, 1992 Director: Istvan Szabo Producer: Lajos Ovari Screenwriter: Istvan Szabo Cinematographer: Lajos Koltai Editor: Eszter Kovacs Music: Tibor Bornai Cast:

Johanna ter Steege, Eniko Borcsok, Peter Andorai, Eva Kerekes Print Source/lnternational Sales: Hungarofilm, Festival Ltd. 90 minutes

93 minutes

L’amour fou rears its head with wild abandon in Peter Gardos’s bright, original new serio-comedy, The Scorpio Eats the Gemini for Breakfast. Thirty-year-old Tamas has everything a man could want: a loving wife who’s about to give birth to their first child, a doting grandmother and a successful career giving cello lessons. Into this idyllic life— on the very day that his wife gives birth— walks a blond tornado named Panni. Tam as is thunderstruck by the young woman, and she seems equally taken with him. Before long Tamas is risking everything he has to pursue his blazing obsession, going to ever greater lengths to hold onto her even as she spins wildly out of control. Tamas is a man who truly fits the adage “Be careful what you wish for...” The Scorpio Eats the Gemini for Breakfast combines grand passion, deadpan black comedy and sheer bathos to create an altogether twisted delight. Selected Filmography: The Students (1982), The Philadelphia

Winner of the 1982 Best Foreign Language Film Oscar for Mephisto, director Istvan Szabo returns to his Hungarian roots with this exquisite, deeply felt story of two women caught in the tides of transition. In contemporary, post-communist Eastern Europe, each woman is struggling in her own way to cope with the dramatic changes all around. Emma and Bobe are young teachers who have fled the countryside in hopes of a better life in Budapest. Hired at the same school, they find that their teaching specialty— Russian— is next to useless. They begin taking evening classes in English and every day instruct their students in the lessons they learned the previous night. Their meager salaries barely cover the most basic needs, forcing them to sell whateverthey can to afford the simplest pleasures. Eventually the self-reliant Bobe turns to selling her body, while the more reserved Emma gets involved in a frustrating affair with the school’s chauvinistic, married headmaster. For both women, what once seemed a golden opportunity now seems a tarnished hope.

Attraction (1984), Whooping Cough (1986), Just for Kicks (1989)

Selected Filmography: Mephisto { 1981), Colonel Red! (1984),

Hanussen (1988), Meeting Venus (1991) Awards: Nominated for Felix Award (Best Film); Oscar submis

sion, Best Foreign Language Film.

British A irways

I c e l a n d « Is ra e l

Monday, May 24 I I Egyptian, 7:15pm Tuesday, June 1 1 Neptune, 5:00pm

W ednesday, May 19 ■ Egyptian, 9:30pm Sunday, May 23 ■ Broadway Market, 12:30pm

AS IN HEAVEN

AMAZING GRACE

Iceland,|1992 US Premiere

Israel, 1992

Director: Kristin Johannesdottir Producer: Sigurdur Palsson Screenwriter: Kristin Johannesdottir Cinematographer: Snorri Thorisson Editor: Sigurdur Snaeberg Jonsson Music: Hilmar Orn Hilmarsson Cast: Pierre Vaneck, Tinna Gunnlaugsdottir,

Alfrun H. Ornolfsdottir, ValdimarOrn Flygenring Print Source/lnternational Sales: Seawell Films 122 minutes

Kristin Johannesdottir is known in Iceland for her individualistic work as a theater and television director. As in Heaven marks her return to the big screen, with a tale of Nordic myth and superstition. As in Heaven is set on a desolate farm on the west coast of Iceland in the late summer of 1936. The film follows the musings of young Hrefna, who is heavily influenced by the superstitions of her grandmother and the bedtime tales of her older foster brother. Believing that the farm has been cursed since the 14th century, Hrefna imagines her family into the past in hopes of altering history and the course of destiny. With her father away at sea and the rest of the fami ly despondently caught up in news of the Spanish Civil War, Hrefna has little to do but wander along the seashore. Excitement follows the announce ment that a French marine research ship is coming. In her mind the past blends with the present and she travels back to the 14th century, taking with her characters from the present. Hrefna’s mother often features in these moody scenes of ritual and mysticism. The dramatic, bleak landscapes of Iceland are tailormade for the film ’s gorgeous cinematography. Selected Filmography: Rainbow’s End (1983)

Director: Amos Gutman Producer: Dagan Price Screenwriter: Amos Gutman Cinematographer: Amnon Zlayit Editor: Einat Glazer-Zarhin Music: Arkady Duchin Cast: Gal Hoyberger, Sharon

Alexander, Rivka Michaely, Aki Avni Print Source/lnternational Sales: Midbar Films 95 minutes

At last year’s Jerusalem Film Festival, Amazing Grace was named Best Israeli Film of the Year, the festival’s top prize. That significant achievement indicates that viewers believe the film has wider importance than its subject might suggest. Set in Tel Aviv’s gay community, it concerns a 17-year-old man’s rather desperate search for love. As the handsome Jonathan (Gal Hoyberger) is breaking off an affairwith a philandering boyfriend, he becomes infatuated with the darkly mysterious Thomas (Sharon Alexander), newly arrived from New York and visiting his mother, who lives in an apartment upstairs from Jonathan’s. Thomas is by turns seductive and aloof, leaving both his family and the frustrated Jonathan to speculate on the secret torment that has accompanied him from abroad. Thomas’s inability to open up to any of the people who care about him so deeply is at the heart of the film ’s tragedy. But director Amos Gutman is careful to temper the material with his typically mordant wit and frank eroticism. The result is an emotionally charged story of hope and love in a world fraught with loneliness and danger. The fact that Amazing Grace was Gutman’s last film lends it extra poignance and resonance. One of the least known but most courageous gay filmmakers, he died of AIDS this February. Awards: Best Film, Jerusalem Film Festival; Silver Palm, Valencia

Film Festival. Selected Filmography: Drifting { 1984), Bar 81 (1986), Himno

King of Jerusalem (1987)

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Contemporary World Cinema

Monday, May 17 ■ Harvard Exit, 5:00pm Friday, May 21 ■ Broadway Market, 9:30pm

Friday, May 14 ■ Harvard Exit, 7:15pm Saturday, May 15 ■ Harvard Exit, 3:30pm

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LETTERS FROM PARIS

Italy, 1992

(Lettera da Parigi) Italy, 1992

Director: Aurelio Grimaldi Producers: Pietro Valsecchi, Camilla Nesbitt Screenwriter: Aurelio Grimaldi Cinematographer: Maurizio Calvesi Editor: Raimondo Crociani Music: Dario Lucantoni Cast: Francesco Cusimano, Tony Sperandeo, Luigi Maria Burruano, Lucia Sardo Print Source/lnternationai Sales: S.A.C.I.S. 86 minutes

Director: Ugo Fabrizio Giordani Producer: Luciano Perugia Screenwriters: Fabrizio Giordani, Constanza De Palma, Cristina Mecci Cinematographer: Paolo Camera Editor: Francesco Malvestito Music: Antonio Di Pofi Cast: Roberto De Francesco, Lucrezia Lante Della Rovere,

Stefano Dionisi, Laura Marconi, Adriana Russo Print Source/lnternationai Sales: S.A.C.I.S. 96 minutes

Acla is a strong-willed, strikingly beautiful 11-year-old boy. His white-blond hair and fair skin not only set him apart from other men and boys, but are a sign of his purity and promise. Like his father and his brothers before him, however, Acla has been indentured to work in the sulfur mines. Six days a week for eight years he is destined to labor and live belowground. “Everything here is mine," he is told by his brutish foreman on his first d a y“You included.” But the boy cannot grow numb to the beatings and abuse as the older men have. His abiding dream is to run away, reach the sea and escape to Australia. Aurelio Grimaldi’s film is packed with striking imagery and is distinguished by the provocative, homoerotic overtones present in an all-male soci ety that lives nearly naked below ground. But Grimaldi is a talented, intelligent filmmaker whose observations of Italian society are clearly intended to be more than sensational. The film was inspired by photographs of and a 19th-century book about the Sicilian sulfur mines, which did rely on child labor. Recalling the spirit of Truffaut’s 400 Blows, Acla can is a moving, powerful metaphor for the way the innocent spirit of a child is oppressed by forces beyond his control. “A minor masterpiece.”— Howard Feinstein, The Village Voice

Sergio is 20, but in many ways he has never grown up at all. Left alone during much of his childhood (his father is a widowed surgeon who was often away from home) he has become a somewhat insecure, introspective young man with a void in his life. One day at school, Sergio encounters Christina, a gorgeous French student with a special gift for opera. Little by little a relationship develops, and eventually Cristina moves into the spacious apartment Sergio shares with his father and the family housekeeper. She gets pregnant and Sergio marries her. All is well for a short time, but as Christina’s pregnancy progresses, Sergio becomes increasingly irresponsible and indifferent. The child arrives and things only get worse. Finally Christina has had enough: deciding to pursue her opera career, she leaves her young son in the care of Sergio and the housekeeper and boards a train for Paris. When they meet again some years later, life has changed dramaticallyfor all of them. This is a subtly nuanced and graceful film that reverberates with humanity. In charting the course of one young man’s path to adulthood, it is a bittersweet homage to the unpredictability of life.

It a ly • J a p a n

Tuesday, June 1 ■ Broadway Market, 9:30pm

ABOUT LOVE, TOKYO

AL LUPO AL LUPO (Wolf Wolf) Italy, 1992 Director: Carlo Verdone Producers: Mario and Vittorio Cecchigori Screenwriters: Filippo Ascione, Leo Benvenuti, Piero De Bernardi Cinematographer: Danilo Desideri Editor: Antonio Siciliano Music: Mario and Vittorio Cecchi Gori Cast: Carlo Verdone,

Servio Rubini, Francesca Neri, Barry Morse, Loris Paiusco Print Source/lnternational Sales: Penta Film 108 minutes

The quest for emotional bonds drives this story of three siblings in search of their father, an artist of some renown who has always been distant and unapproachable. When they hear that he hasn’t shown up for an award ceremony and has seemingly disappeared, the three join forces to track him down. The brother and sisters rediscover their own ties during a cathartic evening at the brother’s discotheque, and by dawn the trio is off to the country retreat where their father is finally discovered. The key to the film is in the atmosphere created as the siblings recover their bond. Their search for the father they always missed, admired or held in awe is a journey in which bitterness and misunderstanding give way to a need for family, roots, childhood memories and friendship. Their quest is like a treasure hunt in the way they follow clues left consciously or unconsciously by their father. Perhaps tired, disillusioned or saddened by the sense of closure in his life, he has chosen a sort of deathless suicide, retiring into isolation. When his children arrive, though, he is at a meaningful place in his artistic and personal life, once again close to the elements that inspired his art.

Japan, 1992 Director: Mitsuo Yanagimachi Producers: Masaru Koibuchi,^ Mitsuo Yanagimachi Screenwriter: Mitsuo Yanagimachi Cinematographer: Shohei Ando Editor: Nobuo Ogawa Music: Hajime Mizoguchi Cast: Wu Xiao Tong,

Asuka Okasaka, Hiroshi Fujioka, Qian Po Print Source/lnternational Sales: Shibata Organization, Inc. 110 minutes

Mitsuo Yanagimachi’s last film, Shadow of China, was about a Chinese man searching for an identity. Becoming acquainted with many Chinese people in the course of that production, the director was moved to follow up with About Love, Tokyo, which explores the effects of the Influx of Chinese into a rapidly changing Tokyo. Ho Jun, a native of Beijing, is a young college student who moves to Japan to make a living and winds up working in a slaughterhouse. As a member of a minority, He is bound for failure. A local pachinko (pinball) parlor and an affair with a Japan-born Chinese woman, A » n , provide his only entertainment. Tragically, Ailin serves to settle a debt to the pachinko owner, who is also a local gangster. But his debt is not so easily forgiven; in an ultimate irony, Ho Jun is forced to sell himself as a prostitute. A cool palette of blues and grays imbues the background of this drama of hope and despair with a harshness that echoes its overriding sentiment. Yanagimachi has cited Bresson as his inspiration, and here creates a likeminded work of powerful resolve. Selected Filmography: Farewell to the Land (1979), The 19-

Year-Old’s Plan (1983), Fire Festival (1984), Shadow of China (1990)

Contemporary World Cinema

Thursday, June 3 ■ Egyptian, 7:15pm Saturday, June 5 ■ Neptune, 12:30pm

Contemporary World Cinema

Ja p a n

M onda® May 24 ■ Harvard Exit, 9:30pm Monday, May 31 ■ Neptune, 3:30pm

THE GAMES TEACHERS PLAY (Chugaku Kyoshi) Japan, 1992 Director: Hideyuki Hirayama Producers: Kota Yamada, Koichi Furukawa Screenwriter: Hiroshi Saito Cinematographer: Kozo Shibazaki Editor: Shigeru Okuyama Music: Miyuki Otani Cast: Kyozo Nagatsuka, Kazuhiko Kaneyama, Toshiya Fujita, Atsuko Shimada Print Source/lnternational Sales: Argo Project Inc.

Friday, May 1 4 ,■ Neptune, 9:30pm Wednesday, May 19 ■ Harvard Exit, 5:00pm

ORIGINAL SIN Japan, 1992 Director: Takashi Ishii Producer: Kei Ijichi Screenwriter: Takasi Ishii Cinematographer: Yasushi Sasakihara Editor: Yoshio Sugano Music: Gorou Yasukawa Cast: Nami Tsuchiya, Mayoto Hirano, Hideki Tsuchiya Print Source/lnternational Sales: Argo Project, Inc. 117 minutes

105 minutes

Variety has dubbed Original Sin an Eastern Postman Always Rings Twice. Packed with the gamut of emotions, the story

Ignore the misleading English title; this strong drama about an unconventional teacher struggling to reach his students is in the tradition of Blackboard Jungle and To Sir, With Love, not Teacher’s Pet. Mr. Mikami (Kyozo Nagatsuka) confronts his unruly and apathetic junior high school students with an aggres sive approach, and he’s no easier with their parents, his colleagues or his own family. In short, he’s a hard man to get along with. In contrast, a sweet-tempered young art teacher at the same school allows her students great freedom, believing it will'foster individuality. Hard-hitting and thought-provoking, the film asks— and tries to answer— questions of how to Instill values in the young people who seem ready to drift into passive self-destruction. “Powerhouse production and flawless act ing”— Ken Eisner, Variety.

follows the rapidly escalating complications of a love triangle that begins early one summer in Otsuki. Makoto becomes infatuated at first sight with Nami. He follows her into her real estate office and wrangles his way into a job. His passion builds until he can stand it no longer and he virtually rapes Nami in a display home. Nami’s husband, who also happens to be Makoto’s boss, is livid when he discovers what has happened and fires him on the spot. But the bond has been cemented, and Nami senses the love that motivated Makoto’s impassioned act of violence. Based on a true story, Original Sin paints a sympathetic picture of an ordinary man’s passion, and of emotions that are out of control. Characters are not stereo typed, but treated with compassion and motivated by a noble love. The lovers’ plot to commit murder Is portrayed not as a crime, but as the only option they have. With strong perfor mances all around, Original Sin gives a violent yet sensual twist to an age-old formula.

Selected Filmography: Maria’s Stomach (1990)

Selected Filmography: Love Hotel (1991)

C* £ 9

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Friday, May 14 ■ Neptune, 5:00pm Monday, May 24 ■ Broadway Market, 7:15pm

ANGEL OF FIRE

SNAKES AND LADDERS

(Angel de Fuego) Mexico, 1992

(Serpientes y Escaleras) Mexico, 1992

Director: Dana Rotberg Producer: Leon Constantiner, Dana Rotberg Screenwriter: Omar Alain Rodrigo, Dana Rotberg Cinematographer: Toni Kuhn Editor: Sigfrido Barjau, Dana Rotberg Music: Ariel Guzik, Ana Ruiz Cast: Evangelina Sosa,

Director: Busi Cortes Producer: IMCINE, Fondo de Fomento a la Calidad Cinematografica, Productiones Romelia Screenplay: Busi Cortes, Carmen Cortes, Alicia Molina Cinematographer: Francisco Bojorquez Editor: Federico Landeros Music: Jose Amozurrutia Cast: Hector Bonilia, Diana Bracho, Arcelia Ramirez, Lumi Cavazos Print Source/lnternational Sales: IMCINE 95 minutes

Lilia Aragon, Roberto Sosa, Noe Montealegre Print Source: Imcine International Sales: Seawell Films 90 minutes Set amid ruin and squalor in barrios on the outskirts of Mexico City, Angel of Fire follows the odyssey of 13-year-old Alma (Evangelina Sosa), a fire-eating trapeze artist with the decrepit Fantasia Circus. Abandoned by her mother, she maintains a love affair with her father (Alejandro Parodi), an ailing old clown. After his death she is forced to leave the circus for refusing to abort his child. She works the streets as a fire-eater until she is taken in by the matriarchal Refugio (Lilia Aragon) and her submissive son, Sacramento (Roberto Sosa), who are proprietors of an itinerant marionette theater. Refugio submits Alma to a rigorous purification ritual of redemption and understanding. Angel of Fire is a tour de force about incest, fanaticism, the roles of women in society and lost innocence. With her second film, Dana Rotberg ( Intimacy, SIFF ’91) has created a truly original and profound masterpiece. Angel of Fire was a huge hit at last year’s Guadalajara Film Festival and at the Directors Fortnight in Cannes. “I live in a country of ambiguous, contradictory and unfathomable truths,” says Rotberg. “This film is but a glimpse, an attempt to portray that magic and, at the same time, tragic and desperate world.” Selected Filmography: Intimacy (1989)

Several women directors have emerged as leading lights in the resurgence of Mexican cinema. Maria Novaro ( Danzon, SIFF ’92), Dana Rotberg {Intimacy, SIFF ’91, Angel of Fire, S IF F’93) and Busi Cortes are at the forefront of this renaissance. Cortes’s Snakes and Ladders is a keen-eyed period piece that chronicles the lives of two young women, Valentina (Arcelia Ramirez) and Rebeca (Lumi Cavazos), their coming of age and how their friendship persists against narrow-minded provincial ism and the status quo of a male-dominated society. Set in a wonderfully evocative 1950s Mexico, the two women are intro duced as young girls, playing a game of snakes and ladders. The game turns real as they grow older and become involved in the intrigues and affairs of adult society, with great leaps up the ladders of success and huge, failing slides downward. Cortes gracefully captures a world of whispered secrets where women silently endure the indiscretions and unthinking desires of their husbands and lovers, and where complicity and solidarity come from understanding and trust in the community of wives and daughters. Arcelia Ramirez and Lumi Cavazos give inspired performances, and Mexican superstar Hector Bonilla (Red Sunrise, SIFF '91 and Legend of a Mask, SIFF ’92) returns to .Seattle screens as Gregorio, the philanderingfatherof Valentina. Selected Filmography: El Secreto de Romelia (1988)

Contemporary World Cinema

W ednesday, May 19 ■ Harvard Exit, 7:15pm Thursday, May 27 ■ Neptune, 5:00pm

N e t h e r la n d s

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Contemporary World Cinema

Sunday, May 30 ■ Egyptian, 9:15pm Wednesday, June 2 ■ Neptune, 7:15pm

W ednesday, June 2 ■ Broadway Market, 7:15pm Thursday, June 3 ■ Neptune, 7:15pm

FOR A LOST SOLDIER

THE THREE BEST THINGS IN LIFE

(Vor een Verloren Soldaat) Netherlands, 1992

(De Drie Beste Dingen in Het Leven) The Netherlands, 1992 US Premiere

Director: Roeland Kerbosch Producer: Matthijs van Heijningen Screenwriter: Roeland Kerbosch Cinematographer: Nils Post Editor: August Verschueren Music: Joop Stokkermans Cast: Maarten Smlt, Andrew Kelly, Jeroen Krabbe, **

Freark Smlnk, Elsje de Wijn Print Source: Holland Film Promotion International Sales: Fortissimo Film Sales 92 minutes

Based on an autobiographical novel by Rudl van Dantzlg (one of Holland’s leading ballet choreographers), For a Lost Soldier tells the unexpectedly frank story of a boy’s awakening to feelings of attraction for another man during World War II. Young Jeroen is sent with other children from Amsterdam to Friesland, escaping the Nazis and imminent starvation during the “hunger winter” of 1942. He istaken in by a warm and loving fosterfamily but still feels isolated, alone and confused for reasons he can’t understand. When a Canadian Army company arrives in the village, a friendship springs up between Jeroen and one of the young soldiers. Jeroen’s confusion dissipates as he finds himself falling head over heels in love with the soldier. Like Lolita and many other works dealing with childhood sexuality, For a Lost Soldier is bound to upset some viewers. Childhood sexual longings are a difficult issue, particularly those of a homosexual nature. But this film is a sensitive, nonexploitive rendering of one man’s true experiences as a child, and as any gay person will tell you, sexual orientation does not politely wait until adulthood to make itself felt. That said, we urge you not to see this film if its subject matter is likely to offend you. Though it is not explicit, no one under 21 will be admitted.

Director: Ger Poppelaars Producer: Rene Scholten Screenwriter: Ger Poppelaars Cinematographer: Lex Wertwijn Editor: Wim Louwrier Music: Henny Vrieten Cast: Loes Wouterson, Victor Low, Jack Wouterse,

Gerard Thoolen, Gijs Scholten van Aschat, Michel van Dousselaere, Pierre Bokma Print Source: Holland Film Promotion International Sales: Studio Nieuwe Gronden 100 minutes This charming Dutch romantic fable introduces us to the gorgeous, naive Sacha, a successful violinist who lives in Paris. She has just discovered she is pregnant by her boyfriend, Ben, who lives a comfortable existence in Amsterdam. Sacha tries to reach Ben by phone to tell him the good news, but when all she can get is his answering machine, she decides to hop a train to break the news in person. On the train she meets a decidedly strange Czech man named Jawek, who persuades her to look after a cardboard box for him that contains a live duck. Upon her arrival in Amsterdam, she finds that Ben is out of town, and that two men seem to be in avid pursuit of the box she has sworn to look after. She is rescued by a pair of likable bums, but they have their own designs on her expensive violin. Soon romance begins to blossom, but Sacha hasn’t forgotten the reason she came to Amsterdam in the first place-or the duck she has promised to protect.

British A irways 62

N e w Z e a la n d • N o r w a y

CRUSH New Zealand, 1992 Director: Alison Maclean Producer: Bridget Ikin Screenwriters: Alison Maclean, Anne Kennedy Cinematographer: Dion Beebe Editor: John Gilbert Music: JPS Experience Cast: Marcia Gay Harden, Caitlin Bossley, William Zappa,

Donogh Rees, Pete Smith Print Source: Strand Releasing 97 minutes

Set in the sulfurous, volcanic region of Rotorua, Alison Maclean’s first feature is a modern fable of a paradise fraught with danger. As she did in her prize-winning short, Kitchen Sink (SIFF ’90), Maclean explores the shifting power in relationships with a biting, deadpan style. The film opens as journalist Christine and a brash, enigmatic American named Lane (Marcia Gay Harden) are on the road to interview famous novelist Colin. A serious car accident leaves Christine in a coma but Lane unaffected. Unscrupulously, she thrusts herself into the lives of Colin and his teenage daughter, Angela. Angela is immediately attracted to this enticing and vivacious creature, but her affections turn sour when she realizes that Lane is more interested in her father than in their friendship. When Angela discovers Christine abandoned in the hospital, the fireworks begin. Crush gives us very real characters who begin to question the complexities of truth and reality as the story proceeds. Sharing qualities with the works of Luis Buñuel and Sam Fuller, the film has a melodramatic veneer that hides much darker psychological maneuverings. As Maclean says, Lane “can be very unpredictable and intimidating, but she’s also very charismatic...! was interested in creating a woman who was absolutely an anti-hero. A monster with a heart.”

W ednesday, May 26 ■ Broadway Market, 9:30pm

THE WARRIOR’S HEART (Krigerens Hjerte) Norway, 1992 Director: Leidulv Risan Producers: Gunnar Svensrud, Elm Erichsen Screenwriters: Leidulv Risan, Arthur Johansen Cinematographer: Harald Paalgard Editor: Einar Egeland Music: Geir Bohren, Bent Aserud Cast: Anneke Von Der Lippe, Peter Snickars, Thomas Kretschmann Print Source/lnternational Sales: Norsk Filmdistribusjon 102 minutes

Illuminating a fragment of history little known in this country, The Warrior’s Heart passionately re-creates a time and a place where the lives of ordinary people were turned upside down by global events. Scandinavia during World War II is the setting for this uncompromising and trenchant story, which focuses on a young woman named Ann Mari (Anneke Von Der Lippe in a stunning film debut). Ann Mari’s Finnish husband, Markus (Peter Snickars), is called away from their Norwegian hamlet to serve on the Russian front in Finland. Soon after his departure, a small German occupying force sets up camp near the village. Working as a nurse for the Germans, Ann Mari slowly and reluctantly develops a relationship with the handsome young commandant, Maximilian (Thomas Kretschmann). News of her husband’s death (later discovered to be false) drives Ann Mari first to attempt suicide, and then into the arms of Maximilian. These intimate personal struggles set on the larger historical stage recall other great war epics, such as Renoir’s Grand Illusion. Sumptuous cinematography highlights scenes of graphic realism and emotional intensity (Markus’s brutal midwintertrek homeward across the frozen landscape is reason enough to see the film). Bravura performances and a riveting story combine to make The Warrior’s Heart a timeless tale of strength and love.

British A irways

Contemporary World Cinema

Saturday, May 29 ■ Broadway Market, 9:15pm Tuesday, June 1 ■ Egyptian, 9:30pm

P o la n d • R o m a n ia

■

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Contemporary World Cinema

■ Thursday, June 3 ■ Broadway Market, 7:15pm Friday, June 4 ■ Egyptian, 5:00pm

Monday, May 24 ■ Broadway Market, 9:30pm Friday, May 28 ■ Broadway Market, 5:00pm

THE CONJUGAL BED

WHITE MARRIAGE

(Patul Conjugal) Romania, 1992

Poland, 1992 Director: Magdalena Lazarkiewicz Producers: Studio Filmowe Perspektywa, Telewizja Polska Screenwriters: Magdalena

Lazarkiewicz, Jan Rozewicz (based on the play by Tadeusz Rozewicz) Cinematographer: Zbigniew Wichlacz Editor: Katarzyna Rudnik Music: Jan A.P. Kaczmarek Cast: Joanna Fraszynska, Agata Piotrowska, Teresa Budzisz-Krzyzanowska, Henryk Bista Print Source/lnternational Sales: Fortissimo Film Sales 105 minutes

Set in a small country manor just prior to World War I, White Marriage tells the story of two sisters beset by the troubles of adolescence. Bianka, a sensitive, poetic girl, is betrothed to the immature and emotionally indifferent Benjamin. The thought of fulfilling her marital duties on their wedding night fills her with fear. But Paulina fears nothing; in fact she seems to enjoy flirting with almost anyone, including her irrepressible grandfather and her sister’s husband-to-be. The sisters’ days are filled with games and intriguing mysteries, but with the wedding rapidly approaching and Paulina’s behavior so much in conflict with her own, Bianka’s apprehension rises beyond reason. Reminiscent of Spirit o f the Beehive, White Marriage delves into that world of half-fantasy, half-fiction, where children tread with fear and excitement. “The film White Marriage is my personal manifesto against committed cinema which is burdened with the task of fulfilling some form of social or political m ission.”— Director Magdalena Lazarkiewicz Selected Filmography: The Last Schoolbell(1989), The Tr/'p(co

director, 1991)

Director: Mircea Daneliuc Producer: Oltea Munteanu Screenwriter: Mircea Daneliuc Cinematographer: Vivi Dragan Vasile Editor: Melania Oproiu Cast: Gheorghe Dinica,

Coca Bloos, Valentin Teodosiu, Lia Bugnar, Geo Costiniu, Jana Gorea Print Source: Romania Centrul National al Cinematografiel International Sales: RomaniaFilm 102 minutes Easily one of the most controversial films at this year’s Berlin Film Fest and one that garnered sharply differing responses from SIFF programmers, Mircea Daneliuc’s Conjugal Bed is a pitch-black comedy that vividly reflects the moral and material dilemmas facing post-communist Eastern Europe. Everything revolves around money in this tale of the hapless manager of a run-down Bucharest movie theater who divides his time be tween the futile pursuit of his lissome ticket taker and raising money for his haggard wife’s abortion. Horrified at the thought of having to feed another mouth, Vasile does everything in his power to make his wife miscarry. Things go from bad to worse when his would-be mistress, Stella, demands money for her favors. Before long, poor Vasile ends up in a mental hospital, but his wife and the lascivious Stella pool their resources and raise cash by renting out the apartment as a studio for porno flicks, with Stella as the leading lady. At once horrifying and hilarious, Conjugal Bed is undeniably misogynistic at times. But its jaundiced, scathing view of life in contemporary Eastern Europe is a clear signal of cinematic things to come. The film ’s cheerfully fatalistic motto, “If God has pity on us, he’ll kick us in the ass,” reflects the increasingly caustic sentiments of a society caught between a rock and a hard place. Selected Filmography: The Ride (1975),Glissando (1985),

Jacob (1988)

R o m a n ia • R u s s ia

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Sunday, May 30 ■ Neptune, 6:30pm Thursday, June 3 ■ Neptune, 9:30pm

THE OAK

I WANTED TO SEE ANGELS

Romania/France, 1992

(Ya Hatiella Ooveedit Angelov) Russia, 1992

Director: Lucian Pintilie Producers: Eliane Stutterheim, Sylvain Bursztejn, Lucian Pintilie Screenwriter: Lucian Pintile (based on the novel by Ion Baiesu) Cinematography: Doru Mitran Editor: Victorita Nae Cast: Maia Morgenstern, Razvan Vasilescu, Victor Rebengiue Print Source: MK2 Productions USA 105 minutes

A key to understanding the nightmare chaos and catastrophe of Eastern Europe today, this apocalyptic black comedy celebrates the spirit of anarchic rebellion. Nela, an angry and impulsive young woman, leaves Bucharest after the death of her father, who was a secret police officer. She encounters nothing but mediocrity, corruption, incompetence and evil until finding a soulmate in Mitica, a fiercely unconforming surgeon. Arrested for kicking a securitate man, Mitica is released only after operating on the wife of a party official. He leaves with the parting shot, “Tell your superiors the reason for my release is a disgrace!” Lucian Pintilie’s films were banned foryears by the Ceausescu regime, and he lived in exile in France for 15 years directing theater. This is his first film since returning to Romania in 1990. “A movie of imaginative hysteria that rattles with sustained fury”-J . Hoberman, The Village Voice. Selected Filmography: Sunday at 6:00(1965), The Reconstitu

tion (1969), Pavilion 6 (1973), Scenes o f Carnival (1979)

Director: Sergei Bodrov Producer: Carolyn Cavallero Screenwriters: Sergei Bodrov, Carolyn Cavallero Cinematographers: Alosha Radinov, Sergei Taraskin Editor: Olga Grinspun Music: Mongol Shoodan Cast: Alexei Baranov, Natasha Ginko, Lea Akeojakova Print Source: Screen Angel Productions 83 minutes

Director Sergei Bodrov was asked by some of the cast of / Wanted to See Angels to be sure the film played in Seattle. Bodrov met many of its nonprofessional actors on the streets of Moscow, and their inherent knowledge of the underground club scene translates perfectly into their roles. It’s Moscow grunge meets Seattle grunge in this gritty depiction of nightlife and youth on the mean streets of Russia. The musical score features the best of Russian alternative rock, and the film focuses on the accompanying lifestyle. Bob is a tough 20-yearold from the provinces who rides into town on his ancient motorcycle (a la Easy Rider, his favorite film). In an after-hours underground club he meets 16-year-old petty hustler Nat. She takes him home to her concrete cellar somewhere In the bowels of an abandoned building, which she claims was once Iva ith e Terrible’s wine cellar. A romance soon begins despite her innate mistrust of people and his warning that he prefers the open highway to individual company. A hint of Breathless enters the story when Bob’s tender feelings for Nat intrude on his “profes sional” activities. I Wanted to See Angels sheds light on the influx of American culture into the new Russia and the unfulfilled dreams left in its wake. Selected Filmography: Sweet Dreams in the Grass (1984), The

British A irways

Non-Professionals (1986), Freedom is Paradise (1989), The Card Shark (1990)

Contemporary World Cinema

Tuesday, June 1 ■ Broadway Market, 9:30pm

S e n e g a l « S e rb ia

K it

Contemporary World Cinema

M B

■ ■

IÜ

Thursday, May 27 ■ Harvard Exit, 7:15pm Monday, May 31 ■ Neptune, 12:30pm

Sunday, May 23 ■ Broadway Market, 9:15pm W ednesday, May 26 ■ Broadway Market, 5:00pm

HYENAS (Ouolof) Senegal, 1992 Director: Djibril Diop Mambety Producer: Pierre-Alain Meier Screenwriter: Djibril Diop Mambety Cinematographer: Matthias Kalin Editor: Loredana Cristelli Composer: Wasis Diop Cast: Mansour Diouf, Ami Diakhate, Mahouredia Gueye,

Issa Ramagelissa Samb Print Source: Triton Pictures 110 minutes The hyena is a singularly wild African animal that, like the vulture, rarely kills. It is capable of following a sick lion for a whole season, if necessary, to feast on its corpse for just one evening. As the main character in Hyenas, Linguere Ramatou has much in common with this animal. Hyenas is adapted from Friedrich Durrenmatt’s play The Visit, which reflects on the chasm of evil ploughing its way through the 20th century. Linguere is an extraordinary woman of disquieting beauty. A selfmade millionaire, she returns to her village of Colbane after a 30-year absence. Once a charming town, Colbane has been shattered by poverty. Its citizens are thrilled at the news of Linguere’s return, and Draman Drameh, once her lover, rushes to meet her. The local authorities host a banqueffin her h on o r! during which she announces her plans to donate a generous sum to the town. But hearing from reliable sources that Draman has betrayed her honor, she insists that he be put to death before she w li part with the money. The villagers are astonished and indignant, yet their dire poverty and bleak prospects are undeniable. Will they submit to herterms? Thus begins Draman’s long ordeal. Selected Filmography: Badon Boy (1970), Touki Bouki (1973)

TANGO ARGENTINO Serbia, 1992 Director: Goran Paskaljevic Producer: Dragana llic Screenwriter: Gordan Mihic Cinematographer: Milan Spasci Editors: Olga Skrigin, Olga Obradov Music: Zoran Simjanovic Cast: Nikola Zarkovic,

Miki Manojlovic, Ina Gogalova, Mija Gogalova Print Source: Singidunum Film Productions International Sales Agent: Majestic Films International Print Source/lnternational Sales: ESICMA 99 minutes Considering the current political climate in what was once Yugoslavia, it seems almost incomprehensible that a delicate, warm and sentimental movie could come out of the region. Tango Argentino is a charming, bittersweet look at the life of Nikola, a 10-year-old boy in post-communist, pre-war Serbia. Communism has ended and everyone has hopes of making it big. Nikola’s mother is taking care of a group of elderly people forgotten by their children and relatives, and soon she has him in charge of the operation. Ignored by his parents, Nikola soon finds similarities between his own situation and that of the newfound friends under his care. From them he gets the warmth and understanding missing at home, and at the same time his energy breathes new life into their dreary existences. A special relationship develops between Nikola and a once-famous singer of Argentinean tangos. But because of their age, Nikola’s friends start to disappear. Confronted by the pain of their loss, he can either grow up and face the world or retreat into his own pleasant dreams. With masterful performances, Paskaljevic evokes a beautiful, gentle atmosphere throughout. Never mentioning politics, the M feconveys the end of innocence that ultimately leads to the harsh realities of life. Tango Argentino is a funny and touching childs’ eye view of the world, full of optimism and hope.

British A irways 66

S o u th K o r e a

Monday, May 17 ■ Neptune, 9:30pm Friday, May 21 ■ Broadway Market, 5:00pm

OUR TWISTED HERO

WHITE BADGE

(Woorideul-ui llgreojin Young-Woong) South Korea, 1992

(Hayan Jonjaeng) South Korea, 1992

Director: Park Chong-Won Producer: Do Dong-Hwan Screenwriter: Park Jong-Won, Chang Hyun-Soo Cinematographer: Chung Kwang-Suk Editor: Lee Kyung-Ja Music: Song Byung-Jun Cast: Hong Kyung-ln, Ko Jung-ll,

Director: Chung Ji-Young Screenwriter: Chung Ji-Young Cinematographer: Yoo Young Kii Editor: Park Soon-Duk Music: Shin Syung-Ha Cast: Ahn Sung-Ki, Lee Kyung-Young Print Source/lnternational Sales : Korean Motion Picture Promotion Corp. 123 minutes

Choi Min-Suk, Lee Jin-Sun, Kim Hye-Ok Print Source/lnternational Sales: Korean Motion Picture

Promotion Corp. 119 minutes

This is the story of the dreams and agonies of a group of schoolboys before the Korean economic boom of the late 1950s. W innerof the Festival Prize at the Montreal Film Festival (1992), Our Twisted Hero is a dynamic second film from one of Korea’s important new directors. An obituary notice for Han Byung-Tae’s old primary school teacher Mr. Choe brings back bittersweet memories. Now a fortyish college teacher, Han thinks back 30 years and recalls the difficulties of adjusting to life in a new school. It wasn’t his academic aptitude that was the problem; the problem was the bullying class monitor, a tyrant in a fifth grade classroom kingdom. But when the young Mr. Choe took over, a new sense of democracy emerged. Now, on the occasion of Mr. Choe’s funeral, Han hopes to re encounter the hero and villain of his childhood memories. The classroom serves as a microcosm of Korean history, with power unjustly held, with tyranny and its ultimate downfall— a scenario played out over nearly a century of foreign occupations, coups and dictatorial regimes. With its message of equality, justice, truth and courage, Our Twisted Hero is a vibrant film about a time important to all. Selected Filmography: Serenade o f Laborers (1989)

White Badge is the first Korean film to openly address that country’s involvement in the Vietnam War and its lingering effects on veterans. Winner of both the Grand Prix and Best Director prize at the Tokyo Film Festival last October, White Badge ranks as one of the finest Korean films ever. Journalist Han Ki-Jo leads a structured, somewhat unexciting life focused mainly on work. He suffers from a wound received in combat during the Vietnam War, and daily life is a continual battle with reality, filled with conflict with his wife. A strange, unexpected phone call triggers memories of his war experiences and plunges him into a nightmare in which he must confront the inner fears he has tried so hard to forget. American audiences have seen a variety of films that attempt to deal with the same issues, but director Chung Ji-Young offers a wonderful opportunity to see the war from a fascinating new viewpoint. Incorporating the psychol ogy of The Deer Hunter and the action of Platoon, White Badge remains in a territory of its own. Superb direction and cinematog raphy drive the film, along with a riveting performance by Ahn Sung-Ki. We are fortunate to have this film in S IFF1993; seeing it is an opportunity not to be missed. Selected Filmography: Women Whisper like Mist (1981), Recol

lection of Love and Friendship (1984), Street Musician (1987), Woman at a Crisis (1987), Partisan (1990), Beyond the Moun tain (1990)

Contemporary World Cinema

Thursday, June 3 ■ Broadway Market, 9:30pm

Contemporary World Cinema

Friday, May 15 ■ Harvard Exit, 9:30pm Monday, May 17 ■ Neptune, 7:15pm

JAMON, JAMON

THE FENCING MASTER (El Maestro de Esgrima) Spain

(Salami, Salami) Spain, 1992

Director: Pedro Olea Producer: Antonio Cardenal Screenwriters:

Director: Bigas Luna Producers: Manuel Lombardero, Pepe Sol Screenwriters: Bigas Luna, Cuca Canals Cinematographer: Jose Luis Alcaine Editor: Pablo Del Amo Music: Nicola Piovani Cast: Penelope Cruz, Stefania Sandrelli,

Antonio Larreta, Francisco Prad.a, Pedro Olea, Arturo Perez Reverie Cinematographer: Alfredo Mayo Editor: Jose Salcedo Music: Jose Nieto Cast: Omero Antonutti, Assumpta Serna, Joaquim de Almeida, Jose Luis Lopez Vazquez Print Source: ESICMA International Sales: Majestic Films International 88 minutes

This splendid period piece, set in Madrid in the nineteenth century, combines the best elements of the swashbuckler and film noir genres to tell the story of an honorable man caught in a labyrinth of betrayal and deceit. It is 1868, and the monarchy of Elizabeth II is beset by revolutionary fervor. Don Jaime Astarloa is the best fencing master in Madrid, a man of dignity and principles. Into his life walks the gorgeous Adela (Assumpta Serna), who, for mysterious reasons, becomes his pupil. Drawn to theyoungwoman, Astarloa feels desires awakening in himself that he thought long dead. As the relationship between the two grows, the fencing master is drawn into an elaborate web of treachery, surrounded by violence and destruction. Sumptu ously photographed, with a literate script and remarkable perfor mances by Omero Antonutti [El Sur el Durado) as the distin guished swordsman, and the wonderful Assumpta Serna [Matador,The Secret Garden) as the woman of mystery, The Fencing Master is a spellbinding, masterful work.

British airways 68

Saturday, May 29 ■ Neptune, 6:30pm Thursday, June 3 ■ Egyptian, 9:30pm

Anna Galiena, Javier Bardem Print Source: Academy Entertainment 93 minutes

Director Bijas Luna’s witty Jamon, Jamon zigzags through the lively and outrageous couplings in the small Spanish village of Zaragoza. The characters include Jose Luis, the son of bour geois parents— the over protective mother, Conchita, and bored father, Manuel— who own an underwear import business; the lovely Silvia and her mother Carmen, who runs the local whorehouse; and aspiring bullfighter, Raul, who works in a ham factory. The story begins when Jose Luis gets Silvia pregnant. His mother, loath to be connected to such an unsavory family as Silvia’s, hires Raul to break upthe romance. But the unexpected death of Pablito, a little piglet, precipitates a series of events that in turn weave a tangled web of romance between the unlikeliest of partners. Scene after scene rings with intelligence, wry humor and symbolism as the deeply twisted story of Jamon, Jamon builds to its inevitable dramatic climax. Selected Filmography: Tatuaje (1976), Lola (1985), The Ages

o f Lulu (1990)

S p a in • S w e d e n

Saturday, May 29 ■ Egyptian, 6:30pm Monday, May 31 ■ Neptune, 6:30pm

THE RED SQUIRREL

HOUSE OF ANGELS

(La Ardilla Roja) Spain, 1993 US Premiere

(Anglagard) Sweden, 1992

Director: Julio Medem Producer: Fernando de Garcillan Screenwriter: Julio Medem Cinematographer: Gonzalo Berridi Editor: Elena Saiz de Rozas Music: Alberto Iglesias Cast: Nancho

Director: Colin Nutley Producer: Lars Jonsson Screenwriter: Colin Nutley Cinematographer: Jens Fischer Editor: Perry Schaffer Music: Bjorn Isfalt Cast: Helena Bergstrom,

Richard Wolff, Sven Wollter, Reine Brynolfsson Print Source: Sony Pictures Classics 126 minutes

Novo, Emma Suarez, Marla Barranco, Carmelo Gomez. Print Source: SOGETEL Julio Medem, whose Vacasw asthesleeperhitofSIFF1992, has emerged as one of the brightest in a new wave of directors on the Spanish film scene. The Red Squirrel, which he has described as “a comedy with undertones of horror,” breaks new ground in its singular imagination and vision. Standing on a cliff overlooking a San Sebastian beach, Jota (Nancho Novo) is despairing and suicidal. He is interrupted in his attempt to end his life by the crash of a motorcyle, flinging its hapless rider onto the sand below. The rider (Emma Saurez) loses her memory, and in a moment of prurient inspiration Jota passes himself off as her boyfriend. From this encounter a tale of love, deception and cinematic magic begins its trajectory. In Medem’s celluloid universe, objects and animals are always looking at people; nature itself becomes a character, and chance and mystery are the only laws that hold true. Medem’s startlingly original vision .is brilliantly complemented by veteran Basque cinematographer Gonzalo Berridi’s evocative camera craft. Droll and enigmatic, The Red Squirrel is always assured and vibrates with a poetic resonance that is testament to the transcendence of this young and gifted director.

Sexy, leather-clad Fanny (the striking Helena Bergstrom) cre ates quite a stir when she rides into a backwoods Swedish village. She’s there to attend her grandfather’s funeral and claim his estate in the process. The idea doesn’t go overtoo well with the neighbors, who had hoped to pick up the property themselves. Her cross-dressing partner in performance art doesn’t make a good impression either. But the locals’ initial suspicion and hostility toward Fanny start to fade as her charm and force of personality gradually win them over. They learn there’s more to herthan meets the eye. This captivating comedy takes a warmly human approach, with a reminderthat strangers need not be enemies, and may even become friends. Made by a British director living in Scandinavia, House o f Angels has been a major hit in Sweden. Award: Academy Award submission, Best Foreign Language

Film. Selected Filmography: Blackjack (1990)

Selected Filmography: Vacas (1992)

British A irways

Contemporary World Cinema

Thursday, May 20 ■ Egyptian, 7:15pm Monday, May 24 ■ Neptune, 9:30pm

Contemporary World Cinema

S w it z e r la n d • T a i w a n

Tuesday, May 18 ■ Harvard Exit, 9:30pm Thursday, May 20 ■ Harvard Exit, 5:00pm

Saturday, May 15 ■ Egyptian, 9:15pm Tuesday, May 18 ■ Neptune, 7:15pm

OFF SEASON

THE WEDDING BANQUET

(Hors Saison) Switzerland/Germany/France, 1992

Taiwan/USA, 1992

Director: Daniel Schmid Producer: Marcel Hoehn Screenwriters: Daniel Schmid, Martin Suter Cinematographer: Renato Berta Editor: Daniela Roderer Music: Peer Raben Cast: Sami Frey, Carlos Devesa, Maddalena Fellini,

Geraldine Chaplin, Andrea Ferreol, Ingrid Caven, Arielle Dombasle, Marisa Paredes Print Source/internationai Sales: T & C Edition AG 95 minutes In this lively, fanciful film that boasts a strong Felliniesque touch, director Daniel Schmid takes a nostalgic look at his own boyhood growing up in a Swiss hotel owned by his grandparents. Sami Frey plays Schmid’s alter ego on a visit to the huge hotel soon before it is slated to be torn down. As he wanders the empty ballrooms and corridors, he recalls the incredible, larger-than-life people he knew there as a boy. The central figure is his grandmother (played with boisterous charm by Maddelena Fellini, Federico’s sister). She beguiles him with improbable tales like the one about the anarchist (Geraldine Chaplin) who mistakenly assassinated a French businessman in the hotel lobby, or the time a capricious Sarah Bernhardt (a show-stopping Marisa Paredes) seduced his grandfather. There’s also the magician who hypnotized guests into thinking they were crossing the Sahara and the beautiful woman (Arielle Dombasle) who be witched the boy by slipping into the men’s rooms wearing an enigmatic smile. Schmid tempers the comic tone of these affectionate vignettes by stressing the distortions as well as the pleasures of memory. The cinematography and art direction skillfully underline the poignancy of lost boyhood, contrasting the now-abandoned hotel with the merry, colorful atmosphere of its gloried past. Selected Filmography: La Paloma (1974), Shadow o f Angels

(1976), Violanta (1977), Tosca’s Kiss (1984)

BRITISH AIRWAYS

Director: Ang Lee Producers: Ted Flope, James Schamus, Ang Lee, Jiang Feng-Chyi Screenwriters: Ang Lee, Neil Feng, James Schamus Cinematographer: Jong Lin Editor: Tim Squyres Music: Mader Cast: Winston Chao, May Chin, Mitchell Lichtenstein, Ah-Leh Gua, Sihung Lung Print Source: Samuel Goldwyn Company 104 minutes

Co-winner of the Berlin Film Festival’s Golden Bear award, The Wedding Banquet has been described by some as the Strictly Ballroom of 1993. Wai-Tung Gao seems to have it all: financial security from shrewd real estate investments, American citizen ship, a beautiful brownstone in Manhattan, an American boy friend, Simon, who cooks great Chinese food, and a continent and large body of water between him and his parents. But somehow the distance isn’t great enough; they still expect him to marry and continue the family name (even through computer dating clubs if necessary). Simon proposes a simple solution: marry Wei-Wei, an impoverished tenant in one of Wai-Tung’s buildings who is desperate for a green card. Mutual convenience catapults the idea into reality, but the plans go awry with the arrival of Mom and Dad. A registry wedding rapidly turns into a full-blown traditional Chinese banquet with all the trimmings. The couple submit to tradition to such an extent that Wei-Wei ends up pregnant. Although the film is not a political allegory, its background does represent a farcical reunification of Taiwan and China. In a cameo appearance at the wedding banquet, director Ang Lee summizes the film ’s motivation with the line, “You’re witnessing the results of 5,000 years of sexual repres sion.” Selected Filmography: Pushing Hands (1991)

USA

THE ABYSS— SPECIAL EDITION USA, 1989/1993

Sunday, May 30 ■ Egyptian, 6:30pm W ednesday, June 2 ■ Neptune, 9:30pm

ACTING ON IMPULSE USA, 1993 World Prem iere

Director: James Cameron Producer: Gale Anne Hurd Screenwriter: James Cameron Cinematographer: Mikael Salomon Editor: Joel Goodman Music: Alan Silvestri Cast: Ed Harris, Mary Elizabeth Mastrantonlo, Michael Blehn, Todd Graff Special Edition Producer: Van Ling Special Edition Editor: Steven Quale Additional Music: Robert Garrett Print Source: Twentieth Century Fox 171 minutes

More than half an hour of footage has been restored for this special edition of James Cameron’s The Abyss in preparation for its release on laser disc. But don’t miss a rare opportunity to see the version Cameron always intended, where it really belongs: on a big screen like the Egyptian’s. The story of this spectacular undersea adventure remains the same: Ed Harris and his estranged wife, Mary Elizabeth Mastrantonio, lead a crew of salvage divers on a treacherous mission to rescue a downed nuclear sub. A hurricane is imminent, and they must also contend with a ruthless squad of Navy Seals— led by the crazed Michael Biehn— operating under their own secret orders. The nail-biting climax has Harris descending alone into a bottomless abyss, sustained only by his wife’s voice over a radio transmitter, in a heroic attempt to defuse the weapons on board. Though the previously unseen footage is spread generously throughout this new version, the most significant additions come in the final reels and make for a considerably richer and more satisfying conclusion. With its thrilling action sequences, imaginative effects and involving love story, The Abyss is looking more like a classic all the time. Award: Oscar, Best Visual Effects. Selected Filmography: The Terminator (1984), Aliens (1986),

Terminator 2: Judgment Day (1991)

Director: Sam Irvin Producer: David Peters Screenwriters: Mark Pittman, Alan Moskowitz Cinematographer: Dean Lent Editors: James Mitchell, Neil Grieve Music: Dan Licht Cast: Linda Fiorentino, C. Thomas Howell, Nancy Allen, Paul Bartel, Adam Ant, Isaac Hayes Print Source/lnternational Sales: Spectator Films 92 minutes

Black comedy meets whodunit in this delirious new chiller from Sam Irvin {Guilty As Charged), who has assembled a dynamite cast including Linda Fiorentino (After Hours, The Moderns), C. Thomas Howell ( The Outsiders, Soul Man) and Nancy Allen (Carrie, Robocop I, II, and III) to tell the story of a gorgeous Hollywood scream queen who may or may not be a vicious murderess between turns in front of the camera. Susan Gittes (Fiorentino) may scream her lines well, but she’s nobody’s fool. When the day’s shooting on her latest cheesy thriller becomes too much to bear, Susan stalks off the set and into her trailer, where an even bigger headache awaits: her agent/boyfriend, Eric (Adam Ant) and sleazeball producer, Yoram Sussmen (Patrick Bauchau), who are attempting to blackmail her into doing a sequel to her first big success, Roses Are Dead. In a rage, Susan fires her boyfriend, gets into a violent fight with Sussman and flees LA to take refuge in a resort outside of town. There she meets two salespeople who are attending a conven tion (Howell and Allen) and the three become fast friends. Meanwhile, back on the set, Sussman turns up dead in the star’s trailer leading police to suspect that Susan is the killer. But while the police search for Susan, somebody else is also stalking her... Selected Filmography: Double Negative

Contemporary World Cinema

Monday, May 31 ■ Egyptian, 3:30pm

Contemporary World Cinema

USA

Sunday, May 30 ■ Broadway Market, 9:15pm W ednesday, June 2 ■ Broadway Market, 9:30pm

AN AMBUSH OF GHOSTS

AMONGST FRIENDS

USA, 1993

Director: Everett Lewis Producers: Robert Schulevitz, Lauren Graybow Screenwriter: Quinton Peeples Cinematographer: Judy Irola Editor: Claudia Hoover Music: Klive and Nigel Humberstone Cast: Stephen Dorff,

Director: Rob Weiss Producer: Matt Blumberg Screenwriter: Rob Weiss Cinematographer: Michael Bonvillain Editor: Leo Trombetta Music: Mick Jones Cast:

Genevieve Bujold, Bruce Davison, Reilly Murphy, Alan Boyce, Anne Heche, Jameson Rodgers Print Source: Stress Fiesta Films 99 minutes In this, only his second feature, Everett Lewis takes us on a wonderfully accomplished and delirious roller coaster ride into the hallucinatory mind of a teenager and his dysfunctional family. George Betts (Stephen Dorff) and his parents are haunted by the death of George’s brother 10 years ago. Stylized flash backs show how the family’s existence was shattered by the tragic accident, an event to which they are still unable to reconcile themselves. Christian, one of the dead child’s class mates, suddenly appears on the scene, on the run from a murderous fight. George tries to intervene, but his increasing attraction to Christian’s alluring girlfriend and his own mental instability complicate matters considerably. Though its plot is simple, An Ambush o f Ghosts is a highly structured sensory experience, dark, brooding and deeply affecting. Questions of responsibility for death loom large, as each character attempts to cope with life and its consequences. Consumed by guilt over his role in his brother’s death, George experiences a blurring of the line between reality and fantasy as he struggles for normalcy. Stephen Dorff {The Power o f One) delivers a compelling perfor mance as George. Disorienting camera work and a beautifully ethereal musical score develop a dreamlike world of inner demons. Unusually distinctive, An Ambush o f Ghosts is a film that resonates with emotion. Selected Filmography: The Natural History of Parking Lots

(1991)

Thursday, May 20 ■ Neptune, 7:15pm Saturday, May 22 ■ Broadway Market, 3:30pm

Steve Parlavecchio, Pat McGaw, Joe Lindsey, Mira Sorvino Print Source: Fine Line Films 86 minutes The brash young hustlers of Amongst Friends are tough guys with a difference: they’re not from the city’s mean streets but from the well-off suburbs of Long Island. They grew up with all the advantages, but threw them away and drifted into boredom, drugs, petty crime and tragedy. Andy, Billy and Trevor have been best friends since childhood, but Trevor is the only one sent to jail for a busted drug deal that involved them all. Three years later he returns to find Billy a slick, callous operator with big ideas and Trevor’s old girlfriend, and Andy his now uncomfort able flunky. Before leaving town for good, Trevor can’t resist the chance to get revenge and some cash, as well as to take back the girl. This energetic, gritty debut by 26-year old writer/director Rob Weiss is crammed with action, wise-guy dialogue and a great pop music score. Financing for the film materialized when W eiss’s father sent a letter to clients in his business as a tour operator for gamblers. It read, roughly, “Hey, if you’re going to bet on ball games your entire life, if you’re goingto bet on horses, do something good with your money for a change. Bet it on the kid.” They did, and it paid off.

USA

Saturday, May 22 ■ Harvard Exit, 9:15pm

BARAKA

BOUND BY HONOR

USA, 1992

Director: Ron Fricke Producer: Mark Magidson Screenwriter/ Cinematographer/Editor: Ron Fricke Music: Michael Stearns Print Source: Samuel Goldwyn Company 96 minutes

Director/Taylor Hackford Producers: Taylor Hackford, Jerry Gershwin Screenwriters: Jimmy Santiago Baca, Jeremy lacone, Floyd Mutrux Cinematographer: Gabriel Beristain Editors: Fredric Steinkamp, Karl F. Steinkamp Music: Bill Conti Cast: Damian Chapa, Jesse Borrego, Benjamin Bratt, Enrique Castillo, Victor Rivers, Delroy Undo, Tom Towles Print Source/lnternational Sales: Buena Vista Pictures

Being part of the presentation of this amazing, epic visual feat will be an incomparable moviegoing experience. Director/ cinematographer Ron Fricke, who gained international acclaim for his camerawork on Godfrey Reggio’s Koyaanisqatsi (SIFF ’84) and his direction of the IMAXfilm Chronos, spent five years and traveled to 24 countries to capture the indelible images that appear in this celebration of the interconnectedness of nature and humanity. With large-format 70 mm cameras that hadn’t been used since the filming of Ryan’s Daughter, Fricke made three complete journeys around the world to locations such as Mount Everest, Angkor Wat, Tiananmen Square, the Brazilian rain forest, the Pyramids of Giza, the burning oil fields of Kuwait and Ecuador’s Galapagos Islands. It was a cinematographic quest to explore the meaning of the Sufi word baraka, which roughly translates as “the essence of life fronfj which the evolutionary process unfolds.” Simply put, it means the breafll of life. This 70 mm spectacular with its aural landscapes of indigenous sounds and world beat rhythms provides a transcen dent experience that is best described as a total mindblower. Selected Filmography: Chronos (1987)

180 minutes

Academy Award winner Taylor Hackford returns to the screen with this modern epic about th e live s of three Chicano men |fi East Los Angeles. The story spans 12 years and covers the diverse and unexpected turns in their individual quests for survival and power^ Half-brothers Paco Aquilar and Cruz Candelaria, together with their cousin Miklo Velka, have grown up sharing dreams and rivalries. Paco is a proud barrio warrior with a volatile temper; Cruz is a gifted artist who paints ¡(gages of his culture and its roots; Miklo,fiialf Chicano and half Anglo, never quite fits in, his blue eyes and white skin keeping him forever an outsider. A life-shattering episode is about to take place, born in the heat of wie moment and ricocheting through each of their lives, taking them down roads none of them could ever have imagined. Hackford has a long personal and profes sional Involvement with Latino culture; in addition to his experi ence as a Peace Corps volunteer in South America, he developed and produced the 1987 international hifcLa Bamba, which had its world premiere at the 12th SIFF. Bound by Honor combines this personal involvement with epic filmmaking at its most powerful to create a visceral, magnificent movie with great relevance to our time.

Contemporary World Cinema

Sunday, May 16 ■ Egyptian, 9:15pm Friday, May 21 ■ Egyptian, 5:00pm

Selected Filmography: The ldolm aker(1980), An Officer and a

A DELIA WéLoueTòFìyAndbShows:

Gentleman (1982), Against All Odds (1983), White Nights (1985),

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USA

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Contemporary World Cinema

Tuesday, May 25 ■ Neptune, 7:15pm Sunday, May 30 ■ Neptune, 3:30pm

LA CARPA USA, 1992 Director: Carlos Avila Producers: Micael Zapanta, Carlos Avila Screenwriters: Carlos Avila, Edit Villarreal Cinematographer: Costas Kitsos Editor: Gina Mitteman Music: Germain Franco Cast: Jaime Gomez, Bryan Travis Smith,

John Verea, Enrique Castillo Print Source: Echo Park Filmworks 58 minutes

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Friday, May 28 ■ Neptune, 9:30pm Monday, May 31 ■ Egyptian, 9:15pm

CHAIN OF DESIRE USA, 1992 Director: Temistocles Lopez Producer: Brian Cox Screenwriter: Temistocles Lopez Cinematographer: Nancy Schreiber Editor: Suzanne Fenn Music: Nathan Birnbaum Cast: Malcolm McDowell, Linda Fiorentino, Elias Koteas,

Seymour Cassell, Assumpta Serna, Patrick Bauchau Print Source: Distant Horizon Corporation 107 minutes

Ca/paswerethetraveli-ngtenttheatersthattoured the American Southwest in the first half of this century, bringing vaudeville songs, poetry and social satire to Mexican and Chicano laborers and their families. Set in 1938 in the rural California town of Florencia, La Carpa follows the destiny of young migrant worker Ramiro Casares (Jaime Gomez). After witnessing the shooting of his best friend by th e lo ca l deputy (Bryan Travis Smith), Ramiro finds the Mexican-American mayor and others unwilling to disrupt the status quo of the small town by revealing the incident. He finds refuge in the traveling sideshow La Carpa Castillo and tells his terrible secret to the carperos. His story finds voice in a quickly improvised satirical skit, a means to Ramiro’s ultfmate empowerment. Carlos Avila has crafted a compassionate and moving tribute to the tradition of the carpa with its pelado character-a sort of Mexican/Chicano everyman similar to Charlie Chaplin’s tramp-and its sem inallrole in defiBng the Chicano experience. Avila’s tale of racism and mistrust is enlivened by an earthy, colorful and genuine feel for small town life in the 1930s. La Carpa will be shown with Distant Water (1991), Avila’s prize -winning short film about a young Mexican-American boy growing up in Los Angeles during the 1940s, withnits segregated swimming pools, World War II anxieties and pachuco riots.

Original and intensely provocative, Chain of Desire is a witty, erotically charged chronicle of interconnected lives in the sexual hell of contemporary society.The film moves randomly across the New York skyline, from one romantic liaison to another, beginning with nightclub chanteuse Alma D’Ange| (Linda Fiorentino). Having just broken up with the man in her life, she visits a small church in search of solace. There she meets a seductive building restorer (Elias Koteas) and the two begin a torrid affair. Meanwhile, Koteas’s wife has her hands full fending off the unwanted attentions of her wealthy, depraved employer, Jerold (Patrick Bauchau). Jerold’s current paramour, in turn J s cheating on her husband by indulging in a newfound taste for young street hustlers.That’s just the tip of the iceberg as these and other vaguely connected couplings multiply. Every im aginable combination of sexual politicking is explored-straight, bisexual, gay and everything in between. With a cumulative emotional powerfChain of Desire raises complex and deeply compelling questions about interpersonal relationships in our paradoxical age of sexual caution. Selected Filmography: Hollywood S ong{1970), Nights o f the

Round Table (1980), Exquisite Corpses (1989)

USA

CHANGING OUR MINDS: THE STORY OF DR. EVELYN HOOKER USA, 1992 Director: Richard Kurt Schmiechen Producers: David Hougland, Richard Kurt Schmiechen Screenwriters: Richard Kurt Schmiechen, James Harrison Cinematographer: Joan Churchill, William Megalos, Cathy Zheutlin Editors: Richard Kurt Schmiechen, David Haugland Music: Absolute Music Print Source/lnternational Sales: Intrepid Productions 75 minutes

A thoroughly engaging documentary, Changing Our Minds tells the story of Dr. Evelyn Hooker, whose trailblazing research eventually lead to the deletion of homosexuality from the American Psychiatric Association’s list of mental illnesses. Still feisty at age 85, Dr. Hooker tells her own fascinating story beginning with her awkward teenage years in the Midwest. She studied in pre-war Germany, eventually moving to Southern California, where she became friends with many gays in Holly wood. On the urging of one of her students she undertook extensive studies of homosexuals and was shocked at the medical profession’s attitudes toward them. For decades gays underwent various torture techniques in attempts to cure them. Shocking archival footage, some dating back to the 1930s, shows the primitive methods and unconscionable behavior on the part of doctors. Dr. Hooker confirmed that homosexuality was not an illness and that psychological experts could not distinguish between straight and gay psychological profiles. In both newfootageandold home-movie clips, Dr. Hooker provides many valuable insights and reminiscences that help fplout the picture of her truly heroic character. Changing Our Minds uncovers a heartwarming and little-known chapter in gay and lesbian history.

Contemporary WorlcI Cinema

Friday, May 14 ■ Harvard Exit,5:00pm W ednesday, May 19 ■ Neptune ,7:15pm

Sunday, May 23 ■ Neptune, 7:00pm Tuesday, May 25 ■ Neptune, 5:00pm

CHILDREN OF FATE USA, 1993 Directors: Andrew Young, Susan Todd (1991); Robert M. Young,

Michael Roemer (1961) Executive Producer: Robert M. Young Producer: Adam FriedsonCinematographers:Andrew Young(1991), Robert M. Young (1961) Editors: Andrew Young, Susan Todd (1991); Robert M. Young, Michael Roemer (1961) Print Source: First Run Features 85 minutes Both heartbreaking and inspiring, this incredibly powerful docu mentary tells the story of a poverty-stricken Sipilian family and their courageous mother, Angela. As did Michael Apted’s 35 Up, Children of Fate explores the same sets of fives after an interval of many years— 3 0 ,% this case— and the remarkable revela tions that grow out of the gap. Irf 1961, two young American filmmakers, Robert Young ( Ballad of Gregorio Cortez) and Michael Roemer (Plot Against Harry), were sent by NBC-TV to the slums of Cortile Cascino in Palermo, to document the chronic poverty existing in pockets of the “developed” world. The film they created was so powerful that NBC declined to show it, Though'Cortile Cascino was torn down for urban renewal in the 1960s, Robert Young went back to Sicily in 1988 with his son and daughter-in-law (Andrew Young and Susan Todd, also filmmakers), to find Angela and her family. The three filmmakers were so struck by what had happened over the past 30 years, that they decided to continue the story. Angela remains at the heart of the resulting intergenerational film, which combines footage from 1961 and 1991. Clearly a w om agof enormous courage and determination, she struggles through the years against an abusive Tiusband and a legacy of poverty, violence and crime to feed, clothe and bring joy to her family in the midst of the bleakness around her. Award: Jury Prize,

n m ra w

Sundance Film Festival.

Contemporary World Cinema

DAZED AND CONFUSED USA, 1993 World Premiere Director: Richard Linklater Producers: Jim Jacks, Sean Daniel, Richard Linklater Screenwriter: Richard Linklater Cinematographer: Lee Daniel Editor: Sandra Adair Music: Various artists Cast: Jason London,

Joey Lauren Adams, Milla Jovovich, Shawn Andrews Print Source/lnternational Sales Agent: Gramercy Pictures

FAMILY PRAYERS USA, 1993 Director: Scott Rosenfelt Producers: Mark Levinson, Bonnie Sugar Screenwriter: Steven Ginsberg Cinematographer: Jeff Jur Editor: Susan Crutcher Music: Steve Tyrell Cast: Joe Mantegna, Anne Archer,

Paul Reiser, Patti LuPone, Tsvi Ratner-Stauber U.S. Distributor: Arrow Entertainment Print Source: Columbia TriStar Home Video 105 minutes

94 minutes

Set in the mid-70s, when notions of idealism and counterculture were giving way to the self-obsession that would run rampant in the 1980s, Dazed and Confused is director Richard Linklater’s follow-up to his 1990 SIFF hit, Slacker. Nostalgic memories of that drug-fueled era allow Linklater to focus once again on the predicament of Generation X, and he uses the film to return us to a time when sex, drugs and rockc|n^roll were overriding preoccupations. As inventive in technique as one would expect, it tells the story of a group of young friends nearing the end of their high school days and staring the future in the face with bloodshot eyes. This long, strange and quite literallrip is a day in the lives of some 20 teenagers on the threshold of a different reality . Selected Filmography: Slacker (1990)

Set in Los Angeles in the turbulent 1960s, Family Prayers is a poignant ensemble story about growing up in a family that is breaking down. Newcomer Tsvi Ratner-Stauber stars as Andrew Jacobs, an adolescent who has grown up listening to his parents’ (Joe Mantegna and Anne Archer) secret life of love and anger. The Jacobses’ marriage is a two-headed beast— full of passion when Andrew’s hardworking and even harder gambling dad is winning, full of fury when he is not. At 13 (the year Jewish tradition says he should become a man), Andrew is about to discoverthat being an adult is not about making things right, but about loving people even when everything is going wrong. Andrew’s bar mitzvah approaches amid family friction and fear caused by his father’s mounting debts, the worry of a goodhearted mother forced into hiding cash in the freezer to protect i e r children’s future and a troubled young sister he feels compelled to protect. In combination with the symbolic rite, the very real circumstances of Andrew’s life bring him to the literal crossroads of adulthood. From the counterculture tutor (P aul Reiser) who teaches him about commitment, to the wealthy aunt (Patti LuPone) who reveals the true dangers of his dad’s ways, to the young charmer (Shiri Appleby) who shows him the potency of passion, Andrew receives a lifetime of lessons in a few tumultuous weeks.

A DELIA

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USA

FLY BY NIGHT USA, 1992 Director: Steve Gomer Producer: Calvin Skaggs Screenwriter: Todd Graff Cinematographer: Larry Banks Editor: Norman Gay Music: Sidney Mills Cast: Jeffrey Sams, Ron Brice, MC Lyte, Leo Burmester, Daryl “Chill” Mitchell, Todd Graff Print Source: Columbia TriStar Home Video 100 minutes

Red-hot rap performances and an abundance of fresh talent help make Fly by Night a sizzling foray into the New York hip hopscene. The film concentrates on Rich (Jeffrey Sams), a talented young college dropout with a wife, a four-year-old son and a dream to make a name for himself as a rap star. Teaming up with his cousin Kool and a cynical, undeniably powerful rap artist named I, Rich forms a group called The King and I, and before long their blend of def, cynical lyrics and hip-hop scratch rhythms gains the group a following and a reputation. Rich is increasingly at odds with his sharp-tongued wife, Akusa (MC Lyte), who sees his musical pursuits as an immature diversion from his role as a father and provider, and she finally throws him out in frustration. As the group’s popularity increases and a recording contract beckons, friction emerges between the two rappers, with I becoming increasingly ambivalent about the lure of success. Ultimately Rich is forced to confront the conflicts he has been avoiding; the results are unexpected but tragically Inevitable. Fly by Night is a telling portrait of the anger, frustra tions and contrasting creative energy that fuel the inner city rap scene, with the power of the rap music and rhyming lyrics providing real revelations.

Saturday, May 29 ■ Neptune, 9:15pm Friday, June 4 ■ Egyptian, 12:00am

FORTRESS USA/France, 1992 US Premiere Director: Stuart Gordon Producers: John Davis, John Flock Screenwriters: Troy Neighbors, Stephen Feinberg Cinematographer: David Eggby Editor: Timothy Wellburn Music: Frederic Talgorn Cast: Christopher Lambert,

Kurtwod Smith, Loryn Locklin Print Source: Miramax Rims Inc. 92 minutes

In the year 2013 acid rain bathes cities in toxic chemicals, nuclear accidents have made the landscpes a lethal wilderness and humans are all but expendable, replaced by sinister robots. Such is the backdrop of this action-packed, high-concept adven ture thriller. Director Stuart Gordon ( Re-Animator) has taken all his skill at making vibrant, complex characters who inhabit the fringe, and fo cu se d lt on a new realm of futifififfic, high-tech action drama. Taking another turn in the role of action hero is the multi-talented Christopher Lambert ( Greystoke, The Sicilian, Highlander), who plays the role of John Brenffck. Struggling in the inhuman world of the future, Brennick works on a nuclear cleanup crew to support his wife. Charged with thejmurder of a robot, he is sent to the most sophisticated maximum-security prison ever built, the Fortress, which is enclosedfiot by bars but by a net of deadly lasers. Brennick continually clashes with the sadistic warden, Poe, and the terrifying seven-foot warrior robot Zed-10, driven o S y by the thought of escape and return to his now pregnant wife. With sensational special effects and enough action to keep Arnold diehards happy, Fortress is destined for blockbuster status.

Contemporary World Cinema

Friday, May 28 ■ Broadway Market, 9:30pm Monday, May 31 ■ Broadway Market, 3:30pm

Selected Filmography: Re-Animator{1985), From Beyond(1986),

Dolls (1987), Daughter of Darkness (1990), Robot Jox (1990), The Pit and the Pendulum (1991)

USA

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Contemporary World Cinema

/ Thursday, May 27 ■ Neptune, 7:15pm Sunday, May 30 ■ Egyptian, 3:30pm

Friday, May 28 ■ Neptune, 5:00pm

THE HARVEST

HERESAY!

USA, 1993

USA, 1993 World Premiere

Director: David Marconi Producer: Jason Clark Screenwriter: David Marconi Cinematographer: Emmanuel Lubezki Editor: Hubert de la Bouillerie Music: Dave Allen, Rick Boston Cast: Miguel Ferrer, Leilani Sarelle Ferrer, Henry Silva,

Harvey Fierstein, Anthony John Denison, Matt Clark Print Source: RCA/Columbia TriStar Home Video 97 minutes

The Harvest ija rks the auspicious directoral/screenwriting debut of David Marconi, a gifted new American independent talent. The story centers on Charlie Pope, a sometime Holly wood screenwriter who is going through a creative crisis. Hung up on the umpteenth draft of his current work-in-progress,. Charlie jumps at the chance to take a short-term research trip to an exotic Mexican resort town. Soon after arriving, he is caught in the undercurrent of mystery and corruption that surrounds a murder he is investigating. When a beautiful,^ enigmatic woman enters the picture, the air of mystery and danger rapidly intensifies. Charlie finds himself the unwitting victim of a labyrinthine conspiracy involving local law enforce ment agents and a ring of human-organ harvesters. Dazzling visuals, an intricate plot structure and exceptional perfor mances combine to makeThe Harvest an uncommonly striking first effort.

Director/Producer/Screenwriter/Cinematographer: Will Berlinger Editors: Will Berlinger, Brad Jacques,

Richard Fetterman, Cabot Philbrick Print Source/lnternational Sales: Willpower Productions 89 minutes

"Heresay!" is a provocative, detailed documentary and examina tion of the US nuclear energy industry with a bent toward propaganda and power politics. Afterthe near-meltdown at Three Mile Island the American public had the first indication that nuclear power was not as safe and trouble free as they had been led to believe. The horrendous accident at Chernobyl was further evidence of the catastrophic effects of a power plant accident. Starting with an extensive look at the response to the Three Mile Island incident, the film shows how the nuclear energy industry in America has consistently subverted the democratic process to force power plants on people who have used every organized, legal method to oppose them. Using interviews and historical footage, Heresay! gives a glimpse at all sides of the nuclear issue including the alternative energy sources which often seem to be overlooked by the powers that be. The focus of the film is an issue that will be with us for as long as the radioactive waste produced by nuclear plants. Clearly on the side of the environ mental warriors, Heresay! makes a powerful statement about disasters waiting waiting to happen.

USA

Friday, May 21 ■ Neptune, 7:15pm Monday, May 24 ■ Harvard Exit, 5:00pm

HOUSE OF CARDS USA, 1992 Director: Michael Lessac Producers: Dale Pollock, Lianne Halfon Screenwriter; Michael Lessac Cinematographer: Victor Hammer Editor: Walter Murch Music: James Horner Cast: Kathleen Turner,

Tommy Lee Jones, Asha Menina, Shiloh Strong, Esther Rolle Print Source: Miramax Films Inc. 100 minutes Kathleen Turner stars in this moving story of a mother who struggles to come to grips with her daughter’s recent affliction with autism, and her efforts to find a cure anyway she can. Ruth Mathews (Turner) has recently confronted a major tragedy: her husband was killed in a fall during an archaeological expedition to Mexico. Returning to the United States with her son and daughter, Ruth is still recovering from the shock of his death, but finds it increasingly hard to ignore the erratic behavior of her sixyear-old daughter, Sally. The child has essentially become mute, but at times she howls like a banshee. She spends hours obsessively constructing an elaborate house of cards and takes to scaling trees and sitting perched precariously on the roof of the house. Ruth is finally forced to consult a renowned child psychiatrist (Tommy Lee Jones), who introduces her to the remarkable world of autism, a world in which children are cut off from the normal processes of growing up. At first denying her daughter’s connections to this menacing world, Ruth slowly comes to accept her condition. These are the first faltering steps in her eventually all-consuming battle to bring her child back from a life fast tumbling into the twilight zone of autism.

LAST CALL AT MAUD’S USA, 1993 Director: Paris Poirier Producers: Karen Kiss, Paris Poirier Cinematographer: Cheryl Rosenthal Editor: Elaine Trotter Music: Tim Horrigan Print Source: Maud’s Project 74 minutes

Maud’s, the longest-surviving lesbian bar in America, opened in San Francisco in 1966 (when it was illegal for women to tend bar in California) and closed 23 years later. Filmmaker Paris Poirier was there at last call to capture the bittersweet occasion. Included are interviews with owner Rikki Streicher and a wide range of loyal activists such as Sally Gearhart and Pat Norman, Phyllis Lyon and Del Martin (who founded the Daughters of Bilitis in 1955), authors Judy Grahn, Mary Wings and JoAnn Loulan, and both a former and a current San Francisco police commis sioner. Their recollections are enriched by an impressive array of photos, memorabilia and home movies of parties and the bar’s softball team. The film also reveals a fascinating social history of lesbianism in California, from early days in exotic “mixed” homosexual bars of WWII through the secretive 1950s, when police raids were frequent and same-sex dance partners would switch to mixed-sex partners at a moment’s notice. The film also recounts the growth of lesbianism during the countercultural 1960s and 1970s, reaction to the murder of Harvey Milk and the personal and political challenges faced by lesbians today. “ Lively and loving.. .and you don’t have to be a local to be warmed by its spirit.”— Jay Carr, Boston Globe

AD EU A

MéLoue'EFlyAndltShows: 79

Contemporary World Cinema

USA

Sunday, May 23 ■ Broadway Market, 6:30pm Thursday, May 27 ■ Broadway Market, 5:00pm

Saturday, May 15 ■ Harvard Exit, 9:15pm Monday, May 17 ■ Egyptian, 9:30pm

ME AND VERONICA

THE MUSIC OF CHANCE

USA, 1992

USA, 1993

World Prem iere Director: Don Scardino Producer: Leslie Urdang, Nellie Nuglel Screenwriters: Max Mayer, Mark-Linn Baker, Leslie Lyles Cinematographer: Michael Barrow Editor: Jeffrey Wolf Music: David Mansfield Cast: Elizabeth McGovern, Patricia Wettig,

Director: Phillip Haas Producers: Frederick Zollo, Dylan Sellers Screenwriters: Phillip Haas, Belinda Haas Cinematographer: Bernard Zitzermann Editor: Belinda Haas Music: Phillip Johnston Cast: James Spader, Mandy Patinkin,

M. Emmet Walsh, Charles Durning, Joel Grey Print Source: IRS Media Releasing 100 minutes

Michael O’Keefe, John Heard Print Source: Arrow Entertainment 95 minutes

Elizabeth McGovern and Patricia Wettig give incandescent performances as two estranged and very different sisters who each find a bittersweet redemption in this moving, human drama by director Don Scardino. McGovern stars as Fanny, a sensitive, lonely woman whose life passes with numbing regu larity at her cabin on the Jersey shore, until the day Veronica (Wettig) shows up on her doorstep. It has been five years since Fanny last saw or spoke to her sister, five years since their fight over Jim, Fanny’s husband and Veronica’s lover. The intervening years have wrought many changes i i both women’s lives. Veronica announces that she now is a single mother and has been sentenced to prison on Rikers Island forwelfare fraud. She has stopped off at Fanny’s house before reporting to prison, in hopes of reconciling. As a child, Fanny grew up worshiping her worldly older sister, but since the breakup of her marriage she hasliarbored decidedly mixed feelings. Over the course of the weekend, the two sisters arrive at a reconciliation of sorts: they get drunk, argue,maugh and play like the little girls they once were, and Fanny finds herself drawn in by Veronica’s sense of wild abandon just as she was then. But beneath the surface, Fanny senses that Veronica’s emotional problems may be more serious than she had believed.

Based omthe novel of the same name by Paul Auster, The Music o f Chance combines a first-rate cast with a darkly drawn tale of power, manipulation and self-delusion. Jim Nashe (Mandy Patinkin) has quit his job as a firefighter and hit the road after inheriting a small bundle of cash and a fat wad of personal problems. He picks up a stranger wandering beaten and bloody by the side of the highway, and his troubles pick up as well. Jack Pozzi (James Spader) is a down-and-out gambler who entices Nashe with the story of a high-stakes poker game coming up between, himself and two country-bumpkin millionaires (Charles Durning and Joel Grey); they don’t know how to play cards and Jack does. All Jack needs is a bankroll, which Nashe just happens to have in his glove compartment. What follows is a quirky, Kafkaesque folly that neither man can anticipate— or escape. Avarice has trapped them in a nightmare only Sisyphus could imagine. Celebrated documentary filmmaker Phillip Haas makes aryauspiqious feature film debut with th is , “Twilight Zone’y ike tale. Spader (acclaimed for his edgy portrayals in sex, lies and videotape and White Palace) gives perhaps the best performance of his career, and the rest of the cast add immea surably to the pleasures of the twisted story. Selected Filmography: Documentaries: World of Gilbert and

George (1981), A Day on the Grand Canal with the Emporer of China (1987), Seni’s Children (1990), Money Man (1992)

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USA

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Saturday, May 29 ■ Broadway Market, 6:30pm Monday, May 31 ■ Neptune, 9:15pm

PASSIIM’ IT ON

QUICK

USA, 1992

USA, 1993 World Premiere

Director: John Valadez Producer: Peter Milier Cinematographer: Mike Harlow, Kevin Feating, Graig Murray Editor: Susanne Rostock Music: David Earle Johnson Print Source: John Valadez 58 minutes

In 1971, Black Panther leader Dhoruba Bin Wahad (aka Richard Moore) was convicted and sentenced forthe shooting of two New York City police officers. In 1990, Dhoruba’s conviction was overturned on the basis of prosecutorial misconduct, and he was released after serving 19 years in prison. Ex-Seattleite John Valadez’s assured directorial debut is as much about the Black Panther Party in New York City as it is about Dhoruba, who remains a committed activist to this day. Documented with archival footage and interviews with Dhoruba, his attorneys, exPanthers, trial jurors and the former deputy police commis sioner, the film presents a vivid and compelling case on the FBI’s infiltration of the Panthers and how Dhoruba was set up in their (successful) attempt to destroy the group. With vivid clarity, this remarkable film puts the spotlight on a much-overlooked piece of recent black history. Showing with Seven Songs For Malcolm X.

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Director: Rick King Producer: David Lancaster Screenwriter: Frederick Bailey Cinematographer: Geza Sinkovis Editor: Stan Salfas Music: Robert Sprayberry Cast: Teri Polo, Jeff Fahey, Martin Donovan, Robert Davi, Tia Carrere Print Source: Academy Entertainment 99 minutes

Midnight Run meets La Femme Nikita in this taut thriller featuring first-rate action sequences, unexpected touches of humor and a trio of engaging performances. Teri Polo ( Mystery Date) stars as Quick, a female hit woman who is as gorgeous as she is deadly. Her boyfriend, a crooked DEA agent, has set up a new assignment for her: to kidnap a mob accountant turned police informant (Martin Donovan) and bring him in forthe Feds. Quick accepts the job without qualms, but in the course of the hijacking, things go badly awry. As it turns out, the accountant is valuable for more than the information he carries about the mob’s financial dealings; he has also ripped off the syndicate boss for three million in cash. Both the mob chief and Quick’s nefarious boyfriend are after the dough, and that’s the only reason the accountant stays alive. Finding herself caught be tween a rock and a hard place, Quick heads for the high desert with the inconvenience of carrying around her human bundle of cash. To complicate matters further, Quick and the accountant find themselves drawn to each other despite their considerable differences. Selected Filmography: Hard Choices (1986), Hotshot (1987),

The Killing Time (1987)

Contemporary World Cinema

Saturday, May 15 ■ Neptune, 3:30pm W ednesday, May 19 ■ Harvard Exit,, 9:30pm

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USA

ROAD SCHOLAR

SEX IS...

USA, 1992

USA, 1993

Director/Producer: Roger Weisberg Co-Director: Jean de Segonzac Cinematographer: Jean de Segonzac Screenwriters: Andrei Codrescu, Roger Weisberg Editor: Alan Miller Music: North Forty Music/Wave Band Sound Cast: Andrei Codrescu Print Source: Samuel Goldwyn Company

Director: Marc Huestis Producers: Marc Huestis||j Lawrence Flelman Cinematographer: Fawn Yacker Editors: Lara Mac, Hrafnhildur Gunnarsdottir Music: Pussy Tourette, Donna Viscuso, M.J. Lallo, Johny Morales Print Source/lnternational Sales: Outsider Productions

81 minutes

80 minutes

Discover America through new eyes with the fresh, slightly offkilter vision of Andrei Codrescu, Romanian expatriate, poet, writer and commentator on National Public Radio’s All Things Considered. To experience the American ritual of the road trip, Codrescu sets off in his dream car, a red 1968 Cadillac convertible-after he learns to drive, that is. Wry and ironic without being ridiculing, Codrescu seems always able to home in on the strange. In his meetings with people he carries an aura of warmth and openness that is winning and^lluminating. Bringing a poet’s love of language to describing a scene, he quotes freely from Whitman, Sandburg, Wilde and Kerouac. In his in im ita b le m a n n e r C o d re s cu co in s th e w ord “McDonaldability” to describe artifically inseminated cows, and dubs Biosphere II in Oracle, Arizona,-|‘a Disneyland for the millenniaily distressed.” Road Scholar is crisply directed by Roger Weisberg, with a lively score and fine camera w o rth y Jean de Segonzac (Laws of Gravity, Eight-Tray Gangster, SIFF 93). For a humorous, thought-provoking look at American people and culture, hit the road witft Road Scholar.

San Francisco filmmaker Marc Huestis continues his commit ment to making films in support of the gay and lesbian commu nity with this passionate, personal documentary of gay male sexuality in the 1990s. S exls... presents 15gaym en of differing ages, races and backgrounds, who speak with refreshing, sometimes startling frankness about their sexual attitudes and experiences. They tell about coming out, falling in love, prowling for sex, relationships, families, fantasies and, most particularly, how things have changed since the onset of AIDS. Their stories touch a wide variety of emotions, inspiring laughter, sorrow, anger and courage. Huestis punctuates these interviews with a lively selection of film clips and visuals— some quite frankly pornographic— that support the director’s stated intention to create a positive, honest film that brings gay male sexuality unashamedly back oufiof the closet in the age of AIDS. Huestis is completely open about nis own HIV-positive status when he says, “One of the most important issues I face today, particularly within the context of HIV, is the expression of physical and emotional intimacy. How can we continue to be vital sexual beings in the midst of death?” For both gay and straight audiences, Sex Is... provides a provocative, illuminating and entertaining history of what it’s been like to be a gay man over the last 30 years.

K F IU

Selected Filmography: Unity (1977), Whatever Happened to

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VìéLoveTòFlyAndÈShows:

W ednesday, June 2 ■ Egyptian, 9:30pm

Saturday, May 15 I Harvard Exit, 6:30pm Tuesday, May 1 8 1 Harvard Exit, 5:00pm

Susan Jane? (1980), Chuck Solomon: Coming of Age (1986), Men in Love (1989)

USA

Saturday, May 22 ■ Neptune, 6:30pm W ednesday, May 26 ■ Harvard Exit, 5:00pm

SHELF LIFE USA, 1993 Director: Paul Bartel Producers: Anne Klmmel, Bradley Laven Screenwriters: 0-Lan Jones, Andrea Stein, Jim Turner Cinematographer: Phillip Holahan Editor: Judd Maslansky Cast: 0-Lan Jones, Andrea Stein, Jim Turner International Sales/Print Source: Cottrell-Undeman Associates 83 minutes

Director Paul Bartel is responsible for several of the most twisted film comedies of recent years (the hilarious Eating Raoul and Scenes from the Class Struggle in Beverly Hills, to name two). Shelf Life is based on a play written by the movie’s three leads, and is another bizarrely comic Bartel adventure that captures the spirit of desperate characters trapped in a desper ately funny situation .Tina, Pam and their brother, Scotty, are the literal extension of the classic American nuclear family. They’ve been locked away in a fallout shelter since November 22,196330 years and a lifetime of societal changes ago. Their dad sealed the entire family in the underground shelterto protect his bloodline from the encroaching commies and the Martians who killed JFK. Now, 30 years later, the kids are still locked up and all that’s left of Mom and Dad is a bag of bones in the back room. The only contact Tina, Pam and Scotty have had with the outside world has been the occasional snippet of TV on their ancient set. The food in their shelter is dwindling rapidly, but for these three grown-up children and their overactive, fractured-fairytale imagi nations, life is a nonstop recess! Selected Filmography: Private Parts (1972), Death Race 2000

(1975), Eating Raoul (1982), Lust in the Dust (1984), Scenes from the Class Struggle in Beverly Hills (1989)

W ednesday, May 26 ■ Harvard Exit, 9:30pm Saturday, May 29 ■ Neptune, 3:30pm

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SILVERLAKE LIFE: THE VIEW FROM HERE

USA, 1993

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Directors/Producers: Tom Joslin, Peter Friedman Cinematographers: Tom Joslin, Mark Massi, Elaine Mayes, Peter Friedman Editor: Peter Friedman Music: Lucia Hwong, Fred Gilde Print Source: Zeitgeist Films 99 minutes

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Sllverlake Life was co-winner of the Best Documentary prize at this year’s Sundance Festival, and it’s safe to say there’s never been a more personal, powerful film made about AIDS. Though not easy to watch, it’s a profoundly moving and one-of-a-kind experience that should not be missed. The film takes the form of a video diary kept by Tom Joslin, a former film teacher, from the time Mark Massi^ his lover of many years, is first diagnosed with the disease. Even those familiar with the physical, mental and emotional ravages of the illness are likely to be shaken by what is recorded with such eye-opening candor. What makes the film so engaging— indeed inspiring— is the men’s defiant hu mor, their resolute commitment to one another and the courage and purpose they find in making this document. It’s a unique and remarkable achievement at its most poignant when observing the simple, everyday things most of us take so much forgranted. The project was completed following Joslin’s death by his close friend and former student Peter Friedman. “I believe in what Tom was trying to do-to make people understand the magnitude of the suffering and loss that people with AIDS and their loved ones face, and also to show the depth of love and commitment that can exist in a gay relationship.”— Peter Friedman

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Selected Filmographies: Tom SosUn-Blackstar, The Architec

ture o f the Mountains', Peter Friedman-/ Talk To Animals (1991), Fighting In Southwest Louisiana (1992)

USA ■

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Contemporary World Cinema

■

W e d n e sd a ^ Ju n e 2 ■ Egyptian, 7:15pm Friday, June 4 ■ Neptune, 5:00pm

TIME INDEFINITE USA, 1993 Director/Producer/Cinematographer/Editor: Ross McElwee Print Source: First Run Features 117 minutes

Describing a Ross McElwee film as a documentary is like describing a Buckminster Fuller geodesic dome as a house. Sherman’s March, McElwee’s critically acclaimed search for love along General Sherman’s path to Atlanta, was one of the most influential works for filmmakers in the past 10 years. It remains unequaled in its seemingly uncensored and unashamed documentation of one man’s trials and triumphs. In Time Indefinite, McElwee conj|nues his personal autobiographical approach, with the same inventive, unique style and highly subjective nonfiction format. He returns to his homeland in the South, picking up where he left off in Sherman’s March, fending off various friends and family members who offer mostly unwanted advice. Time Indefinite, a wild ride through the ideas and unpredictable processes of McElwee’s life, is an exception ally funny, frequently poignant and resonant film. This is a mustsee for admirers of his previous work, and for those lucky enough to be meeting this uniquely American have-camera-willtravel philosopher for the first time. “Ros§ McElwee is a find-an exceptionally comic filmmaking personality. He has a rare appreciation for the eccentric details of our edgy civilization,’’ Vincent Canby, The New York Times Selected Filmography: Charleen (1978), Backyard (1984)1

Sherman’s March (1986), Something to do With the Wall (co director, 1991)

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W eLovebFiyAndìlShows:

Friday, May 21 ■ Egyptian, 9:30pm Tuesday, May 25 ■ Egyptian, 9:30pm

TROUBLE BOUND USA, 1992 Director: Jeff Reiner Producers: Tom Kuhn, Fred Weintraub Screenwriters: Darrell Fetty, Francis Delia Cinematographer: Janusz Kaminiski Editor: Neil Grieve Music: Vinnie Golia Cast: Michael Madsen, Patricia Arquette,

Florence Stanley, Seymour Cassel Print Source: ITC Distribution 89 minutes

Fast, furious and decidedly unconventional, Trouble Bound could be a breakthrough film for director Jeffrey Reiner ( Blood and Concrete ) and for Patricia Arquette (who plays a character quite different from the sweet Mattie in Ethan Frome). Similar to Jonathan Demme’s Something Wild, Trouble Bound introduces us to Harry Talbot (Michael Madsen), an ex-con who’s deter mined to stay out of trouble if he can just put together a nest egg. Dropping in on a high-stakes poker game on his way to Nevada and the big score, Harry wins an unexpected bonus, a fancy new Cadillac with the non-factory option of a corpse in the trunk. Enter Kit Califano (Arquette), a gorgeous, foul-mouthed wildcat who is determined to avenge her mobster father's death at the hands of a rival mafioso, Satino (the always wonderful^ ¡Seymour Cassel). While Kit’s nefarious, powerful grandmother is deter mined to make peace among rival ^families’’ in the name of mutual prosperity, Kit will stop at nothing to complete her mission of vengeance. When Harry and Kit are thrown together in the middle of this mayhem, the best intentions in the world are tossed out the window. This unpredictably hilarious tale of vice and unexpected virtue is a blackly comical delight. Full-throttle performances by |he attractive cast, sizzling camerawork and a deft directorial turn provide all the elements for an independent hit. Selected filmography: Blood and Concrete (1991)

USA

Friday, May 21 ■ Broadway Market, 7:15pm Monday, May 24 ■ Broadway M ark® , 5:00pm -

TWENTY BUCKS

VERMONT IS FOR LOVERS

USA, 1993

USA, 1992

Director: Keva Rosenfeld Producer: Karen Murphy Screenwriters: Leslie and Endre Bohem Cinematographer: Emmanuel Lubezkl Editor: Michael Ruscio Music: David Robbins Cast: Linda Hunt, David Rasche, Brendan Fraser, Gladys Knight,

Director/Producer/Cinematographer/Editor: John O’Brien Music: Tony Silbert Cast: George Thrush, Marya Cohn,

Elisabeth Shue, Steve Buscemi, Christopher Lloyd, Spalding Gray Print Source: Columbia TriStar Home Video 90 minutes A surprise hit at the recent Sundance Film Festival, this charming film free-associates, S/ac/cer-like, between charac ters, picking them up and dropping them as it follows the life of a $20 bill. The bill starts out as a crisp new note straight from the cash machine, but after it passes through the hands of bag ladies, young lovers, petty thieves, bingo tycoons and police officers (among many others), all that’s left is a tattered wisp of paper. “Jshis bill is my destiny,” predicts Angeline, the homeless women who first encounters the double sawbuck. Played by the versatile Linda Hunt, Angeline turns out to be prophetically correct in her recurring appearances and as the one who finally puts the twenty to rest. There are over 50 speaking parts, and nearly every one of them has an impact on the proceedings, as the star of Twenty Bucks moves among them with the easycome-easy-go regularity we all know so well. The scores of fleeting performances and cameos make the film a continual delight as it jumps gracefully between moments of drama, poignancy, action and comedy. Packed with witty observations on pop culture, sociology, economics and the everyday tribula tions of modern life, Twenty Bucks is a real bargain.

Contemporary World Cinema

Tuesday, May 25 ■ Broadway Market, 9:30pm Tuesday, June 1 ■ Broadway Market, 5:00pm

Ann O’Brien, Euclid Famham, Jeramiah Mullen Print Source: Zeitgeist Films 88 minutes This winning, bucolic comedy affectionately pokes fun at the insecurities of a pair of New Yorkers who go to rural Vermont to be married. Nervous and apprehensive about the momentous day, they immediately begin to bicker. Marya questions whether George is really the right man for her, which understandably upsets George. Looking for sage advice, they interview a colorful assortment of locals to find out how they’ve made their mar riages work. These rustic characters are distinctive enough to have been scripted, but are actually playing themselves. Typical of their dry, native humor is the response of one old man, who is asked if he has lived all his life in the area: “Not y e # he replies. Using bold, primary colors, filmmaker John O ’Brien’s crisp imagery vividly captures a pastoral America of little-traveled back roads, covered bridges, bright greep fields and grazing livestock. The film is at its most whimsical when playfully intercutting the reactions of farm animals, who become be mused observers of the proceedings. Included are a dog who is both retarded and psychic and a flock of sheep incongruously named for movie stars. In its attempt to paint a portrait of a community using ordinary citizens in a semifictional context,Sthe film occasionally recalls Slacker. Vermont Is for Lovers is one of ¡the freshest, most independent-minded American comedies in many years. Selected Filmography: The Big Dis (co-director, 1989)

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B est of th e N o rth w e s t Program 1: Sunday, May 16 ■ Neptune, 12:30pm

Monday, May 17 ■ Neptune, 5:00pm

The Itsy, Bitsy Spider, by Matthew O ’Callaghan, is a madcap cartoon about an attempted extermination of a diminutive arachnid that turns apocalyptic.

Jerry and Molly and Sam, by Jonathan Sinaiko, is a sensitive adaptation of a shaggy dog story by Raymond Carver.

Silent Alarm, by Rob Morrow (of “Northern Exposure”), is the gripping story of a boy and his (justified) mistrust of his mother’s boyfriend, all cannily told sans dialogue. SPBf Program 2: Sunday, May 16 ■ Neptune, 3:30pm

No Place Like Horae

Ricky and Lenny, by Jadina Lilien, is a quizzical experiment involving merry-go-rounds and a discussion of phone etiquette.

The Seattle International Film Festival is always proud to present a special program devoted to the

Crush, by Cort Fey, is a delightful story about love and recycling.

finest short film s made by local filmmakers. This year we are excited to have two separate programs of diverse and entertaining sketches chosen from the bumper crop of shorts submitted to us. Though

La Vergine degliAngeli, by Robin Scovill, is an intense and moving paean to lost innocence beautifully made with a strict economy of means.

ostensibly produced outside of our rain-soaked region, a couple of film s in the program represent a sort of diaspora of Northwest talent,,Even in Los

Now Renting, by Dan Zukovic, is a darkly humorous and odd sketch about a hapless home hunter;

Angeles Northwesterners are getting together and making m ovies-which ju st goes to show that you can take the filmmaker out of the Northwest, but you can’t take the Northwest out of the filmmaker.

Seattle M

No Place like Home, a documentary by Katherine Hunt, is a vivid portrait of a family living from motel to motel along Aurora Avenue.

Best of the Norfflwest

Tuesday, May 18 ■ Neptune, 5:00pm

BEST OF THE NORTHWEST: SHORTS

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Sunday, May 16 ■ Neptune, 6:30pm Wednesday, May 19 ■ Neptune, 5:00pm

EIGHT-TRAY GANGSTER: THE MAKING OF A CRIP USA, 1993 World Premiere Director/Producer/Screenwriter: Thomas Lee Wright Cinematographer: Jean de Segonzac Editor: Pat Barber Print Source/lnternational Sales: ETG-SARAM ATT Productions 70 minutes

Beginning in the summer of 1989 and encompassing key events before, during and afterfhe Los Angeles riots, Eight-Tray Gangster is an incisive and powerful documentary focusing on the lives of Kershaun “Li’l Monster” Scott and his brother ■“Monster Kody.” Kershaun grew up in South; Central Los Angeles, and the social forces that shaped his life are vividly brought to the screen, frorrwiis early childhood to his adolescent initiation into the world of the Crips street gang and firsthand participation in the riots following the Rodney King verdict, to his emergence as a community a c tiv is lin the aftermath of the chaos. The incarcerated Monster Kody remains a role model for Kershaun and is a cogent Voice for a new kind of black activism. The film is replete with unforgettable scenes and situations, including Kershaun’s litany of dead friends who were victims of urban violence, now memorialized in the pages of his photo album. Compassionate interviews with Kershaun’s mother and with Monster Kody behind bars, along with reflections on violence and power, ultimately make this no-holds-barred glimpse into gangster life a story of hope, social transition and personal renewal. Thomas Lee Wright (screenwriter for New Jack City) has lived in the Seattle area for four years, and though not Northwest-specific, Eight-Tray Gangster: The Making o f a Crip speaks eloquently to issues that affect us all. Brilliantly real ized, with cinematography by Jean de Segonzac (cinematogra pher for Common Threads: Stories Form the Quilt, Laws of Gravity and Road Scholar, SIFF 93), Wright’s striking debut directorial effort reveals a prodigious new talent.

Sunday, May 16 ■ Neptune, 9:15pm Thursday, May 20 ■ Neptune, 5:00pm

SHIRTLESS SOUL USA, 1992 Director: Kyle Bergersen Producer: Michell Bagnato Deck Screenwriter/Cinematographer/Editor: Kyle Bergersen Music: Peter Howard Fosso Cast: Ron Phipps, Sally Mendzela,

Taylor Laney, Sylvia Langdon, Eric Mueller Print Source/lnternational Sales: Bergersen Film Production Service 88 minutes

Crossing into terrain blazed by the likes of Tarkovsky and Bergman, Kyle Bergersen has created a truly stunning tour-de force of poetic cinema in his debut feature, Shirtless Soul. This visually awesome, enigmatic film essay is nonlinear, emotive rather than analytical, synchronistic rather than narrative. The story deals with a man who claims immortality because of the worn-out shirt he wears. A gulf develops between him and his daughter as he discovers that the shirt may not be the reason for his immortality. Thus begins a mythic search to the depths of his soul to discoverthe true reason. Recurring images of fire and water, wood and earth, and rich and wasted landscapes make this uniquely Northwest vision reverberate with nuance and deeper meaning. A cinematographer by trade (he shot American Orpheus, SIFF 192), Bergersen pulls out all the stops and fills the screen with intensely beautiful images. Highlighted by great performances by Sally Mendzela and Ron Phipps (in a totally silent role) and a moody score by Peter Howard Fosso, Shirtless Soul takes a rarely traveled cinematic road in its original and eloquent vision.

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C h ild re n ’s M u s e r n F ilm F e s tiv a l

SIFF is proud to present for the second year this special series in association with the Children’s Museum. Each weekend of the festival, matinee screenings will give young people of all ages a chance to view the best movies by young-at-heart filmmakers from around the world. The Children’s Museum Film Festival is a grea|chance for young people to share in the universal language of movies.

Thanks

Saturday, May 15 ■ Harvard Exit, 12:30pm W ednesday, May 26 ■ Metro, 10:30am

THE CLEAN MACHINE Canada, 1992

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Director: Jean Beaudry Producer: Rock Demers Screenwriter:

Jacques A. Desjardins Cinematographer: Eric Cayla Editor: Helene Girard Music: Robert M. Lepage Cast: Vincent Bolduc-

Pierre-Luc Brillant, Delphine Piperni, Alexandra Laverdiere Print Source/lnternational Sales: La Fête 90 minutes

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The Clean Machine is a sweet, lighthearted comedy about a group of young, entrepre neurial friends. Ben, age 13, has dreams of wealth and achievement that are put to the test by the neighborhood cleanup business he starts with his best friend, Charles. Enlisting an aspiring young filmmaker, Maggie, the boys recruit a group of younger kids to do most of the hard work in their budding company, the Clean Machine. Be fore long business is booming, but the younger employees begin to resent the fact that they do all the hard work while Ben and Charles collect the money and devise ever more elaborate promotional schemes. This conflict sets the stage for developments that Ben and Charles never expected. Sabo tage and labor strikes become the order of the day, and the two budding entrepreneurs learn a valuable lesson about mixing busi ness and friendship. Producer Rock Demers, known as the “Walt Disney of Canada?! and director Jean Beaudry, who brought us last year’s Children’s International film Festival treat The Case of the Witch Who Wasn’t, have created a fast-paced, entertaining de light that will appeal to children of all ages.

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Sunday, May 23 ■ Harvard Exit, 12:30pm Wednesday, June 2 ■ Metro, 10:30am

Sunday, June 6 ■ Harvard Exit, 12:30pm

Saturday June 5, ■ Harvard Exit, 12:30pm

THE FLYING SNEAKER

NATIONAL VELVET

PETER IN MAGICLAND

Czechoslovakia/Canada, 1992

USA, 1945

Germany, 1992 US Prem iere

Director: Bretislav Pojar Producers: Rock Demers, Bedrich Strnad, Zdenek Polak Screenwriters: Bretislav Pojar, Jiri Fried Cinematographers: Ervin Sanders, Vladimir Malik Editor: Alois Fisarek Music: Petr Skoumal Cast: Ludek Navratil, Katka Pokorna, Katerina Machackova, . Jaromir Hanzlik, LuborTakos Print Source/lnternational Sales: Le Productions La Fête 92 minutes

Children and adults alike will be charmed by this story of a young boy who learns the true meaning of friendship and responsibility with the help of a magic butterfly. Elevenyear-old Alec is a lonely young boy who spends much of his time daydreaming about his absent father, a ship’s doctor who trav els to exotic, faraway lands. One day Alec receives a package from his dad; inside he discovers several cocoons. Before long the cocoons have metamorphosed, and Alec awakes one morning to find his room filled with magnificent butterflies. One of the but terflies turns out to be very special indeed: a lovely fairy with magical powers whom Alec names Urugu. Alec and Urugu become in separable as the fairy delights him and his friends with her magical powers. Finally, Alec’s father is set to return home, and Urugu must make a journey of her own. The Flying Sneaker combines live action and inventive animation to create a touching tribute to the power of adolescent imagination. Special Jury Prize and Most Popu lar Film Award, 11th Children’s Animation

Awards:

Director: Clarence Brown Producer: Pandro S. Berman Cinematographer: Leonard Smith Editor: Robert J. Kern Music: Herbert Stothart Cast: Elizabeth Taylor, Mickey Rooney,

Angela Lansbury, Anne Revere, Donald Crisp Print Source: Turner Entertainment

Director/Producer/Screenwriter:

Wolfgang Urchs Music: Klaus Doldinger Print Source/lnternational Sales: BetaFilm GmbH and Co. 75 minutes

125 minutes

National Velvet is widely regarded as one of the all-time classics of children’s cinema. Lush cinematography and impeccable produc tion values make it a prime example of the grand style of Hollywood studio filmmaking made famous by MGM. It is also the film in which a 13-year-old Elizabeth Taylor gave the performance some critics cite as her best. Taylor plays Velvet Brown, a pampered little girl who wins a horse named Pie and makes up her mind to compete in the famed Grand National horse race. Adown-on-his-luckformer jockey (Mickey Rooney) stays with the family to train Velvet and Pie in the equestrian arts. Desperate to win, Velvet is thrust into conflict with her parents and an older sister, played by Angela Lansbury. Against all odds, with pas sion and determination, Velvet’s indomitable spirit takes her all the way to the big race. With Rooney leading Velvet and Pie to the starting gate, the journey becomes his own guide to spiritual recovery. A breathtaking scene at the real Grand National highlights this newly re stored classic of Hollywood craftsmanship.

A fantastical animated journey filled with fair ies and hobgoblins awaits those who travel with Peter In Magicland. Peter and Annabelle’s mother has just tucked them into bed when they discover a visitor in the room. He is Mr. Buzzworthy, an affable, cultivated beetle with a serious problem: he has only five legs in stead of six. Always out of step with the world, Mr. Buzzworthy longs for his missing limb and asks Peter and Annabelle’s help in getting it back. His leg, he says, is on the moon and guarded by the terrible Moon Man and his Moon Wolves. It can only be retrieved with the help of the two brave children, who would never hurt an animal. The magical journey takes them to the moon and back, but along the way they share in the kind of fantastic adventure that usually happens only in a child’s dreams.

C h ild r e n ’s M u s e u m F ilin F e s t iv a l

fe H

■ Saturday, May 22 ■ Harvard Exit, 12:30pm Saturday, May 29 ■ Harvard Exit, 12:30pm

Sunday, May 16 ■ Egyptian, 3:30pm

WALT DISNEY BEFORE MICKEY MOUSE

USA, 1993 World Premiere

USA, 1924-1927

Director/Producer: Phil Roman Screenwriter: Dennis Marks Music: Henry

Mancini Lyrics: Leslie Bricusse Cast: Richard Kind,

Dana Hill, Charlotte Rae, Rip Taylor, Anndi McAfee, Henry Gibson, David L. Lander Print Source: Miramax Films Inc. This first feature-length film starring the odd couple of cartoons finds Tom and Jerry home less after their house is taken over for urban renewal. Befriended by a street-wise mutt named Puggsy and his little pal Frankie da Flea, Tom and Jerry soon find themselves thrown into unexpected adventures. They meet up with Robyn, a young girl whose father has been lost in an avalanche in Tibet. She has since been forced to live with her evil Aunt Figg, who conspires with her cronies to keep Robyn from finding out that her father is still alive. When Tom and Jerry discoverthe secret and try to tell Robyn the good news, Aunt Figg steps in to carry out her own wicked plans. A madcap, hilarious chase ensues as Tom and Jerry set off to reunite their new friend with her long-lost father. Although they’re famous for being en emies, Tom and Jerry prove that if friends combine their efforts, good will always triumph over evil.

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

FINDING YOUR PLACE (Shorts Program) DIN O SAUR S A R E D IFFER EN T

Director/Producer: Walt Disney Print Source: Russell Merritt

USA, 1992, 13 min. LORD O F T H E S K Y

Canada, 1992, 13 min. The second program devoted to the silent animation of Walt Disney in this year’s festival is tailored to the enjoyment of families and features the popular Alice comedies, which Disney created between 1924 and 1927. A charming mixture of live action and animation, these were the first films made by Disney in Hollywood and are often ranked among his most inventive silents. “Disney was fond of saying that it all started with a mouse,” notes film historian Russell MerrittgrBut in fact the foundation was laid in 1924 by a little girl." That little girl was a curly-headed four-year-old from Kansas City named Virginia Davis, who first caught Disney’s eye in an advertisement. The rest of the casts were recruited from the ranks of the neighborhood children, who acted out framing stories Walt devised forthem. This delightfully comic cartoon series include such playful titles as Alice’s Wonderland, Alice Gets Stage-Struck, Alice Solves the Puzzle and Alice the Whaler. We are especially pleased to have Virginia Davis (now McGhee) as ourguestto tell about her experiences working with Disney. This is a program no one of any age will want to miss! Musical accompaniment will be provided by acclaimed pianist Joel Salsman. Special thanks to The Walt Disney Co. and Film Preservation Associates.

A IB O B O (F A R E W E LL M Y D EM O N IDOL)

USA, 1993, 10 min. C R E A TU R E S O F IN S TIN C T

USA, 1993, 10 min. T H E DOOR

Australia, 1993, 20 min. R IG H TS FRO M T H E H E A R T (D R O ITS A U C O EU R )

Canada, 1992, 36 min.

Dinosaurs Are Different shows us the disas trous effects of conforming to those around you. With a dazzling combination of anima tion techniques, Lord of the Sky tells an environmental parable of people whose care lessness leads to a natural disaster; it was inspired by traditional West Coast Native art and folklore. Trying to cope with daily preju dice and neighborhood toughs can drive a kid to rely on magical forces, and that’s what happens in Aibobo— but what if your demon idol has his own game plan? They say young love is the most intense, but that only means it can also hurt the most. In Crea tures of Instinct, a young girl discovers first love to be a real rollercoaster ride. Have you ever felt that your parents didn’t give you any freedom? In The Door, a young girl tries to cope with a family whose members just don’t know how to relate to one another. Droits au Coeur is the first in a two-part series of touching, informative and moving short films that grew out of the United Nations Convention on the Rights of the Child.

C h ild r e n ’s M u s e u m F ilm F e s f v a l

TOM AND JERRY... THE MOVIE

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M ovie reviews, interviews with producers and directors, indepth news and cultural programming from around the globe and around the block. Enjoy it all on KUOW, Seattle's National Public Radio station..... with your eyes closed and your mind open. Call 543-9595 for more information about programming and membership.

KUOW 94.9FM

C e le b ra tio n of Film P re serva tio n SIFF has a long standing tradition of featuring an archival program to further a deeper appreciation of classic films. This year, the Festival is using the archival forum to shed light on the critical matter of film preservation. Our film heritage has been in an appalling state of decline for decades. Vaults filled with classic films are left forgot ten— their contents disintegrating— and old prints are regularly destroyed to create space for the influx of the new. Without an urgent and dedicated effort toward preservation, even more of our precious film history will be lost forever. Fortunately, major strides have been made in recent years to promote the cause of both preservation and restoration. Organizations such as the George Eastman House, the UCLA Archives, the Pacific Film Archives and Turner Entertainment have made major

Saturday, May 29 ■ Egyptian, 3:30pm

contributions. Along with our audiences, SIFF is very highlight the advances this year in a Celebration of Film

I KISS YOUR HAND, MADAME

A rc h iv a llP ra s e rita tio n s

much aware of this important issue. We are proud to

(Ich Kuss Ihre Hand, Madame) Germany, 1929

Preservation. The series is sponsored by KUOW. Director: Robert Land Cinem atographers: Karl Drews, Gotthardt Wolf Screenwriter: Robert Land M usic: Ralph Erwin C ast: Marlene Dietrich, Harry Lledtke,

Pierre de Guingand, Karl Huszar-Puffy

KUOW 94.9FM

Print Source: George Eastman House 70 minutes

This saucy romantic comedy comes to us highly recommended by the curator of the prestigious George Eastman House collec tion. It affords a fascinating and rare look at one of the Germanmade silents of legendary screen star Marlene Dietricht Re leased the year before The Blue Angel, it firmly puts to rest the popular myth that Dietrich was an unknown plucked from obscurity by director Josef von Sternberg. Co-starring witfflHarry Liedtke (“probably the most likable leading man in German 1 « history*" says author Steven Bach), Dietrich plays a glamorous Parisian divorcee. The charminglyfrivolous plot has herfa||ngfor a dashing Russian count, discovering he’s a waiter, and then pouting until another twist reveals he’s really a count after all. Here we see the first signs of the cool seductress Dietrich would eventually play with such knowing skill. When a plump, overly attentive lawyer offers to do “anything in the world” for her, Dietrich scarcely glances atmim, and replies in a moment both cruel and comic,ii All right, you can take my dogs for a walk. ” The film proved a great popular hit, and gained enthusiastic notices for Dietrich that even included comparisons to Garbo. One Berlin critic at the time wrote, “Her cool, lad|jfke appearance is evidence of exceptional cinematic talent!” Don’t miss a chance for a fresh, revealing glimpse of a great star in the making.

KUOW 94.9FM

C e le b ra tio n of Film P re serva tion

A r c h iv a l P re s e n ta tio n s

Saturday, June 5 ■ Egyptian, 3:30pm

Saturday, May 22 ■ Egyptian, 3:30pm

PHANTOM OF THE OPERA

PORT OF SEVEN SEAS

USA, 1925

USA, 1938

Director: Rupert Julian Screenwriters: Raymond Schrock and

Director: James Whale Producer: Henry Henigson Screenwriter:

Elliott J. Clawson (from the novel by Gaston Leroux) Cinematographers: Virgil Miller, Milton Bridenbecker, and Charles Van Enger Editor: Maurice Pivar Cast: Lon Chaney, Mary Philbin, Norman Kerry, Arthur Edmund Carewe Print Source: George Eastman House

Preston Sturges (from the play Fanny, by Marcel Pagnol) Cinematographer: Karl Freund M usic: Franz Waxman C ast: Wallace Beery, Frank Morgan, Maureen O’Sullivan, John Beal, Jessie Ralph, Cora Witherspoon Print Source: Turner Entertainment 8 1 minutes

9 0 minutes

Despite its age, this remains the best of numerous movie adaptations of the gothic classic. The film is justly famous for star Lon Chaney’s chilling portrayal of the tortured Phantom. Made as a follow-up to his highly successful version of The Hunchback of Notre Dame (1923), it is this colorful character ization that helped cement Chaney’s fame as The Man of a Thousand Faces. The unmasking of his grotesque features by the innocent Christine (Mary Philbin) reportedly sent audiences of the day into a faint and still packs a powerful jolt. Universal spent nearly a million dollars on this Phantom — an impressive figure for 1925— and the sets created by Charles D. Hall and Ben Carre are still breathtaking. They include a glittering re creation of the Paris Opera lobby and auditorium, complete with five balconies for 3,000 extras, and the Phantom’s memorably eerie subterranean lair. Ten minutes were cut from the film in 1930 for the creation of a clumsy sound version. As much as could be recovered has been carefully restored here, along with the original two-strip Technicolor sequences. One of these includes the Phantom’s flamboyant appearance at the masked ball costumed as Red Death. Musical accompaniment will be provided by pianist by Joel Salsman.

Merry Go Round (1923), Three Faces W est(1926), Yankee Clipper{ 1927), The Leopard Lady (1928), The Cat Creeps (1930)

S e le c te d Film o g ra phy:

KUOW 94.9FM

Based on the play Fanny from Marcel Pagnol’s Marseilles trilogy, Port of Seven Seas was the second foreign adaptation of Pagnol’s work. Tied up in litigation for many years, this seldomseen classic has been recently restored by Turner Entertain ment. Though best known for the classics Frankenstein and The Invisible Man, James Whale also directed intelligent films outside the horror genre. His emphasis on detail and a fluid camera is apparent in this touching drama a bo utlove and heartbreak on the Marseilles waterfront. Preston Sturges was becoming a major screenwriter by 1937, and this script shows his characteristic polish and emotion. Marius loves Madelon but leaves her for two years, to see the world from a ship. Learning that she is pregnant, Madelon must choose between waiting and marrying an older man who has proposed to her. With a cast of period Hollywood luminaries, this is a wonderful adaptation of a very moving story. Pagnol became interested in cinema at the advent of the talkies, and his authentic characters, rich poetic language and true regional setting were naturals for the screen. Though he scripted and directed his own version of Fanny inl9 6 1 , American audiences are most familiar with Claude Bern’s adaptations of Pagnol’s work, Jean de Florette and Manon des Sources (1986).

Frankenstein (1931), The Old Dark House (1932), The Invisible Man (1933), The Bride of Franken stein (1935), Show Boat (1936), The Great Garrick (1937), The Man in the Iron Mask (1939)

S e le c te d Film o g ra p h y :

KUOW 94.9FM

Saturday, May 15 ■ Egyptian, 3:30pm

USA Director/Producer: Walt Disney Print Source: Russell Merritt

We are pleased to present this unusual program devoted to the rarely seen silent cartoons of Walt Disney. Compiled and presented by film historian Russell Merritt, author of Walt in Wonderland: The Silent Films of Walt Disney, it features many delightful cartoons and Mr. Merritt’s lively commentary on this underexplored, formative period of Disney’s career. Musical accompaniment will be provided by acclaimed pianist Joel Salsman. “For most moviegoers, Walt Disney’s career started in 1928 with the debut of Mickey Mouse in Steamboat Willie. But Mickey was a culmination as well as a beginning— the end product of nearly eight years that Disney spent in silent animation, inventing fresh cartoon characters and weaving comic stories. In all, Disney and his collaborators made over 90 silent cartoons|j turning them out at a rate of one or two per month. Disney soaked up the work of the best filmmakers of the time, not only rival animators like Otto Messmer and Max Fleischer, but the major live action filmmakers as well. His sources range from Buster Keaton and Felix the Cat to Douglas Fairbanks, Rudolph Valentino, Tom Mix and The Big Parade. Last fall at the Pordenone Silent Film Festival in Italy, audiences were treated to a massive retrospective of the Disney silents. These are some of the best that show how charming and imagSative early Disney could be.”— Russell Merritt

A r c h iva I P ré s e n tâ t i o n s

WALT DISNEY IN THE JAZZ AGE

Special thanks to The Walt Disney Co. and Film Preservation Associates.

KUOW 94.9FM

R O B E R T

M O N D A V I

W OODBRIDGE®

Still Life inFremont

1990 California

CHARDONNAY PRODUCED AND BOTTLED BY ROBERT MONDAVI WOODBRIDGE WOODBRIDGE, CALIFORNIA, PRODUCE OF USA, ALC. 13% BY VOL.

'Ro u n d M idnight... ...things are just starting to cook. Satay Bar open until 1AM, cocktails until 2AM everynight

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T h e M idnight Zon e Something is lurking deep in the heart of cinema. A dark spirit hiding around a corner that makes its presence felt but is seen only in momentary glim pses. It’s a spirit of restlessness, wit, creative chaos and subversive humor. To reveal itself in the broad light of day would destroy its very essence. This year we promise many new delights, visceral thrills and cerebral stim ulants in this updated series for the adventurous and not-faint-of-heart. Films on the edge...from the Midnight Zone. Two film s in the this series also appear in other sections of the festival. Please refer to “Contempory World Cinem a” for

Fortress and “New Directors Show case” for Romper Stomper. The midnight series is sponsored by The Stranger.

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SEATTLE'S W EEKLY URBAN M ANUAL

T h e M idnight Zone

Friday, May 28 ■ Egyptian, 12:00m idnight Sunday, May 30 ■ Neptune, 9:15pm

Friday, May 14 ■ Egyptian, 12:00m idnight W ednesday, May 19 ■ Neptune, 9:30pm

T h e M id n ig h t Z o n e

ACCION MUTANTE

DEAD ALIVE

Spain, 1992

(Braindead) New Zealand, 1992

US Prem iere Director: Alex de la Iglesla Producer: Agustln Almodovar Screenwriters: Alex de la Iglesia, Jorge Guerrlcaechevarria Cinematographer: Esther Garcia Editor: Pablo Blanco M usic: J.C. Cuelio Cast: Antonio Resines,

Frederique Feder, Alex Angulo, Juan Viadas Print Source: Cl BY Sales International Sales Agent: El Deseo 9 5 minutes The year is 2021 and the earth is dominated by beautiful “designer people. ” Vowing to destroy the society that ostracizes and oppresses them, a radical group of handicapped renegades known as Mutant Action struggles against the system. After kidnapping Patricia Orujo (Frederique Feder), the attractive daughter of a whole-wheat bread tycoon, the band flees to the planet Axturrias, a desolate world inhabited by miners who haven’t seen a woman in 20 years. There they await delivery of the ransom in the only bar on the planet. Madness, betrayal, envy, fratricidal war, blood and general zaniness follow in this twisted genre-bending spree. Spanish wunderkind Alex de la Iglesia and producer Agustin Almodovar (Pedro’s brother) have teamed up to create a deliriously dystopicfunhouse ride through a possible future that’s part 1950s space opera, part tonguein-cheek gore fest and part apocalyptic vision. Amid Grand Guignol and dazzling effects, plot after subplot zip by faster than falling meteors. This awesomely audacious debut feature is guaranteed to keep you on the edge of your seat and highlights the fervid imagination and talent of one of the fastest-rising stars on the Spanish film scene.

Director: Peter Jackson Producer: Jim Booth Screenwriters: Peter Jackson, Stephen Sinclair Cinematographer: Murray Milne Editor: Jamie Selkirk M usic: Peter Dasent Cast: Timothy Balme, Diana Penalver, Elizabeth Moody, Ian Watkin Print Source: Trimark Pictures 1 0 1 minutes

We couldn’t have found a better opening film for the Midnight series. Peter Jackson literally redefined the horror spoof genre with his outrageous first film, Bad Taste ,in 1989. SIFF audi ences will also remember his audacious puppet bloodbath, Meet the Feebles, which played the festival in 1990. Well, Peter’s back and he’s badder than ever. Described by the director as “a love story— with guts,” Dead Alive delivers a hilariously sick, technically accomplished orgy of special effects wrapped in a deliciously Freudian script. Back in 1950s New Zealand, 25 year-old Lionel lives a quiet life at home with Mum. He’s just a timid virgin until he flips for the fiery Spanish owner of the corner store. Their date at the zoo is interrupted when Mum, who has been spying on them from the bushes, is bitten by a rare carnivorous monkey. When Mum turns into an insatiable flesh-eating zombie, Lionel tries to keep up with the new creatures created as a result of her attacks. Soon he’s got a zombie baby brother. What’s a poor boy to do? Things are kept right over the top— all manner of dismemberments and the like are handled with copious amounts of humor and bodily fluids. Though not for everyone, this is Jackson’s best work so far. Laugh or hurl, it’s all a matter of taste. S e le c te d F ilm o g ra p h y:

Bad Taste (1989), Meet the Feebles

(1990)

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T h e M idnight Zone ■

t-.Saturday, June 5 ■ Egyptian, 12:00m idnight Sunday, June 6 ■ Neptune, 12:30pm

Saturday, May 22 1 Egyptian, 12:00m idnight Neptune, 12:30pm Saturday, May 29

HERCULES RETURNS

USA, 1993

Australia, 1992

US Prem iere Director: Thomas Fucci Producer: Sam Braslau Screenwriter: Thomas Fucci Cinem atographers: Barbu Marian, Barbod Taheri Editor: Jackie French M usic: Various artists Cast: Peter Van Norden, Elizabeth Anne Bowen, Martin Beck, Tom Prisco, Krista Eulberg, Nan Moog Print Source: S.K. Productions International Sales: Meridian Entertainment 77 minutes

From the land somewhere between Eraserhead and Delicates sen comes this delirious black comedy about a man who is attempting suicide but keeps getting interrupted. To say that Frank Connally is unhappy with life is an understatement. Up until a week ago the three things that gave meaning to Frank’s existence were his wife, his two kids and his collection of 11,683 record albums— not in that order, of course. Fed up with Frank, his wife grabbed the kids, emptied the bank account, sold the records and split, leaving him alone, broke and, worst of all, without his music. So tonight, in a cheap, sleazy motel, the time has come to get it over with— if only the weird and twisted neighbors would shut up and leave him alone. Frank thinks he has been through hell to get to this point; now he just may have to learn a new definition of the word. In this first feature, Thomas Fucci has crafted a smartly hypnotic film filled with deadpan h u m o rla marvelous soundtrack and subtle twists. We are pleased to present its inaugural appearance for North American audiences, fresh from its world premiere in the Critics Week section of Cannes. Drawing on a variety of influences, Don’t Call Me Frankie creates an unconventional world all its own, one that is sure to please even the most jaded late-nighters.

Director: David Parker Producer: Philip Jaroslow Screenwriter: Des Mangan Cinem atographer: David Connell Editor: Peter Carrodus M usic: Philip Judd C ast: David Argue, Bruce Spence, Mary Coustas, Michael Carman, Brendon Suhr, Margaret Pomeranz, Ivan Hutchinson Print Source/lnternational Sales: Beyond Films 8 2 minutes

Fasten your togas, it’s going to be a bumpy ride. Hercules Returns is a hilarious send-up of the cheesy, ’60s sword-andsandal genre, directed by David Parkerlwriter/cinematographer/producer of the previous SIFF hits Malcolm and The Big S teal. This delightful farce revolves around young Brad McBain, a frustrated theater chain employee who quits his job in disgust to reopen a rundown movie palace. He hires a manic projection ist (the always wonderful Bruce Spence, who enlivened Road Warrior and The Year My Voice Broke) and an inventive publicist (Mary Coustas). Together they come up with the less than brilliant idea of hosting a gala reopening party featuring an Italian gladiator epic that was the theater’s original premier film. Everything proceeds according to plan with a rousing turnout and a splendid pre-screening party. But as the audience files into the theater, Brad is suddenly confronted by his frantic projectionist, who tells him that the film has arrived in its origina l Italian version— without subtitles. In desperation Brad and his two cohorts decide that the only way to salvage the evening is to improvise their own dialogue and sound effects for the film. The resulting hybrid film-within-a-film is a camp spectacle of epic proportions that gives Woody Allen’s What’s Up Tiger Lily? a wacky run for its money. S e le c te d Film o g ra p h y : Malcolm (1986), Ricky andPete (1987),

The Big Steal (1990)

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T h e M id n ig h t Z o n e

DON’T CALL ME FRANKIE

T h e M idnight Zone

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T h e M id n ig h t Z o n e

Saturday, May 15 ■ Egyptian, 12:00m idnight Tuesday, May 18 ■ Neptune, 9:30pm

Saturday, May 15 ■ Neptune, 9:15pm Friday, May 21 ■ Egyptian, 12:00m idnight

SAVIOR OF THE SOUL ’92

STEPPING RAZOR— RED X

Hong Kong, 1992

Canada, 1992

Directors: David Lai, Corey Yuen Producer: Chan Pui-Wah Screenwriters: Gordon Chan, Chan Kin-Chung, Yip Kwong-Kim Cinematographer: Peter Pau Editors: Poon Hung-yiu, Hai Kit-Wai M usic: Leun Winh-Leung Cast: Andy Lau, Rosamund Kwan,

Kwan Suk-Yee, Corey Yuen, Timothy Lai Print Source: Rim Film Distribution 1 0 0 minutes

Director: Nicholas Campbell Producer: Edgar Egger Screenwriter: Nicholas Campbell Cinematographer: Edgar Egger Editor: Trevor Ambrose M usic: Peter Tosh Print Source: Northern Arts Entertainment International Sales: SC Entertainment International 1 0 3 minutes

Hong Kong cinema has given us a genre now well familiarto SIFF fanssfhe sword-and-sorcery action flick in which ingredients such as time travel, martial arts and fairy-tale parables are combined to make wild cartoonlike entertainment. Like the first Savior of the Soul, the second installment is a masterpiece of the genre. Andy Lau returns as the unintended hero, Yen, this time on the trail of the legendary beautiful Ice Woman, who supposedly lives flip the Snowy Mountain. Many have searched for her before, but according to legend none of the adventurers has ever returned. The Last Stop In Life Hotel is located at the moot of Snowy Mountain and has prospered greatly from the many inquisitive seekers. Yen stops at the hotel, where the innkeeper soon develops a mad crush on him. Though she does her best to persuade him otherwise, he insists on going up the mountain in search of his destiny. Full of wonderful action and gorgeous locations (much of the film was shot in northern British Columbia), Savior o f the Soul ’92 continues where the first left off. Though not directly connected in theme, this follow-up is more than a match for its predecessor® style and action. S e le c te d Film ogra p hy: Corey Yuen— In the Blood (1987), All for

the Winner{1990), Savior o f the Soul (1991); David Lai— Lonely Fifteen (1985), Sworn Brothers (1987), Lost Souls (1989), Savior of the Soul (1991)

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Stepping Razor— R e d X documents the life of reggae superstar Peter Tosh, whose international career began in abject poverty in Trenchtown, a section of Kingston, Jamaica. A member of the original Wailers (with Bunny Wailer and Bob Marley) in the early 1960s, Tosh vaulted to stardom as a leader of the reggae movement that swept the world in the 1970s. Through his music, he pursued a militant and spiritual approach, champion ing equal rights and political activism. Then, on the night of September 11, 1987, he was gunned down at his home in an apparent robbery. Allowed access by his family to Tosh’s personal effects, the filmmakers were startled to find a series of autobiographical recordings made in the last years of his life. Excerpts from these tapes, and interviews with close friends and associates, reveal the many sides of Tosh in a fascinating and powerful portrait. Highlighted with both splendid live concert and rare archival footage, Stepping Razor— Red X is a haunting picture of a man who fought against human injustice, felt the forces of power closing in around him and yet refused to compromise his beliefs. As Tosh said, “The truth has been branded outlaw and made illegal. It is dangerous to have the truth in your possession. You can be found guilty and sentenced to deathiP®^

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Festiva l S h o rt Film s A le x ia (Sheryl Glubok, Czech R epublic/U S A, 1993, 11 m in.) A lovely, w o rdless ta le o f a young w o m an’s search fo r love and self-understanding with the help o f tw o lovers. Features Czech director Jiri Menzel as the older lover. S cre e ns with S w e et Em m a, D e a r Bobe. am B U SH ed (Jared Katsiane, U S A, 1992, 12 m in.) A s George Bush delivers his infam ous “coca in e ” speech on te levision , overzealous, racist police officers harass a deaf African-Am erican te en a ge r and an old man. S creens with M enace II S o cie ty. A n t C o lo n y (David Evans, To ny Gerber, USA, 1993, 12 m in.) In this delightfully weird com ic fa b le, tw o researchers w ork in fragile harm ony in a claustrophobic world. But how long will it last? S creens with C arefu l. B ig G am e H u n t (G rossw ildjagd) (Stephen W agner, Austria, 1992, 9 m in.) A black little com edy about a wom an who lures the ga s man into her apartm ent fo r im m oral pu rposes. S cre e ns with The S co rp io E ats the G em ini fo r B re a kfa st. The B ig C h e e se (Great Britain, 1992, 16 m in.) An anim ated sla pstick farce about a skate-punk m ouse and his g risly com euppance. S creens with B ad B ehaviour. B um H eads (Bart M allard, U S A, 1992, 22 m in.) A fa scin a tin g portrait of an African-Am erican barber in M em phis who uses a unique hairstyling m ethod. His trustin g custom ers sitting through the treatm ent are a sight to behold. S creens with Tw ist. C h ee se (M ichael Barrett, U S A, 1993, 6 m in.) An oddly affecting visual poem about drug experience and a vision o f the last m om ents of life. S creens with Trouble Bound.

D e a d ic a tio n (Peter Frisch, U S A, 1993, 8 m in.) A w itty, deadpan look at the inner w orkings o f the L.A. County M orgue and a reflection on the benefits o f death. S cre en s w ith S h e lf Life . The F a iry W ho D id n ’t W a n t to B e a F a iry A n ym o re (Laurie Lynd, Canada, 1992, 15 m in.) A com edy/m u sical th a t sp eaks to anyone who has ever felt “d iffe re n t.” Featuring ja zz sin ger H olly Cole as a s in is te r surgeon. S creens with F o r a L o s t S o ld ie r. F irs t T w ilig h t (Chris R obinson, U S A, 1993, 2 m in.) A beautiful reflection and childhood m em ories o f a drive-in. S cre e ns with Autum n M oon. F ra n ke n ste in (John S chnall, USA, 1992, 14 m ill.) This im aginative adaptation u ses a m ixture of live action and anim ation to portray the m on ster as a you ng man who e scap es from a nightm arish, Lynchean, dream -world e xiste nce. S creens with La Vie de Bohem e. H e le n ’s (Shaun Cathcart, Canada, 1992, 9 m in.) Tw o bum s go looking for a free meal at a grocery store in th is funny psycho-dram a— but things c o u ld n ’t go m ore w rong fo r them . S creens with On M y Own. H o w to B e A m e ric a n (K rystoff Przkucki, U SA, 1991, 6 m in.) S o m etim es ideals have a very strange effect. This is one personification o f the Am erican dream , up clo se and personal. S cre e ns with R oad Sch ola r. The it s y B its y S p id e r (M att O ’Callaghan, USA, 1992, 6 m in.) The old spider ju s t m ay have m et his m atch in th is anim ation free-for-all featuring the voices o f Jim Carey and Andrea M artin. S cre e ns with F ly b y N ight. K ill M e L a te r (M aria R ipoll, U SA, 1993, 10 m in.) A dram atic film noir in which a wom an a ttem ptin g su icide is interrupted by a you ng robber who needs her as a hostage. S cre e ns with The H a rvest. The K in g s o f S ia m (Ged Haney, Great Britain, 1992, 11 m in.) From the sideshow to the funhouse, th is is a cartoon carnival ride starring Siam ese tw in s who d o n ’t like each other. S cre e ns with R unning Late. K in gp in (Suzanne S pangler, U S A, 1993, 5 m in.) A would-be acting stu den t ends up in the school th e a ter on enrollm ent day. S cre e ns with Verm ont Is fo r Lovers. The K is s (Philip Kan G otanda, U S A, 1992, 13 m in.) A repressed office clerk m ust confront his fe ars when a g a y man colla p se s beside him in a restaurant. S creens with O rig in a l S in . M a d e lin e (Fulton M all, USA, 1992, 11 m in.) H ilarious sto ry about a novitiate priest, a dead girl and the love th e y never shared. Heavy on the B erm anesque. S creens with H ouse o f A n ge ls. M a rkie B o y (D ustin Todd Levy, U S A, 1992, 9 m in.) Sex. A ID S . Danger. S creens with Jam on Jam on.

The M e ltin g P o t (David M eyers, USA, 1993, 7 m in.) Peer pressure w eighs heavily on a Latino gangbanger who q uestion s his violen t life when a m inor confrontation goe s out o f control. S creens with E ig h t-Tra y G angster. M ilk o f A m n e sia (Jeffrey N oyes Scher, USA, 1992, 6 m in.) A vibrant, anim ated tango fantasy. Scre e ns with K itch en and O th e r Room s. N o P ro b le m (Craig W elch, Canada, 1 9 9 2 ,ffl3 m in.) The funny, irreverent story o f an a nxious bachelor de spe ra tely looking for the relationship that will turn his life around. From O sca r w inner C raig W elch. S creens with A lo n e A m on g W om en. One S m a ll S te p fo r C le tu s (K ristian Burstein, U SA, 1992, 19 m in.) S e t on the day hum ans first walked on the m oon. A you ng boy appears before C le tu s and cla im s to be the son o f one o f the astronauts. Screens with In A dvance o f Landing. P a ssa g e a L ’A c te (M artin Arnold, A ustria, 1993, 12 m in.) Acclaim ed avant-garde film m aker Martin Arnold playfully deconstru cts one brief scene from To K ill a M ockingbird, looping and re-looping m om ents of sound and im age. S cre e ns with O ffS e a s o n . P h o n e m a ste r 90 0 0 C a ll A n s w e rin g M a ch in e (M ichael A ddis, USA, 1992, 6 m in.) In th is age o f ga dge ts, he re ’s a phone m achine with a big-tim e attitude. Scre e ns with D o n ’t C a ll M e Frankie. R e b e llio n o f th e F lo w e rs (M illie Co ldsho ll, U SA, 1993, 8 m in.j An anim ated parable about a g a rd e n er’s attem pts to control nature when he becom es enraged by the s u n ’s rays. S cre e ns with Tango Argen tin o. S e c o n d N a tu re (Daniel Conrad, Canada, 1993, 9 m in.) The relationship between tw o dancers and the ir a lteregos. Choreographed by Judith M arcuse. S cre e ns with Un C o e u r en H iver. S e x y G irls , S e x y A p p lia n c e s (Em m a-Kate Croghan, A ustralia, 1992, 4 m in.) Three wom en and the ir household a ppliances in a hilarious send-up o f se x in ‘50s advertising. S creens with D ead A live . S h e lf L ife (Andrew Horne, A ustralia, 1992, 15 m in.) W inner o f the A ustralian B est Short Anim ation award. A claym ation sto ry about an old corner store ow ner trying to understand social change on his birthday. S creens with W ild West. A S q u a res S a fa ri (Jan et M erew ether, Austra lia, 1992, 16 m in.) Inventive cut-out anim ation highlights th is w itty tale of a city slic k e r’s jo u rn e y into the backcountry. S creens with H e rcu les R eturns.

F e s t iv a l S h o rt F ilm s

The D e b t (Bruno de A lm eida, U S A/P ortuga l, 1993, 12 m in.) A se ries of telephone calls triggers a d o m estic cris is fo r a yuppie couple in this tw isted black com edy. S creens with C rush.

M a ste r-b a -sh e n (John Eric S p itze ||USA, 1992, 4 m in.) A no-holds-bared erotic look at the m yths and propaganda about self-love. S creens with S ex Is ...

S y lv a (Eric Stavney, USA, 1992, 5 m in.) W arm , se n sitive look at the pastoral beauty o f life in the Northern California rain fo re st. S creens with Baraka. U n til th e C u re , I O ffe r th e C are (John O utcalt, U SA, 1992, 10 m in.) A personal and m oving portrait o f a care giver. Scre e ns with S llve rla ke Life. La V e rg in e d e g li A n g e li (Robin Scovill, U SA, 1992, 4 m in.) A you ng m an's haunting jou rn e y to the farm o f his youth and the dark m em ories o f his past. S cre e ns with A m bush o f G hosts. The V illa g e (Great Britain, 1992, 14 m in.) A wry anim ated parable in which tw o lovers in an Elizabethan village are victim s o f sm all-town hypocrisy, but love conquers all. S cre e ns with In to the W est. W e Lo ve It ! (Cand y Kugel, V incen t CafarelM USA,;,199 2, 6 m in.) Lively anim ation sa tirizes film m aking by com m ittee when the sim ple sto ry of a boy and his dog ge ts im proved beyond recognition. S creens with A c tin g on Im p u lse . W e t D ream (Kim Yun-Tae, South Korea, 1992, 15 m in.) An extraordinary vision o f bodies, w a te r and trem ors o f intent. S creens with Chain o f D e sire . W ild O a ts (Chien-ei Yu, U SA, 1993, 17 m in.) True love trium phs in this hilarious w edding com edy. A t the last m inute the father o f the groom urgently ta ke s his son aside to explain w hy the cerem ony c a n ’t proceed. Scre e ns with The W edding Banquet. The W itn e s s (Chris Gerolm o, U SA, 1992, 15 m in.) A s a Germ an SS guard (Gary S in ise ) e scorts Jew s to th e ir death, a young boy stands w itn ess to the crim es. S cre e ns with W here Is M em ory. Yon n on dio (AN M oham ed Selim , U SA, 1992, 15 m in.) A call fo r universal understanding and a hymn on the disintegration o f earth and society. Based on a poem by W a g jw h itm a n . S cre e ns with The S ile n t Touch.

107

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SEATTLE’S POWERSTATION

Congratulates the Seattle International Film Festival on 19 years of outstanding programming that inspires both young people and adults alike and truly enhances the quality of life in Seattle.

KNHC 89.5 FM Seattle

Watch us perform! Our show is hot! At Chang’s, do it your way and help yourself to the hearty food bars featuring beef, lamb, pork, shrimp, fish, poultry, fresh vegetables and exotic seasonings. You create your own combination— then stand back and watch our chef fry it on a Mongolian Style Grill. fl

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Poster A u c tio n

SIFF’s closing-day Poster Auc tion has become a much-loved event since its first fast and ■frenzied installment 11 years ago. Buyers and nonbuyers alike find the proceedings an excit ing mix of entertainment and edification, as hundreds of glo rious posters from all over the world are displayed and then put on the block for sale to the highest b id d e rslFilm Festival programmers search the globe for these stunning new (and old) posters in between their searches for stunning new (and old) film s. Many are enormous, after banners and bills from European and Asian printing p resse s. O thers are sm all, elagent, lobby-style versions with inventive graphics and de signs alm ost never seen on the

Pojster A u c t io n

high-quality and much sought-

m ass-produced posters that come out of Hollywod. All post ers will be on rotating display during the festival. Guest auc tioneer and former SIFF staff member Gary Tucker will host the auction, Sunday, June 6, at 2:30 in the Egyptian Theatre’s Masonic Ballroom.

109

M n Hollyw ood, where some m a k e it o n h o o k s alone, th e re 's one star th a t's m o r e t h a n j|i s t a pretty fa c e ...

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JOIN CINEMA SEATTLE

Cinema Seattle is the nonprofit producing organization for the Seattle International Film Festival. The health and future of the festival very much depend on the support of our audience. Show you care by joining Cinema Seattle. Mem bership entitles you to a host of year-round benefits that include: • A personal Cinem a Seattle wallet card. • One Seattle International Film Festival poster of your choice, 10th and 12th years through the present ($15 value). • Free pairs of tickets to two off-season screenings. During the past year, our members received passes to a selection of film s that included The Best Intentions, Bob

Roberts, Damage, Dave, Lost in Yonkers, Raise the Red Lantern, Tous les M atins du Monde, and Used People. • Y o u ’ll also be on our mailing list, which means yo u ’ll get early notice of all Cinema Seattle and SIFF events and the opportunity to buy advance tickets. To join, send your name, address and telephone number, along with a self-addressed, stam ped envelope and a check for $25 (payable to Cinema Seattle) to our office:

AND SUPPORT THE SEATTLE INTERNATIONAL FILM FESTIVAL

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IS IS ■

E g y p t ia n T h e a t r e F rid a y, M a y 1 4

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D a ily F ilm S c h e d u le

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H a r v a r d E x it

Twist Into the W est Story of Q iu Ju Dead Alive (Braindead)

5:00pm 7:15pm 9:30pm midnight

Changing Our Minds Letters From Paris The Fencing Master

Mystery of Edwin Drood Walt Disney in. the Jazz Age (Silent) Le Zebre The Wedding Banquet Savior of the Soul 92

12:30pm 3:30pm 6:30pm 9:15pm midnight

Clean Machine Letters From Paris Road Scholar The Music of Chance

Secret Festival Walt Disney Before Mickey Mouse Sofie Baraka

12:30pm 3:30pm 6:30pm 9:15pm

Into the West Le Zebre Scorpio Eats the Gem ini... Autumn Moon

On My Own The Music of Chance

5:00pm 7:15pm 9:30pm

Ad a Sweet Emma, Dear Bobe Flaming Ears

Ripples Across Stagnant Water Schtonk

5:00pm 7:15pm 9:30pm

Road Scholar The Nun and the Bandit Off Season

Autumn Moon Amazing Grace

5:00pm 7:15pm 9:30pm

Original Sin Angel of Fire Passin’ It On + Seven Songs

The Red Squirrel Verso Sud

5:00pm 7:15pm 9:30pm

Off Season In Advance of Landing Careful

Baraka Running Late Trouble Bound Stepping Razor - Red X

5:00pm 7:15pm 9:30pm midnight

Where is Memory The Peach Blossom Land Betty

Scorpio Eats the Gem ini... Port of Seven Seas Menace II Society Milena Hercules Returns

12:30pm 3:30pm 6:30pm 9:15pm midnight

Tom and Jerry: The Movie Sweet Emma, Dear Bobe Family Prayers Bound by Honor

Secret Festival Running Late The Silent Touch The Northerners

12:30pm 3:30pm 6:30pm 9:15pm

The Flying Sneaker Betty Jacquot Last Call at Maud’s

As In Heaven Dark At Noon

5:00pm 7:15pm 9:30pm

House of Cards Acting It Out Games Teachers Play

The Peach Blossom Land Trouble Bound

5:00pm 7:15pm 9:30pm

Long Day Closes The Boys from St. Petri La Sentinelle

Jacquot Wild W est

5:00pm 7:15pm 9:30pm

Shelf Life Outback Silverlake Life

5:00pm 7:15pm 9:30pm

Forbidden Love Hyenas Man Bites Dog

M onday, M a y 2 4

Tue sd ay, M a y 2 5

W ednesday, M ay 2 6 ,

T h u rs d a y , M a y 2 7 112 I

John Schlesinger Tribute with Midnight Cowboy

B ro a d w a y M a rk e t

N e p tu n e Ih e a t r e F rid a y, M a y ± 4

5:00pm 7:15pm 9:30pm 12 midnight

Snakes and Ladders Mystery of Edwin Drood Original Sin

12:30pm 3:30pm 6:30pm 9:15pm midnight

Billy Liar Seven Songs + Passin’ It On Schtonk Stepping Razor - Red X

12:30pm 3:30pm 6:30pm 9:15pm

NW Shorts S NW Shorts 2 Eight-Tray Gangster Shirtless Soul

5:00pm 7:15pm 9:30pm

NW Shorts 1 The Fencing Master White Badge

5:00pm 7:15pm 9:30pm

NW Shorts 2 The Wedding Banquet Savior of the Soul 92

5:00pm 7:15pm 9:30pm

Eight-Tray Gangster Changing Our Minds Dead Alive (Braindead)

5:00pm 7:15pm 9:30pm

Shirtless S o IM Amongst Friends Twist

T h u rs d a y , M a y 2 0

White Badge Vermont is for Lovers Ada

5:00pm 7:15pm 9:30pm midnight

On My Own House of Cards Soft Top Hard Shoulder

F rid a y , M a y 2 1

Ripples Across Stagnant Water Amongst Friends Long Day Closes La Sentinelle

12:30pm 3:30pm 6:30pm 9:15pm midnight

An Englishman Abroad Verso Sud Shelf Life Wild W est

S a tu rd a y , M a y 2 2

Amazing Grace The Nun and the Bandit Me and Veronica Tango Argentino

12:30pm 3:30pm 6:30pm 9:15pm

In Advance of Landing Manufacturing Consent Children of Fate (7pm) Sofie

Vermont is for Lovers Snakes and Ladders The Conjugal Bed

5:00pm 7:15pm 9:30pm

Menace II Society Soft Top Hard Shoulder The Red Squirrel

Family Prayers The Well Twenty Bucks

5:00pm 7:15pm 9:30pm

Children of Fate La Carpa Forbidden Love

Tango Argentino Mary From Beijing Warrior’s Heart

5:00pm 7:15pm 9:30pm

Last Call at Maud’s The Silent Touch Milena

Me and Veronica La Vie de Boheme I T h e Oak

5:00pm 7:15pm 9:30pm

Angel of Fire The Harvest The Northerners

S a tu rd a y , M a y 1.5

Sunday, M ay ± 6

M onday, M ay 17

Tue sd ay, M ay ±8

W ednesday, M ay 19 D a ily F ilm S c h e d u le

Sunday, M ay 23

M onday, M ay 24

Tue sd ay, M a y 25

W ednesday, M ay 26

¡Th u rs d a y , M a y 2 7 I 113

E g y p t ia n T h e a t r e F rid a y, M a y 2 8

Mary From Beijing Hammers Over the Anvil Romper Stomper Accion Mutante

5:00pm 7:15pm 9:30pm midnight

S a tu rd a y , M a y 2 9

Far From the Madding Crowd 1Kiss Your Hand Madame House of Angels Un Coeur en Hiver Romper Stomper

12:30pm 3:30pm 6:30pm 9:15pm midnight

Tom and Jerry: The Movie

Sunday, M ay 3 0

Secret Festival The Harvest Acting on Impulse For a Lost Soldier

12:30pm 3:30pm 6:30pm 9:15pm

Finding Your Place

M onday, M ay 3 1

Hammers Over the Anvil Abyss Special Edition Un Coeur en Hiver Chain of Desire

12:30pm 3:30pm 6:30pm 9:15pm

Cadillac Girls Crush

5:00pm 7:15pm 9:30pm

Time Indefinite Sex Is...

5:00pm 7:15pm 9:30pm

Al Lupo Al Lupo Jamon, Jamon

5:00pm 7:15pm 9:30pm

White Marriage Les Visiteurs Sneak Preview Fortress

5:00pm 7:15pm 9:30pm midnight

Sunday Bloody Sunday Phantom of the Opera Bad Behavior Orlando Don’t Call Me Frankie

12:30pm 3:30pm 6:30pm 9:15pm midnight

Peter in Magicland

Secret Festival Les Visiteurs King of the Hill

12:30pm 3:30pm 7:00pm

National Velvet

D a ily F ilm S c h e d u le

T u e s d a y , Ju n e 1

W e d n e s d a y , Ju n e 2

T h u rs d a y , Ju n e 3

Frid a y, Ju n e 4

S a tu rd a y , Ju n e 5

S u n d a y , Ju n e 6

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H a r v a r d E x it

B ro a d w a y M a rk e t

N e p tu n e T h e a tre

The Conjugal Bed Night and Day Fly By Night

5:00pm 7:15pm 9:30pm midnight

Heresay Cadillac Girls Chain of Desire

The Boys from St. Petri The Well Quick Crush

12:30pm 3:30pm 6:30pm 9:15pm midnight

Hercules Returns Silverlake Life Jamon, Jamon Fortress

La Vie de Boheme Dark At Noon Alone Among Women Ambush of Ghosts

12:30pm 3:30pm 6:30pm 9:15pm

Where is Memory La Carpa 1Wanted To See Angels Accion Mutante

Night and Day Fly By Night Acting It Out Man Bites Dog

12:30pm 3:30pm 6:30pm 9:15pm

Hyenas Games Teachers Play House of Angels Quick

Twenty Bucks Heart Strings About Love, Tokyo

5:00pm 7:15pm 9:30pm

As In Heaven Olympic Summer Outback

Alone Among Women The Three Best Things in Life Ambush of Ghosts

5:00pm 7:15pm 9:30pm

Kitchen and Other Rooms For a Lost Soldier Acting on Impulse

Olympic Summer White Marriage Our Twisted Hero

5:00pm 7:15pm 9:30pm

Heart Strings The Three Best Things in Life ■ R a n t e d To See Angels

5:00pm 7:15pm 9:30pm midnight

Time Indefinite A Place In the World Dazed and Confused

12:30pm 3:30pm 6:30pm 9:15pm midnight

Al Lupo Al Lupo Best of Shorts Kitchen and Other Rooms TBA

12:30pm 3:30pm 6:30pm 9:15pm

Don’t Call Me Frankie Dazed and Confused Bad Behavior Orlando

F rid a y , M a y 2 8

S a tu rd a y , M a y 2 9

Sunday, M ay 3 0

M onday, M ay 3 1

T u e s d a y , Ju n e 1

T h u rs d a y , Ju lie 3

F rid a y , Ju n e 4

S a tu rd a y , Ju n e 5

S u n d a y , Ju n e 6

115

D a ily F ilm S c h e d u le

W e d n e s d a y ,J u n e 2 1

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V o lu n te e r s Mary Beth Dahl Pamela Dales Barbara Dana Lisa Danielski Ronna Dansky Scott Davies Todd Davis Tom DeFelice Nancy Douglas Lisa Dowling Kelly Doyle Diana Dumpis David Duntley Adrienne Toye Du rege Matthew Durham Scott Elia Jim Esselstyn Amy Faber Chris Ferlazzo Tye Ferrell Grace Fitzgerald Julie Forkasdi Barry Foy Stuart Frank Deborah Froula Darcy Furseth Cathi Gainor Mike George Ian Gerrard Jeff Gerson Janis Gibbs Marie Gibson Julia Gold Judy Goldin Nancy Golosman Megan Goodrick David Gordon Charles Goven Myra Hafner Nicole Hallberg Lisa Jo Hammen Peter Haney John Harrington Craig Harris Rob Hart Keri Healey Yoshiko Heather Bill Hendricks Maria Elena Hendricks Bruce Henning Ulrike Hilborn Christene Hixson Catie Hobson Caroline Hoffman Llysa Holland Margaret Hollenbach Jeanne Hoppe Janet House Mimi Hunt Sarah Isakson Tom Ives Karen Johanson Scott Katz Rosemary Kernahan Dong Kim Jeff Klein Lisa Kopecky AI Korpela Michele Kubasti'

James Le Baron Jane Leighton Lisa Leo Curt Leo Andrea Lesver Sara Levin Ann-Dee Levine Andrew Litzky Eric Liu John Loggins Peter Lohnes Lori Lovoy Genie Lynde Esselstyn Jayme Lynes Glenn MacGilvra Eric Magun Sharen Manolopoulos Kelli Mason Nancy Mason Michael Masyn Chris Mathews Mary Matthews Maiia McCarthy Colette McCormack Douglas McDonald Anne McElhinney Alison McGuire Patrick McMurtray John Meenach Michael Misrok Heather Mitchell Amanda Moore Valerie Heide Mudra Julie Mullaney Zola Mumford Joyce Nakamura Debra Nicholls Vivian Norris-Schwinn Barb Omahen Felicity Oram Christopher Osolin John Pai Kenneth Parms Loryn Paxton Bridget Peksa Jane Pemberton Scott Peters Karine Peterson Kuaya Phillips Shellye Poster Andy Potebnya Terri Potebnya Andrew Potter Bernie Potter Judi Price Jonathan Protas Susan Purton Sunny Radcliffe Caolyn Randolph John Raphaelidis Wendy Rasmussen Marcy Reed Deborah Relyea Andrew Reynolds Mark Rice Kathy Rickard Carol Roberge Joann Robichaud

Tamera Rodabaugh Deborah Rustin Sally Anne S a d le r^ Dave Sandman Lisa Sarazine Judi Schimke Natasha Senjanovic Arlene Shale Sherry Shanabarger Judith Shane Kathleen Shannon Joy Shayne Laughter Carol Shih Pam Silimperi Jonathan Simmons Bob Simon Allison Simonis Ashley Sine Stevias Soloman Deborah Stachowic Shelley Stamp Lindsey Tony Stanford Carol Anne Steinberg Viktoria Stepitova Erica Stevens Jennifer Stock Darcy Stone Robert Story Tina Suda Pete Sullivan Sue Summers Gary Sutton Laura Taggart Alisa Takagi Loree Taylor Dan Tenenbaum Bill Thorness Susie Thorness Glenn Touger Katesy Townsend Robert Usibelli Anne Van Dyne Yvette Villarne Ray Watkins Don Weisgerber Connie Wellnitz Robert White Jana Wilcoxen Julia Wildwood Derrick W ila m s Kara Witsoe Melissa Wolfe Cathy Wyckoff John Zagula Cynthia Zant John Zicari

V o lu n te e rs

Each year, hundreds of volunteers contribute their time, energy and enthusi asm to all aspects of Festival production. We are proud and deeply appreciative of every one of them. The Festival succeeds in large part because of the labor given so cheerfully and gener ously by these dedicated individuals. We honor and thank the SIFF volunteers listed below, as well as all those we are unable to acknowledge individually here. Diana Adams James Adamski Christine Allison Katherine Alteneder Vanessa Angelvy Dave Antonelli Fabio Arevalo Larry Arnold Mark Aufdemberge Lon a Badgett Anne Bagdon Rebecca Baldwin Daniel Barber Mia Barker Amanda Bell Gwen Bialic Mark Bigelow Caitlin Bjorke Adie Bolach Vicki Bolen Helen Bollman Bill Bozarth Amy Bradburd Kristen Brelsford Rafael Burga Emily Burns Rebecca Bush Rita Calabro Christine Cameron Kerry Canfield Karin Carmassi Darren Carter Angela Carver Julie Cascioppo Ed Casper John Cerame Jean Chen Victoria Childs S. J. Chiro Lynn Clark Lisa Clayton Steven Cochran Abbey Cohen Valerie Cohen David Conda Adrienne Connolly C. David Cook Steve Coyne Laura Culberg

119

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B R O A D W A Y

M A R K E T

W E D O N'T TOLERATE DIVERSITY

W E CELEBRATE IT. 35 D I V E R S E S T O R E S A N D EATERIES 4

A c k n o w le d g m e n ts Academ y Entertainm ent

Cottrell-Lindeman Associates

M.J. PecMs: Micha'el'sGlorieux: Sheriy Silver

Holland Film Promotion

Mickey Cottrell Doug Lindeman David Colman

Lucelle Zorgé : I.R.S. M edia Releasing

Alliance Française

Cygnus Communication Inc.

Gail Blurranthal Deverin Karol

Nicole Greene

Dan Curtis

Neptune Theatre

1 Dan Long, Mgr. Heather Levin, Asst. Mgr. and the proficient staff

Charlotte Mickie

D&D Ticketing

Debbie Miles Debbie Murdoc

Argo Project Inc.

Susumu Matsui Yuko Yoshikawa

Danish Film Institute

LisSy Bellaiche Lis Carneiro

Arrow Entertainm ent

Ed Cruea Définis Freelander

Anna Mara KarlsdOttir IM CINE /In s titu te M exicano de Cinem atografia

Ignaico Djfran loera Mario Aguinaga Ortuna

Emiie Razpopov

Sande Zeig

Art 0 M a t Design

Echo Park Filmworks

Carlos Avila Egyptian Theatre

CrisjraJ|Gerber

Pete KiTphinsky, Mgr. Roland Boe, Asst. Mgr. and the amazing staff

Australian Film Commission

El Deseo

Shane McConnOcni’e

Michel Ruben

BAFTA

Era Films (H .K .) Ltd.

AT&T

Shu Kei

Barbara Robinson

Mark Shivas

Tom Garvin Dale Nicholson^'’

Sony Pictures Classics

Paola Corvino

Michael Barker Marcie Bloom Adam Faiik

ITC Entertainm ent

Northern Arts Entertainm ent

f||||ri Bardwil ■ Laura Behrstock Jacobson, Jarvis & Co,

Klaus Gerké Frédéric Desplanches

Kalish Davidson M arketing Inc.

Molly Crafts

David Peters Strand Releasing

Outsider Productions

Studio Nieuwe Gronden

Federal Express

Donald Krim Garry Palmucci Jessica Rosner

Lawrence Helman

Rene Schölten

Overdrive M otion Pictures Inc.

Sum m it Cable

Christian Bruyere T&C Edition AG PentAm erica Pictures

Marcel Floehn

Anna Gross Mark Zachary

Triton Pictures

Julie Higgs

Bob Birney Debby Flughes Connie Caldwell

Poster Auctioneer

Turner Entertainm ent Co.

Gary Tucker

Richard P. (Dick) May Sonny Johnson

Pinnacle Pictures

Korean M otion Picture Promotion Corp.

Anita Erken -

Albe Allen

YOON Tak LEE KeunrSang

Beyond Rim s Lim ited (L.A.)

Film-und Fernsehproduktionen

L’Estrange Associates

Kaki Kirby Roseann Fruth B lack Audio Film Collective

Lina Gopaul David Lewisbn

Stefan Maugg Gordian Maugg

Bill Lanese Advertising

Fine Line Features

Law Desk

Ira Deutchman Sarah Eaton Liz Manne

The Bon M arche

Satwant Gill

Thierry de Ganay Claudie Cheval Stephanie Fregnac

Dwight Gaut

Reel W e s t

LBA

Rim R im Distribution

Steven Yeun Elissa Choe

les Productions La Fête

Darlene Griffin,

First Run Features

Seymour Wishman Mark Mauceri

Brian Whitish, Mgr. Mecca Beisell, Asst. Mgr. and the versatile staff

Fortissimo Film Sales

Flelen Loveridge Wouter Barendrecht

Broadway New American Grill Four Seasons Hotel Buena Vista Pictures Distribution

Brian Flicks Cafe Cairo

Craig Cappuccino Kerry van Veen Steve Csutoras Deborah Daoust

David Toscan du Plantier Frederique Bareteau

W illpower Productions

M agyar Filmunio

S.K. Productions

George Eastman House, International Museum of Photography

Dr. Christopher Florak Cinema In Transition

Katherine Cornè‘|fif| Cinema Verity

Verity Lambert

German Federal Film Board, U.S. Representative

Thomas Fucci

Zeitg eis t R im s Ltd.

M a jes tic R im s International

SACIS

Nancy Gerstman Adrian Curry

Tristan Whalley Carol Baker

Paola Ferraresi Guido Corso

M aud’s Project

Safeway Samuel Goldwyn Co.

M ayfair E ntertainm ent International

I a n Scorer Monique Esclavissat

Laura McCormackWBS Mike Mostyn Dave Flagen Chris Wicklund

John Griffiths

Consulate of th e Federal Republic of Germany Consulate General of the Republic of Korea

Flae-Soon Lee jin Hur

Sandy Creighton

Leon Conjiantiner Dana Rotberg

San Francisco R im Festival

M etropolitan Catering

Scotia Film

Shirlëf Fein Midbar Films

Russell Schwartz Wayne Case Paul Rosenfelt Claudia Gray Celia Velasco

Connoisseur Video

Peter Marai Peter Kliener

SC E ntertainm ent

M etropolis Productions

LauraSrhielen Angela Hopf

M G M Classics

Gramercy Pictures The Computer Store

Steve Rotheoberg Betsy Spanbock Meryl Senatt Karen Brown

M ayor’s Office

Frances Schoenberger Golden Globe Transport

Columbia TriStar Home Video

Will Berliner

Katalin Vajda

Donna James Canadian Film Center

Jordffl Stone

Screen Angel Productions

Carolyn Cavallero Sergei Bodrov

Rachel Shapiro S e a ttle Central Community College M iram ax Films Inc.

Gerry Rich Cynthia Swartz Gina Gardini Anna Osso

Individuals

Jean Colman Cameron Crowe Alexa D’Avalon Virginia Davis McGhee Tamara Dover

D^Senetti

BgjKroyer Nancy Locke Governor Lowry Lana Loyer Richard P. May Resell Merritt Inga Muscio - , B p ) Olson Stephen Peringer Jonathan Raban Mayor Rice Lena Sharpe Rick Stevenson Darcy Stone Jim Thompson Janet Wainwright

Jeff Watts S e a ttle Rep

K a n Sullivan Seaw ell Rim s

Harvard Exit Theatre

Cathy McCadden, Mrg. Tammy Willilms, Asst. Mgffc >; andjhe fabulous staff

M K 2 Productions USA

Jeannine Seawell

Derval Whelan Michelle Spencéifea

Seven Gables Theatres

Heath Printing

National Film Board of Canada

Julie Norris ■

Vancouver International R im Festival

Roxie Releasing

Alina Salcudeanu

Paris Porier

Gaumont Distribution Internationale Canadian Consulate General

Crack Rhodes

Bill Banning Rick Norris

Lucky Red Distribuzione

Friday Harbor

Scott Rosenfelt

Unifrance R im , New York

Catherine Verret Rene Schwartz

Angelo Perróné Kermit Smith

Rom aniaRIm

Foxglove Rim s Inc.

Chris Gallagher

Bob Schomus Rick Griffith

Alan Franey Pochu AuYeung Chris Adkins Janine Fraser

Rock Demers Helens Belanger

Broadway M a rke t

Broadway M a rke t Theatre

Tw entieth Century Fox

US W est

Randal Chicoine Laurens Geels Dick Maas Anja Lok Rebel

Productions Audiovisuel Communications

Pyramide International

First Floor Features The British Council

Marcus Flu

A c k n o w le d g e m e n t s

Kino International Corporation

Fifth Avenue Theatre

S pectacor Films

Bingham Ray Jeff LipSky

Stacey Coley

Express Signs

BetaFilm GmbH & Co.

David Mazur October Films

Teresa Bower Chuck Abram '• B B S S Keenan

SOGETEL

Norsk Film institutt

BBC Television, Drama Rim s

Kyle Bergerson

Jili Zignego

Jan Erik Holst Knut Fougner. I

Vanessa Lambert Bergerson Film Production Service

Sideral Productions and Distribution

Wendy Lidel

K&H Printing Ervin, Cohen and Jessup

BBC Enterprises Ltd.

Mitch Goldman Christina Kournelias Giselle Corcoran Sara Risher

Fernando de Garcillari Jesus ReguejJa Marta Cervera

Dale Jarvis

C^stopher Toyne Tracy Dodd

Shu Kei’s Creative Workshop, Ltd.

New Line Distribution

Frida O hrvi^H j

Intra Films Sri.

• Jacki McCarthy Mark Kaufman Ashley Bogle

Shochiku Co., Ltd.

Kiyo Kurosu

Norsk FilmDistribusjon International Film Circuit

E.R. Productions

Kazuko Shibata

The New Festival

Icelandic Film Fund Alliance International

Shibata Organization Inc.

Ruth Hayler Allan Blangey

Helene Tanguay John Siraballe

121

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P rin t S o u r c e s Academy Entertainment

El Deseo

9250 Wilshire Blvd., 4th Floor Beverly Hills, California U.S.A. 90212 Phone: (310) 275-2195 Fax: (310) 275-3433

Ruiz Perello, 15, Bajo Centro 28028 Madrid, Spain Phone: (34)(1) 720 106 /7 Fax: (34)(1) 355 7467

Alliance International

920 Yonge Street, Suite 500 Toronto, Ontario Canada M4W 3C7 Phone: (416) 967-1141 /800-465-4179 Fax: (416) 960-0971 Argo Project Inc.

Sakaeya Shimizu Bldg., 2-14-33 Akasaka, Minato-ku Tokyo, Japan Phone: (81)(3) 3584-6237 Fax: (81)(3) 3584-6238 Arrow Entertainment

488 Madison Avenue, 15th Floor New York, New York U.S.A. 10022 Phone: (212) 759-9300 Fax: (212) 974-0115 BBC Enterprises Ltd.

Woodlands, 80 Wood Lane London, W12 OTT England, U.K. Phone: (44)(81) 743-8000 Fax: (44)(81) 746-0093 Bergerson Rim Production Service

4002 Second Avenue Seattle, Washington U.S.A. 98105 Phone: (206) 547-4775 BetaHIm GmbH & Co.

Betastrasse 1 D8043 Unterfohring/Munich Germany Phone: (49)(89) 9508 8323 /5 Fax: (49)(89) 9508 8703 Beyond Rims Limited (L.A.)

Black Audio Rim Collective

7-12 Greenland Street London, NW1 OND England, U.K. Phone: (44)(71) 267-0845 /46 Fax: (44)(71) 267-0845 Buena Vista Pictures Distribution

3900 West Alameda Avenue, Tower Bldg. Burbank, California U.S.A. 91521-0021 Phone: (818) 567-5000 Fax: (818) 842-6158

Era Rims (H .K .) Ltd.

Kino International Corporation

1302 Cheong Hing Bldg., 72 Nathan Rd., Tsim Sha Tsui I Kowloon, Hong Kong Phone: (852) 368-2727 Fax: (852) 367-3462

333 West 39th Street, Suite 503 New York, New York U.S.A. 10018 Phone: (212)629-6880 Fax: (212)714-0871

ETG-S ARAM A T T Productions

Korean Motion Picture Promotion Corp.(KM PPC)

9035 SE 79th St. Mercer Island, WA 98040 USA Phone: (206)232-6808

3400 Riverside Drive, 12th Floor Burbank, California U.S.A. 91505 Phone: (818) 972-8686 Fax: (818) 972-0330

Glatzerstrasse 27 D-6900 Heidelberg, Germany Phone: (49) (62) 2176 5255 Fax: (49)(62) 2178 0524 Rne Line Features

888 Seventh Avenue, 20th Floor New York, New York U.S.A. 10106 Phone: (212) 649-4800 Fax: (212) 956-1942

Rrst Run Features

Majestic Rim s International

153 Waverly Place New York, New York U.S.A. 10014 Phone: (212) 243-0600 Fax: (212) 989-7649

Gloucester Mansions, Cambridge Circus London, WC2H 8HD England, U.K. Phone: (44)(71) 836-8630 Fax: (44)(71) 836-5819

Fortissimo Rim Sales

Peter Maral

Foxglove Rims Inc.

4213 Elgin Street Vancouver, B.C. Canada V5V4R5 Phone: (604) 876-2501 Fax: (604) 822-5985 c/o Ervin, Cohen and Jessup 9401 Wilshire Blvd., Suite 900 Beverly Hills, California U.S.A. 90069 Phone: (310) 281-6300 Fax: (310) 859-2325 30 Avenue Charles de Gaulle 92200 Neuilly Sur Seine, France Phone: (33)(1) 46.43.20.00 Fax: (33)(1) 46.43.20.33

Ave. Santa Fe 1780-6oP. 0F605/6 1080 Buenos Aires , rgentina Phone: (54)(1) 41 0134 /0104 Fax: (54)(1) 814 4414

9247 Alden Drive Beverly Hills, California U.S.A. 90210 Phone: (310) 777-1960 Fax: (310) 777-1966

Cottrell-Undeman Associates

I.R.S. Media Releasing

7223 Beverly Boulevard Los Angeles, California U.S.A. 90036 Phone: (213) 936-6677 Fax: (213) 936-7101

3939 Lankershim Blvd. Universal City, California U.S.A. 91604 Phone: (818) 505-0555 Fax: (818) 505-1318

Cygnus Communication Inc.

IMCINE /Institute Mexicano de Cinematografia

Atletas No.2, Col. Country Club Coyoacan, Mexico D.F. CP 04220 Phone: (52)(5) 689 7100 /3035 Fax: (52)(5) 689 1989 Intra Rims S.r.l.

Via E. Manfredi, 15 00197 Rome, Italy Phone: (39)(6) 808 8931 Fax: (39)(6) 808 8932

650 North Bronson, Suite 128 Hollywood, California U.S.A. 90004 Phone: (213) 871-4466 Fax: (213) 461-5658

1503 Pheasant Hollow Drive Plainsboro, New Jersey U.S.A. 08536 Phone: (609) 799-5730 Fax: (609)799-5843

Echo Park Rlmworks

13 Tottenham Mews London, W1P 9PJ England, U.K. Phone: (44)(71) 323-4050 Fax: (44)(71) 580-0397 Meridian Entertainment

50 West 72nd Street New York, New York U.S.A. 10023 Phone: (212) 724-8504 Fax: (212) 595-1509 10000 West Washington Blvd., Filmlan Bldg. Culver City, California U.S.A. 90232 Phone: (310) 444-1542 Fax: (310) 8394835 Midbar Rims

175 Fifth Avenue, Suite 2582 New York, New York U.S.A. 10010 Phone: (212) 889-1704 Fax: (212) 8891704 Miramax Rims Inc.

375 Greenwich Street, 3rd Floor New York, New York U.S.A. 10013 Phone: (212) 941-3800 Fax: (212) 941-3834 M K2 Productions USA

250 West 57th Street, Suite 701 New York, New York U.S.A. 100193701 Phone: (212)956-7969 Fax: (212)397-0544 National Rim Board of Canada, New York Office

1251 Avenue of the Americas, 16th Floor New York, New York U.S.A. 100291175 Phone: (212)5895131 Fax: (212)5792382 116 North Robertson, Suite 200 Los Angeles, California U.S.A. 90048 Phone: (310) 652-1600 Fax:(310)6594635 Norsk RlmDistribusjon

ITC Entertainment

8051 Lincoln Blvd., #5 Los Angeles, California U.S.A. 90045 Phone: (310) 215-0878 Fax: (213) 221-4564

Maud’s Project

32 A Horizon Avenue Venice, California U.S.A. 90291 Phone: (310) 392-1239,

New Une Distribution International Rim Circuit

E.R. Productions

1543 Seventh Street, Suite 202 Santa Monica, California U.S.A. 90401 Phone: (310) 393-9000 Fax: (310) 458-8881

MGM Classics George Eastman House, International Museum of Photography

Gramercy Pictures

Store Sondervoldstraede 4 DK-1419 Copenhagen K Denmark Phone: (45) 31 57 65 00 Fax: (45) 31 57 67 00

Magyar Rlmunio

Mayfair Entertainment International Garvin, Thomas F.R.

Cooperative Productions

Danish Rim Institute / Det Danske Rlminstitut

Lucky Red Distribuzione

Via Antonio Baiamonti, 10 00195 Rome, Italy Phone: (39)(6) 325 2296 Fax: (39)(6) 325 2310 Vârosllgetl fasor 38 1068 Budapest, Hungary Phone: (36)(1) 269-7760 / I Fax: (36)(1) 268-0070 /7766

10 Stephen Mews London W1P 1PP, England Phone: (44)(71)333-8877 Fax: (44)(71)333-8878

186 Browning Avenue Toronto, Ontario Canada M4K IW5 Phone: (416) 465-6684 Fax: (416) 465-6684

225 Rue Roy Est, Suite 203 Montreal, Quebec Canada H2W 1M5 Phone: (514) 848-0417 Fax: (514) 848-0064

Bolderweg 22 1332 AV Al mere The Netherlands Phone: (31)(36) 532 7003 Fax: (31)(36) 532 7940

Droogbak 4-C 1013 GE Amsterdam The Netherlands Phone: (31)(20)627-3215 Fax: (31)(20)626-1155

12711 Ventura Blvd., Suite 300 Studio City, California U.S.A. 91604 Phone: (818) 760-2110 Fax: (818) 506-8189

October Rims

Sidéral Productions and Distribution

45 Rockfeller Plaza, Suite 3014 New York, New York U.S.A. 10111 Phone: (212) 332-2480 Fax: (212) 332-2499

3 rue du Faubourg Saint Honore 75008 Paris, France Phone: (33)(1) 40.17.03.49 Fax: (33)(1) 40.17.02.33 SOGETEL

Outsider Productions

3525 17th Street San Francisco, California U.S.A. 94110 Phone: (415) 8693226 Fax: (415) 8693226

Storti ngsgaten 12 0161 Oslo 1, Norway Phone: (47)(2) 42 36 00 Fax: (47)(2) 42 23 13 Northern Arts Entertainment

132 Main Street Haydenville, Massachusetts U.S.A. 01039 Phone: (413) 2699301 Fax: (413) 2699309

Gran Via 32, 2a E-28013 Madrid Spain Phone: (34)(1) 521 7405 Fax: (34)(1) 523 2366 Sony Pictures Classics

Overdrive Motion Pictures Inc.

3425 West Second Avenue Vancouver, B.C. Canada V6R U 3 Phone: (604) 732-9387 Fax: (604) 732-3587

550 Madison Avenue, 8th Floor New York, New York U.S.A.' 10022 Phone: (212) 833-8833 Fax: (212) 8398844 Spectacor Rims

les Productions La Fête

Rrst Floor Features

900 East Avenue Rochester, New York U.S.A. 14607 Phone: (716) 271-3361 Fax: (716) 271-3970

Cl BY Sales

34-5, 3-Ka, Namsan-Dong, Chung-ku Seoul, South Korea Phone: (82)(2)755-9291/5 Fax: (82)(2)774-0531

Rlm-und Femsehproduktionen

Gaumont Distribution Internationale Columbia TriStar Home Video

111 rue St. Maur 75011 Paris, France Phone: (33)(1) 43.57.65.15 Fax: (33)(1) 40.21.91.57

PentAmerica Pictures

11111 Santa Monica Blvd., Suite 1100 Los Angeles, California U.S.A. 90025 Phone: (310) 4795199 Fax: (310) 477-5879 Pinnacle Pictures Umited

Pinewood Studios Iver Heath, Buckinghamshire, SLO ONH England, U.K. Phone: (44)(753) 630 366 Fax: (44)(753) 630 332 President Rims

2 rue Lord Byron 75008 Paris, France Phone: (33)(1) 45.62.82.22 Fax: (33)(1) 45.63.40.56 Pyramide International

6 rue Catulle Mendes 75017 Paris, France Phone: (33)(1) 40.67.44.66 / I I Fax: (33)(1) 42.67.80.28

7920 Sunset Blvd., 4th Floor Los Angeles, California U.S.A. 90046 Phone: (213) 8792666 Fax: (213) 878-0419 Stephan Rims

71, Av. Franklin Roosevelt 75008 Paris, France Phone: (33.1) 42 56 25 02 Fax: (33.1) 42 25 64 81 Strand Releasing

8033 Sunset Blvd., Suite 4002 Los Angeles, California U.S.A. 90046 Phone: (213) 937-4500 Fax: (213) 937-4500 Studio Nieuwe Gronden

Van Hallstraat 52 1051 HH Amsterdam The Netherlands Phone: (31)(20) 686 7837 Fax: (31)(20) 682 4367 T& C Edition AG

Rim Rim Distribution

9884 Santa Monica Blvd. Beverly Hills, California U.S.A. 90212 Phone: (310) 2098182 Fax: (310) 5593214

Seestrasse 41A CH-8002 Zurich Switzerland Phone: (41)(1) 202 3622 Fax: (41)(1) 202 3005 Triton Pictures

25, Str. Julius Fucik, Sector 2 Bucharest, Romania Phone: (40)(0) 611 2515 Fax: (40)(0) 312 3688

9000 Sunset Blvd., Suite 711 Los Angeles, California U.S.A. 90069 Phone: (310) 2797779 Fax: (310) 2797334 / 7396

Roxie Releasing

Turner Entertainment Co.

3117 16th Street San Francisco, California U.S.A. 94103 Phone: (415) 431-3611 Fax: (415) 431-2822

5890 West Jefferson Blvd. Los Angeles, California U.S.A. 90016 Phone: (310) 5597500 Fax: (310) 204-2731 / 5597550

Saban Pictures International

Twentieth Century Fox

4000 West Alameda Avenue Burbank, California U.S.A. 91505 Phone: (818) 972-4800 Fax: (818) 972-4895

10201 West Pico Boulevard Los Angeles, California U.S.A. 90035 Phone: (310 ) 277-2211 Fax: (310) 2093155

SACIS

Willpower Productions

Via Tomacelli, 139 00186 Rome, Italy Phone: (39)(6) 680-041 Fax: (39)(6) 68094320

33 Ceres Street Portsmouth, New Hampshire U.S.A. 03801 Phone: (603) 4393333 Fax: (603) 4393330

RomaniaRIm

P rin t S o u rc e s

1875 Century Park East, Suite 1300 Los Angeles, California U.S.A. 90067 Phone: (310) 785-2255 Fax: (310) 785-2260

K Rims

Samuel Goldwyn Co.

10203 Santa Monica Blvd., Suite 500 Los Angeles, California U.S.A. 90067 Phone: (310) 552-2255 Fax: (310) 284-8493

Women Make Movies

462 Broadway, Suite 501 New York, New York U.S.A. 10013 Phone: (212) 9290606 Fax: (212) 9292052

Scotia Rim

Possartstrasse 14 8000 Munich 80 Germany Phone: (49)(89) 413 0900 Fax: (49)(89) 470 6320

Zeitgeist Rims Ltd.

247 Centre Street, 2nd Floor New York, New York U.S.A. 10013 Phone: (212) 274-1989 Fax: (212) 274-1644

Screen Angel Productions

1217 1/2 Cabrillo Avenue Venice, California U.S.A. 90291 Phone: (310) 396-4140 Fax: (310) 3994140 Seawell Rims

45 rue Pierre Charon Paris 75008 France Phone: (33)(1)47.20.18.73 Fax: (33)(1)47.20.15.43 Shibata Organization Inc.

2-10-8 Ginza, Chou-ku Tokyo, Japan Phone: (81)(3) 35493411 Fax: (81)(3) 35493519 Shochiku Co., Ltd.

195, Tsukiji 1 Chôme, Chuo-Ku Tokyo, 104, Japan Phone: (81)(3)3542-5551 Fax: (81)(3)35490703 Shu Kel’s Creative Workshop, Ltd.

Rat F, 18/F, Tonnochy Tower A, 272 Jaffe Rd. Wanchai, Hong Kong Phone: (852) 519-7729 /0263 Fax: (852) 519-9206

123

Film Index

Film Index About Love, Tokyo, 59 Abyss Special Edition, 71 Accion Mutante, 102 Ada, 58 Acting It Out, 49 Acting on Impulse, 71 Al Lupo Al Lupo, 59 Alone Among Women, 49 Amazing Grace, 57 Ambush of Ghosts, 72 Amongst Friends, 72 Angel of Fire, 61 As In Heaven, 57 Autumn Moon, 55 Bad Behaviour, 50 Baraka, 73 Betty, 45 Billy Liar, 18 Bound by Honor, 73 The Boys from St. Petri, 44 Cadillac Girls, 38 Careful, 39 La Carpa, 74 Chain of Desire, 74 Changing Our Minds, 75 Children of Fate, 75 Clean Machine, 93 Un Coeur en Hiver, 45 The Conjugal Bed, 64 Crush, 63 Dark At Noon, 46 Dazed and Confused, 76 Dead Alive, 102 Don’t Call Me Frankie, 103 Eight-Tray Gangster, 90 An Englishman Abroad, 18 Family Prayers, 76 Far From the M adding Crowd, 19 The Fencing Master, 68 Flaming Ears, 36 Fly By Night, 77 S h e Flying Sneaker/,¿94 For a Lost Soldier,' 62 Forbidden Love, 39 Fortress, 77 Games Teachers Play, 60 Hammers Over the AnvjlH 35 The Harvest, 78 Heart Strings, 42 Hercules Returns, 103 Heresay, 78 House of Angels, 69 House of Cards, 79 Hyenas, 66 I Kiss Your Hand Madame, 97 I Wanted To See Angels,65 In Advance of Landing, 40 Into the West, 51

124

Jacquot, 46 Jamon, Jamon, 68 King of the Hill, 13 Kitchen and Other Rooms,47 Last Call at Maud’s, .79 Letters From Paris, 58 Long Day Closes, 51 Man Bites Dog, 37 Manufacturing Consent, 40 Mary From Beijing, 55 Me and Veronica, 80 Menace II Society, 26 Midnight Cowboy, 17 Milena, 47 Much Ado About Nothing, 11 The Music of Chance, 80 Mystery of Edwin Drood, 52 National Velvet, 94 Night and Day, 37 The Northerners, 26 The Nun and the Bandit, 36 The Oak, 65 Off Season, 70 Olympic Summer, 50 On My Own, 41 Original Sin, 60 Orlandoi52 Our Twisted Hero, 67 Outback, 27 Passin’ It On, 81 Peach Blossom Land, 27 Peter in Magicland, 94 Phantom of the Opera, 98 A Place In the World, 35 Port of Seven Seas, 98 Quick, 81 The Red Squirrell69 Ripples Across Stagnant Water, 43 Road Scholar, 82 Romper Stamper, 28 Running Late, 53 Savior of the Soul, 104 Schtonk, 28 Scorpio Eats the Gemini, 56 La Sentinelle, 48 Seven Songs for Malcolm X , 53 Sex Is... , 82 Shelf Life, 83 Shirtless Soul, 90 The Silent Touch]54 Silverlake Life, 83 Snakes and Ladders, 61 Sofie, 29 Soft Top Hard Shoulder, 29 Stepping Razor - Red X, 104 Story of Qiu Ju, 43 Sunday Bloody Sunday, 19 Sweet Emma, Dear Bobe, 56

¡fango Argentino, 66 Three Best Things in Life, 62 Time Indefinite, 84 Tom and Jerry , 95 Trouble Bound, 84 Twenty Bucks, 85 Twist, 41 Vermont is forfliovers, 85 Verso Sud, 30 La Vie de Boheme, 44 Les Visiteurs, 48 W alt Disney Before Mickey Mouse, 95 Walt Disney in the Jazz Age, 99 Warrior’s Heart, 63 The Wedding Banquet, 70 The Well, 38 Where is Memory, 42 White Badge, 68 White Marriage, 64 Wild West, 54 Le Zebre, 30

DONORS P re se n te rs C irc le

(under $100) Colin Brown Bebe Burns Dave DeMerritt Bruce Hawley Jo Hollingsworth James Jackson Mark Kelly Beth Kostceki Zenobia Levy Robert Marritz Susan McClosky Kathleen Mclnnis Thorton Perry Bill Phave Lucy Pond Andrea Rabinowitz Randolph Redmond Susan Selbach Jane Sheridan Shirley Snow Richard Thomas Stanley J. Tucker Maria Vanderwater Judith Warshal Jewell T. Woodward D ire cto rs C irc le

($100-$499) Sanford Barnes Jerry Hammons Arthur Kuniyuki Maria Ripley Wade Sowers Richard von Riesen Heather Wilson P ro d u ce rs C irc le

($500 and up) Russell Bennett Rox Gabrio

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