28th Seattle International Film Festival (2002)

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T H E 2 8 th A N N U A L S E A T T L E I N T E R N A T I O N A L F IL M F E S T I V A L

Table of Contents

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T A B L E OF C O N T E N T S

Governor’s Address ............................................. 3 Mayor’s Address ................................................... 5 Sponsors / P a rtn e rs............................................. 7 How to Festival / Tickets / Maps . . . . .14 Poster Auction 2002 .................

17 Golden Space Needle A w a r d s .................. .19 Opening Gala ............... . . ....................... . . .21 Closing Gala 23 Centerpiece G a la ................................................ 25 Alpha Cine Award ............................................. 27 Modern Digital Award .................................... 29 An Evening With John Waters ......................31 A Tribute to James Wong H o w e ...................32 Secret F e s tiv a l...................................................... 37 Emerging Masters ............................................. 39 New Directors Showcase ...............................46 Asian Tradewinds Com petition...................56 New American Cinema Competition . . .64 Talking P ic tu re s................................................... 71 Filmmakers F o ru m ............................................. 73 Screenwriters S a lo n .......................................... 75 Spawned in Seattle............................................. 77 Contemporary World C in e m a .............. . .83 Refracting R eality............ .................... .165 Exploding C in e m a ...........................................185 Night M u s ic ......................................................... 188 Special Archival Presentations...................191 American Filmmaking in the 7 0 s .............194 Films 4 Fam ilie s....................

201 Midnight Adrenaline ........................................204 Short T a k e s ......................................................... 206 9/11: A C o d a ......................................................209 SIFF Staff / Volunteers ................................. 210 Country In d e x ................................................... 217 Directors Index ................................................ 218 Film Title Index % ............................................. 219

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Or, if you prefer, com m it them all at once. Either w a y , at N W source.com w e spend our time looking for the best things to do at night other than sleep. That w ay you can spend your days doing good deeds to cancel out your nights. True, finding the best nightlife in the Northwest is a hard job, but w e needed to go to confession anyway.

Greetings from the Governor As Governor of the state of Washington, I congratulate the Seattle International Film Festival on its 28th anniversary.

Since 1974, the festival has provided audiences with an excellent opportunity to experience more than 170 features and 70 short films from nearly 40 nations around the world. The films and fellowship of the Seattle International Film Festival help to increase support for the arts in the region and expand opportunities for cross-cultural exchange.

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Best wishes for a successful festival!

Sincerely,

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Gary Locke

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FROM T H E G O V E R N O R

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I hope you will join me in thanking Festival organizers for their hard work and dedication in bringing this outstanding annual event to the people of the Pacific Northwest. This celebration of international language and culture can only serve to enlighten and enhance the richness of our area and the diversity of our people.

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T H E 2 8 th A N N U A L S E A T T L E I N T E R N A T I O N A L FIL M F E S T I V A L

From the Mayor Welcome to Seattle!

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It's truly a pleasure to welcome you, on behalf of the people of Seattle, to the 28th Annual Seattle International Film Festival. This event grows more popular with every passing year - it has the largest audience and shows the most films of any U.S. festival - and crystallizes Seattle's reputation as a city that knows, appreciates and loves good films.

The caliber of films we see at the festival wouldn't be possible without the tireless efforts of the volunteers, staff and sponsors who bring it to life.

The features, documentaries and short films screened at the festival mirror the complex world we live in, and Seattle's ethnically and culturally diverse population provides the perfect welcome for this global experience.

Be sure to check the schedule for the "On Location: Filming in Seattle" section that showcases the work of independent Seattle and Northwest filmmakers.

Congratulations to all whose hard work makes this an eagerly awaited annual celebration; please accept my best wishes for an entertaining and successful festival!

GREG NICKELS Mayor of Seattle

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FROM T H E M AYOR

Look over the schedule, then sit back and savor the abundance of talent, creativity and artistry that's yours for the choosing, be it a droll comedy, a gripping drama or a penetrating documentary.

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Consulate General of France

Consulate General of Spain

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H o w to F e s tiv a l MasterCard, or American Express during regular Box Office hours.

Subject to a $3 handling charge per order.

A D V A N C E T IC K E T S

In Person Advance tickets for all films and events are available Monday through Saturday, 11 a.m. to 7 p.m., and Sunday, noon to 6 p.m., at the Seattle International Film Festival Center's two outlets:

Charge on the Web www.seattlefilm.com Subject to a $3 handling charge per order.

SIFF Main Box Office Pacific Place 6th & Pine, fourth level

IN D IV ID U A L T I C K E T P R IC E S

$10 Festival Forum events

SIFF Single Ticket Outlet Broadway Performance Hall 1625 Broadway (advance single tickets only)

$8 Evening screenings (except where noted) $7 Evening screenings for Cinema Seattle members when purchased in advance

HOW TO

F E S T IV A L

By Phone Charge by phone: 206.324.9996 All tickets and passes, excluding Cinematic Six-Packs, The Film Buff 20 Pack, Student and Senior Reel Deal passes, and membership for the Secret Festival, may be pur­ chased by phone with Visa,

$5.50 Matinees and Midnights $4 Films4Families series only D A Y -O F - S H O W T I C K E T S

On the day of screening, tickets are for sale at the screening theater

Broadway Performance Hall

FESTIVAL THEATRE MAP!

Cinerama Egyptian Harvard Exit Pacific Place Cinemas

only, subject to availability. Theater box offices open 1/2 hour before the first screening of the day. If day-of-show tickets are no longer available, rush tickets may be pur­ chased, subject to availability. Cash only.

RUSH T IC K E T S

When advance tickets are sold out, a limited number of rush tickets may be available at the door. Rush tickets are available on a first-come, first-served basis, depending on how many seats are available after passholders and advance ticketholders are admitted. Rush tickets are normally sold 5-10 minutes prior to the screening. Cash only.

PASSES

A generous allotment of seats at every screening is reserved for passholders. While a pass (with the exception of Platinum) does not

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T H E 2 8 th A N N U A L S E A T T L E I N T E R N A T I O N A L F IL M F E S T I V A L guarantee seating, passholders are allowed priority entry up to 20 min utes before showtime or until the passholder seat allotment has been reached. Passholders are strongly encouraged to arrive 30 minutes before showtime. All passes are strictly nontransferable and photo I.D. must be shown at the theater.

Platinum Passes are $750 and include admission to all Festival screenings, the Festival Forums, and Press screenings (with the exception of the Secret Festival), reserved seating at the Opening and Closing Night Galas, and an invitation for the passholder and a guest to attend a private Festival reception.

Festival Forums Passes are $80 for admission to all Festival Forum events.

Cinematic Six-Packs are $42 and include admission to any six films priced $8 or less, limited to a maxi­ mum of two tickets per film. Films must be selected at the time of pur­ chase. A limited number of Six-Pack tickets are available for each film.

Cinematic Six-Packs may only be purchased in person at the SIFF Main Box Office at Pacific Place.

Film Buff 20 Packs are $125 and include admission to any 20 films priced $8 or less, depending on individual ticket availability. There is a (1) ticket limit per film and films must be selected at the time of purchase. Film Buff 20-Packs may only be purchased in person at the SIFF Main Box Office at Pacific Place.

Student & Senior Reel Deals are $25 for any five films priced $8 or less, and are available to all students

Secret Festival memberships are $25 for admission to the four Secret Festival screenings on Sundays at 11:30 pm at the Egyptian Theatre. Members are required to sign the Oath of Silence, promising not to disclose any information about the films shown in the series. Film titles are not announced until showtime.

Limit: two per person. Secret Festival memberships are available in person only at the SIFF Main Box Office at Pacific Place.

S P E C IA L E V E N T S

Opening Night Gala: $35 Closing Night Gala: $25 ($75 Patron, pre-screening recep­ tion and priority seating)

Film length, as listed in the pro­ gram, represents the best available information at press time. Length of film does not include introduc­ tions or Q&A sessions following the screening.

All audience members must leave the theater following each screen­ ing. Saving seats between shows is not allowed. Please do not leave empty seats in the middle of a row.

Rush seating is less disruptive to the rest of the audience if empty seats are available on the aisles.

Cameras and recording devices are not permitted in the theater. Please silence all cellular phones, pagers and watches when in the theater.

S O U V E N IR S

Limited-edition T-shirts, posters and other souvenir items are available for purchase at the SIFF Main Box Office and other Festival venues.

BU SES

Metro buses are available from all points in Seattle and surrounding areas. For more information: call the Metro Information Line at 206.553.3000 (800.542.7876) or http://transit.metrokc.gov T H E A T E R L O C A T IO N S

T H E F IN E P R IN T

All programs are subject to change without notice. No refunds or exchanges are given, except in the case of program cancellations.

Seating is available at all perform­ ances on a first-come, first-served basis. Ticketholder seating is guar­ anteed up to 10 minutes prior to screening. No late seating.

Each film will be shown in its origi­ nal language with English subtitles, unless otherwise noted.

No babes in arms and, with the exception of the Films4Families series, no children under six years old will be admitted. Please be aware that films may not be suit­ able for ages 16 and under unless

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BROADWAY PERFORMANCE HALL 1625 Broadway ■206.325.31 13 Metro routes 7, 8, 9, 10, 11,43, 60 CINERAMA 2100 Fourth Ave. ■206.441.3080 Metro routes 1-5, 13, 16, 19, 24, 26, 28, 33, 358 EGYPTIAN 801 E. Pine St. ■206.323.4978 Metro routes 7, 8, 9, 10, 11,43, 60 HARVARD EXIT 807 E. Roy St. ■206.323.8986 Metro routes 7, 9, 14, 60 AMC PACIFIC PLACE 11 600 Pine St. ■206.652.2404 Metro routes 7, 10, 14, 43

F E S T IV A L

Weekly Passes are $125 and grant admission to all public screenings, excluding Opening Night, the Secret Festival, and the Festival Forums.

Films4Families are $4 for admission to each Saturday's 12:30 p.m.

Films4Families screening.

Films4Families gives families and young people of all ages a chance to view the best movies by youngat-heart filmmakers from around the world.

otherwise noted. Parental discretion is advised.

HOW TO

Full Series Passes are $375 and include admission to all public screenings and press screenings, excluding Opening Night, the Secret Festival, and the Festival Forums.

and seniors (65+) with valid ID. The Reel Deals are limited to a maxi­ mum of one ticket per film; a limit­ ed number of tickets are available for each film. Student & Senior Reel Deals may only be purchased in person at the SIFF Main Box Office at Pacific Place.

★

★

★

★

'Wildlypassionate, seethingsensualitywithanewcast offaces whoare utterlyspellbinding. It’s got thefeel, theromance, thelove, thefamily, the cleverness ofaforeign film, but thisis all-American.”

-

Mike Szymanski, TRIBUNE MEDIA

Can True Love B egin W ith a

SANDYO PRODUCTIONS PRESENTS A DAVID BAKALAR PRODUCTION JASON ISAACS SOFIA MilQS EMMYROSSUM DAN IRELAND "PASSIONADA’ THERESA RUSSELL LUPE ONTIVEROS » SEYMOUR ( M L FMRY GREGS0N-W1L11AMS w m AMANDA MACKEY JOHNSON, « CATHY SANDRICH GELFOND, ca • SIG DE MIGUEL LORI KEITH DOUGLAS NATHALIE SAMANON mmRUDY DILLON PRODUCTIONO m t JOHN FRICK FILM ED « LUIS C0L1NA DIRECTOR OF PHOTOGRAPHY CLAUDIO ROCHA PAUL BERNARD JAMB SQ M EXECUTIVE PRODUCER JIM JERMANOK STO ! BY DAVID BAKALAR a « . . J1MJERMAN0K » STEPHEN JERMANOK PRODUCEDBY DAVID BAKALAR n i DAN IRELAND in a film by

o o m t o it o c e r s

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We are honored to present the World Prem iere o f o ar film “Passionada" in the best festival in the world - the 88th Seattle International Film Festival.

1 T H E 2 8 th A N N U A L S E A T T L E I N T E R N A T I O N A L FIL M F E S T I V A L

Movie Poster S ilent A u ctio n

M OVIE P O S T E R S IL E N T A U C T IO N

Featuring a large collection of gorgeous film posters from around the world, this year's SIFF poster auction takes a new approach: rather than a one-day event, this year's "silent auction" will take place over the course of the 25-day festival. Each of the posters selected for the auction has been framed, courtesy of Museum Quality Framing, and will be displayed at our Pacific Place Main Box Office and Mario's Salon at 2 Union Square. To bid on the framed movie poster of your dreams, simply fill out a bid form (available at all theaters and our Pacific Place Main Box Office). At the close of the Festival, winning bidders will be contacted and the coveted movie art will be delivered to their doors. An extremely rare, original French poster for East o f Eden and an original German poster of Terrence Malick's Badlands are just two of the gems available at this year's auction.

Proceeds benefit Cinema Seattle and its year-round educational programs, including Screenwriters Salon, Filmmakers Forum, and our popular new program, Talking Pictures.

P o ste rs A v a ila b le In clu d e:

Belle de Jour Blood Simple Chinatown Crouching Tiger, Hidden Dragon East o f Eden Festival de Cannes, 2001 Giant Jour De Fete L'atalante La Balade Sauvage La Dolce Vita La Porte de L'enfer Larry Flynt Last Tango in Paris Le Fabuleux D'estin D'Amelie Poulin Lord o f the Rings Moulin rouge Ocean's Eleven Pillow Book Psycho Pulp Fiction Reservoir Dogs Sunset Boulevard

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T H E 2 8 th A N N U A L S E A T T L E I N T E R N A T I O N A L FIL M F E S T I V A L

The Golden Space Needle Awards Since 1987, SIFF attendees have cast their votes for our prestigious Golden Space Needle awards in the categories of Best Film, Documentary Feature, Director, Actor, Actress and Short Film. Among past winners of this expression of Seattle filmgoers' esteem are films and talents who went on to win Academy Awards and Golden Globe Awards, as well as a large number of critical and theatrical hits first seen in the US at SIFF. Voting is easy: For Best Film or Documentary Feature, simply take a ballot from our ushers as you enter the auditorium for any screening; once the film's presentation is over, tear your ballot by the appropriate grade listed (from 1 to 5), and give your completed ballot to an usher as you leave the auditorium. Ballots for each film will be tallied on the basis of scoring average throughout the Festival. For the categories of Best Director, Actor, Actress and Short Film, blank ballots are available next to the ballot boxes at each Festival venue; simply write in your choice for the winner in each of these other categories and place your completed ballots in the box. We ask that you fill out no more than five votes in any category.

2001 Winners B est F e a tu re Film

Finder's Fee dir. Jeff Probst (USA), prod. Katy Wallin, Brad Van Arragon, and Shawn Williamson B est D ire c to r

Tim Blake Nelson, O (USA) B est A c to r GOLDEN

John Cameron Mitchell, Hedwig and the Angry Inch (USA) B est A c t r e s s

Thora Birch, Ghost World (USA) B e st D o c u m e n ta ry

SPACE

The Endurance: Shackleton's Legendary Antarctic Expedition (USA), dir. George Butler B e st S h o rt Film

Boychick, dir. Glen Gaylord (USA)

NEEDLE AWARDS

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OPENING G A LA

Igby Goes Down

Thursday, May 23 ■7:30 PM ■Paramount

USA ■ 2 0 0 2

■ WORLD PREM IERE

Director-Writer: Burr Steers Producers: Lisa Tomell, Marco Weber Cinematographer: Wedigo von Schultzendorff Editor: William M. Anderson Music: Uwe Fahrenkrog Petersen

Amanda Peet, Jeff Goldblum, Jared Harris Running Time: 104 minutes

gby Slocumb (Kieran Culkin) is at war with the stifling world

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of "old money" privilege he w as born into. With a schizo­

phrenic father (Bill Pullman), self-absorbed, distant mother (Susan Sarandon), and sharklike Young Republican big brother (Ryan Phillippe), Igby questions every aspect of the world in which he finds himself, leading to a series of expulsions from the upper-crust boarding schools his mother sends him to.

Convinced there must be a better life out there, Igby absents him self without leave from the latest quasi-penal institution and sets out to find it. His darkly comic voyage lands him in New York City, where he hides out at his godfather's Qeff Goldblum) weekend pied-à-terre. There he encounters a bizarre cast of characters, including his godfather's trophy girlfriend (Amanda Peet), a pretentious "performance artist"/drug pusher Oared Harris), and the terminally bored Sookie Sapperstein (Claire Danes). Finally freed from the oppressive dysfunction of his family, Igby begins to blossom, and a romance with the luscious Sookie awakens him to glorious possibilities. Escaping the twisted bonds of family proves far more difficult than Igby imagines, however, and his struggles veer from the ridiculous to the nightmarish. This darkly absurdist vision of life among the rich and powerful shares a bond with such precursors as

The Graduate and suggests a darker Royal Tenenbaums with a sharper line in editing. Debuting writer-director Burr Steers brings his own singular sensibility to a wickedly funny, highly original exploration of blue-blooded dysfunction.

Eligible for the New American Cinema Award.

W

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Sunday, June 1 6 ■6 :3 0 PM ■Cinerama Sunday, June 1 6 ■ 9 :3 0 PM ■Cinerama USA • 2 0 0 2

• W ORLD PREM IERE Director: Dan Ireland

Writers:

Jim Jermanok,

Stephen

Cinematographer: Claudio Rocha

Germanok

Producer:

Editor: John Frick

David Bakalar

Music: Harry Gregson-

Williams Cast: Sofia Milos, Jason Isaacs, Theresa Russell, Seymour Cassell, Emmy Rossum,

■

cheeky

romance

introduces

Passionada

steeped

in familial

love,

us to three

generations

of strong-willed

Portuguese women who share a mutually supportive home in the small fishing community of New Bedford, Massachusetts.

Matriarch Celia (Milos), a beautiful 36-year-old widow, shares the house with her rebellious (Rossum )

and

her

17-year old daughter Vicki

w orldly-w ise

mother-in-law

Angelica

(Ontiveras). To support herself and her daughter, Celia works in a textile factory by day and sings Fado in a Portuguese restaurant in the evenings. Without Celia's knowledge, Vicki has taken to hanging out in a nearby casino, where one night she encounters Beck (Isaacs), a charming, British card-player with an unaccountable knack for winning and a reputation for card counting. He's come to New Bedford to visit a wealthy couple (Russell and Cassell) whom he's known for years. While out to dinner with them, Beck meets the gorgeous Celia and is instantly smitten. She rebuffs his advances, but Beck is determined to win her heart. On a subsequent encounter at the casino with Celia's daughter Vicki, she offers him a deal: teach her how to count cards, and she'll get him a date with her mother. Beck agrees, on the condition that Vicki keep his career as a gambler a secret from her Celia. Thus begins a sweetly moving story of love pursued despite the odds against it.

Filmography: The Velocity of Gary (Not His Real Name) (1999), The Whole Wide World (1997)

Eligible for the New American Cinema Award.

sundance CHANNEL.

23

CLO SIN G G A LA

Lupe Ontiveros Running Time: 108 minutes

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C EN T E R P IEC E GALA

24 H our Party People

Friday, May 31 ■9:30 PM ■Egyptian Saturday, June 15 ■6:30 PM ■Egyptian G R E A T BRITAIN ■ 2002 U. S. P R E M I E R E Director: Michael Winterbottom Writer:

Frank

Cottrell Boyce

Producers: Andrew

Eaton,

Robert How

Cast: John Simm, Lennie James, John Thomson, Raymond Waring, Paddy Considine, Shirley Henderson, Steve Coogan, Danny Cunningham Running Time: 110 minutes

" T “ he

return

of

past

SIFF

Emerging

Master

Michael

I Winterbottom (Jude, Welcome to Sarajevo, Wonderland) charts the rise of Factory Records, the Manchester-based label that spawned such epoch-defining bands as Joy Division and Happy Mondays. Having its genesis at a 1976 Sex Pistols concert, Factory was the brainchild of TV reporter, clubland guru, and world-class raconteur Tony Wilson (a riveting turn from leading UK comic Steve Coogan). 24 Hour Party People barrels headlong through the glory days of the "acid heaven" Hacienda Club to the label's tragedy-strewn demise (the suicide of Joy Division's Ian Curtis, the manifold addictions of the Happy Mondays, and some w ildly unsound business practices).

The film is less a rockumentary than an irreverent musicalcom edy

ex travagan za,

at

once

b rilliantly

realized

and

hilariously funny, notwithstanding the sometimes dark nature of the subject matter. It's a given that the soundtrack is superb, but a young and largely unknown cast is uniformly excellent, skewering the vanities and foibles of the real-life characters they play with m erciless accuracy.

Filmography: The Silk Road (2002), 24 Hour Party People (2002), The Claim (2000), With or Without You (1999), Wonderland (1999), I Want You (1998), Welcome to Sarajevo (1997), Jude (1996), G o Now (1995), Butterfly Kiss (1995), Love Lies Bleeding (1994), Family (1994), Under the Sun (1992)

GOOD

SKYY VODKA

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25

C EN TER P IEC E GALA

Cinematographer: Robby Müller Editor: Trevor Waite Music: Liz Gallacher

T i ll s on e w e n t in t h e o p p o site d ir e c tio n .

• À

*

Unlike some films that only end up on tape, “The Business of Fancydancing”, Sherman Alexie’s directorial debut, was entirely shot and edited in digital video before being transferred to film.

What you’ll see in theaters is the product of an innovative collaboration between Alpha Cine’s New Projects Director Bruno George, Writer/Director Sherman Alexie, and Director of Photography Holly Taylor. Under Bruno’s direction, Alpha Cine’s Tape to Film group removed video artifacts anH increased picture resolution, finally outputing the project to film negative on our Arrilaser film recorder. We also timed and printed the release prints.

Alpha Cine has been working with film for almost half a century. Whether it’s processing, printing, creating opticals or transferring video to film, we believe every project deserves our highest level of attention. And we’ll be bringing pictures to the screen well into the future.

A L P H A C I N E : L I V E T O F I L 1WI

www.alphacine.com

T H E A LP H A CINE AWARD

Alpha Cine Filmmakers Award

See You Off to the Edge of Town

Seattle-based Alpha Cine Labs and SIFF have partnered to present the inaugural Alpha Cine Filmmakers Award, a $100,000 35mm film transfer prize package to be presented each year to a World Premiere film originating on digital or 16mm formats. The 2002 Alpha Cine Filmmaker Award has been awarded to director Ching C. Ip for her film See You O ff to the Edge o f Town.

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This prestigious award, designed to showcase 35mm film transfer technology, was open to narrative and documentary feature filmmakers worldwide. Over 60 films from a dozen countries were submitted to the jury, with the winner receiving both the transfer and a Gala World Premiere screening of the new pristine 35mm print during the final week of the festival. The transfer was supervised by Bruno George, digital supervisor for such film as Babe and Reindeer Games, utilizing the state-of-the-art ARRI Laser recorder. The award also includes preprocessing and correction of material, a timed answer print, and a composite release print, complete with titles.

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Friday, June 14 ■7:00 PM ■Cinerama Sunday, June 16 ■ 1:45 PM ■Cinerama

USA / HONG KONG ■ 20 0 2 WORLD PREMIERE Cinematographer: Lawrence Schweich

Music: Jose Halac Cast: Zhu Xi Juan, K.K. Wong, Yvonne Teoh, Jo Chim, Christopher Cheng, Henry Amitai Running Time: 87 minutes

Jurors for the 2002 Alpha Cine Filmmakers Award included SIFF Director Darryl Macdonald, independent filmmaker and journalist Kathleen Mclnnis, writer and former Film Comment editor Richard T. Jameson, and Alpha Cine New Projects Director Bruno George.

A

Hong Kong mother and father fly into LAX to attend their younger daughter's graduation. Elder daughter, a fully

assimilated American yuppie, is also on hand. With a weekend to kill, the foursome hits the interstate to do the tourist-y thing, see the Grand Canyon. The trip instead will carry each family member into a new understanding of themselves and the ties that don't quite bind them. And ju st in case you're thinking, Okay, I know where that movie's going, I've seen a dozen like it at film festivals - guess again. The winner of thé first SIFF Alpha Cine Award is a real achievement: delicately nuanced, constantly surprising, warmly witty without lapsing

into

sentimentality, and visualized by a distinctive eye for place and

ALPHA CINE LABS

texture and time of day. You do not, in fact, know what mood or potentiality it's going to veer into in the next moment or scene, what contemplative angle it's going to find to look at something (be it a cactus or an averted face), what history and dimensions it's going to discover in its characters. You do not know how you're going to feel when an edging-past-middleage Asian man sits in a bar in the desert Southwest and realizes that he has caught the interest of the attractive American woman behind the counter. (Don't worry: he isn't sure how he feels about it, either.) This is a lovely film and a wondrous discovery. As for its director, NYU grad Ching C. Ip isn't a "promising" filmmaker - she's arrived!

Am ericanAirlines Hong Kong Economic & Trade Office 5 m ^ M tto

27

T H E A LP H A CIN E AWARD

Director-Writer-Editor: Ching C. Ip Producers: Ching C. Ip, Pei-I Lin

f

great people on amazing gear

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modern digital is proud to provide S lF F with high-definition projection at the cineram a, for your copy of 'the digital film mastering guide* email us at filmmaster@moderndigital.com.

T H E MODERN D IG IT A L CIN EM A AWARD

Modern Digital Cinema Award

American Gun

Seattle post-facility Modern Digital, SIFF, and the Cinerama Theatre have joined forces to present the 2002 Modern Digital Cinema Award, designed to showcase the new standard of visual imagery in digital filmmaking by way of cuttingedge technology in high-definition solution. The $100,000 prize package creates a High-Defi­ nition Digital Master of the film, as well as a complete set of video deliverables. The winning film will have its World Premiere screening in HD format at the Cinerama; a repeat screening of the film in its original 35mm format will give film­ makers a chance to compare techniques.

Thursday, June 13 ■9:30 PM ■Cinerama Saturday, June 15 ■ 1:45 PM ■Cinerama USA ■ 2 0 0 2

■ W O RL D P RE MI ER E

Director-Writer: Alan Jacobs Producers: Elyse Eisenberg, Brent Morris Cinematographer: Phil Parmet Editor: Paul Millspaugh Music: Anthony Marinelli Cast: James Coburn, Virginia Madsen, Barbara Bain, Alexandra Holden, Ryan Locke Running Time: 89 minutes

M

aking good on his post-Affliction career revival, James Coburn provides the redemptive emotional core of this

melancholy drama, in which devoted father Martin Tillman (Coburn) confronts the demons of his past and present while tracing the history of the gun that killed his daughter. Titled after the fictional firearm manufacturer that brought the deadly .357 Magnum into existence, the film opens with low-key holiday cheer as Martin's daughter Penny (Virginia Madsen) arrives to spend Christmas with her parents (mother Anne is played by Barbara Bain). But the holiday is shattered when

N \~ »

Penny is fatally shot at a nearby mall, and Martin grows secretly obsessed with the weapon's previous ownership. His

modern digital

interstate odyssey is interwoven with flashbacks to a similarly violent episode from his duty in World War II. This emotional landscape is ultimately shared with Penny's runaway daughter (Alexandra Holden), who precipitates a plot twist that changes

American Gun from a story of random violence to an intimately tragic cautionary tale. Best known for his 1994 marital comedy

Nina Takes a Lover, writer-director Alan Jacobs demonstrates equal facility with this understated

heavier material, drawing finely

performances from

his esteemed cast while

avoiding any sentiment that might dilute the story's psycho­ logical impact. When American Gun focuses on Coburn's performance, and the inner torment that motivates his char­ acter's behavior, its hot-button issue cedes emotional priority to the haunting portrait of a family brought together by the most painful kind of loss.

Filmography: Just One Night (2000), Nina Takes a Lover (1994)

AmericanAirlines* 97.3 KB5G

29

T H E MODERN D IG IT A L CIN EM A AWARD

In addition to the award, Modern Digital will install the state-of-the-art Sony VPD-LE100 HD Projector at the Cinerama for the final six days of the festival. This system utilizes the revolu­ tionary DLP technology which presents over a 90 percent active live picture area, resulting in brighter, sharper, and more reliable projections via a purely digital connection between the equipment and the screen. Films such as Shrek, Jurassic Park III, and Planet o f the Apes have world-premiered in a digital master format using the DLP technology (at those theaters able to support the system). Festival audience members will recognize those films screened in the HD format, since they will be branded with the Modern Digital logo in the program guide.

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AN EVENING WITH JOHN WATERS

A Tribute to John Waters

Female Trouble

We are d e lig h te d to h o n o r the Sultan o f Sleaze.

John W aters’ w it is e xceed e d o n ly b y his a b id in g faith in the liberating p o w e r o f b ra in y bad taste.

Friday, June 7, 9:30 PM, Egyptian Theatre T h e Seattle International Film Festival p re se n ts a v e ry special e v e n in g h o n o rin g A m e ric a ’s Pope o f Trash and Baron o f Bad Taste, the ineffable John W aters. From his v e ry first feature Mondo Trasho (w hich g o t him arrested o n a ch a rge o f "c o n ­ sp ira c y to co m m it indecent e x p o su re ") th ro u g h Pink Flamingos to Pecker, Serial Mom, and Cecil B. Demented, W aters h a s a ccu m u la te d an o eu vre o f d iv in e ly lo w -m in d e d m o v ie s that can be vie w e d as life le s s o n s for the ta ste le ss and dep raved . "I pride m y se lf in the fact that m y w o rk has no so c ia lly re d e e m in g va lue," a ve rs this h o m e -g ro w n auteur. D e sp ite all h is o f best efforts, Jo h n W aters h a s b e com e a m u ch -lo ve d and revered pop-cu ltu re c o m m e n ta to r and his film s are A m e ric a n cult cla ssics. T h e teenage rebel w h o co n ce ive d Hag in a Black Leather Jacket and Eat Your Make Up h a s su c c u m b e d to respectability!

USA ■ 1975 Director-Writer-Producer: John Waters

Potter, Mink Stole, Roland Hertz, George Hulse, David Lochary, Mary Vivian Pearce, Susan Lowe, Edith Massey, Marina Melin, Cookie Mueller, Ed Peranio, Paul Swift, Sally Turner, Betty Woods Running Time: 92 minutes

awn Davenport (Divine) is the street-walking, fast-talking personification of "female trouble" on heels. She's the sort of girl your mama always warned you about when she said, "Nice girls don't wear cha-cha heels" - only worse. In fact, Dawn is a creature of such bad taste and dubious morality (so determined is she to illustrate her conviction that "crime is beauty") that she'd be likely to throw a frenetic modeling fit in white cha-chas after Labor Day. The Dreamland repertory company of John Waters' immortal gross-a-rama P in k F la m in g o e s (1972) returns to enact the tale of a 300-pound fashion-terrorist's harrowing journey from juvenile delinquency to the electric chair. Perhaps the funniest of Waters' early, slutty films, Fem ale Trouble is also a sentimental favorite of those who worship Susan Hayward in / Want to Live!.

D

O u r John W aters Tribute b e g in s w ith a selection o f c lip s fro m the M a s t e r ’s g re a te st w o rk s , fo llo w e d b y a fre e-w hee lin g o n -sta g e c o n v e r­ satio n betw een the director a n d film critic Jim E m erso n. A fter the inte rview and a Q & A s e s s io n w ith th e a u d ie n c e , SIF F p re se n ts a sp e c ia l m id n ig h t s c re e n in g o f the d ire c to r’s cut o f

Female Trouble.

C o in c id in g w ith SIFF’s tribute is the Seattle w o rld prem iere o f the m u scia l c o m e d y Hairspray ba se d on W aters’ 1 9 8 8 film o f the sa m e nam e. Sta rrin g H a rv e y Fierstein, Hairspray o p e n s M a y 3 0 at Seattle’s histo ric Fifth A v e n u e Theater. T he G reg K u cera G allery h a s a lso slated the first N o rth w e st e xh ib itio n o f p h o t o g ra p h s b y John W aters fo r June.

Filmography: Cecil B. DeMented (2000), Pecker (1998), Serial Mom (1994), CryBaby (1990), Hairspray (1988), Polyester (1981), Desperate Living (1977), Female

AN EVENING WITH JOHN WATERS

Cast: Divine, Ted Brooks, Elizabeth Coffey, George Figgs, Mink Stole, Michael

Trouble (1975), Pink Flamingos (1972), Multiple Maniacs (1970), The Diane Linkletter Story (1969), Mondo Trasho (1969), Eat Your Make Up! (1967), Roman Candles (1966), Hag in a Black Leather Jacket (1964)

31

J

Low-Key Legend A Tribute to James Wong Howe s k people to nam e a cam eram an from H o lly­ w o o d 's g o ld e n age, and if th ey venture an answer, ch a nce s are it'll be "Jam es W o n g H ow e."

O ne o f A m e ric a 's m o st prolific cine m ato graph ers, a rg u a b ly its greatest, and u n q u e stio n a b ly the m o st versatile, this pint-sized giant bestrode m ore than half a cen tu ry o f o u r native art, and cast his clean s h a d o w s in virtually all the H o lly w o o d genres.

Born W o n g T u n g Jim, he im m igrated to A m e rica Pasco, W ash in gto n , to be exact - w ith his fam ily w hen he w as five. A s a teenager he ventured so uth to Los A n g e le s w ith d re am s o f be c o m in g a p ro fe ssio nal boxer. He turned instead, in 191 7, to a career in m otion pictures, and w a s first-cam eram an w ithin a few years.

He w as an artist, and an incom parab le one, but hebro o ked no self-display, no p h o n y se lf-co n sc io u sn e ss.

A lth o u g h sufficiently enam ored o f low -key ligh ting to earn the in d u stry nicknam e "L o w Key H ow e," he believed that the ca m e ra w o rk sh o u ld serve the reality o f the im aginative situation called up b y the story. He strove to avo id "m o vie ligh ting," and hated ha v in g to d e p lo y sh a d o w s all o ve r the place in The Thin Man. Director W o o d y Van D y k e th o u g h t that the m ore sh a d o w s, the m ore the audience w o u ld reco gnize it w as a m y ste ry m ovie. H ow e th o u g h t that the m ore sh a d o w s, the m ore y o u knew the setup w a s artificial, a m ovie scene, not a real room w ith a logical, d o m in a n t light so urce - o r a ca n y o n wall lit o n ly by the sun. (But he ga v e great s h a d o w in The Thin Man. It w a s his job.)

He could sh o o t a n y th in g and get it right. He played aro u nd w ith z o o m lenses thirty ye a rs before the rest o f H o lly w o o d becam e aw are o f them . Once, back in the pre-panchrom atic silents, H ow e figured out that a certain vacant-eyed actress w o u ld register better on film if he draped a black cloth behind his cam era; the black reflected on the retinas o f her pale g ra y eyes and m ade her career, and his. You never knew w hat w o u ld w ork. Getting set to sh o o t a scene in a W estern clearing (in M artin Ritt's Rashomon adaptation, The Outrage), he sa w that so m e rocks were g o in g to th row off su n glare and distract from the actors. H ow e pulled out a h a n d y sp ra y can o f black paint (alw ays kept a can o f black paint in his box), and the rocks d id n 't glare anym ore.

But ju st lo o k at w hat he did: The Power and the Glory (the 1 9 3 3 p re cu rso r to Citizen Kane), Viva Villa!

(H ow ard H a w k s' part o f it, in M exico), Algiers, Manhattan Melodrama, Transatlantic (in w hich his dee p-fo cus c in e m a to g ra p h y w o n the art director an

LOW-KEY LEGEND: A TRIBUTE TO JAMES WONG HOWE

A

Oscar), The Rose Tattoo (his o w n first Oscar, 1955), Air Force, Objective Burma! (the n igh t battle on the m ountain), Yankee Doodle Dandy, This Property Is Condemned (the c o lo r in the interiors m ig h t be T h o m a s Hart Benton), The Adventures of Tom Sawyer, Kings Row, City for Conquest, The Oklahoma Kid, Body and Soul (d o n n in g ro lle rska tes to s h o o t the b o x in g scenes), Mark of the Vampire, Hangmen Also Die! (g o in g M itteleuropeen fo r Fritz Lang), Passage to Marseille, He Ran All the Way, Seconds (he d id n ’t like the fish-eye lens John F ra n ke n h e im e r d e m an d e d , but used it like n o b o d y before o r since), The Criminal

Code, The Hard Way (the gritty s u n lig h t in that coaltow n), The Strawberry Blonde, Hud (his se c o n d Oscar, 1963). A n d then look at w ha t he did, a n y chance y o u get. Here are fo u r b eauties to start with, all sh o w n free o f charge, 1:45 p.m. S a tu rd a y s in the H arvard Exit (except June 1 5 in the C ineram a).

32 L

LOW-KEY LEGEND: A TRIBUTE TO JAMES WONG HOWE

The Prisoner of Zenda

Saturday, June 8 ■ 1 :45 PM ■ H arvard Exit

Saturday, M a y 25 ■ 1:45 PM ■ Harvard Exit

USA ■ 1955

USA ■ 1937

Director: Joshua Logan

Director: John Cromwell

Writer: Daniel Taradash Producer: Fred Kohlmar Cinematographer: James Wong

Writers: John L. Balderston, Wells Root, Donald Ogden Stewart Producer: David 0.

Howe Editors: William A. Lyon, Charles Nelson Music: George Duning

Selznick Cinematographer: James Wong Howe Editor: James E. Newcom Music: Alfred Newman

Cast: William Holden, Kim Novak, Betty Field, Susan Strasberg, Cliff Robertson, Rosalind Russell, Arthur O'Connell, Elizabeth Wilson Running Time: 115 minutes

Cast: Ronald Colman, Madeleine Carrol, Douglas Fairbanks Jr., David Niven, C. Aubrey Smith, Mary Astor, Raymond Massey Running Time: 101 minutes

inematographers aren't auteurs, to be sure, but the films of James Wong Howe afford a comprehensive, and pictorially rapturous, vision of America. His limpid artistry has left us an enduring legacy of the country as a privileged place in the imagination: the storybook rivertown of The A d v e n tu re s o f Tom S a w y e r and the Pennsylvania coaltowns of The H a rd Way and The M o lly M aguires] the sleek urban settings of M anhattan M elod ra m a and the shabby intimacy of the living quarters in He Ran A ll the Way and C o m e Back, Little S h e b a ; the spreading hillside lawns, railroad yards, and upper-story law office of K in g s R o w and the shadowy dentist's office and parkside dance pavilion of The Stra w b erry Blonde] the William S. Hart-style rockscapes of The O k la h o m a K id and the sun-struck, heart­ breaking Texas bleakness of Hud] the sweltering Southland of This P rop erty Is C o n d e m n e d and The Heart Is a L o n e ly H u n te r and, well, the rather different heartland sultriness of Picnic, Josh Logan's film version of the Pulitzer Prize-winning William Inge play. It's okay if you want to concentrate instead on the way female pulses start racing when William Holden's drifter saunters into view (a role created on Broadway by Paul Newman). Especially that of Madge (Kim Novak), the golden girl betrothed to the scion (Cliff Robertson) of the local grain kingpin. Actingwise, the movie is almost stolen by Rosalind Russell and Arthur O'Connell as a couple of middle-aged townsfolk who, in their way, get as steamed up as the younger Kansans. But two things we'll never forget, and the genius of James Wong Howe is written all over them in Cinemascope and Technicolor: the Labor Day dance by the lake with the lanterns and "Moonglow," and the concluding aerial shot, a transcendentally romantic and archetypally American image of destiny taking shape against the limitless vastness of a beautiful and fecund land.

C

here is a moment in this matchless screen version of Anthony Hope's classic adventure tale when Ronald Colman and Madeleine Carrol join arms and walk down a long, royal staircase to inaugurate a fabulous ballroom sequence. The camera is on a crane, tracking back from the couple as they advance/descend. The shot is spectacular - and as it and they continue, for what feels like minutes on breath-suspending end, it seems that they will never run out of stairs, or ballroom, or glorious Hollywood space in which to enact the most splendid of high-toned period fantasias. Made by the Selznick organization, about the time David O. was tooling up to make C o n e With the Wind, The Prisoner o f Zenda is golden-age Hollywood to the max - truly an all-star production on both sides of the camera. (Even the retakes: George Cukor was tapped to bring a greater delicacy to one of the love scenes, and W.S. 'Woody" Van Dyke came in to punch up the climactic swordfight - the most spectacular, and deliriously quip-laden, thing of its kind.) The story, of course, is enchantment itself. English gentleman Rudolph Rassendyll (Colman), traveling on the Continent, is enlisted to carry on a short-term impersonation of the rightful ruler of Ruritania, whose spitting image he happens to be. The real monarch has been kidnapped by his archrival, the ambitious Black Michael (Raymond Massey), and spirited away. The people must never know of their nation's peril. And the king must prepare to go on with his marriage to the beauteous Flavia (Carrol). And somebody really must knock the stuffing out of that curly-haired Machiavellian, Rupert of Hentzau (Douglas Fairbanks Jr. in a movie-stealing villainous role).

They don't make glossy, swoonworthy movies like this anymore.

But when they did, there was no one better to shoot it than James Wong Howe. We've borrowed a new, preservation print from UCLA Film & Television Archive.

T

Selected Filmography: The Goddess (1958), Caged (1950), Dead Reckoning

Filmography: Paint Your Wagon (1969), Camelot (1967), Ensign Pulver (1964),

(1947), Anna and the King of Siam (1946), Since You Went Away (1944), Abe Lincoln

Fanny (1961), Tail Story (1960), South Pacific (1958), Sayonara (1957), Bus Stop

in Illinois (1940), In Name Only (1939), Made for Each Other (1939), Algiers (1938),

(1956), Mister Roberts (1955, uncredited), I Met My Love Again (1938)

Little Lord Fauntleroy (1936), Of Human Bondage (1934), Ann Vickers (1933)

KUOW94.9

KUOW94.9 33

LOW-KEY LEGEND: A TRIBUTE TO JAMES WONG HOWE

Picnic

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Catherine Dft««ttve David Mora«

I

DANCER IN THE DARK last day of sale: June 17th

W AITIN G FOR

TW IN PEAKS:

GUFFMAN

FIRE W A LK W ITH ME

VICTOR V IC T O R IA

LOW-KEY LEGEND: A TRIBUTE TO JAMES WONG HOWE

Sweet Smell of Success

Saturday, June 1 - 1 :45 PM - H arvard Exit

Saturday, June 1 5 ■ 1:45 PM ■ Egyptian

USA ■ 1947

USA ■ 1957

Director: Raoul Walsh Writer: Niven Busch Producer: Milton Sperling Cinematographer: James Wong Howe Editor: Christian Nyby Music: Max Steiner Cast: Robert Mitchum, Teresa Wright, Judith Anderson, Dean Jagger, John Rodney, Alan Hale, Harry Carey Jr., Clifton Young Running Time: 101 minutes

ollywood's first "psychological Western" boasts a dark scenario (by Niven Busch of D u e l in the S u n fame) about a man psychically scarred by a tragedy his mind refuses to recall. Robert Mitchum was just starting to click as a very modern screen hero (Pursued was made the same year as O u t o f the Past), and this is one of his key performances from that period. An orphan raised alongside brother John Rodney and sister Teresa Wright (Mrs. Busch), he's always known he doesn't really fit into the family.

That's handy in one sense: he's in love with Wright. The SpanishAmerican War intervenes, and adopted father Dean Jagger insists that one of his boys must march off to Cuba with Teddy Roosevelt.

Mitchum will return from that conflict wounded and soon to be disprized of share of the family holdings. Which is when things start getting seriously warped, as well as seriously Freudian in the late'40s Hollywood manner. That grande dame of the Gothic, Judith Anderson, brings her trademark intensity as a frontier matriarch.

Raoul Walsh, an Old Hollywood veteran nearing the midpoint of a half-century career, remains unfazed by all the new-fangled psycho­ logical stuff, and with longtime comrade-in-arms James Wong Howe devises one stunning deep-focus setup after another. Together they bring film noir to the Western with no-sweat authority. It all looks like a knockout in another brand-new restoration print loaned to SIFF by the UCLA Film & Television Archive.

H

Selected Filmography: A Distant Trumpet (1964), The Naked and the Dead (1958), The Tall Men (1955), Distant Drums (1951), Captain Horatio Hornblower (1951), The Man I Love (1946), Objective Burma! (1945), Gentleman Jim (1942), They Died With Their Boots On (1941), Strawberry Blonde (1941), High Sierra (1941), The Roaring Twenties (1939), The Bowery (1933), M e and My Gal (1932), The Big Trail (1930), Sadie Thompson (1928), What Price Glory (1926), The Thief of Bagdad (1924)

Director: Alexander Mackendrick Writers: Clifford Odets, Ernest Lehman Producer: James Hill Cinematographer: James Wong Howe Editor: Alan Crosland Jr Music: Elmer Bernstein Cast: Burt Lancaster, Tony Curtis, Susan Harrison, Martin Milner, Emile G. Meyer, Sam Levene, Barbara Nichols, Jeff Donnell, Joe Frisco, David White, Lawrence Dobkin, Lurene Tuttle, Jay Adler Running Time: 96 minutes

atch me, Sidney." Has there ever been a sharper, more corrosive look at the nightworld of Broadway than Sw eet S m e ll o f S u c c e s s ? The Ernest Lehman-Clifford Odets script is endlessly quotable (remember the guy in D in e r whose entire waking life consisted of walking around reciting the dialogue?).

No antiheroes were ever more corrupt than Burt Lancaster's J.J. Hunsecker, the columnist with Hitler's heart, and Tony Curtis's Sidney Falco, the hungriest promoter to scuttle in the shadows along the Great White Way. Alexander Mackendrick directs like a mixologist slipping rat poison into an ice-cold martini. And James Wong Howe: This guy was slate boy for Cecil B. DeMille in the 19-teens, and forty years later he's shooting by neon, marquee light, and sheer audacity on the streets and sidewalks of New York City. Not that the nightclub and apartment and penthouse settings are any less memorable: what scalding whites, what blacker-than-noir blacks, what infernal, silvery luster on Hunsecker's glasses. Sweet Sm e ll o f S u c c e s s hums and crackles, and the amazing thing is, you pick up a lot of that hum and crackle through your eyes. Newly restored - though this movie has always looked so great, it's hard to imagine it needing restoration.

M

LOW-KEY LEGEND: A TRIBUTE TO JAMES WONG HOWE

Pursued

The one-of-a kind Cinerama Theatre is proud to support the best-of-its-kind Seattle International Film Festival.

Congratulations on 28 years of world-class cinema!

SEATTL ECI NERAMA. COM

SECRET FESTIVAL

W E 'V E G O T A S E C R E T .

SIFF is the o n ly film festival on earth w here y o u 'll find the fa m o u s ly in fa m o u s Secret Festival. Since 198 3 , w e have offered cla n d e stin e sc re e n in g s e v e ry S u n d a y th ro u g h o u t the Festival; th e y include w o rld prem ieres, lo n g -lo st cla ssics, con trove rsial been p ro m ise d elsew here, yikes! In short, e v e ry th in g y o u will see at the Secret Fest is u n available to a u d ie n ce s in a n y w a y other than b y jo in in g the Secret Festival® Club. Wait a m inute - there is o ne o th e r catch: to jo in the club, y o u m u st a lso sig n the official O ath o f Silence p ro m isin g that y o u will never d ivu lg e the film s scree ned fo r club m e m b e rs at w e e kly m eetin gs o f the Secret Festival m e m b e rsh ip . V io la to rs will be persecuted! A n d w orse.

M e m b e r s h ip s

sell

out

early;

the

fact

that

there

are

no

SECRET FESTIVAL

b a n n e d film s, w o rk s in p ro g re ss, film s w h o se prem ieres have

m e m b e rsh ip s left available b y the tim e o p e n in g w ee ke nd o f the Festival rolls a ro u n d is a testam ent to the q u ality o f the film s o u r m e m b e rs have been p riv y to in the past. Indeed, the size o f the lines o u tsid e the theatre on S u n d a y m o rn in g s at the Festival tells y o u all y o u need to k n o w - o r will know , for that matter, u n le ss y o u jo in the brave 6 0 0 w h o e v e ry yea r get let in on the ch o ice st cine m atic secrets o f the Festival! So be there, o r be square, it really d o e s n 't m atter to us. But if life so m e tim e s se e m s ju st too predictable for w o rd s, y o u ow e it to y o u rs e lf to take the chance.

37

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(Trusted Choice

EMERGING MASTERS Each y e a r SIFF selects fo u r directors from a ro u n d the w o rld w h o have, w ithin the sp a n o f a decade o r a handful o f film s, esta b lish ed th e m se lv e s a s potential cinem atic m asters. T h is series celebrates o u tsta n d in g talents w h o se film s evince an o rigina l v isio n and a g ra sp o f craft that sets them apart, and clearly esta blish them as artists o f a h igh o rd e r w h o will break into the m a instre a m o f A m e rica n film g o e rs' c o n ­ s c io u s n e s s in the near future. Past ho n o ré e s have inclu ded Tom T y k w e r ( Run Lola Run), F ra n ço is O z o n ( Under the Sand), and M ichael W interbo tto m (24 Hour Party People).

Join us as w e celebrate this y e a r's crop: From France, Ja cques A u d ia rd (Read My Lips)', from Spain, Julio M e d e m (Sex and Lucia)] from Japan, the prolific M iike T a ka sh i (Agitator)] and from Korea, Park C h a n -w o o k (Sympathy for Mr.

Vengeance).

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Silver Platters stocks a DVD section as a diverse and A obscure as your M tk own tastes.

Stop by and g g check out our m g endless selection.

The Northwest’s Finest DVD Store

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All of our current stock from SOMETHING WEIRD VIDEO is on sale, including these titles

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THE PIGKEEPERS D AUG HTER w/ SASSY SUE

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PLEASE DON'TEATM Y MOTh SI'"":"

EMERGING MASTERS

Read My Lips

A Self Made Hero

SU R M ES LÈVRES

U N H É R O S T R È S D IS C R E T

Friday, M a y 2 4 ■ 7 :0 0 PM ■ E gyp tia n Saturday, M a y 2 5 ■ 4 :0 0 PM ■ E gyp tia n

Saturday, M a y 25 ■ 1:45 PM ■ Egyptian

FRANCE ■ 2001

FRANCE ■ 1996

Director: Jacques Audiard Producers: Philippe Carcassonne, Jean-Louis Livi

Director: Jacques Audiard Writers: Jacques Audiard,

Writers: Alain Le Henry, Jacques Audiard Producers: Patrick Godeau, Françoise

Tonino Benacquista Cinematographer: Mathieu Vadepied Editor: Juliette Welfling

Galfre

Music: Alexandre Desplat Production Design: Michel Barthélémy

Alexandre Desplat

Cast: Vincent Cassel, Emmanuelle Devos, Olivier Gourmet, Olivia Bonamy, Olivier

Cast: Mathieu Kassovitz, Anouk Grinberg, Sandrine Kiberlain, Albert Dupontel,

Perrier, Bernard Alane Running Time: 115 minutes

Nadia Barentin, Jean-Louis Trintignant Running Time: 105 minutes

ruel office gossip can't hurt if the target is out of earshot, right? Not if the subject of the whispers is partially deaf and happens to be able to read the lips of her mocking co­ workers. Carla (Emmanuelle Devos), an underappreciated, lonely, and bitter secretary at a large consulting firm, thinks she may have a chance to finally make a friend at work when she is allowed to hire an assistant. When she requests a man with "nice hands and good grooming," the employment agency sends over Paul (Vincent Cassel). The fact that Paul is a freshly paroled ex-con with an obvious lack of office skills is no deterrent to Carla, who can see only the possibilities for personal interaction. But two desperate people do not a perfect couple make. With both nothing and everything to lose, Carla and Paul form a kind of shaky friendship based on a touch of blackmail and a heap of trust. After they collaborate on some petty score-settling in the workplace, Paul gets the urge to pull off that One Last Job: to rip off the big-time gangsters who landed him in jail in the first place. But he'll need Carla's help....

With the contrasting backdrops of a seedy underworld and an equally sinister modern office-place, director Jacques Audiard (A Self-M ade Hero) pulls off a tight, unconventional thriller centered on two desperate souls conspiring to wreak their own very personal revenge.

he gifted Jacques Audiard's second film and first ringing success, A Self-M ade H ero (SIFF '96) is a wonderfully ironic black comedy about an enterprising fellow who crafts an imposing identity for himself by "joining" the WWII French Resistance - nearly a year after the Allies have liberated France!

One evening in November 1944, during the final months of a war he didn't fight, our protagonist learns that his late father wasn't the hero long thought. So he decides to become a hero himself. In an era lending itself to all kinds of confusion, he masters the art of lying, using omission and allusion to build a shadowy character like no other. After having introduced himself into Resistance circles, he is called to an important post in occupied Germany. Everything seems to come his way: honor, admiration, friendship, power - and quite a few great­ looking women. But how long, and by what tortuous means, can he sustain the fiction? Working from a novel by JeanFrançois Deniau, Audiard has created a deliciously subversive take on the myth of heroism and universal resistance during the years when Germany occupied France. Mathieu Kassovitz, himself a brilliant director (H ate/La Haine, The C rim so n Rivers ) and the costar of Am élie, gives a smashing performance in the title role.

Selected Filmography: Norme Française (1998), A Self-Made Hero (1996), See

(1994)

Editor: Juliette Welfling

Music:

T

Filmography: Read My Lips (2001), Norme française (1998), See How They Fall

How They Fall (1994)

41

EMERGING MASTERS

C

Cinematography: Jean-Marc Fabré

[ I

EMERGING MASTERS

The Red Squirrel

Sex and Lucia

LA A R D IL L A RO JA

EMERGING MASTERS

L U C IA Y EL S E X O

Friday, M a y 31 ■ 9 :3 0 PM ■ Pacific Place Saturday, June 8 ■ 6 :3 0 PM ■ Egyptian

Saturday, June 1 ■ 1:45 PM ■ Pacific Place

SPAIN ■ 2001

SPAIN ■ 1993

Director-Writer: Julio Medem

Director-Writer: Julio Medem

Producers: Fernando Bovaira, Enrique López Lavigne Cinematographer: Kiko De

Producer: Fernando de Garcillan Cinematography: Gonzalo Berridi Editor: Elena

La Rica Editor: Ivan Aledo Music: Alberto Iglesias

Saiz de Rozas Music: Alberto Iglesias

Cast: Paz Vega, Tristan Ulloa, Najwa Nlmri, Daniel Frelre, Elena Anaya, Silvia

Cast: Nancho Novo, Emma Suarez, Maria Barranco, Carmelo Gomez

Llanos, Javier Camara Running time: 129 minutes

Time: 114 minutes

Running

ulio Medem's V acas was the sleeper hit of SIFF '92; The Red

J

panish director Julio Medem's previous films Cows, Red Squirrel, Earth, and Lovers o f the A rctic Circle have all been

S

Sq u irre l confirmed his standing as one of the brightest stars

SIFF favorites - mere prelude to this tour de force. Sex a n d Lucia utilizes an elaborate, invigorating narrative with a sharp combination of sex, psychology, and philosophy. Throw in over-the top-symbolism, delicious humor, melodrama, stunning visuals, and intense eroticism, and you get some idea of why Sex a n d Lucia has thrilled Spanish audiences. In a story that spins intoxicatingly between the future, the past, and the present, we follow the life of a tortured writer, Lorenzo, and his relationships with a trio of women. There's his obsessive, stormy, and passionate relationship with Lucia, a waitress.

Then we have Elena, a woman he meets on an island and makes anonymous love to, only to have her disappear. And Belen, a young girl he befriends and is seduced by, who later unwittingly causes the death of a child. With all these pairings, sex abounds, shot in a variety of light and moods - tender, self­ destructive, unhappy, ardent. The script includes multiple mindbending narrative twists that add to the viewer's enjoyment as we are drawn deeper and deeper into the story.

Fact and fiction overlap, challenging us to determine whether what's occurring is real or merely on the novelist-protagonist's page. Visually, the film is daring, with cinematographer Kiko de la Rica taking the kinds of risks with lighting and angles that are associated with Medem. The use of handheld, hi-def digital video, plus natural light, helps to create an intimate, visceral feel. If you haven't had the pleasure of experiencing a Julio Medem film, this sexy rollercoaster is a great introduction to his art. If you are already a fan, you won't want to miss his vibrant latest work.

of the Spanish New Wave. "A comedy with undertones of horror" (Medem's own description), The R ed Sq u irre l opens with a man standing on a cliff overlooking a San Sebastian beach. Suicide is his intention, but he's interrupted by the nearby crash of a motorcycle, whose hapless rider - a woman - is flung onto the sand below him. The rider appears to have lost her memory as a result of the crash, so, in a moment of prurient inspiration, the man passes himself off as her longtime boyfriend. From this encounter a tale of love, deception, and cinematic magic begins its unpredictable 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. Droll and enigmatic, The R ed Sq u irre l is always assured, with a poetic resonance that is testament to the transcendence of this young and gifted director.

Filmography: Sex and Lucia (2001), The Lovers of the Arctic Circle (1998), Earth (1996), Vacas (1991), Las Seis en Punta (1987)

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llork Simes

n y T im e s .c D m

Filmography: The Lovers of the Arctic Circle (1998), Earth (1996), The Red Squirrel (1993), Vacas (1991), Las Seis en Punta (1987)

Consulate G eneral o f Sp ain

42

EMERGING MASTERS

Agitator

Happiness of the Katakuris

A R A B U R U T A M A S H II T A C H I

K A T A K U R I- K E N O K Ô F U K U

Friday, June 7 ■ 9 :3 0 PM ■ Pacific Place Sunday, June 9 ■ 4 :0 0 PM ■ Pacific Place

Saturday, June 8 ■ 9 :3 0 PM ■ Pacific Place M onday, June 10 ■ 4 :3 0 PM ■ C in eram a

JAPAN ■ 2001

■ U.S. PREMIERE

JAPAN ■ 2001

Director: Miike Takashi Writer: Takeshi Shigenori

Director: Miike Takashi

Producers: Yoshiro Masuda, Fujid Matsushima

Writer: Kikumi Yamagishi Producer: Hirotsugu Yoshida Cinematographer: Hideo

Cinematographer: Jito Kiyoshi Music: Jendo Koji

Yamamoto Editor: Yasushi Shiimamura Music: Koju Endo, Kouji Makaino Cast: Kiyoshiro Imawano, Keiko Matsuzaka, Naomi Nishida, Kenji Sawada, Shinji

Ryosuke, Eve Masato Running Time: 150 minutes

Takeda, Naoto Takenaka, Tetsuro Tamba Running Time: 113 minutes

his masterful gangster epic from the director of A u d itio n (SIFF 2000) turns the yak uza genre on its ear, delving into the labyrinthine web of loyalty and male bonding that underlies the most intense of all Japanese "family ties." As the film ¡pens, it's pretty much business-as-usual in the newly gentrified world of rival families that run Tokyo's vice rackets.

The upper echelon of these competing gangs conduct their business from the civilized boardrooms and "better" restaurants that typify the playfield of any big business executives; their Armani- and Versace-clad lieutenants inhabit a somewhat less exalted world, overseeing the day-to-day running of the nightclubs and p a c h in k o parlors that provide the lucre upon which these empires are built. But all is not well amid this lower echelon: competing factions are a-boil with intrigue as their members vie for change in the pecking order and long-simmering rivalries between gangs begin to surface.

Miike himself plays a gangster who triggers a war between competing yakuza factions, touching off a spiraling tornado of violence that threatens to pull down the entire structure of this carefully constructed kingdom of vice. Stylish in the extreme and propelled by a furious progression of action set-pieces, A gita to r may be Miike's masterpiece to date among a profusion of stunning genre works.

iike Takashi is a filmmaker with more tricks in his bag than Merlin the Magician. The Japanese director who has brought us everything from porn to yakuza now combines his penchant for violence with a love for the absurd, thrown in a musical score worthy of Tom m y, and baked it all into one grand, glorious, nasty, insane, you-have-to-see-it-to-believe-it singing-and-dancing extravaganza. A multigenerational family leaves the city behind and heads for the countryside to open a lodging house. Convinced a new road will bring hordes of visitors right past their front door, the Katakuris spend all their savings on fixing up the new place, only to discover that the road isn't coming and neither are the guests. The lack of paying customers starts to put a strain on the family, but they find their smiles and urge each other to "stick together and we'll pull through." Still, this is Takashi, not The Brady Bunch, and the lodging's very first guest is found dead on the carpet the next morning. Soon other guests check in but they don't check out. One by one, they're found dead (by some rather unusual means). Unwilling to compromise their reputation, the Kata­ kuris do the only thing they can do: bury the corpses in the nearby woods. But, of course, now the road is coming through, the corpses won't stay buried, it looks like the end of the world, and one of the Katakuri girl? has started a passionate relationship with a man who says he's the nephew of Queen Elizabeth. Could this be the end of our happy Katakuris? Or is there a new dawning just around the bend?

T

Selected

Filmography:

Dead or Alive:

Final (2002),

Happiness

M

of the

Katakuris(2001), Ichi the Killer (2001), Visitor Q (2001), Family (2001), Dead or Alive 2: Birds (2000), The Guys from Paradise (2000), City of Lost Souls (2001). Audition

(2000)

Filmography: Dead or Alive: Final (2002), Agitator (2001), Ichi the Killer (2001), Visitor Q (2001), Family (2001), Dead or Alive 2: Birds (2000), Audition (2000)

SI) e jNTemiork Simes

(Elie ¿NeUrMark Simes

n y'tt im e s . c o m

n y t im e s . c o m

Jungle C ity

43

EMERGING MASTERS

Cast: Kato Masaya, Takenaka Naoto, Matsukata Hiroki, Ishibashi Renji, Miki

AND SEDGW ICK RD WOULD UKE TO THANK THE FOLLOWING FOR GENEROUSLY DONATING TIME, MATERIALS AND/OR EXPERTISE TO THE PRODUCTION OF THE 2002 SEATTLE FILM FESTIVAL T RA ILER:

EUGENE YELCHIN ELIZABETH PASSARELLI GARY GALLO ELIZABETH MOORE DONNALEE AUSTEN CHARLEEN MANCA BRETT KELLY MONTY TAYLOR TIM POGOLOR STEWART BUNION AMY GAYESKI EDDIE NORRIS CHRIS RYAN JUAN CARLOS MORALES JUDI HANNA LEONARD ORAGEZ LIBBY JOHNSON PHIL SWIADON SVEN SHELGREN LESLIE AND FAITH DEKTOR DIRECTORS GUILD OF AMERICA CALIFORNIA FILM COMMISSION SUNSET EXPENDABLES ACCESS COMMUNICATIONS GALPIN FOTOKEM KODAK

EMERGING MASTERS

Sympathy for Mr. Vengeance

Joint Security Area

BO KSU N EU N NAUi GEOT

G O N G - D O N G - K Y U N G - B I- K O O - Y E O K

Friday, June 14 ■ 9 :3 0 PM ■ C in e ra m a Sunday, June 1 6 - 1 :45 PM ■ Pacific Place

Saturday, June 15 ■ 4 :0 0 PM ■ Harvard Exit

SOUTH KOREA ■ 2001 U.S. PREMIERE

SOUTH KOREA ■ 2000

Director: Park Chan-wook

Writers: Jeong Seong-san, Kim Hyeon-seok, Lee Mu-yeong, Park Chan-wook

Director: Park Chan-wook

Producer: Eun Soo Lee Cinematographer: Kim Sung-bok Editor: Kim Sang-beom

Producers: Lim Jin-gyu Cinematographer: Kim Byung-ll Editor: Kim Sang-beom

Music: Bang Jun-seok, Jo Yeong-wook

Music: Uhuhboo Project

Cast: Lee Yeong-ae, Lee Byung-heon, Song Kang-ho, Kim Tae-woo, Shin Ha-kyun

Cast: Song Kang-ho, Shin Ha Gyun, Im Ji-eun, Bae Du-na, Han Bo-bae, Lee Dae-

Running Time: 110 minutes

yeon, Kim Se-dong Running time: 129 minutes

his moving and intimate epic, which came to SIFF 2001 already a huge hit in its native land and went on to win a Golden Space Needle award, explores the impact of international tensions from a deeply personal perspective. Joint Se cu rity Area is set in the demilitarized mo-man's-land between North and South Korea. On the "Bridge of No Return" linking the guard station of the North Korean army with its counterpart to the south, shots ring out in the night. The body of a North Korean sentinel is found dead in his guardhouse; a wounded South Korean guard lies nearby. A member of the neutral Swiss force overseeing the DMZ - a female army captain of Korean descent - is sent to interrogate the other soldiers in the two commands. At first, neither army officers from the South nor communist officials from the North will cooperate. Although this seems like deliberate political provocation on both sides, we soon learn that it has roots in a much more human - albeit forbidden - interaction between the soldiers involved in the incident. Based on a novel by Park Sang-yeon, Joint Security A rea is a dazzling, visually inventive exploration of humanity in an inhumane place.

T

"A child kidnapping goes horribly wrong, with escalating consequences on both sides, in this gripping psychodrama, marbled with blackly ironic humor, that establishes Park Chanwook among the top ranks of Asian filmmakers. Stunning widescreen compositions combine with an elliptical off-kilter feel to make the film play as a kind of Asian Creek tragedy.”

- Variety his ambitious new film from the director of SIFF 2001's New Directors Showcase Award-winner J o in t S e cu rity Area is a visually inventive, dramatically engrossing story of revenge and retribution set amid a society that seems to be trapped between industrial wealth and spiritual poverty. The film opens with a foreboding atmosphere, as a radio announcer reads a message on the air that prefigures the events to come.

The message is written by Ryu, a deaf mute whose sister urgently needs a liver transplant, and whose whacked-out girlfriend has talked him into a scheme to kidnap a rich industrialist's daughter in order to ransom the money needed for the operation. Thus begins a series of accelerating tragic events that will have ramifications far beyond those the participants could have anticipated. A truly stunning work of Shake-spearean dimensions.

T

Filmography: Sympathy for Mr. Vengeance (2001)

Filmography: Joint Security Area (2000)

expect the world*

Slje Neto Jlork S im cs n y''t t im e s . c o m

Slje Neto llo rk Sim es n y'tt im e s , co m .

45

EMERGING MASTERS

Writers: Lee Yong-jong, Lee Jae-soon, Lee Mu-yeong, Park Chan-wook

NEW DIRECTORS SHOWCASE

NEW D I R E C T O R S S H O W C A S E O ne o f the m o st im portant and eagerly anticipated SIFF sh o w c a se s each year co n tains a selection o f international directors w h o are clearly e m e rgin g as m ajor talents. SIFF p ro g ra m m e rs c h o o se a d o ze n film s from aro u nd the w orld to be sp o tligh ted for special attention and com petition. Each o f the film s m u st be a debut or seco n d feature b y the selected director, and each is ch o se n on the b a sis o f its o rig i­ nal conception, strik in g style and overall excellence.

The ju ry for the N ew Directors Show case, co m p o se d o f film in d u stry p ro fe ssio n a ls and journ alists, c h o o se s the a w a rd -w in n in g director on the final w ee ke nd o f the Festival. The w in n e r is a n n o u n ce d at both the Film m akers A w a rd s Brunch hosted d u r­ ing c lo sin g d a y o f the Festival at the Space Needle and the C lo sin g N igh t Gala.

N e w D ire c t o rs S h o w c a se J u ro rs J a s o n R e s n ic k is the Executive Director o f A c q u isitio n s for Universal Pictures. In this capacity Jason covers the independent film w orld for Universal lookin g for film s to acquire and sco u tin g new talent for the studio. At Universal he has w o rked on the dom estic a cq u isitio ns o f Mullholland Drive, Brotherhood of the Wolf and international pick-u ps of In The Bedroom and Cosford Park. Prior to his tenure at Universal, Jason w o rked in a cq u isitio n s for the Sam uel C o ld w y n C o m p a n y and international d istrib u ­ tion for M iram ax Films.

S im o n Field started his career as a freelance w riter on film and art, contributing to a w ide range o f pu bli­ cations including Time Out and Monthly Film Bulletin.

From 1 9 7 0 to 1 9 8 7 he pu blish ed and co-edited the film journal Afterimage. In 1 9 8 8 he becam e Director o f Cinem a at L o n d o n 's Institute o f C o n te m p o ra ry Art, w here he acquired UK distribution rights to m any pre stigiou s films. Since 1 9 9 6 he has been the Director o f the Rotterdam International Film Festival.

M ik e G o o d rid g e is US editor o f global w ee kly trade m agazine Screen International and its sister w ebsite screendaily.com . He has written on film for The Guardian, The Daily Telegraph, The Independent and The Sunday Times a m o n g others, w rites regularly for The Advocate in the US and Arena in the UK and is a m em ber o f the H o llyw o o d Foreign Press A sso ciatio n.

His first b o o k Directing w as recently p u blish ed fea­ turing intensive interview s with 1 5 great living film ­ m akers including Rom an Polanski, M ilo s Form an, Bernardo Bertolucci, A n g Lee and Lars Von Trier.

NEW

D I R E C T O RS S H O W C A S E

God Is Great, Pm Not

Jiyan

D IE U E S T G R A N D , JE S U IS T O U T E P E T IT E

Thursday, June 13 ■ 7:00 PM ■ Harvard Exit Saturday, June 15 ■ 11:30 A M ■ Cineram a

FRANCE ■ 2001

KURDISTAN IRAQ ■ 2002 U.S. PREMIERE

Director: Pascale Bailly Writers: Pascale Bailly, Alain Tasma Producers: Georges Benayoun, Alain Sarde

Director-Writer-Producer-Editor: Jano Rosebiani

Cinematographer: Antoine Roche Editor: Lise Beaulieu Music: Stéphane Malca

Cinematographer: Koutaiba Al Janabi Music: Kurdo Galali, Herem Ranyeyi

Cast: Audrey Tautou, Edouard Baer, Julie Depardieu, Catherine Jacob, Philippe

Cast: Kurdo Galali, Pisheng Berzinji, Chomari Hawrami, Enwer Shexani, Darya

Laudenbach, Cathy Verney, Anna Koch, Max Tzwangue, Mathieu Demy, Atmen Kelif

Qadir Running Time: 102 minutes

Running Time: 102 min

wo opening title cards inform audiences, successively, of the standard modes of address in the Kurdish language and the terrible devastation that Saddam Hussein rained upon its speakers. Together these headnotes form a précis of Jlyan's goals. The film manages to chronicle, with an unsparing, almost documentary eye, the tragic results of Iraq's chemical bombings, but prevents its own boiling outrage from spilling over into a mere political tract by telling a story grounded in proper respect for the indomitable web of relationships that is the basis of any human community. Back in his native land, baking under a sun several degrees hotter than in his adopted America, Diyari (Kurdo Galali) has come to the shattered city of Halabja to oversee the construction of a new, larger orphanage - a sadly essential project. Piles of rubble outnumber buildings, and the streets are filled with the crippled and blind; but even in the brief five years since the poisons fell from the sky (smelling, we are told, as sweet as apples or oranges), life has managed to reclaim no small degree of normalcy. Yes, there are still two or three coffins a day to carry up the hill for burial, and sandstorms continue to disperse toxins buried but not yet inert. Yet there are also old men who sit at the tea shop and gossip; young girls huddled in groups sharing giggling praise of the physical attributes of passers-by. Most important, there is singing and dancing and music, to the displeasure of no one save the occasional religious prude. Filmed with a patient, lyrical humanism plainly inspired by such Iranian masters as Kiarostami and Panahi, Jiyan manages to unflinchingly address the horrors man can inflict upon his fellows without surrendering to cynicism or despair.

T

aving endeared herself to audiences everywhere as the irrepressible Amélie, the radiant Audrey Tautou offers a performance no less buoyant, but of a more - quite literally searching kind. In G o d Is Great, I'm N o t she plays Michelle, a model with uncommonly bouncy curls, whose petite frame belies a personality that's anything but diminutive. But the emotional wounds from a breakup with her boyfriend are still stinging, and one of her inimitable diary entries reveals a deeper crisis yet: "I'm twenty years old and I've missed my life!"

Her conviction, it would appear, is confined to self-doubting.

Used to trying things on, Michelle turns to faith, any faith, to channel her zeal toward a more spriritual life (or, at the very least, an identity). Soon she's sporting a b in d i and dozing off during meditation. But belief remains elusive ... until Judaism arrives in a most vicarious way: she falls for François (Eduoard Baer), a 32-year-old Jewish veterinarian of unmistakably secular persuasion. Michelle's latent faith has found its calling, and it entails tacking mezuzahs to François's doorpost and insisting his observance of Shabbat - not without, of course, an introduction to his parents. (In a twist that only compounds the irony, François is the son Holocaust survivors.) Michelle's singular devotion exacts a cost, not least of which is the alienation from those most crucial to her spiritual nourishment.

Pages torn from her diary chart, with often hilarious effect, this wandering soul's invocation of a higher life. Debut director Pascale Bailly proves deft at romantic comedy, infusing the genre with a sensibility that's as playful and provocative as the film's beguiling title.

H

Filmography: Dance of the Pendulum (1995)

47

NEW DIRECTORS SHOWCASE

Wednesday, M a y 2 9 ■ 4 :3 0 PM ■ Harvard Exit Tuesday, June 11 ■ 9:30 PM ■ Pacific Place

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NEW DIRECTORS SHOWCASE

Ljubljana

Me Without You

Friday, June 14 ■ 9 :3 0 PM ■ Pacific Place Saturday, June 15 ■ 4 :0 0 PM ■ Pacific Place

M onday, June 3 ■ 7 :0 0 PM ■ Pacific Place Tuesday, June 4 ■ 9 :3 0 PM ■ H arvard Exit

SLOVENIA ■ 2002 U.S. PREMIERE

GREAT BRITAIN ■ 2002 Director: Sandra Goldbacher

Music: Iztok Turk, Damjan Bizilj

Cast: Anna Friel, Michelle Williams, Oliver Milburn, Trudie Styler, Allan Corduner, Kyle MacLachlan Running Time: 107 minutes

Cast: Grega Zorc, Tjasa Zeleznik, Manca Dorrer, Primoz Pirnat Running Time: 71 minutes

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Producer: Finola Dwyer

Cinematographer: Denis Crossan Editor: Michael Ellis Music: Adrian Johnston

Cinematographer: Ven Jemersic Editors: Olga Toni, Dafne Jemersic, Igor Sterk

here's no me without you!" Thus cries Marina (tiny dynamo Anna Friel) to best friend Holly (Michelle Williams) during a key moment in this colorful, evocative comedy-drama from Sandra Goldbacher ( The Governess, SIFF ’98). The film begins with a flashback to the origins of their enduring, if troubled, relationship, in suburban England of the 1970s. Marina and older brother Nat (Oliver Milburn) live with their free-spirited single mother, next door to Holly and her conservative Jewish parents. Already, the preadolescent Holly has eyes for Nat, but the handsome rocker doesn't seem to reciprocate. No matter, she has Marina, who keeps her entertained with sundry crazy schemes. Holly, as h e r mother keeps reminding her, is "the smart one" and Marina, as her mother keeps reminding her, is "the pretty one." In truth, Holly - as portrayed by D a w so n 's C reek's Williams with credible British accent (and brunette locks) - isn't unattractive; she's just not as bold and glamorous as Marina. The movie then hopscotches to their punk-rock high school phase in 1978, their New Wave college days in 1982, and on through the years until 2001, charting the ways best friends can be the worst of enemies when jealousy and possessiveness rear up. Most of the skirmishes revolve around men, like Nat - who d o e s eventually start to return Holly's interest - and randy college professor Daniel (Kyle MacLachlan), who has the hots for both women. Through it all - mohair sweaters and the Clash, bleached hair and Depeche Mode - the relationship persists. By the '90s, however, Holly is finally forced to decide whether life without Marina might be a lot better than life with her.

T

jubljana opens with a death. It's completely unexpected and

.is never explained. Or is it? That particular character, who plunges from a tower, will never be seen again - not even in flashbacks - nor is he referenced in any way. Did he fall or jump? He didn't seem particularly agitated before setting out on his final ascent. Writer-director Igor Sterk refuses to provide any easy answers. What he does provide is a group portrait of some young Slovenians, living in the capital city of Ljubljana, who appear to be much like the young man so briefly glimpsed at the beginning of this thoughtful, impressionistic film. Some of them work; some go to school. Mostly they hang out, take drugs, dance to techno, and have sex. They aren't as obviously destructive/self-destructive as the hooligans of A C lo c k w o rk O ra n g e or the addicts of Trainspotting, but Sterk appears to be making as much of a statement as Stanley Kubrick or Danny Boyle about a generation - a post-independence generation in this case - that seems truly alive only when engaged in the most ephemeral of pleasures. Cinematographer Ven Jemersic's camera evocatively captures these seemingly small moments, always choosing the most interesting angles by which to reveal the characters and their lives to us. The oblique angles, views through aquariums, mirror shots, etc., are somewhat akin to the memorably off-kilter visuals in that iconic snapshot of lateSixties generational angst, The Graduate. But there's more music than dialogue here - everything from Kylie Minogue to Arvo Part - and more mood than narrative. In the end, we find ourselves back at the beginning. Yet this time Sterk grants this restless, disaffected generation a glimmer of hope ... or does he?

NEW DIRECTORS SHOWCASE

Writers: Sandra Goldbacher, Laurence Coriat

Director-Writer: Igor Sterk

Filmography: The Governess (1998)

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wom en's entertainm ent

49 '-==k

NEW

DIRECTO RS

SHOWCASE

Mostly Martha

Minor Mishaps

DREI STERNE

S M A U LYKKER ■

Saturday, June 8 ■ 6 :3 0 PM ■ Pacific Place M onday, June 10 ■ 4 :3 0 PM ■ Pacific Place

Thu rsday, June 13 ■ 7 :00 PM ■ Egyptian Sunday, June 16 ■ 4 :0 0 PM ■ Egyptian

AUSTRIA / GERMANY / ITALY / SWITZERLAND ■ 2001 U.S. PREMIERE

NEW DIRECTORS SHOWCASE

DENMARK ■ 2002 ■ U.S. PREMIERE Director: Annette K. Olesen Writer: Kim Fupz Aakeson

Producers: lb Tardini, Peter Aalbaeck-Jensen

Cinematographer: Morten Soborg Editor: Nicolaj Monberg Music: Jeppe Kaas

Director-Writer: Sandra Nettelbeck

Cast: Jergen Kill, Maria Wurgler Rich, Jannie Faurschou, Henrik Prip, Jesper

Producers: Karl Baumgartner, Christoph Friedel Cinematographer: Michael Bertl

Christensen, Karen-Lise Mynster, Tina Gylling, Julie Wieth, Heine Ankerdal, Kristian

Editor: Mona Brauer Music: Manfred Eicher

Leth, Vigga Bro Running Time: 104 minutes

Cast: Martina Gedeck, Sergio Castellitto, Maxime Foerste, August Zimer, Ulrich Thomsen, Sibylle Canonica, Katja Studt, Idil Uner, Oliver Broumis, Antonio Wannek,

hile at the dinner table with his wife and youngest daughter, John (Jorgen Kiil) clutches his chest and keels face-first into his plate; when the extended ruse fails to get a rise from either of his auditors, he sits up and disappointedly observes that no one has a sense of humor anymore. But what else is the universe displaying when a troop of pallbearers, informed that the hearse is running late, must solemnly backpedal through the church, only to be told seconds later that the vehicle has arrived and the coffin can come out now?

Moments of such bittersweet incongruity are sprinkled throughout M in o r M ishaps, teasing reminders that we are in control of far less about our lives than we'd like to believe, since tragedy and laughter share the characteristic of bubbling up when least expected. One such tragedy sets the film in motion - the brutally offhand death of John's wife, struck by a car as she bikes to work. While John sinks into a dazed and absentminded grief, his children gather about his Copenhagen home: Marianne (Maria Rich), seemingly too frail to deal with her new job, let alone the loss of her mother; preciously artistic and regrettably unfazed Eva (Jannie Faurschou); and Tom (Henrik Prip), torn already between work and home. The superb cast, who clash and bond with all the history, the weight, of a lifetime shared, are expertly shepherded through the tragicomic events by director Annette Olesen. Insightful about the cruel emotional predations family members can make upon one another - how the father can shift his monstrous need onto the bony shoulders of Marianne; how Eva, fearful she's being frozen out, can malign their affection in the most horrifically sordid manner imaginable - M in o r M ish a p s is also lovingly, forgivingly aware that such actions stem less from selfish petulance than a desire to shield oneself from the unforeseen.

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Diego Ribon Running time: 107 min

'm not compulsive - I'm precise!" exclaims Martha defensively as she lays out an excessively formal several-course meal for a friend at her apartment. Being the "second best chef in the city" (as her boss coyly calls her) keeps Martha on her toes at the restaurant where she is master of the kitchen. However, being so career-driven has made Martha a bit of an ice-queen socially; she even finds herself hiding in the kitchen's walk-in refrigerator to hide from her staff and customers. Then, one day, her precise and perfectly ordered world is thrown for a loop when her sister dies in a car accident, leaving Martha to become "mother" to her sullen 9-year-old niece Lina. Needless to say, neither is too pleased with the situation. When Martha finds that her newly erratic behavior has caused the restaurant to add another chef to the staff, a charming and romantic Italian named Mario, she can't help but bristle at his overtures of friendship. Still, even Martha has to notice that with a dash of charm, a large helping of patience, and a big plate of Italian food, it is Mario who is finally getting through to her unhappy niece - and maybe even melting Martha's cool exterior as well.

In the tradition of food-plus-family movies like Eat D r in k M a n W oman, Big Night, and Tortilla Sou p , M o s tly Martha is a gentle romantic film about the importance of family, friends, and most of all an excellent meal. Be sure to grab a bite beforehand!

I

Filmography: Mammamia (1998), Loose Ends (1995), A Certain Grace (1992)

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HOME AMO OFFICE INTERIORS

wom en's entertainm ent

50

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NEW DIRECTORS SHOWCASE

Orphan of Anyang

N IC H T S B E R E U E N

A N Y A N G D E GUER

Friday, June 14 ■ 7 :0 0 PM ■ B’w a y PH Sunday, June 16 ■ 4 :0 0 PM ■ H arvard Exit

Tuesday, June 11 ■ 7:00 PM ■ Pacific Place Wednesday, June 12 ■ 4:30 PM ■ Pacific Place

GERMANY ■ 2002 ■ U.S. PREMIERE

CHINA ■ 2001

Director: Benjamin Quabeck Writers: Hendrik Holzemann, Benjamin Quabeck

Director: Wang Chao

Producer: Stephanie Wagner

NEW

No Regrets

Producer: Fang Li Cinematographer: Zhang Xi Editors: Wang Chao, Wang Gang Cast: Zhu Jie, Sun Guilin, Yue Senyi, Liu Tianhao Running Time: 84 minutes

Cast: Daniel Brühl, Jessica Schwarz, Marie-Lou Sellem, Denis Moschitto, Josef

51

TITLE

enjamin Quabeck's N o R egrets appears to have struck a chord with the youth of his nation, where it's won a number of awards (including Best Feature Debut from the German Film Critics Association). The film revolves around the travails of 19year-old Daniel, a recent high school graduate who needs to find a job ... but that's not what he's really concerned about.

No, he could care less, and he lets us know through his words, his actions, and by speaking directly to the camera (there are also a few fantasy sequences). What's really eating this particular Gilbert Grape is that, after four years, he's still in love with Luca - but she doesn't seem to feel the same way. Oh, she likes him well enough, but every time they're about to take things to that next level (Daniel is still a virgin), something comes along to muck it up. That something is usually Daniel himself. Part of the problem is that he relies on his Italian buddy, Dennis, for romantic advice. Dennis has no problem attracting the ladies, but his rules don't work for Daniel. And once Daniel's father has found a job for him at the local church, things only get worse. He can't stop thinking about Luca. It's a little like John Cusack's no-holds-barred obsession with lone Skye in S a y A n y th in g... - at least until "older woman" Anna comes along. When Daniel loses the church gig due to a crazy stunt (designed to attract Luca's attention, natch), Anna tends his wounds (literally) and offers to set him up as a home care aide. With nothing to lose, he decides to take her up on it.

Amazingly, this slacker who seemed so bored by everything (except Luca) starts to find life a lot more interesting - and decides he has "no regrets" about the route it took him to get there.

B

SHOWCASE

hen Kaige's longtime assistant, Wang Chao waited until he was 37 to make his first film; but deep-six any notion that he's a bit long in the tooth to be striking out on his own.

O rp ha n o f A n y a n g is a cinematic calling card announcing an artist who sees and moves and populates his world with marvelously rigorous and singular style. Like many Chinese filmmakers following hard upon the so-called 5th Generation (Chen Kaige, Zhang Yimou, et al.), Wang Chao chooses to cast nonprofessionals in his chronicles of the urban lives of marginalized types - gangsters, prostitutes, the jobless.

Casualties of China's fast-action urbanizing and economic progress, the "stars" of O r p h a n -40something Dagang (Sun Gui Lin) and streetwalker Yanli (Yue Sen Yi) - are a different breed from the colorfully epic heroes and heroines of Asian melodrama and martial arts movies. Having just lost his factory job, Dagang scrapes together his meager funds and heads for a noodle stall where he finds Yanli's abandoned baby. (She lives in a dump with three other hookers, and must be on call as a gangster's sometime girlfriend.) A note promises a monthly stipend to the baby's rescuer and caretaker. Dagang's not daddy material, but he's got to eat, so he lugs the infant home.

Then he and Yanli meet, and slowly but surely they begin to look and feel like human beings again: a fragile family is born.

Wang Chao's debut film doesn't pull any punches, but there's a remarkable tenderness in its steady, often prolonged gaze at streets streaming with people who are little more than motes in the urban bloodstream. Although there may not be any conventional happy endings for Dagang and Yanli, their capacity to imagine, to dream, to hope comes magically, if momentarily, alive in Wang Chao's oddly satisfying mixture of comedy and tragedy.

C

Heynert, Sonja Rogusch Running Time: 92 minutes

DIRECTO RS

Cinematographer: David Schultz Editor: Tobias Haas

HIM ALAYAN FACES: A R eflec tio n o f En d u r a n c e Photography by C ora Edmonds 1

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NEW DIRECTORS SHOWCASE

Satin Rouge

Secret Ballot RAYE M A K H FI

Saturday, June 8 ■ 4 :0 0 PM ■ Harvard Exit Sunday, June 9 ■ 6 :3 0 PM ■ Harvard Exit

TUNISIA / FRANCE ■ 2002 U.S. PREMIERE

IRAN / SWITZERLAND / ITALY ■ 2001

Director-Writer: Raja Amari

Producers: Hooshangh Payami, Marco Muller, Babak Payami Cinematographer:

Producers:

Alain

Rozanes,

Pascal

Verroust,

Dora

Bouchoucha

Director-Writer-Editor: Babak Payami

Farzad Jodat Music: Michael Galasso

Fourati

Cast: Nassim Abdi, Cyrus Abidi, Youssef Habashi, Gholbahar Janghali, Farrokh

Cinematographer: Diane Baratier Editors: Pauline Dairou Music: Nawfel El-Manaa Cast: Hiam Abbass, Hend El-Fahem, Maher Kamoun, Monica Hichri

Shojaii Running Time: 123 minutes

Running

Time: 89 minutes

ooling around with personal and public politics, the deadpan humor of Babak Paymai's Secret Ballot possesses a Samuel Beckett flavor, but it's also got more than a dash of screwball comedy - cooked up Iranian-style. On a godforsaken seashore, a couple of soldiers take turns doing guard duty.

What are they guarding? Who knows - it's what they do. When a woman (Nassim Abdi) is dropped off by a passing boat, one of the soldiers (Cyrus Abidi) is unwillingly commandeered to chauffeur her around the island while she collects votes in her precious ballot box. This odd couple - one in permanent dudgeon because he's being bossed by a woman, the other singlemindedly determined to serve democracy by coercing every misfit shepherd or smuggler on the barren island to vote-bicker their way through the countryside , encountering one eccentric and/or apathetic citizen after another. B rin gin g Up Baby's Grant and Hepburn they're not, but the idealistic young ballot collector and the politically indifferent military man do manage to bond, to "bring each other up" a bit in the course of a circular journey - punctuated by comic reststops - that occasionally verges on the hallucinatory. Shot on location on picturesque Kish Island, a popular resort destination, in the Persian Gulf.

F

iam Abbass gives a positively glowing performance as Lilia, a respectable widow and attentive mother to her daughter, Salma. Lilia has lived an increasingly lonely existence since the death of her husband; she eats alone, watches mindnumbing television, and obsessively cleans the house. All this changes when she begins to suspect that her daughter is having an affair with a musician, Chokri (Maher Kamoun), from the Satin Rouge cabaret. Following Chokri one night, Lilia enters the Satin Rouge and gets a taste of a world she has never known: dancing, worldly bar girls, and pleasure-seeking men, both repugnant and tantalizing. Strangely attracted, she returns. Before long, she's befriended Folia (Monia Hichri), one of the belly dancers, and is trying on the scanty, sequined costumes herself. She discovers, through her increasingly abandoned dancing, desires she has stifled during all her years of respectability. Lilia finds she must choose between two equally unsatisfactory roles, cabaret dancer or wallflower mother. Director Amari: "Above all, she discovers the young girl still inside her who's never had the chance to live, to blossom. From this point Lilia only listens to her desire. This desire instigates the evolution of her character...." Handsomely produced and directed with grace and humor, Satin R o u g e is reminiscent of the Douglas Sirk films of the 1950s. Amari depicts and reveals the conservative, hypocritical side of human nature and one woman's attempts to break free of restrictive conventions.

H

Filmography: Yek rouz bishtar (1999)

Sponsored by:

Interests Section o f the Islam ic Republic o f Iran Consulate G eneral o f Pakistan

53

NEW DIRECTORS SHOWCASE TITLE

Saturday, June 15 ■ 6 :3 0 PM ■ Pacific Place Sunday, June 1 6 - 1 1 : 3 0 A M ■ Pacific Place

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A SIB LOTATD E F I N T T IO F T An exhibition of the artist’s photographs I June 6 - 2 9

Greg Kucera Gallery 2 1 2 T h ird Avenue South S e a t t le 2 0 6 .6 2 4 .0 7 7 0 w w w .g re g k u c e ra .c o m

NEW

DIRECTO RS

SHOWCASE

Smokers Only VAGON FUM ADO R

Sunday, June 9 ■ 9 :3 0 PM ■ H arvard Exit Sunday, June 16 ■ 9 :3 0 PM ■ Egyp tia n

NEW DIRECTORS SHOWCASE TITLE

ARGENTINA ■ 2001 Director-Writer: Verónica Chen Producer: Donald Ranvaud

Cinematographer: Nicolás Theodossiou

Music:

Edgardo Rudnitzky Cast: Cecilia Bengolea, Leonardo Brezicki, Adrián Fondari, Pablo Razuk, Adrián Blanco, Carlos Issa Running Time: 87 minutes

oung woman who doesn't know what she wants meets happy-go-lucky lowlife who's content with what he's got.

Reni, lead singer for a struggling nightclub band, is anxious over her songwriting and her sense of self. She toys with suicide, but instead takes up with a street hustler who steals her bankcard in the all-night ATM walk-in where he provides sex for money. The things they do, hope for, and imagine become the stuff of a dialogue about dignity, set against that perennial threat to human values, the insatiable City. "It's a monster," says Reni; "makes you need stuff you don't even know what it's for." She's willing to try his way of life because she's willing to try anything. But she discovers that there are limits to her sense of abandon; and he sees her commitment to moral boundaries as a threat to his way of life. Will they redeem each other, or is the irresistible force meeting the immovable object? The film's interplay of light and shadow, its mixture of stark, bleak interiors with neon and car-lit exteriors, and its predominating blue tones capture the mood and menace of the big city at night and the underbelly of what, on the streets, passes for life.

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55

ASIAN TRADEWINDS COMPETITION

ASIAN TRADEW INDS COMPETITION Tradewinds Jury

Jury Members

In the last decade, the m o st significa nt ch a n ge to the profile o f the international film scene has been the great proliferation o f A sia n film s. It is fair to sa y that directors su ch as A n g Lee, C hen Kaige and W o n g Kar-wai are k n o w n well b eyo n d the co n fin es o f the international film circuit, and the c ro sso v e r potential o f A sia n stars such as M ichelle Yeoh, C h o w Yun-fat, and Jet Li is starting to be borne out.

In re sp o n se to this veritable tsunam i, SIFF is ve ry proud to an n o u n ce the inau gura l T ra d w in d s Aw ard, for the o u tsta n d in g A sia n feature h a v in g its A m erican prem iere in Seattle. T h is yea r w e are privi­ leged to feature titles from all the hottest p ro d u c­ tion centers o f the Pacific Rim, in clu d in g tw o fresh from their official C a n n e s scre e n in g s ( Mon-Rak Transistor from T hailan d and Blue Gate Crossing from Taiwan). R a n gin g in sco p e from the w idescreen pictorial beauty o f o u r In d o n e sia n offering, Whispering Sands to the intim ate Digital-B&Wb lo w n -u p -to -3 5 m m Camel(s) (South Korea), from H o n g K o n g 's esta blish ed m aster o f m a yhem Jo h n n y To to a n u m b e r o f exciting directorial debuts, the ju ry are sure to find plenty to enjoy as well as to debate. A s will you, trust us!

Kim Dong Ho was born in 1937 in Kang Won Province, Korea and is the Director of Asia's leading film event, the Pusan International Film Festival. He was previously a Vice Minister in the Department of Culture and is a past president of the Korean Motion Picture Promotion corporation (now KOFIC). In recent years, Mr. Kim has served on many juries at international film festivals, and is very highly regarded as an ambassador for Korean cinema.

Tony Rayns Tony Rayns is a London-based filmmaker, critic and festival pro­ grammer with a special interest in the cinemas of Pacific Asia. His books include Fassbinder, Se o u l Stirrin g : Five K o rea n Directors, Licensed to Thrill: The D elirio us C in e m a o f S u z u k i Seijun, and the forthcoming W ong Kar-w ai on W ong Kar-wai. He is a regular con­ tributor to the UK magazines S ig h t a n d S o u n d and Time Out. He programs East Asian films for the Vancouver and London festivals and is a lifetime program consultant to the Pusan Film Festival in South Korea. His own most recent film is the feature-length docu­ mentary essay The J a n g S u n -w o o Variations.

Berenice Reynaud is the author of N ouvelles C hines, n o u ve a u x cin ­ e m a s and Flou Flsiao-hsien's A C ity o f Sadness. Her work has been published in many publications, including S ig h t & Sound, Screen, Film C om m ent, A fterim age, and C inem aya, the Asian film quarter­ ly. She is a correspondent for the San Sebastian and Vienna Film Festivals, and teaches theory and criticism in the School of Critical Studies and the School of Film/Video at the California Institute of the Arts.

Please note: A gita to r, described under Emerging Masters, is also eligible for this award.

Hong Kong Economic & Trade Office S«« JvMtiica

ASIAN TRADEWINDS COMPETITION

Blue Gate Crossing

Brother CE CE

T hu rsd a y, June 6 ■ 7 :0 0 PM ■ H arvard Exit Friday, June. 7 ■ 4 :3 0 PM ■ H arvard Exit

TAIWAN / FRANCE ■ 2002 U.S. PREMIERE

HONG KONG ■ 2001 U.S. PREMIERE

Director-Writer: Chih-yen Yi

Director-Writer-Producer: Yan Yan Mak

Cinematographer: Hsiang Chien. Editor: Ching-song Liao Music: Chris Hou

Cinematographers: Siuki Yip, Eric Lau Editor: Stanley Tam Music: Wang Lei

Cast: Bo-lin Chen, Lun-mei Guey, Shu-hui Liang Running Time: 84 minutes

Cast: Stanley Tam, Jin Cai-xia, Cai Tao, M a Ke, Yaxiuer Lataijia, Cao Wan-yan Running time: 89 minutes

irect from Cannes's Quinzaine des Réalisateurs: "Kerou is a 17-year-old high school student. Like other girls of her age she is trying to find herself. A bit of a dreamer, she lacks selfconfidence and is nostalgic for the carelessness of childhood.

Shihao is a young and attractive lad who is a bit of a rebel. He is a favorite with the girls. Yuezhen, Kerou's best friend, is mad about him. Even if Shihao is concentrating first and foremost on winning the school's swimming championship, he is also very attracted to Kerou. Her manner intrigues him. One day, Kerou comes to one of his training sessions and opens her heart to him. What she tells him turns his world upside down, and together the two adolescents have their first taste of adulthood."

D

film school graduate, Hong Kong's Yan Yan Mak earned her industry chops as continuity girl, assistant director, production manager, and assistant art director. With her assured debut, this young woman announces herself as a director to watch. Suffering through altitude sickness and unpredictable weather in the remote highlands of Qinghai, more than 4,000 feet above sea level, Yan Yan Mak and her untried crew shot Brother on digital video and Super 8 in just six weeks. The filmmakers' journey into a strange land matches that of Brother’s protagonist, a young man tracking his wandering elder sibling, with only a tattered postcard as guide to his itinerary. Riding a train through vast, empty landscapes, the city boy can hardly take in the alien spaces he's entering - in a country which, since Hong Kong's handover, is now his homeland. Eventually, he fetches up in a small town where he encounters (as did Yan Yan Mak and her crew) customs and behaviors quite foreign to him. Slowly he begins to fit in, even picking up the threads of his brother's life falling in love with his girlfriend, bonding with an old buddy, an enigmatic motorcyclist. B rother haunts the mind's eye because it's a most satisfying road movie, working actual and metaphorical terrain that poetically alludes to the relations between China and Hong Kong, country and city, a dreamed-of but possibly never-to-be-consummated reunion between brothers. And by film's end, Yan Yan Mak adroitly teases our tranced imaginations with a kind of visual suggestiveness that implies a curious slippage of time and experience.

A

Filmography: Lonely Hearts Club (1994)

Hong Kong Economic & Trade Office S<ut 'ptMCiiCO

57

ASIAN TRADEWINDS COMPETITION

Friday, June 14 ■ 7 :0 0 PM ■ H arvard Exit Sunday, June 16 ■ 1 1 :3 0 A M ■ H arvard Exit

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ASIAN TRADEWINDS COMPETITION

Butterfly Smile

Camel(s) N A K T A (D E U L)

Thursday, June 1 3 ■ 9 :3 0 PM ■ H arvard Exit Saturday, June 1 5 ■ 1:45 PM ■ H arvard Exit

■ U.S. PREMIERE

SOUTH KOREA ■ 2001 U.S. PREMIERE

Director: He Jianjun Producers: Tong Gang, Han Sanping, Yan Xiaoming Screenwriter: He Jianjun, Liu Xiaojing Cinematographer: Wu Di Editor: Liu Xiaojing Music: Chen Xiangyu

Director-Writer: Park Ki-yong

yong, Kim Seong-su Music: Park Jin-seok

e Jianjun is considered a seminal figure in "the urban generation," a group of emerging Chinese filmmakers who, working outside the state-run studio system, have taken an unrefined look at the more immediate concerns of urban reality in China's volatile social landscape. Theirs is a cinema popu­ lated by petty crooks, prostitutes, drifters, cab drivers, and, in the case of He Jianjun, unrepentant voyeurs. His 1995 opus P o stm a n charted the inexorable moral lapse of a snooping mail carrier whose minor interventions precipitated damaging effects on the lives of less-than-innocent strangers. The more sordid aspects of He's stories, however, are endemic to a sense of moral inquiry, and B utterfly Sm ile operates in this vein with uncanny precision. The mysterious plot involves Kang Ping (Ge You), a quiet computer salesman whose hobby is photography.

His camera-wielding pulls him ineluctably into unforeseen machinations when, on a dark night in outer Beijing, he's sole witness to a hit-and-run accident. The driver, fleeing in panic, is Meng Xing (Jiang Weiwei), a well-known fashion model and designer, and the unwitting object of Kang's obsession. It's an obsession well suited to the scheming needs of her jealous manager, Lei Ming (Sun Chun), who has hired the eager photographer to spy on Meng. A nagging sense of guilt thus accompanies Kang as he delivers the victim to the hospital, slipping away before suspicion mounts. Kang's stalking vigilance takes on a moral dimension as he attempts, through anonymous calls to Meng, to draw out her confession to the crime. Undermining his better intentions, though, is the elusive Lei Ming, whose relation to the alluring model is vested beyond mere voyeurism. If the themes of guilt and obsession seem Hitchcockian, He's patient navigation of vague moral terrain recalls the work of Kieslowski (particularly A S h o r t Film A b o u t Love). The enigmatic chill, however, is distinctly his, and beneath it lurks a committed exploration of human culpability.

Cast: Lee Dae-yun, Park Myeong-shin Running Time: 90 minutes

H

Filmography: Scenery (2000), Postman (1995), Red Beads (1993)

strikingly realistic depiction - astonishingly enough, by nonprofessional actors - of a delicately agonizing brief encounter. Having met at a pharmacy where the woman works, a couple spends a "together alone" night at a quiet motel in the sprawling, faceless seaside town they both knew in their youth. The man and woman, both married, hint at the reasons why they are there and what they want from the encounter, meanwhile clutching at the vague connections that drew them together. The next morning brings the inevitable skirting around the decision whether or not the relationship has a future, and one of them decides to take a surprising stand. Park made his feature debut with Motel C actus (shot by Wong Karwai's regular collaborator Chris Doyle), a four-part exercise searching for stylistic expressions of adult love. In his new film he returns to the same subject matter - not to mention the motel setting - and this time displays total mastery of his one chosen style. With framing and pacing that strongly recall the great Asian master Hou Hsiao-hsien, and largely improvisational performances, the film transcends its modest b&w digital origins and achieves great subtlety. Especially it shows a remarkably profound insight into the emotions of the 40somethings, that transitional age which forces a stock­ taking of the trajectory of life, how one has arrived at one's current station, and which signposts to follow into the future.

A

Filmography: Secret Tears (2000), Whispering Corridors (1998), Motel Cactus (1997)

CO M PETITIO N

Cast: Ge You, Jiang Weiwei, Sun Chun Running time: 90 min

TRADEW IN DS

Producers: Go Chung-gil Cinematographer: Choe Chan-min Editors: Park Ki-

ASIAN

CHINA ■ 2001

W ednesday, June 12 ■ 4 :3 0 PM ■ B’w a y PH Saturday, June 15 ■ 6 :3 0 PM ■ B’w a y PH

ASIAN TRADEWINDS COMPETITION

ASIAN TRADEWINDSXCOMPETITION

Dark Water

Hi! Dharma!

H O N O G U R A I M IZ U N O S O K O K A R A

D A L M A Y A N O LJA

Friday, June 14 ■ 9:B0 PM ■ Egyptian Saturday, June 15 ■ 1 2 :00 A M ■ Egyptian

W ednesday, June 12 ■ 9 :3 0 PM ■ C in e ra m a Sunday, June 16 ■ 9 :3 0 PM ■ Pacific Place

JAPAN ■ 2002 ■ U.S. PREMIERE

SOUTH KOREA ■ 2001 U.S. PREMIERE

Director: Hideo Nakata Writers: Yoshihiro Nakamura, Ken-ichi Suzuki Producer: Taka Ichise Cinematog­

Director: Park Cheol-kwan

rapher: Junichiro Hayashi Editor: Nobuyuki Takahashi Music: Kenji Kawai

Writer: Park Gyu-tae Producer: Park Mu-seung Cinematographer: Park Hui-ju

Cast: Hitomi Kuroki, Rio Kanno, Mirei Oguchi Running Time: 101 minutes

Editor: Kim Sang-beom Music: Park Jin-seok, Shin Ho-seob Cast: Shin Yang-park, Jeong Jin-yeong, Park Sang-myeon, Kang Seong-jin, Kim Su-

his unnerving new psycho-thriller from the director of The R in g and its chilling first sequel R in g 2 casts an attractive, newly divorced woman and her young daughter against the demonic forces gripping a creepy old Tokyo apartment building. Based on an original story by Koji Suzuki, known as "the Stephen King of Japan," D a rk Water opens by introducing us to Itsumi Matsubara, an already vulnerable divorcée who carries recent emotional scars from working on violent graphic novels in her profession as a proofreader. Intent upon finding a new home for herself and her six-year-old daughter Ikuko after her recent, messy divorce, Itsumi comes upon a vacant apartment in a rundown tenement and signs a lease without much thought. It's the rainy season in Tokyo, and while the rain beats down outside their already unwholesome building, a patch of moisture on the ceiling of their humid new apartment seems to be spreading with alarming speed. Strange occurrences start to happen almost immediately after they move in, with little Ikuko briefly going missing, and her mother subsequently finding her on the roof with a child's red backpack. Itsuko also takes to playing in the bath with a doll she calls Mitsuko, after her mother discovers that a neighborhood child named Mitsuko had mysteriously disappeared years ago. One morning, Itsuko awakes in her apartment to find her daughter gone - and the damp stain on her ceiling now spreading like a virus....

T

ro, Hong Kyoung-in Running Time: 95 minutes

outh Korea's Hi! D h a rm a ! is what's known in Hollywoodese as "high concept." In Tinseltown, that's not always a good thing. In Park Cheol-kwan's hands, however, high concept becomes "high-kicking hoot." Here’s the gist: After a violent ambush by a rival faction, a group of sharp-dressing gangsters need to lie low until the smoke clears. On a whim one jokes, "We stand a better chance as a bald monk." So, with no better option available - and with time of the essence - they decide to give the monk thing a try. Led by Jae-gyu (The F o u l King's Park Shin-yang), they locate a remote Buddhist temple and request sanctuary. This is granted, but with huge reservations on the part of the head monk. Those reservations are justified, since the gang has great - and endlessly amusing - difficulties adjusting to the peaceful pace of monastic life. Well, somewhat peaceful: Just as the monks underestimate the intelligence of the gangsters, the gangsters underestimate the strength of the monks. When the gang's old boss, now aligned with their rivals, comes a-callin', the time is ripe for a little "monk-fu" as fists, feet, and robes begin to fly. Once upon a time, Hong Kong was the leader in Asian-oriented action cinema, but South Korea is hot on its trail with the likes of N o w h e re to H ide (SIFF '00) and M y Wife Is a Gangster. If Hi! D ha rm a ! is heavier on the humor than the martial arts, it's otherwise not so different from the films that brought Jackie Chan to international fame. It was such a huge hit in its native country - over 4.4 million tickets sold - that the rights have already been purchased for an English-language remake.

S

Filmography: Sadistic and Masochistic (2000), Garasu no nou (1999), Chaos (1999), Ring 2 (1998), The Ring (1998), Joyurei (1996)

60

ASIAN TRADEWINDS COMPETITION

Mon-rak Transistor

The Rule of the Game

Friday, June 14 ■ 7 :0 0 PM ■ E gyptian Sunday, June 16 ■ 6 :3 0 PM ■ E gyptian

Friday, June 14 ■ 4 :3 0 PM ■ H arvard Exit Saturday, June 15 ■ 9 :3 0 PM Harvard Exit

TAIWAN ■ 2002 Director: Ho Ping

Director-Writer: Pen-Ek Ratanaruang

Writer: Kuo Cheng Producer: Chu Yen-ping Cinematographer: Han Yun-Chung

Producers: Nonzee Nimibutr, Duangkamol Limcharoen Cinematographer: Chankit

Editors: Ho Ping, Gu Hsiao-Yun Music: Jerry Huang

Chamniwikaipong

Cast: Chang Chih, Hsia Ching-Ting, Lee Tien-Chu, Ku Jung Kao Running Time:

Editor: P.D. Yokol

Music: Amornbhong Methakunarudh,

Chatchai Pongprapapan

103 minutes

Cast: Supakorn Kitsuwon, Siriyakom Pukkavesh, Somlek Sakdikul Running Time:

t's all too easy - and partially appropriate - to call Flo Ping's The Rule o f the C a m e a Tarantino knockoff, and you can find all sorts of parallels to Reservoir D o g s and Pulp Fiction if you're looking for them. Still, it would be a shame to hobble this engaging crime comedy with the stigma of being entirely derivative, since Flo's sensibilities are uniquely his own, even when they're influenced by other, more tightly plotted films.

While the singular Rule of the title shouldn't be confused with The R ules o f the Gam e, you can hear echoes of Jean Renoir, or perhaps more accurately Eric Rohmer, in the authentically casual dialogue that flows between hitmen, kidnappers, and kingpins in the urban sprawl of Flo's Taiwanese underworld.

First and foremost there's the irresistible pairing of Turtle and Chewy, a not-so-dynamic duo who spend most of the film bickering about criminal ethics, old girlfriends, and the appropriate size and location of the gravesite they're digging to dispose of a body. The corpse in question just happens to be that of Ox, restaurant owner and hired trigger-man, who discovers the hard way that stiletto heels can be quite deadly indeed. Fle'd just pulled off his last job (leaving a smoking bullethole in his target's forehead), and that's just one of several subplots that Ho interweaves with his easygoing emphasis on character and happenstance. It's a stylistic choice that only seems random; as the film unfolds, you'll gain greater appreciation for where it's been and where it's going, right up to a feel-good finale that leaps from GoodFellas to Lassie without skipping a beat, A killer and his doggie - what's not to like?

I

90 minutes

hile Thai filmmaking has recently taken a turn for the grandiose in a number of overblown, bloodthirsty historical epics, Pen-Ek Ratanaruang ( 6ixty nin9 , SIFF 2001) continues to singlemindedly plow a unique furrow of melodramatic mayhem. This time the protagonist is up-country simpleton Pan, an enthusiastic but amateurish singer whose optimism outstrips his talent by a considerable measure.

Falling madly in love with the beautiful Sadaw, he finally wins her over - in the teeth of some serious opposition from her father - only to be forced to abandon her, five months pregnant, when he is drafted into the army. While doing military service, he joins a band and decides to desert and move to Bangkok to seek his fortune, but after finally making a breakthrough to lead singer, he accidentally kills the band's manager after the latter attempts to rape him. Fleeing, he soon adds the crime of robbery to those of desertion and murder in his repertoire, and is thrown in jail. For the first time in years, and with only a small transistor radio as his means of communication with the outside world, he has time to reflect on the loss of the idyllic rural village life he was forced to leave behind, his beloved wife, and the baby he has never seen.

W

Filmography: 6ixtynin9 (1999), Fun Bar Karaoke (1997)

Filmography: Motel Erotica (1998), Wolves Cry Under the Moon (1997), Shiba (1993), 18 (1993), Honour Thy Father (1990)

61

ASIAN TRADEWINDS COMPETITION

THAILAND ■ 2002 U.S. PREMIERE

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ASIAN

TRADEW IN DS

CO M PETITIO N

R u n n in g O u t o f T im e 2

W h isp e rin g Sa n d s

ANZHAN 2

PASIR BERBISIK

T hu rsd a y, June 13 ■ 7 :0 0 PM ■ Pacific Place Saturday, June 15 ■ 4 :0 0 PM ■ C ine ra m a

W ednesday, June 12 ■ 4 :3 0 PM ■ C ineram a T hu rsda y, June 13 ■ 9 :3 0 PM - Pacific Place

IN D O N ESIA / JAPAN ■ U. S. P R E M I E R E

2001

Director: Nan Triveni Achnas Writers: Nan Achnas, Rayya Makarim Producers: Shanty Harmayn, Christine Hakim Cinematographer: Yadi Sugandi Editor: Sentot Sahid Music: Thoersi

Cinematographer: Cheng Siu-keung Music: Raymond Wong

Editors: Law Wing-cheong, Yau Chi-wai

Cast: Lau Ching Wan, Ekin Cheng, Kelly Lin, Hui Shiu Hung, Lam Suet, Ruby Wong Running Time: 95 minutes

T

Filmography: Law Wing-cheong: Running Out of Time 2 (2001) Johnny To: Fat Choi Spirit (2002), Running out of Time 2 (2001), Fulltime Killer (2001), Love on a Diet (2001), Wu yen (2001), Help!!! (2000), Needing You... (2000), The Mission (1999), Running out of Time (1999), Where a Good Man Goes (1999), A Hero Never Dies (1998), Lifeline (1997), A Moment of Romance III (1996), Loving You (1995), Mad Monk (1993), Bare Footed Monk (1993), Heroic Trio 2: Executioners (1993), Casino Raiders 2 (1993); Justice, My Foot (1992); Lucky Encounter (1992), The Heroic Trio (1992), Royal Scoundrel (1991), The Story of My Son (1990); Iron Butterfly, Part 2: See No Daylight (1989); The Fun, the Luck, and the Tycoon (1989); All About Ah-Long (1989), The Eighth Happiness (1988), The Big Heat (1988), Seven Years Itch (1987), Happy Ghost 3 (1986), The Enigmatic Case (1980)

Hong Kong Economic & Trade Office

0 pttlHe(4tQ

Cast: Christine Hakim, Dian Sastrowardoyo Running Time: 104 minutes

n the verge of adulthood, old enough to chafe at being called "child," yet still caught up in girlish fancies that the return of her absentee father will mark the start of happier days, Daya (Dian Sastrowardoyo) lives with her mother Berlian (Christine Hakim) on a hilltop overlooking the shore. They are without companionship save the purchasers of Berlian's herbal medicines and the constant, slurring roar of the surf. Lately, the ocean breezes are proving insufficient to cool tempers raised by the ongoing drought, and a fiery insurrection forces Berlian and Daya to venture inland, to a barren expanse of billowing, constantly shifting sands. Not far away, Daya finds a nearly buried hut that had been built, "as if in defiance," along the path of the wind; sensing the handiwork of a kindred spirit, she excavates the site and claims it as her sanctuary. Her idle hours are now spent under a neighbor's tutelage - much less an onus than it might seem, for the only other student is his granddaughter Sukma, eager to reveal secrets of the unfamiliar terrain to her new friend. However, the gift of an elegant kebaya (red, of course) - from an aunt whose vocation as professional dancer Berlian sees as little better than whoring is brutally taken away. Daya's antagonism toward her mother is thus pushed to the shatter point on the day she wanders at the wasteland's edge and spots a vaguely familiar form shuffling across the sands, his knapsack hanging heavily at his side. Daydreams can come true; but are they guarantee of a happy ending? Unfolding her story in a setting as elemental as the emotions portrayed are rich and complex, writer-director Nan Triveni Achnas infuses both inner and outer landscapes with a ferocious, implacable beauty.

O

CO M PETITIO N

he rare case of a sequel that's in every way better than the original (which delighted SIFF 2000 audiences), this dazzling comedy-thriller pits unconventional Inspector Ho against an inventive, insouciant magician who delights in thwarting the authorities. Lau Ching-wan is in top form as the maverick detective called in to investigate the theft of three valuable artworks, all insured by the same company. The evidence makes it clear that he faces a wily opponent who seems to delight in leaving clues for the police, even as he effortlessly manages to stay one step ahead of them. Ho attempts to decode the thief's trademark clues while the police scramble to make the HK$20 million ransom delivery he has demanded. This proves to be only a warmup for the ensuing mayhem, as Ho & Co. are led into a dizzying chase, following an eagle through the Hong Kong skyline with the help of bird­ watching enthusiasts! Ho's resourceful nemesis then raises the ante to HK$100 million, leading to a spectacular finale involving a surreal encounter atop a skyscraper at night.

Nobody does this kind of giddy action flick better that Johnnie To and his creative team. This snazzy new thriller is a delicious soufflé of surprises that will keep you on the edge of your seat until the final frames.

Argeswara

TRADEW IN DS

Directors: Johnnie To, Law Wing-cheong Writers: Yau Nai Hoi, Au Kin Yee, Milkyway Creative Team Producer: Johnnie To

ASIAN

H O N G K O N G ■ 2001 U. S. P R E M I E R E

New A m erican C inem a in 2 00 2 rep re sen ts an e x c itin g and d y n a m ic c h a p te r in in d e p e n d e n t cinem a as film m a k e rs c o n tin u e to eschew b ou nd aries and d e fy d e fin itio n s w h ile cre a tin g u n iq u e ly personal vis u a l sta te m e n ts. No lo n g e r c o n te n t to m e re ly e x p e rim e n t w ith such th in g s as n o n lin e a r s to ry te llin g , m u lti-s h o o tin g fo rm a ts , and m ixe d m edia, film m a k e rs to d a y are se am lessly in c o rp o ra tin g and e m p lo y in g these and o th e r te ch n iq u e s w ith c o n fid e n t assuredness as th e y d ism iss c o n v e n tio n and e x p lo d e on screen w ith freshness, style , and o rig in a lity . The 2 00 2 class o f th e SIFF New A m e rican C inem a A w a rd are a m o ng the best o f th is new g e n e ra tio n . Jurors w ill select fro m the e x tra o rd in a ry lin e u p o f W orld and U.S. Premieres th a t film w h ic h th e y feel b est represents film m a k in g excellen ce and crea tive v is io n . The w in n e r w ill be a nn ou nce d at th e G olden Space Needle A w ards on th e c lo sin g day o f th e fe s tiv a l.

Also eligible for this award are The Flats, Igby Coes Down, Outpatient, Passionada, and Shag Carpet Sunset.

Jury M e m b e rs

Sydney Levine has over 25 years of experience in the film indus­ try. Starting with the video rental division of Republic Pictures and Lorimar, she was responsible for the acquisition of such films as Letter to Brezhnev, My Beautiful Launderette and Tampopo. Levine has also worked in international distribution for Twentieth Century Fox in Amsterdam, in Ross Perot's start-up video company Inovision, and in marketing for ABC Video Enterprises In 1989 she founded Film Finders, an information resource for distributors looking to acquire features.

Alan Franey was born in 1957 in London, England. He was raised in Vancouver where he studied Film and Humanities at Simon Fraser University. Franey was manager of the Ridge Cinema and Vancouver East cinemas between 1979 and 1990, but from 1982 became associated with the Vancouver International Film Festival, first as its Director of Programming, Exhibitions and Writer/Editor of Programs and since 1988 has been the Festival Director. He has also served on the Board of the Pacific Cinematheque and is cur­ rently President of the Board of the Vancouver Oral Center for Deaf Children.

John Anderson is the chief film critic for Newsday. His work appears frequently in the Los Angeles Times and elsewhere via the LA Times/Washington Post News Service. He has written on movies, books, and music for The Nation, Film Comment, Billboard, Interview, Out, The Washington Post, and elsewhere. His books include Sundancing, about the Sundance Film Festival, and an upcoming study of Taiwanese filmmaker Edward Yang. He Is a member of the New York Film Critics Circle, National Society of Film Critics, National Book Critics Circle, and the selection commit­ tee of the New York Film Festival.

AmericanAirlines

NEW A M E R IC A N

CINEM A

CO M PETITIO N

Bang Bang Y o u ’re Dead

Friday, June 14 ■ 7 :0 0 PM ■ Pacific Place Sunday, June 1 6 - 1:45 PM ■ H arvard E xit

Friday, June 7 ■ 4 :3 0 PM ■ B’w a y PH Saturday, June 15 ■ 6 :3 0 PM ■ C ineram a Sunday, June 16 ■ 4 :0 0 PM ■ C ineram a

USA

• 2002

• W O RLD PREMIERE

USA

■

2002

Director-Writer: Jordan Susman Producers: Jordan Susman, Amy Greenspun, Robert Latham Brown Cinematographer: Brown Cooper Editor: Alan Edward Bell Cast: Devon

Writer: William Mastrosimone

W O RLD PREMIERE

Producers: Deboragh Gabler Hellerman, Suzanne

Lauer, William Mastrosimone, Norman Stephens Cinematographer: Robert Aschmann

Gummersall, Dylan Bruno, Gina Philips, John Savage, Katharine Towne, Steve Van Wormer, Johnny Whitworth, Sabine Singh, Todd Terry, Richard Black

■

Director: Guy Ferland

Editor: Jill Savitt Music: Reinhold Heil, Johnny Klimek Cast: Tom Cavanagh, Ben

Running

Foster, Randy Harrison, Janel Moloney, Jane McGregor Running Time: 87 minutes

Time: 101 minutes

A

Babysitter (1995)

AmericanAirlines’ 65

CO M PETITIO N

Filmography: After the Storm (2001), Our Guys: Outrage at Glen Ridge (1999, TV), Delivered, aka Death by Pizza (1998, TV), Telling Lies in America (1997), The

CIN EM A

aking off from his play of the same name, William Mastro­ simone has penned a movie of rare depth and emotive power on the topic of school violence, with invaluable assistance from director Guy Ferland (Telling Lies in America, TV's The Shield). The original play, inspired by the 1998 school shooting in Eugene, OR, has a teen shooter haunted by his victims in his jail cell. They question him on the reasons they were killed, emphasizing the things they'll never experience, the opportunities lost. The movie, by contrast, is a full-blown story of the effects of school teasing, bullying, and ostracizing, and some of the ways for dealing with that. Trevor (Ben Foster) is a student freshly reinstated after a suspension for threat­ ening to blow up the football team with a fake, but very realistic, bomb. He tours the halls with a videocamera, recording incidents of bullying and ranking, of the school's new zero-tolerance frisks, and of his own disaffection. His drama teacher, Val Duncan (Ed's Tom Cavanagh), sees an opportunity to reach the kid by casting him in the lead of a production of Bang, Bang, You're Dead, and thereby to help Trevor question his own aggressive impulses. Amidst wide­ spread parental rage over the production, Trevor falls in with a group of Trogs (read Anarchists or Trenchcoat Mafia), and produces a violent video as a school assignment that gets him suspended. Now, Trevor is pulled in two directions, between the play that represents self-awareness, and the anarchistic Trogs that spell tragedy. While offering no easy answers, this is as realistic a depiction as we'll ever see of the pressures of high school in an era of school shootings. The film includes plentifulsnippets from the original play, which has had thousands of school performances since its premiere in April 1999, and been downloaded from its website over 100,000 times.

T

n engaging mélange of two seemingly incompatible genres -th e no-holds-barred political satire and the coming-of-age romantic comedy - The Anarchist Cookbook manages to get in more than a few decent jibes at all manner of American extremists along the way of nudging together its cute, polaropposites couple. Puck (the appealingly snide Devon Gummersall) has dropped out of college, home life, and mainstream society-or at least what passes for such in Dallas, TX - finding for himself a new community comprised of the squatters and hangers-on at an anarchist book collective.

Under the tutelage of Johnny Red (John Savage, employing a series of humorous slow-motion tics and gestures as if blearily recalling tai chi moves long since obscured under a druggie haze), this motley bunch stage various sit-ins and actions designed both to épater la bourgeoisie and provide themselves with some good times. "We might not know what we're for, but we know what we're against," as Puck informs us. An insufficient manifesto for newcomer Johnny Black (Dylan Bruno), who slides into the group bearing some radical notions on justified dissent, ideas about using the Internet for "community building," and a few bars of Semtex. The arrival of this potentially dangerous malcontent has already begun to fuel Puck's dissatisfaction with the direction the group is heading when he hooks up at a nightclub with Jody (Katharine Towne), Young Republican by day, dominatrix by night, and maybe, just maybe, what he's really needed all along. Writerdirector Jordan Susman keeps events at a frothy pitch, whether charting the progress of Puck and Judy or chronicling the descent of the collective to Fight Club levels of militant absurdity.

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The Flats

The Grey Zone

T hursday, June 13 ■ 7 :0 0 PM ■ C ineram a Sunday, June 16 ■ 1 1:3 0 AM ■ C ineram a

T h u rs d a y , June 13 ■ 9 :3 0 PM ■ E g yptian Sunday, June 16 ■ 1:45 PM ■ E gyptian

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Director-Writer: Tim Blake Nelson

Director-Writers: Kelly Requa, Tyler Requa Producers: Jeffrey Carlson, John Biondo Cinematographer: Lawrence Schweich

Producers: Harvey Keitel, Avi Lerner, Danny Lemer, Peggy Gormley, Christine

Music: Sean Christensen

Vachon Cinematographer: Russell Lee Fine Editor: Michelle Botticelli Music: Jeff Danna Cast: David Arquette, Daniel Benzali, Steve Buscemi, Alan Corduner, Harvey

Cast: Chad Llndberg, Sean Christensen, Jade Herrera Running Time: 102 minutes

Keitel, David Chandler, Natasha Lyonne, Mira Sorvino, Michael Stuhlbarg, Lisa Benavides Running Time: 108 minutes

striking feature directorial debut from Kelly and Tyler Requa, The Flats showcases the best of a uniquely Northwest voice (it was filmed on location near Mt. Vernon and the Skagit Valley) in a tightly written, deeply compelling story.

Avoiding the pitfalls often associated with first-time filmmakers, the brothers Requa have crafted a cautionary tale of longing and desire couched in the relationship of two best friends six months after a decisive event changed their lives.

Wisely choosing to focus on characters rather than events, the brothers craft an honest, moving account of the struggles we each must pass through as we make the transition to adulthood. Starring Mt. Vernon native Chad Lindberg (The Velocity of Cary, October Sky, The Fast and the Furious, The Rookie) as Harper, actor/composer Sean Christensen (Eden) as his best friend Luke, and Jade Herrera (Blue Rodeo, East of Hope Street, Felicity) as Paige, the girl who comes between them, the story picks up as Harper returns home on the eve of a court date that could send him to jail. Self-destructive and unwilling to show any crack in his armor, Harper decides to make the most of the few days of freedom he has remaining. Living with his ragtag friends, who zealously protect him yet cannot begin to offer a haven for his vulnerability, Harper finds unexpected comfort in Luke's new girlfriend Paige, who has returned to the area in search of her Native American roots. Since Luke's days are filled with the demands of a new job, Harper and Paige spend their time exploring the safety and honesty of their emerging mutual desire - a desire that leads to a surprising showdown and test of faith.

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im Blake Nelson (O, SIFF ’01) takes a look into the horrendous abyss of the Holocaust. His feature film Is based on his play adapted from Miklos Nyiszll's book, Auschwitz: A Doctor's Eyewitness Account, an account of a Hungarian Jewish doctor and concentration camp internee who assisted the infamous Josef Mengele in his medical ex­ periments. The film dramatizes the powerful story of Ausch­ witz's twelfth Sonderkommando - the penultimate group of Jewish prisoners who escorted the interned prisoners to the gas chambers. The Sonderkommandos' job was to herd prisoners into the showers, strip them of their clothes and valuables afterwards, shovel the corpses into giant incin­ erators, and dispose of the truckloads of ashes. Commandos who refused were shot on the spot - some choose suicide over compliance. In return the squad was awarded a few more months of life, freedom of movement, and tables laden with food, wine, and cigarettes. As Nelson says, the conditions of the Sonderkommandos "brought out shameful qualities in men, the most benign of which were mistrust, greed, xenophobia, and self-hatred." In the film, as the members of the Sonder­ kommando plot an armed insurrection, they discover a 14year-old girl who has survived the gas chamber. She becomes a symbol of spiritual salvation. Why is Nelson's film so powerful? Besides the strong cast - David Arquette, Steve Buscemi, Harvey Keitel, Mira Sorvino, Natasha Lyonne - the movie re-creates "live," as it were, the grey, grim, muted atmosphere that we have seen only in archival footage. The Grey Zone becomes our own nightmarish zone, a literal concentration camp where we face our own moral dilemmas as well as those of the Sonderkommandos.

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AmericanAirlines

Filmography: O (2001), Kansas (1998), Eye of God (1997)

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Last Call

M on k e y Love

Friday, M ay 24 ■ 7 :0 0 PM ■ Pacific Place

W ednesday, June 12 ■ 7 :0 0 PM ■ C ineram a Sunday, June 16 ■ 6 :3 0 PM ■ B roadw ay

USA

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Director: Mark Stratton

Director-Writer: Henry Bromell Producers: Helen Bartlett, Tony Bill, Henry Cinematographer: Jeff Jur Music: Brian Tyler

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Writer: Dave Eisenstark Producers: Greg Morgan, David Nagy, Lois Becker, Mary Lena

Margaret

Cordlna

Robinson,

Mark

Cinematographer: Jinho Kim

Stratton,

Ho-jong

Lee,

Kenji

Thielstrom

Editing: Lisa J. Hancock, David Swift

Music:

Marlene Hadju Cast: Amy Stewart, Jeremy Renner, Seamus Dever, Neala Cohen,

Cast: Jeremy Irons, Neve Campbell, Sissy Spacek, Jonas Chemick, Paul Hecht Running Time: 96 minutes

Mary Margaret Robinson, Jesse Vint, Oleg Vidov, Marion Calvert, Eve Brenner, William Sanderson, Woong-ki Min Running Time: 96 minutes

"The love of my life has to travel across time and space to find me. Like in The French Lieutenant's Woman. Or The Mummy."

Filmography: Conquering Space (1989)

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hat barbed whimsy you hear is the pining of pretty Amy (Amy Stewart), a live-at-home, tomboy-ish college senior grasping for a charmed future. Amy may not be the first aimless 22-year-old dreaming of a cosmic soulmate to brighten her routine life. But before any romantic miracles are likely, she has some unique emotional housecleaning to do. First (Amy tells herself), she's got to do something about her best (okay, her only) friends, two sweet and well-meaning ne'er-do-wells named Dil (Jeremy Rener) and Aaron (Seamus Dever). On the same afternoon an exasperated Amy watches the boys get into a lame fight in their lame café hangout, she decides it's time to pry herself from their suffocating company - using sex as a crowbar. As with the sloppy goulash we call real life, Mark Stratton's sinewy, coming-of-age farce Monkey Love is about the way obstacles of our own making ripen into ludicrous crises and, from there, explode into something vaguely resembling change. Ever-anxious Amy tosses her life like a cheap motel room, looking for that one solution that just might flower into a new life. Problem is, the solution she needs could be staring her in the face, unrecognized. The script by David Eisenstark might seem, initially, like yet another variation on television's Friends, but give it time. Once Stratton executes, with skillful fluidity in mood and movement, a quick flyover of the story's slacker terrain, he gets down to the business of fleshing out Eisenstark's smart-spoony-mordant comic tone.

The result is a film with enough of its own eccentric atmosphere and textures to suggest good things to come from these filmmakers.

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illian Gish once said about Scott and Zelda Fitzgerald, "They didn't make the '20s, they were the '20s." But as the 1930s came to a close, the former wunderkind author of The Great Gatsby was a raging alcoholic paying the bills by writing for a Hollywood movie studio, and his once vivacious socialite wife Zelda was committed to a mental institution, diagnosed with schizophrenia. Despite tepid reviews and less-than-stellar sales for his previous novel, Scott (Jeremy Irons) begins to work on what would prove to be his last major work, an attack on Hollywood which he dubs The Last Tycoon. Enter fresh-faced Frances Kroll (Neve Campbell), a young woman of a new generation - a generation too young to remember (or be impressed by) the celebrity icons of the Jazz Age. Proving her mettle by not fleeing from her first impressions of the writer (including witnessing a drunken and barely clad Scott threatening his mistress with a pistol), Frances is instantly hired as Fitzgerald's personal secretary. Thus begins an unexpected and tender relationship of friendship and support, as Frances helps Scott attempt to quit the bottle one last time, while Scott encourages the budding writer in Frances. Based on the personal memoirs of Frances Kroll Ring, Against the Current: As I Remember F. Scott Fitzgerald, Last Call exposes the personal demons of one of America's most famous writers, struggling to regain the limelight that had long since passed him by.

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NEW A M E R IC A N

USA / C A N A D A ■ 2002 W ORLD PREMIERE

Learn Howto writeTÌI ìe c t , S hoot and Edit A ffo rd a b le ,^p ro fe ssio na l, hands-on ce rtifica te program s.

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Who The Hell Is Bobby Roos?

Saturday, June 1 ■ 6 :3 0 PM ■ E g yptia n Sunday, June 2 ■ 4 :0 0 PM ■ E gyptian

Tuesday, June 11 ■ 4 :3 0 PM ■ B roadw ay W ednesday, June 12 ■ 9 :3 0 PM ■ B roadw ay

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Director-Writer-Editor: John Sayles

Director-Editor: John Feldman

Producer: Maggie Ftenzi Cinematographer: Patrick Cady Music: Mason Daring Cast: Timothy Hutton, Angela Bassett, Jane Alexander, Edie Falco, Marc Blucas,

Writer-Producers: John Feldman, Roger Kabler Music: Sheila Silver Cast: Roger Kabler, Iris Paldiel, John Powers, Annabelle Larsen, Jacqui Malouf Running Time:

Miguel Ferrer, James McDaniel, Mary Steenburgen, Robert Wisdom, Gordon Clapp

93 minutes

Running Time: 141 minutes

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Filmography: Casa de Los Babys (2002), Sunshine State (2002), Limbo (1999), Men with Guns (1997), Lone Star (1996), The Secret of Roan Inish (1994), Passion Fish (1992), City of Hope (1991), Eight Men Out (1988), Matewan (1987), The Brother from Another Planet (1984), Baby, It's You (1983), Lianna (1983), Return of the Secaucus 7 (1980)

CIN EM A

n a perfect world, Who the Hell Is Bobby Roos? would be snapped up by a mini-major, remade with a fully developed screenplay and higher production values, earn critical raves and box-office profit, and win lead actor Roger Kabler an express ticket to the Oscar-night podium. Which isn't to say this raw, mesmerizing film isn't fine just as it is. Conceived as an improvisational marathon captured on multiple Mini-DV videocameras, it would still qualify as a tour de force if it were performed on the curb of a big-city intersection. Director John Feldman's economical, handheld approach befits this portrait of one man's professional and psychological meltdown, beginning when standup comedian Bobby Roos (Kabler) unleashes his pent-up frustration on a heckler during his final chance at a showbiz comeback. A truly gifted impressionist, standup comic, and sitcom survivor, Kabler - that is, Bobby Roos - dwells on the lunatic fringe of has-beens and wannabes.

He's down and close to out, but still compulsively unleashing the uncannily accurate celebrity impressions (Brando, De Niro, Pacino, Robin Williams, Peter Falk) that shield him from his hidden self and the desperate aftermath of his self-sabotaged career. It's a coping mechanism that's doomed to fail, and Kabler portrays Bobby's downward spiral with the bare-naked conviction of an actor with nothing to lose - bordering on (if not veering into) schizophrenia, and bearing the authentic mark of someone who's been to this scary place and knows all the emotional landmarks. At the risk of alienating some viewers, Kabler's bold performance not only proves his enduring talent as a standup survivor, but takes him (and Bobby Roos) a daring step further toward healing, recovery, and renewed purpose as a performer.

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new film by independent film icon John Sayles - especially one as splendid as Sunshine State - is truly an occasion to celebrate. Sayles's 13th film since his auspicious directing debut in 1980 with Return of the Secaucus Seven (featured at SIFF) has the depth and variety of character of Lone Star and City of Hope, the flavorful sense of place of The Secret of Roan Inish and Passion Fish, the wonderful performances of.... Well, good acting, as well as good writing, has been a hallmark of all his work, and is again much in evidence. Sunshine State portrays a small coastal Florida town in the throes of "Buccaneer Days.” The town has been targeted by a greedy developer, and the movie focuses on two women attempting to deal with the changes that has brought, while also reconciling with their families. Angela Bassett plays Desiree, an uptight careerwoman back for her first real visit home since she left under a cloud 25 years before. She's brought her new trophy husband (Janies McDaniel), but dreads spending time with her hard-to-please mother Eunice (Mary Alice), who has taken in a young arsonist she is trying to reform. Edie Falco (The Sopranos) plays Marly, a sixth-generation Floridian managing her father's rundown restaurant/motel and hating every minute. Her crusty father (Ralph Waite) would never dream of selling, and her idealistic mother (Jane Alexander) is too busy running the community theatre and trying to save the environment to help. Marly's lovelife is in the doldrums, but she's tempted by the new guy in town (Timothy Hutton), even though he is definitely working for the other side. With an engrossing story and a wealth of characters we care about, Sunshine State reaffirms John Sayles's place as one of America's best writer-directors.

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Winning Girls Through Psychic Mind Control

See the book, don’t wait for the movie!

J O I N U S F O R O U R 2002-2003 S E A S O N Pam Houston s

COWBOYS ARE MY WEAKNESS Love and adventure in the new West.

Charles Dickens ’

HARD TIMES A literary classic featuring original music and circus art.

DIRECTOR’S CHOICE Book-It is currently considering several award-winning authors for this slot.

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Anne Tyler’s

BREATHING LESSONS

Sunday, June 9 ■ 6 :3 0 PM ■ Pacific Place Saturday, June 1 5 - 1 :45 PM ■ Pacific Place

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Director: Barry Alexander Brown Writer: Dan Hamden Producers: Joel Barkow, Dan Hamden, Terry Welch Cinematographer: Scott Maher Editor: K. A. Chisholm Music: Adam Asamow Cast: Bronson Pinchot, Ruben Santiago-Hudson, Amy Carlson, Chris Murney, Amy Wright, Larry Clarke, Lana Quintal, Lauren Braddock Running Time: 93 minutes

est friends Devon (Bronson Pinchot) and Samuel (Obie- and Tony-winning actor Ruben Santiago-Hudson) are two roadweary, over-the-hill lounge musicians who've fallen into working a tired circuit of wedding receptions and bar mitzvahs despite Devon's aspirations to stardom. His longtime lover Kathy (Amy Carlson) has walked out on him, but Devon maintains his cheerful optimism despite the dead-end path his and Samuel's careers are taking. Then, one night, with them shacked up in yet another of the anonymous hotel rooms they inhabit on the road, things suddenly take a turn for the bizarre: Samuel begins to display psychic abilities. While Devon sees his partner's newfound talents as their ticket to a new act and the big time, he also clings to the hope that success will bring his long-strayed lover (and former bandmate) Kathy back into their lives. Unfortunately, he overlooks his partner's inability to control the strange, channeled entity - "The Conductor" - who overtakes Samuel's body both on- and off-stage.... Director Barry Alexander Brown is widely known for his editing skills on such films as Do the Right Thing, Salaam Bombay, and Summer of Sam. He also helmed the delightful culture-clash comedy Lonely in America, featured in SIFF 1991.

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The Pulitzer-Prize winning novel about life, love, and laughter.

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JUNE

2002)

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206-633-5771 rn ish in gs, A cce sso rie s, C loth ing

Filmography: The Who's Tommy, the Amazing Journey (1993), Lonely in America (1991)

‘BeautifuCciotfiing for the ‘Dance ofLife

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THE FESTIVAL FORUMS

T alk in g Pictures Talking about movies can be as satisfying and sexy as seeing them! Throughout the festival, enjoy the chance to talk movies with a glamorous cast of characters-from directors to actors to cinematographers to critics to teachers to just plain film-loving folks. These gabfests feature you - SIFF's always enthusiastic, well-informed audience-in the catbird seat, and prove, once and for all, that smart talk about movies can be enlightening, as well as entertaining.

Post-Film Conversations and Discussions TWO TOWNS OF JASPER 6:30 pm , M onday, M ay 27, B roadway Perform ance Hall Racism in the Heartland: T w o T o w n s o f J a s p e r - Whitney Dow and Marco Williams, co-directors PICNIC 1:45 pm , Saturday, June 8, Harvard Exit Theatre Master cinematographer Vilmos Zsigmond (M c C a b e a n d M rs .

M ille r , T h e H ir e d H a n d , C lo s e E n c o u n t e r s o f th e T h ir d K in d )

pays tribute to James Wong Howe, Master of Light and Shadow

THE PRIVATE LIFE OF SHERLOCK HOLMES 4 p m , S unday, June 9, E g yptia n T h e a tre Critic Robert Horton, editor of the recently published Billy Wilder: Interviews (Conversations with Filmmakers Series), pays tribute to Wilder

11:30 am, Sunday, June 9, Broadway Performance Hall: DAYS OF HEAVEN: AMERICAN FILMMAKING IN THE 1970S Filmmakers and critics discuss a decade of adventurous creativity that has come to be known as "the American film renaissance." What fueled this intense period of cinematic creativity? Who were the players? How did American filmmaking change? What became of that wave of creativity?

At presstime, panelists include David Thomson, B io g r a p h ic a l D ic t io n a r y o f F ilm , "The Dark Excitements of 1971," an essay published in the N e w Y o r k Tim es', Peter Biskind, E a s y R id e r s , R a g in g B u lls: H o w th e S e x - D r u g s - R o c k 'n ' R o ll

Tribute FEMALE TROUBLE: A DISCUSSION WITH JOHN WATERS 9 :3 0 p m , F riday, June 7, E g yptia n Clips from the Sultan of Sleaze's oeuvre followed by John Waters and film critic Jim Emerson chatting on stage; with a midnight screening of Waters' masterpiece F e m a le T r o u b le

Elderhostel Talking Pictures June 8-11 Program for Elderhostel Registrants: Five films, five discussions with filmmakers and / or critics. Open to the general public; events and venues TBA. Education Day, Friday, June 7, B roadway Perform ance Hall A full day of FREE movies followed by discussion, specifically designed for high school students' pleasure and education W h a t A b o u t C o d ? , T w o T o w n s o f J a s p e r , B a n g B a n g Y o u ’re Dead

Panels 11:30 am , Sunday, June 2, B roadway Perform ance Hall WHY AMERICA C AN ’T SEE (OR DOESN'T W AN T TO SEE) MOVIES FOR GROWNUPS Why does it feel like you can only find grownup themes in foreign films or American indies? A panel discussion about the ways (covert and overt) in which moviefare in America is dumbed down, including the tyranny of the box-office; subtle political censorship; emphasis on mindless violence

G e n e r a t io n S a v e d H o lly w o o d ', Vilmos Zsigmond, master cinematographer (M c C a b e a n d M rs . M ille r , T h e H ir e d H a n d , C lo s e E n c o u n te r s o f th e T h ir d Kind)', director/actor Peter Fonda (E a s y R id e r, T h e H ir e d H a n d , U le e 's C o ld )

4 :3 0 pm , Thursday, June 13, Broadway Performance Hall CAN MOVIES CHANGE THE WORLD? What do movies have to do with national and international crises? Should movies try to change the world? What might be a legitimate cinematic response to the post 9/11 world?

Are documentaries better than fiction films at dealing with real crises? When is art / entertainment really propaganda? What's the difference? Why do foreign films seem to have more to do with real-life issues than do American films? At presstime, panelists include John Anderson, Newsday film critic; Alan Jacobs, director of A m e r ic a n Cun', James Coburn, star of A m e r ic a n Gum, and Guy Ferland, director of B a n g B an g , Y o u 're D e a d

THE FESTIVAL FORUMS

THE HIRED HAND 6 :3 0 p m , Sunday, June 9, E g yptia n T h e a tre Director Peter Fonda and cinematographer Vilmos Zsigmond

and adolescent sex; the American obsession with "feel good" movie entertainment, so that anything that might require thought, or depth of experience and emotion (religious topics, something more than a parochial view of the world, economic issues, aging, loneliness, etc.) must be avoided; and much, much more. At presstime, panelists include Michael Medved, film critic, radio talk-show host; David Ansen, N e w s w e e k film critic, directors John Sayles (S u n s h in e State) and Rose Troche ( T h e S a fe ty o f O b je cts).

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THE FESTIVAL FORUMS

Film m akers Forum T h u rs d a y , June 13 a t 2 PM a t BPH 1 GETTING 'BEN-HUR' PRODUCTION VALUES ON AN ‘I LOVE L U C r BUDGET H ow to d a y 's te c h n o lo g y can h e lp o rd in a ry p eo ple m ake th e ir o w n m o v ie s . (Special Presenters: A p p le & A lia s|W a ve fro n t, b ro u g h t to yo u b y Iris ln k , A p p le & T he C o m p u te r Store)

S a tu rd ay, June 15 a t 9 :3 0 AM a t BPH BEHIND THE CURTAIN: A DIRECTOR AND CINEMATOGRAPHER REVEAL THEIR PROCESS. In th is session, IFP/Seattle presents an acclaim ed d ire c to r and c in e m a to g ra p h e r team in c o n ve rsa tio n a b o u t th e c o lla b o ra tiv e process and th e te chn ical c o n s id e ra tio n s in v o lv e d in cre a tin g a fe a tu re film . The c in e m a to g ra p h e r and d ire c to r w ill a nalyze and discuss s p e c ific scenes fro m th e ir rece nt film , and the creative th in k in g and s p e c ific d e cisio n s th a t w e n t in to crea ting th e m . The a ud ie nce is in v ite d to c o m m e n t and ask q u e s tio n s in th is fa s c in a tin g e x p lo ra tio n o f the cre a tive process and th e w a y it leads to th e "re a lity" on screen.

F riday, June 14 a t 10 AM a t BPH WHAT'S THE SCORE? W hat is it th a t m u s ic c o n trib u te s to film ? H o w is it th a t a sin g le piece o f film m u s ic can im m e d ia te ly tra n s p o rt us, w h e th e r w e see th e im a g e on screen o r not? H ow d o film s s u c c e s s fu lly p ro v id e a tm o s p h e re , ste e r e m o tio n , o r g iv e a sense o f tim e o r place? Hear fro m d ire c to rs , co m p o s e rs , and m u s ic ia n s as th e y "ante up" ideas, scree nin g c lip s o f th e ir a ll-tim e fa v o rite film s , and d is c u s s in g th e scores th a t m ade th e m .

F riday, June 14 a t 12 n o o n a t BPH THE LIFE OF A HYPHENATE: WRITER-DIRECTOR-ACTOR W rite r-D ire c to r-A c to r...a film m a k e r b y a n y o th e r nam e w o u ld s h o o t as s w e e t. O r w o u ld he? W hat is it lik e fo r film m a k e rs w h o w e a r m ore th a n one h at to fu lly e m p lo y th e c re a tiv e c o lla b o ra tio n so o fte n to u te d as v ita l in m a s te rin g th e a rt o f cinem a? Does it enhance o r d e tra c t fro m a film 's fin a l im p a c t i f o n ly one POV w e n t in to th e m a kin g ? P ro m in e n t film m a k e rs reveal th e a dva n ta g e s and d is a d v a n ta g e s o f h a vin g e xp e rie n ce w o rk in g b o th in fr o n t o f, and b e h in d , th e cam era.

S a tu rd ay, June 15 a t 1:45 PM a t BPH PERFECT PITCH: WHAT'S THE BIG IDEA? A ll g re a t film s s ta rte d as so m e b o d y's g oo d idea.

S cre e n w rite rs, d ire c to rs and p ro d u ce rs k n o w th a t a g o o d s to ry idea is th e m o s t e lu sive, v u ln e ra b le and v a lu a b le c o m m o d ity in th e e n te rta in m e n t business.

W hat is a g o o d idea? A nd h o w do yo u sell it?

F riday, June 14 a t 2 :3 0 PM a t C in e ra m a DIGITAL DELIVERY & THE EXHIBITION REVOLUTION The m u c h -h y p e d d ig ita l re v o lu tio n in film m a k in g m ay n o t have y e t m a te ria liz e d fo r th e averag e film g o e r, b u t th e e ver-in cre a s in g rh e to ric s u rro u n d in g th e "p o te n tia l" fo r d ig ita l e x h ib itio n to re v o lu tio n iz e th e w a y w e see film s co n tin u e s , to g ra b fro n t-p a g e h ea dline s.

Join In d e p e n d e n t Feature P ro d u c tio n /S e a ttle and The N o rth w e s t S cre e n w rite r's G uild in e x p lo rin g the process o f h arn e ssin g and "p itc h in g " a g oo d s to ry idea. Three h ig h -p o w e re d p ro d u c e rs --fro m New York, Los A n ge les and S e a ttle --w ill discuss th e ir p h ilo s o p h y and e xp e rie n ce s, th e n liste n to pre-selected pitches fro m w rite rs in th e aud ie nce . The p ro d u ce rs w ill then o ffe r fe e d b a c k on th e p re s e n ta tio n , th e idea, and the p itc h its e lf in an e n te rta in in g 90 m in u te s o f real in te ra c tio n .

F ilm m a ke rs and film g o e rs a lik e are w a k in g up to a n ew sta n d a rd o f v is u a l im a g e ry as Lucas Film s helps to p ro p e l th e a tre s across A m e ric a in to th e 2 1 s t c e n tu ry b y h a v in g th e m in s ta ll d ig ita l beam p ro je c tio n syste m s to p la y STAR WARS: EPISODE II, re s u ltin g in th e e x p o n e n tia lly im p ro v e d te c h n o lo g y w h ic h m akes th e d ig ita l strea m fro m b o o th -to -s c re e n p o s s ib le .

T he F ilm m a ke rs F orum a t SIFF 2 0 0 2 w ill b rin g to g e th e r th e in d u s try p ros a t th e v a n g u a rd o f th e new film m ille n n iu m . A lp h a Cine p re s id e n t Don Jensen, M od ern D ig ita l p re s id e n t Rich Fassio, as w e ll as film m a k e rs m a k in g fu ll use o f th e d ig ita l m e d iu m , w ill o ffe r e xp e rie n c e , w a rn a g a in s t p itfa lls , and id e n tify a d va n ta g e s u n iq u e to th e e v e r-g ro w in g n ew w ave o f m o d e rn m o v ie m a k in g .

Education and reference m a te ria ls w ill be d is trib u te d .

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THE FESTIVAL FORUMS

S a tu rd ay, June 15 a t 1 1 :3 0 AM a t BPH THE WORKSHOP: A LIVE SCENE STUDY. Take a g ro u p o f a cto rs and g ive th e m a new scene.

A d d a respected d ire cto r. Put th e m on stage live in fro n t o f an aud ie nce . You've g o t th e in g re d ie n ts fo r a riv e tin g fly -o n -th e -w a ll g lim p s e at th e w o rk in g m e th o d s at th e h e a rt o f th e e n te rta in m e n t business. In th is w o rk s h o p , th e aud ie nce is in v ite d to observe an e xp e rie n ce d d ire c to r w o rk w ith p ro fe ssio n a l actors to d e liv e r a scene. From re a d -th ro u g h to fu ll p e rfo rm a n c e , th is 9 0 -m in u te session prom ises to be an e n te rta in in g and e d u c a tio n a l e xp e rie n ce fo r all in v o lv e d . The audie nce w ill be g ive n copies o f the scene b e in g read.

I I

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xperience at Seattle Center Experience Music Project is Seattle's newest fagfeg ffjü^uríiqu ^ landmark. Located at the base of the Space Needle, its Frank 0 Gohry-di signed building nous s 140 Ü00 '■uu.jie feet of music is also a great nightspot1In our restaurant, and performance spaces, you can:

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Screenwriters Salon presents Sherman Alexie’s Indian Killer

Monday, June 10, 7 PM at the Richard Hugo House S c re e n w rite rs S a lon p re s e n ts a s ta g e d w o r k s h o p re a d in g o f S h e rm a n A le x ie 's s c re e n p la y , a d a p te d fr o m h is n o v e l o f th e sa m e n a m e .

I

A s e ria l m u r d e re r is t e r r o r iz in g S e a ttle , h u n tin g a n d s c a lp in g w h ite m e n . A n d th e c rim e s o f th e s o -c a lle d In d ia n K ille r h ave tr ig g e r e d a w a v e o f v io le n c e a n d ra c ia l h a tre d . S e a ttle 's N a tiv e A m e ric a n s a re s h a k e n a n d

THE

c o n fu s e d , n o n e m o re so th a n J o h n S m ith . B orn In d ia n , ra is e d

FESTIVAL

w h ite , S m ith d e s p e r a te ly y e a rn s f o r h is lo s t h e rita g e a n d s e e ks h is e lu s iv e tr u e id e n tity . He m e e ts M a rie , a s to r m y In d ia n a c tiv is t p a r tic u la r ly o u tra g e d b y

FORUMS

p e o p le lik e Ja ck W ils o n , th e m y s te r y w r it e r w h o passe s h im s e lf as p a rt In d ia n . A s a b ig o te d ra d io p e r s o n a lity in c ite s w h ite s to s e e k re v e n g e , te n s io n s m o u n t, S m ith fa ils to s la k e th e a n g e r th a t e n g u lfs h im ... a n d th e In d ia n K ille r c la im s a n o th e r life .

L a u d e d as a p o e t a n d a u th o r o f e x c e p tio n a l ly ric is m a n d h u m o r, S h e rm a n A le x ie n o w d ip s h is pen

n a m e . He has ju s t c o m e o f f his d ir e c to r ia l d e b u t f o r h is film The

a s p e c ts o f s c re e n w ritin g as c ra ft,

Business o f Fancydancing, w h ic h

re a d in g p a rtic ip a n ts have

p la y e d th e S u n d a n c e F ilm

in c lu d e d K im b e rly Peirce ( Boys

F e s tiv a l, a n d h o p e s to h e lm

D o n 't Cry), S h e rm a n A le x ie (Sm oke Signals), R o b in s o n D e v o r (The Woman Chaser), C h ris to p h e r M c Q u a rrie (The U sual Suspects), a n d Jim T a y lo r (Election).

In d ia n K ille r as w e ll.

T h e S c re e n w rite rs Salon is a

in s o m e th in g s tro n g e r--a n d

p u b lic fo r u m f o r s ta g e d re a d in g s

o ffe rs a g r itty , e y e -o p e n in g n o v e l

o f o r ig in a l s c re e n p la y s b y lo c a l

o f a lie n a tio n a n d ju s t ic e . A le x ie

a n d n a tio n a l w r ite r s , a n d p a n e l

is an a w a rd - w in n in g S e a ttle

d is c u s s io n s o n th e c r a ft o f

w r it e r w h o has p e n n e d th e

s c re e n w r itin g . R e a d in g s are

c r it ic a lly a c c la im e d b o o k s

p re s e n te d b y lo c a l a c to rs ;

R ese rva tio n Blues, The Lone R anger a n d T o n to F is tfig h t in Heaven, The T o u g h e s t In d ia n in the W orld, as w e ll as Sm oke Signals, w h ic h w a s a d a p te d in to

a fte rw a r d , th e a u d ie n c e fe e d b a c k to th e a u th o r. Panel

a s u c c e s s fu l m o v ie o f th e sa m e

te a c h e rs , w h o e x a m in e v a rio u s

p a rtic ip a te s b y p r o v id in g

b u s in e s s a n d a r tfo r m . Past s c rip t

Admission is FREE for all Cinema Seattle members, $5 fo r nonmembers, and $2 fo r students w ith a valid student I.D. Seating is lim ited, so arrive early. No advanced tickets w ill be sold. Doors open at 6 p.m. There w ill be no late seating once the program begins.

g u e s ts in c lu d e lo c a l a n d n a tio n a l w r ite r s , p ro d u c e rs , d ire c to rs , a n d

HÜCOHOUSE

75

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LOCAL COLOR: IN S E A T T L E

The F estival th is y e a r ta kes th e S h o o tin g in Seattle Show case a ste p fu rth e r to ce le bra te th e e v e r-w id e n in g arc o f a c c o m p lis h m e n ts by Seattle film m a k e rs , w h e th e r th e y conce ive , create, s h o o t, o r fin is h th e ir c in e m a tic m a ste rp ie ce s here in th e N o rth w e s t. Tw o fe a tu re s , th re e d o c u m e n ta rie s , and a d e lig h tfu l p ackage o f s h o rts c o v e r e v e ry th in g fro m s k e le to n s to fre ig h t tra in s , w ith a q u ic k s to p o v e r in s id e th e m in d s o f som e u n iq u e ly o d d ch a racte rs.

SPAWNED

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

S p a w n e d in S e a ttle : S m a ll Fry

H ow much is enough?

Sunday, M ay 6 - 1 1 : 30 AM ■ B ro adw ay PH

Rites Dir Lacy S. Wilkinson ■ 18min « USA Based on true events, Rites is a story about two young boys who meet a former hit man, and as a result struggle with life decisions encountered on the road to manhood.

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Figure of Speech Dir Hector Carosso ■ 11 min* USA When an African American manager at a securities brokerage firm can no longer take his subordinate's racist jokes, he decides to subtly turn the tables.

Bus 44 Dir Dayyan Eng ■ 11 min ■ USA On the outskirts of a small town, a bus driver and her passengers encounter highway robbers. "Bus 44" carries a universal theme that travels across all boundaries and societies, trespassing the dark side and bright side of human behavior.

flT lS »

Profiles in Science .« g i f t /

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Dir Lacy S. Wilkinson ■ 5 min ■ USA Profiles in Science is a sardonic homage to high school educational films, documenting the work of fictional Dr. Albert Chung, an unsung hero in the study of time-lapse photography.

Icon Dir Garrett Bennett ■ 30min ■ USA Icon is an affecting look at Hollywood legends roaming studio backlots and the streets of Hollywood. (Eric Roberts)

Experience a d in n er as epic as an A kira Kurosawa film ... ju st not as long.

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LOCAL COLOR: SPAWNE D IN SEATTLE

Catching Out

Kennewick Man: An Epic Drama

Sunday, M ay 26 ■ 4 :0 0 PM ■ B ro a d w a y PH W ednesday, M ay 2 9 ■ 4 :3 0 PM ■ B ro ad w a y PH

Sunday, M ay 26 ■ 1:45 PM ■ Broadw ay PH Tuesday, M ay 28 ■ 9 :3 0 PM ■ Broadw ay PH

■

2002

■

W O RLD PREMIERE

USA

Director-Producer: Sarah George

■

2001

Director-Writer-Producer-Cinematographers: Kyle Carver, Ryan Purcell

Cinematographers: Pallas Weber, Shane F. Kelly Editor: Casey P. Chinn Music: Pete Droge Running Time: 79 minutes

Editor: Leigh Anne Sides Music: Evan Purcell Running Time: 86 minutes

T

COLOR: SPAWNED IN SEATTLE

yle Carver and Ryan Purcell's Kennewick Man is subtitled "An Epic Drama of the West," which may sound like hyperbole, but as this absorbing documentary unfolds, it becomes easier and easier to see their point. The story begins in 1996 when two college students, Will Thomas and Dave Deacy, stumble across a human skull along the banks of the Columbia River in Kennewick, WA. They report their findings to the authorities, and the coroner enlists local archaeologist James Chatters to recover the skeleton (which turns out to be nearly complete). Upon examination, he proclaims the skull Caucasoid, though subsequent carbon dating, which deter­ mines the bones to be over 9,000 years old, would seem to cast doubt on Chatter's conclusion. The real drama begins as the scientists (including Chatters), Native Americans (including the Confederated Tribes of the Umatilla Indians), governmental agencies (including the U.S. Army Corps of Engineers), and others attempt to dictate what should be done with them: Should they be subjected to more testing or returned for reburial? Are they to be repatriated - since we seem to be dealing with a tribal ancestor here - or deemed government property, since the bones were found on federal land? Then lawsuits began to sprout like mushrooms as a variety of individuals and organizations, including the Asutru Folk Assembly, stepped forward to claim the bones. In the end, the origins of Kennewick Man turned out to be less clear-cut than anyone expected - and raise questions about race and cultural identity that are likely to be with us for a long time to come.

K

he dancing of shadows on landscape. The screech and groan of metal like music. The anonymity and the com­ panionship. A new generation of young "hobos" speak of riding the rails with stars in their eyes, describing a world of freedom.

Freedom from jobs. Freedom from paying rent. A special independence that they can't find in the stifling world of modern society. Catching Out follows a handful of modern vagabonds over the span of a couple years, meeting them on the rails and tracking them on their personal journeys, showing them to be more "normal" than they'd probably like to admit.

Switch and Baby Girl, a much-in-love couple who met hopping freight trains, find themselves returning to the solace of their "straight" relatives when they decide to have a child. Jennifer, a young woman who initially trumpets the glories of the hobo lifestyle with her boyfriend, ends up breaking off her rela­ tionship and returning to San Francisco to repair old friend­ ships and be close to her family. Lee, a self-proclaimed middle-aged punk, has ridden the rails for years, but always returns to his cozy minimalist shack in the woods with all the comforts of home. Telling tales of close brushes with "bulls" (the railroad police), the special camaraderie the rail-riders have with many railroad workers, and the problems with the modern "zero tolerance" policy towards hopping trains, the travelers offer a glimpse into a dying lifestyle steeped in American mythology and tradition.

LOCAL

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Outpatient

Shag Carpet Sunset

Sunday, M ay 26 ■ 9 :3 0 PM ■ E gyptian T h u rsd a y, June 1 3 - 1:0 0 PM ■ C ine ra m a

Sunday, M ay 26 ■ 6 :3 0 PM ■ B roadw ay Friday, June 14 ■ 4 :3 0 PM ■ C ineram a

■

2002

■

W O RLD PREMIERE

USA

Director-Writer: Alec Carlin

2002

■

WORLD PREMIERE

Director-Writer-Editor: Andrew McAllister

Producers: Scilla Andreen Hernandez, Paul Marks, Gian-Carlo Scandiuzzi Cinematographer: Andres Garreton Editor: Lynn Shelton Music: Benedlkt Cast: Justin Kirk, Catherine Kellner, Tomas Arana, Claudia Mason, Ely

Pouget, Henry Dardene, Peter Lohnes, Curt Becker, Quinn Carlin, Aviva Carlin

Running Time: 105 minutes

B

80 minutes

M A G A Z I N E MA G A Z I N E

modern digital

AmericanAirlines

IN S E A T T L E

local indie, director Andrew McAllister, "one of the only Seattle filmmaking natives left," brings us a film about Tuck (Duke Novak), who dreams of becoming someone great and original. Tuck works as a "night" roofer, he says, but crashing on roofs is an equal-time activity for him. During the day he writes stories with friend Doug (Adam Greenfield) for use on their puppet show on a public access television station.

Tuck would have a better idea of who he is if he hadn't spent all his youth trying to be Eddie Van Halen. He also fancies himself a blues player, but no one's ever going to sign him. In short, he's a jack-of-all-trades, master of none. Tuck is the classic p ue r- a Peter Pan who doesn't know how to grow up.

One of his obstacles stems from alcohol, the other from lack of courage. All the same, he's not interested in Rosie the Pot Dealer (Arlette Del Toro), but is attracted rather to bespeckled Suz (Mara Hesed), who can intelligently banter words with him.

She seems to be much surer of herself than he. What Tuck has going for him is the nagging feeling of needing to change and knowing that the imagination is something sacred. Largely shot on and around the rooftops and freeway overpasses of Seattle, Shag Carpet Sunset is a cockeyed visual delight.

A

SPAWNED

orn and raised in Uganda, East Africa, the son of South African playwright and novelist Murry Carlin, award-winning Seattle filmmaker Alec Carlin's (Darkdrive, ’97) words about his latest feature, Outpatient, describe the thriller's ironic elusiveness best: "Outpatient is a story about the past that is so intimately connected to the present that the real world predicts the future, but of course sometimes, the real world is just plain wrong." A fascinating study on the "gap between the story we have for ourselves and the story others have for us," Outpatient moves fluidly between at least two realities, one fantasy, and more than a few illusory mirages. Mystery-writer Morris Monk Gustin Kirk) has been contentedly confined to a mental institution for a number of years, a fact all the more surprising when it is discovered he's still there only through an administrative error. When his therapist, Dr. Patricia Farrow (Catherine Kellner), is forced to concede Morris should be released, she does so under protest: Morris's writing fantasies have taken an uncomfortable turn that puts Dr. Farrow on alert.

Still, her hands are tied, and out Morris goes into the "real" world. Unaccustomed to navigating the outside world, Morris continues to use his literary development as a crutch, putting newly made acquaintances into roles in his novel. At the same time, a series of events begin to unfold that lend a sinister overtone to Morris's work - a development not lost on Dr. Farrow. Soon, Morris's fantasy is affecting his reality, or is it vice versa? As blood spills and arrests are made, Dr. Farrow becomes all the more convinced Morris is dangerous. The question is, dangerous to whom?

Producer: Kathy Ramos Cinematographer: Megan Griffiths Music: Ben McAllister Cast: Duke Novak, Adam Greenfield, Arlette Del Toro, Mara Hesed Running Time:

COLOR:

Brydern

■

LOCAL

USA

CO NTEM PO RARY WORLD CINEMA

CONTEMPORARY WORLD CINEMA

La Spagnola

Herencia

CONTEMPORARY WORLD CINEMA

IN H ER ITAN C E

Monday, June 3 ■ 7 :0 0 PM ■ H arvard Exit W ednesday, June 5 ■ 4 :3 0 PM ■ H arvard Exit

M on, M ay 27 ■ 6 :3 0 PM ■ E gyptian Tuesday, M ay 28 ■ 4 :3 0 PM ■ E gyptian

ARGENTINA ■ 2001

AUSTRALIA ■ 2001

Director-Writer: Paula Hernández

Director: Steve Jacobs

Producer: Rolo Azpeitia Editor: Rosario Suárez Cast: Rita Cortez, Adrian Witzke, Martin

Writer: Anna-Maria Monticelli Producers: Anna-Maria Monticelli, Philip Hearnshaw Cinematographer: Steve Arnold Editor: Alexandre De Franceshi Music: Cezary

Adjemián, Hector Anglada, Julieta Díaz Running Time: 92 minutes

Skubiszewski

ometimes it's the simple stories that have the most resonance. At least so it seems in this first feature by Argentinean director Paula Hernández. Olinda (Rita Cortez) is a 60-year-old Italian immigrant to Argentina who owns and oper­ ates a small restaurant in a neighborhood of Buenos Aires.

Beaten down by the pressures and financial obligations of running her business, she squabbles endlessly with her em­ ployee Angelí (Hector Anglada), taking occasional solace in conversations with her confidante Federico (Martin Adjemián).

During one of her rows with Angelí, she flings a plate in anger, hitting Peter Müller (Adrian Witzke) square in the forehead.

Peter, a young German man, was only coming in to ask for directions, lost as he was in his search for his teenage love, Belén. Coincidentally, Peter's motivation for immigrating to Argentina bears a striking resemblance to that of Olinda, four decades before. When Peter's money is stolen, the two develop a friendship, partly out of necessity, but more out of the same unspoken connection that brought them both to Argentina.

Olinda begins to yearn for her native Italian town of Siponto when she reads in the newspaper that an earthquake may have destroyed the past she once knew; but then, what would she do with her restaurant? A sweet-tempered and human work, filled with quiet wisdom about friendship, lost love, and immigration, Herencia is just the kind of film that falls through the cracks, and shouldn't.

S

Cast: Lola Marceli, Alice Ansara, Lourdes Bartolomé, Alex Dimitriades Running time: 92 minutes

magine if Sergio Leone had collaborated with Howard Hawks on an erotic screwball comedy set in the dust-swept Aus­ tralian outback, and you might come up with something similar to La Spagnola. Spaniard Lola is married to Italian Ricardo; together with their daughter Lucia, they live in a town that is little more than a glorified oil refinery, populated mostly by Mediterranean immigrants. As the film opens, Ricardo is leaving Lola for a bubble-headed blonde Aussie. Well, trying to: enraged by his betrayal, Lola does everything possible to make him stay. Her tantrums fail, however, and to make matters worse she soon discovers Ricardo has departed with their entire savings (but was kind enough at least to leave behind the bills). Before long, Ricardo is driving about town in a brandnew car with his mistress proudly on display, while wife and daughter struggle to make ends meet. For Lucia, homelife be­ comes unbearable: always closer to her father, she now becomes the sole focus of Lola's fiery temper. When news comes of Ricardo's untimely demise - a combination of too much lamb, too much sex - tensions between Lucia and Lola only increase, aggravated by Lola's emergency hospital visit and the arrival of her eccentric sister Manolo. Their attempts to reconcile with each other fall short but, differences aside, they each conceive of separate strategies for revenge against Ricardo's former mistress, which comically collide in the most unexpected manner. Director Steve Jacobs intercuts longshots and closeups with plenty of verbal wit to create an unsettling balance of drama and comedy - alternately grim and absurd that perfectly addresses the ages-old conflict between mother and daughter.

I

^Smooth Jazz

84

CONTEMPORARY WORLD CINEMA

W alking on Water

D og Days HUND STACE

W ednesday, June 12 ■ 9 :3 0 PM ■ H arvard Exit Sunday, June 16 ■ 9 :3 0 PM ■ B ro ad w a y PH

T h u rsda y, M ay 30 ■ 9 :3 0 PM ■ H arvard Exit Sunday, June 2 ■ 1 1:3 0 AM ■ H arvard Exit

AUSTRIA

2001

Director: Ulrich Seidl Writers: Veronika Franz, Ulrich Seidl Producer: Helmut Grasser Cinematographer: Wolfgang Thaler Editor: Andrea Wagner Cast: Erich Finsches,

Director: Tony Ayres Writer: Roger Monk Producers: Bridget Ikin, Liz Watts Cinematographer: Robert

Maria Hofstatter, Gerti Lehner, Alfred Mrva, Franziska Weiss Running Time: 121

Humphreys Editor: Reva Childs Music: Antony Partos

minutes

Cast: Vince Colosimo, Maria Theodorakis, Judi Farr, Nicholas Bishop Running Time: 90 minutes

Filmography: Models (1999), Animal Love (1995), Loss Is to Be Expected (1992)

Filmography: Sadness (1999), Mrs. Craddock's Complaint (1997)

85

CINEM A

n intimate examination about the burdens of grief and the bittersweet memories bequeathed by the recently de­ ceased, Walking on Water has already dazzled audiences in Berlin, winning the Audience Award at this past year's festival.

The film begins with Gavin lying near death from a painfully debilitating illness. His two closest friends, Anna and Charlie, have promised to end his suffering and only await the arrival of his family - his mother, brother, and sister-in-law - before assisting him. However, when the time finally comes, the carefully planned overdose of morphine fails to kill him quickly, leading Charlie to take drastic action - an event that will haunt him throughout the film. Anna immediately busies herself with Gavin's detailed funeral plans, isolating herself from the others.

Though Gavin's death was long expected, the emotional shock still manages to cripple both friends and family: feelings of anger, jealousy, and depression set the characters adrift in sorrow. Gavin's mother Margaret wanders throughout the house pocketing tiny keepsakes. Charlie fails in his attempts to solicit solace from his lover Jack, so instead turns toward the leftover supply of morphine. Meanwhile, Anna, in her own bid to replace grief with faux intimacy, begins an extramarital affair with Gavin's younger brother. Neither Charlie nor Anna can see the folly of their actions, yet each freely recriminates the other, testing the limits of friendship, with only their shared past holding the pair together. Filled with sly, subversive humor, Walking on Water manages to sidestep sentimentality while delivering a tempest of thwarted desires and raw, sometimes brutal, emotions.

A

WORLD

n this collection of six entwined vignettes, director Ulrich Seidl strips bare the stifled lives within a Vienna suburb as it swelters through a late summer heatwave. Seidl's unsettlingly realistic style is complemented by his mostly nonprofessional cast's superb, if raw, performances. Among the dramatis personae are Claudia, a young exotic dancer exasperated by her boyfriend's fits of jealousy, and Anna, a mentally un­ balanced hitchhiker who never stops talking once she's inside a car. A third woman, an aging teacher, spends the early evening eagerly readying herself for her younger lover's arrival, only to have him appear with an uninvited guest.

Meanwhile, Herr Ing - an overbearing retiree who micro­ manages his ample free time - is busy planning his own rendezvous in honor of his 50th wedding anniversary, just not with his wife. Next door, a divorced couple divided long ago by a road side tragedy still share the same household, each waiting impatiently for the other to leave. And finally, there is Herr Hruby, a security salesman charged with catching a car vandal. But after spending an unbearable and fruitless night in his car, he must seek out a suitable scapegoat. Throughout the weekend that passes, the mercury rises, emotions boil, and normal life turns perverse. With almost Altmanesque ease, Seidl weaves each story thread into a greater narrative tapestry where the characters' struggles for peace and forgiveness are made the more difficult beneath the oppressive August sun.

I

CONTEMPORARY

A U ST R A L IA ■ 2002 U. S . P R E M I E R E

CIN EM A

Saturday, June 8 M onday, June 10

AUSTRIA / FRANCE

W ednesday, June 12 ■ 7 :0 0 PM ■ B ro ad w a y PH Sunday, June 16 ■ 4 :0 0 PM ■ B ro ad w a y PH

Egyptian C ineram a

9 :3 0 PM 9 :3 0 PM

■

BELGIUM

2001

WORLD

- U. S . P R E M I E R E

Producers: C. Buchet-Charlet, Mariano Vanhoof Music: Das Pop

Producers: Yvon Crenn, Christine Gozlan, Michael Katz, Veit Heiduschka

Cinematographer: Gerd

Cinematographer: Christian Berger Editors: Nadine Muse, Monika Willi Cast:

Schelfhout

Isabelle Huppert, Annie Girardot, Benoît Magimel, Anna Sigalevitch, Susanne Lothar

Cast: Nathalie Stas, Winnie Vigilante, Jean-Louis Leclercq, Olivier Ythier Running Time: 88 minutes

Running Time: 129 minutes

CONTEMPORARY

- 2001

Director-Writer-Editor: Geoffrey Enthoven

Director-Writer: Michael Haneke

inner of the Grand Prix at last year's Cannes, as well as Best Actress and Actor, this shocking study in sexual pathology from Michael Haneke (Funny Cames, Code Inconnu) might well drive some up the wall, but the rest of us will want to bring all our friends. Based on a novel by Elfriede Jelinek, the story concerns a seemingly staid and definitely repressed Viennese music professor, Erika Kohut, who lives with her monstrously domineering mother. In a tour-de-force per­ formance, Isabelle Huppert renders Prof. Kohut smoothly as a creature in need of both dominating and being dominated, gliding between extremes with amazing naturalness. As a professor of music she's a martinet; as a woman in need of sexual release she's lost somewhere between a desire to be taken over and a need to be in charge, a role apparently inherited from her suffocating, roommate mom (Annie Girar­ dot). As William Blake had it, "When thought is closed in caves, then love shall show its root in deepest hell." Said hell is unleashed with the arrival of Walter (Benoît Magimel), a prospective music student who, when he makes his affections for Erika apparent, precipitates an escalation of sexualdominance games, sadomasochism, and perversions plentiful enough to make the Marquis de Sade dizzy. Throughout, Haneke’s sure directorial hand keeps the proceedings anchored, touching on Vermeer in his compositions and employing classical music as counterpoint to Erika's self-destructive excesses. In one scene Haneke reaps cinematic harvest by featuring a stately piece of music many will remember from Stanley Kubrick's Barry Lyndon, subverting the king of musical subversion. Enough material to fuel a coffeehouse argument well into the wee hours: bring your DSM-IV.

W

he makers of Les Enfants de I'amour initially set out to make a documentary about the damage done to children when parents divorce. However, when the family intended as the primary subject of the film refused to go on camera, the director, undaunted, took his notes, preliminary conversations, and stripped-down production team and made a far-reaching feature film exploring the same theme. Reminiscent of the work of compatriots Jean Pierre and Luc Dardenne (La Promesse, Rosetta), the resulting film is a deeply felt portrait of refracted love and its inevitable fallout. Nathalie, twice divorced, is a still-young single mother of three children by two different men. The film takes place over one of the weekends the children are to spend with their respective fathers.

Anticipating the two days as a welcome respite from her harried life, Nathalie cuts loose and seeks to forget her troubles by going out on the town. Meanwhile, we see eight-year-old Winnie telling her psychologist about how she has to spend every other weekend with her father, even though she would rather go with her half?sister Aurelie to stay with her ex­ stepfather, but can't because elder brother Michael regards him as the reason for their parent's divorce. Such contorted attempts on the part of children to make sense of divorce occur throughout Les Enfants de I'amour, and startle with the honesty and naturalness of their depiction. Using docu­ mentary-style directness, the camera gets up close as it shifts among characters, exposing warring emotions, willful escapes, differing accounts, and the endless cycle of comparison and blame in which so many children of divorce find themselves.

As Nathalie returns from her weekend away to find all three children wrestling with sorrow in their own muted ways, Les Enfants resonates like an elegy to future grief.

T

Selected Filmography: Code Inconnu (2000), The Castle (1997), Funny Games (1997), The Age of the Wolves (1995), 71 Fragments of a Chronology of Chance

Filmography: De Aanspreker (1999)

(1994), Benny's Video (1992), The Seventh Continent (1989)

86

CONTEMPORARY

WORLD

CINEM A

Shopping

The Inheritance

PETITES MISÈRES

A PA R TILH A

Saturday, June 1 5 ■ 6 :3 0 PM ■ H arvard Exit Sunday, June 16 ■ 9 :3 0 PM ■ H arvard Exit

Friday, May 31 ■ 7 :0 0 PM ■ Pacific Place Sunday, June 2 - 1 1 : 30 AM ■ Pacific Place

BRAZIL ■ 2001

■ U.S. PREMIERE

Director: Daniel Riho

Director-Writers: Philippe Boon, Laurent Brandenbourger

Writers: Joâo Emanuel Cameiro, Miguel Falabella, Daniel Filho, Mark Haskell Smith

Producers: Patrick Quinet, Alain Rozanes, Pascal Verroust, Claude Waringo

Producers: Caique Martins Ferreira, Cecilia Grosso, Euclydes Marinho Cinematographer: Félix Monti Editor: Felipe Lacerda Music: Rita Lee, Ed Motta

Cinematography: Willy Stassen Editor: Sandrine Deegen Music: Jeff Bodart, Pierre Gillet, Oliver Bodson Cast: Albert Dupontel, Marie Trintignant, Bouli Lanners,

Cast: Glòria Pires, Andréa Beltrào, Lilia Cabrai, Paloma Duarte, Herson Capri Running Time: 93 minutes

Serge Larivière Running Time: 81 minutes

aniel Filho's lively farce, one of the top films at the Brazilian box office, is based on the play by actor-turnedwriter Miguel Falabella (Kiss of the Spider Woman), which was in turn adapted from his novel. Upon the death of their mother, four adult sisters gather in Rio de Janeiro to attend the funeral and figure out what to do with their inheritance - the spacious Copacabana apartment in which they grew up. Selma (Glòria Pires) is the sensible - but unfulfilled - one, married to rigid military man Luis Fernando (Herson Capri, also of Spider Woman), with a teen daughter who has recently joined a cult.

Regina (Andréa Beltrâo), the other middle sister, is the single, sexy, "spiritual" one (well, she thinks of herself as spiritual, at any rate)... with a secret concerning Luis Fernando. Lucia (Lilia Cabral), the oldest, is a flighty materialist who abandoned her musician son-who is none too happy about it - in Brazil, and lives in France with her second husband. Laura (Paloma Duarte), the youngest, is a bookish intellectual with a secret of her own. By the end, they haven't just decided what to do with their mother's apartment and its belongings, but what to do about their strained relations and messy lives. The Inheritance combines humor with heart and plays like a cross between Almodovar's Women on the Verge of a Nervous Breakdown and a telenovela -th e entire cast, including actor-director Filho, has a long, successful history in Brazilian TV.

D

his wacky widescreen treat refuses every opportunity to be predictable, to milk easy laughs. It's smart comedy, about quirky, engaging people who try their best to live honorably and sanely in a world driven by consumerism. Dour Jean spends his days foreclosing and repossessing, quite seriously trying to school people in responsible purchasing. His home is a neatnik's dream, everything where it should be, not the slightest sign of disorder or dirt. But Jean's efficient décor doesn't really leave any room for his wife: the couple can't have children, the antique store Nicole yearns for is on hold until Jean feels they can afford it, and her urge to splurge is so repressed by her hubby's frugality, she freezes every time she tries to buy even basic necessities. This comic stasis is shat­ tered by the interventions of two lovable subversives: Eddy, the new cop assigned to oversee repossessions, drives Jean into a tizzy by empathizing with, even counseling, the folks being stripped of the goods they can't pay for. Meanwhile, Nicole's seduced into orgiastic shopping sprees by George, a high­ flying friend of her husband's who believes that only a true pioneer can blaze a bold trail from cash register to cash register and beyond. The center cannot hold, of course, and for a while it looks as if the resulting explosion might blow away marriage and all! Shopping's a cornucopia of deadpan, spot-on performances and hilarious set-pieces: Jean's sly distraction of a posing yogi, many hours into his shot at the Guinness Book of Records] an out-of-the-blue musical number at the mall; a most unexpected defenestration. You won't need a credit card to take home the myriad, bright-colored pleasures of Shopping.

T

Selected Filmography: Cangacelro Trapalhâo (1983), Casal (1975)

'fsm ooth Jazz

Filmographies: Philippe Boon: Luc et Marie (1995), Le Trieur (1993), Mon Dieu, c'est plein d'étoiles (1990)

Laurent Brandenbourger: Luc et Marie (1995), Le Trieur (1993), 15 secondes dans la vie de... (1992), Chloë (1990), Agressiva: nos amis les bruits (1988)

87

CONTEMPORARY WORLD CINEMA

FRANCE / BELGIUM / LUXEMBOURG 2002 ■ U.S. PREMIERE

SAM E ARNOLD S A M E JULIA S A M E SLY

d ifferen t

BEER.

V ÌgÉÉÌ| "

V - '1 •hoice is Good

CHECK O U T O U R DIGITAL SHORTS. c o A sr^ i

To celebrate the launch of our new Coastline Pilsner, the Go Coastal

I DIGITAL FILM FESTIVAL

Digital Film Festival is now playing at w w w .Pyram idBrew .com .

View the work of some extremely independent filmmakers and vote for your favorite cinematic answer to the question “what’s refreshing?”

CONTEMPORARY WORLD

CINEMA

The Fast Runner

Khaled

ATA N A R JU A T

........... ■ T hu rsd a y , June 6 ■ 9 :3 0 PM ■ E gyptian M onday, June 10 ■ 1 :00 PM ■ C ine ra m a

■ 2001

CANADA

■ 2001

Director: Zacharias Kunuk

Director-Writer: Asghar Massombagi

Writer: Paul Apak Angilirq Producers: Paul Apak Angilirq, Sally Bochner, Norman

Producers: Peter O'Brian, Justine Whyte, Paul Scherzer Cinematographer: Luc Montpellier Editor: Christopher Donaldson Music: Mel M'Rabet

Cohn, Zacharias Kunuk Cinematography: Norman Cohn Editing: Norman Cohn, Zacharias Kunuk, Marle-Christine Sarda Music: Chris Crilly Cast: Natar Ungalaaq,

Cast: Michael D'Ascenzo, Michele Duquet, Normand Bissonnette, Michael Kanev Running Time: 85 minutes

Peter-Henry Arnatsiaq, Lucy Tulugarjuk, Madeline Ivalu, Paul Qulitalik, Eugene Ipkarnak, Pakkak Innushuk Running Time: 168 minutes

leven-year-old Khaled Dourlon holds his world together with quiet, necessary heroism. Half-Moroccan, he stands up to schoolyard bigots, while at home - a tacky Toronto housing project - his sick mother, a recovering addict, must be fed and cared for. Mother and son love each other fiercely; despite their beleaguered life together, both will do anything to guard against Khaled's placement in another abusive foster home.

One night, after one of her awful paroxysms of coughing, Khaled's mom - his only emotional anchor - dies. Something recalcitrant moves in the child's dark eyes as he confronts this final assault on his already shrunken life-options: Khaled covers his mother with a blanket and simply refuses to acknowledge a killing reality. As time passes, the little boy shows remarkable resourcefulness in paying bills, fending off nosey social workers, locking the door against a vicious land­ lord, sewing up torn clothing, scavenging for food. There's a whiff of Roman Polanski's Repulsion here, as well as a tip of the hat to Neil Jordan's The Butcher Boy, in which another lost boy who can't countenance dad's death simply works around the grim evidence. Never simply a morbid downer, this auspicious filmmaking debut by Iranian-born Asghar Mossambagi cele­ brates a child's ability to endure, to imagine life as it might be, or should be. Michael D'Ascenzo, in his first feature-film role, never stoops to merely tugging on your heartstrings; his Khaled mixes a kid's vulnerability with an adult sensitivity to the cruelty and kindness of which human beings are capable.

E

he host of international awards that have been bestowed upon Atanarjuat - including the Camera d'Or for Best First Film at Cannes and a near-sweep of the Canadian Genies testifies that regardless of its historic status as the first feature shot entirely in the Inuktitut language, this is most immediately a sweeping, universally accessible epic. Set in the frozen climes of Northern Canada, a landscape made as dramatically vivid here as David Lean's Arabian desert or John Ford's Monument Valley, Atanarjuat chronicles the rivalry between the title character (Natar Ungalaaq, who possesses a marvelously congenial on-screen charisma) and the arrogant, abusive, and quite possibly possessed Oki, son of the settlement's chief.

First simmering when Oki's promised bride Atuat prefers and is won by Atanarjuat, the conflict boils over into murder and revenge when Atanarjuat takes as his second wife Oki's spoiled, deceitful sister Puja. The scenario, adopted from Inuit legend by the sadly deceased Paul Apak Angilirq, is as simple yet as endlessly resonant as any myth. Director Zacharias Kunuk's serene attention to detail transcends mere anthropological curiosity; the lengthy shots detailing Inuit methods of boiling gull eggs, cleaning seal skins, building igloos, and the like are suffused not with awe but rather a respectful matter-of-factness, which reminds an audience that these foreign-seeming activities are no more exotic than any other hunt for food, clothing, shelter. Atanarjuat proves the rare film that doesn't just earn its epic length, but needs it.

Needs it to soak in those blinding vistas of ice and rocky shoals; to absorb the faces, sculpted by the freezing weather yet warmly, infinitely expressive; and to accumulate the details of a daily routine, stacking them bit by bit, so when rage bursts and blood stains the snow it feels less primitive than eternal, implacable, and utterly human.

T

A m c a n Travel

89

CONTEMPORARY WORLD CINEMA

CANADA

Saturday, May 25 ■ 6 :3 0 PM ■ B roadw ay PH M onday, M ay 27 ■ 1:45 PM ■ H arvard Exit

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1114 POST AVE, SEATTLE www.rocket-pictures.com

AVID MEDIA + FILM COMPOSER

DUPLICATION

COMPONENT DIGITAL FINISHING

1

CONTEMPORARY WORLD

CINEMA

Mariages

Saturday, M ay 25 ■ 6 :3 0 PM ■ H arvard Exit M onday, M ay 27 ■ 4 :0 0 PM ■ Pacific Place

M onday, June 10 ■ 7 :0 0 PM ■ H arvard Exit Sunday, June 16 ■ 4 :0 0 PM ■ Pacific Place

CANADA ■ 2001

CANADA ■ 2001 ■ U.S. PREMIERE

Director-Writer: Bruce Sweeney

Director: Catherine Martin

Producers: Stephen Hegyes, Jacquelyn Renner Cinematographer: David Pelletier Editor: Ross Weber Music: Don MacDonald Cast: Ben Ratner, Frida Betrani, Tom Scholte, Nancy Sivak, Vincent Gale, Molly Parker, Babs Chula, Kathleen Duborg,

Producer: Lorraine Dufour Writer: Catherine Martin Production Design: AndréLine Beauparlant Cinematographer: Jean-Claude Labrecque Editor: Lorraine Dufour Music: Robert Marcel Lepage Cast: Maria-Ève Bertrand, Guylaine

Marya Delver Running time: 100 minutes

Tremblay, Mirianne Brule, Hélène Loiselle, Markita Boies, David Boutin, Raymond Cloutier, Claude Despins, Gabriel Gascon Running time: 95 minutes

n the opening scene of Last Wedding, Zipporah samples a wedding dress in a shop, gazing dreamily at her tripartite reflection; yet her glow has barely had time to blossom when Mom eyes tjie price tag and nixes the selection as too expensive. It's a succinct introduction to writer-director Bruce Sweeney's incisive comedy, in which gossamer daydreams and rose-tinted expectations inevitably flail and fall to shreds whenever reality comes gusting in. Last Wedding casts a fond but sharply critical eye toward our need for willful delusion and self-justification as it bounces among three couples: newlyweds Zipporah and Noah, rushing into marriage confident any surprises they learn about one another can only be good; architects Shane and Sarah, blissfully unaware of acrimony till Sarah lands a more successful job than the idealistic Shane ever could; and Peter and Leslie, whose seemingly undeniable affection is belied not by the sarcastic jabs they lovingly toss at each other but rather the alacrity with which college instructor Peter leaps into the arms of one of his students. The grievances each party holds against his or her partner are a blending of absurdity and legitimacy, and the film respects that dichotomy, allowing for both small, generous moments of empathy and uproarious bits of hysterical confrontation. The eager ensemble is well up to the story's challenges, sometimes shifting in unison from awkward hilarity to pained discomfort and back again without a one of them jostling in their seats. Together they create such a rich portrait of human foibles that we understand and indulge even their most crass and selfish moments; forgiving, as the film bravely acknowledges, doesn't always come so easily.

I

Filmography: Dirty (1998), Live Bait (1995)

Sponsored by:

C a n a d a A m e ric a Society C an ad ian Consulate Jackson S ch o o l o f International Studies

here is a jarring discord between the interior and exterior worlds of Mariages, though both are true to the 19thcentury French Canadian setting. The houses in which people live are rigid monuments of ascetic spirituality, all sharp angles and creaking floorboards, with walls left bare save the occasional simple crucifix. Yet outside a fecund wilderness sprawls, overflowing with ponds and moss and woodland thickets. The latter is the true home of Yvonne (Marie-Ève Bertrand), who can most often be found walking through tall grass with her skirt hiked into her waistband, letting the stalks caress her face like a lover's hand - much to the displeasure of her prim sister Hélène (Guylaine Tremblay). When Yvonne's love for a handsome neighbor is stymied by Hélène's claiming him for her daughter, it is to the forest that she goes to find solace.

And perhaps a solution; for it's also in the forest, she knows, that the ghost of her mother can be found. Superbly evoking the supernatural through Jamesian moments of eerie ambiguity (roaring winds set a dress to spinning, and the hanger on which it rests shrieks horrifically as it twirls), writer-director Catherine Martin manages to maintain a sense of elemental power enveloping the film without overpowering the very human desires at her story's core. The poetic awe with which she photographs the beauties of nature (including Bertrand, whose rosy voluptuousness sets her even further apart from the tightly corseted, stiffly posed women in the film) flows effortlessly into the metaphysical. And the sad, stifling events that transpire inside those boxy homes make clear why one would see even such an ominous force as a potential salvation.

T

Filmography: Les Dames du 9e (1998), Nuits d'Afrique (1990)

Sponsored by:

Canada A m e rica Society Canadian Consulate Jackson Sch o o l o f International Studies

M b wom en's entertainm ent

CONTEMPORARY WORLD CINEMA

The Last W edding

“Get your filthy

■ ■

paws

off me

you damn

dirty

ape.”

Charleton Heston in P la n e t o f th e Apes

CRichard all

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House.

A community center for readers, writers and audiences.

1634 Eleventh Avenue, Seattle, WA 98122 I www.hugohouse.org (206) 322-7030

CONTEMPORARY WORLD CINEMA

Tuesday, M ay 28 ■ 7 :0 0 PM ■ H arvard Exit Friday, May 31 ■ 4 :3 0 PM ■ Pacific Place

CANADA ■ 2002 ■ U.S. PREMIERE

CANADA ■ 2002

Director: Paul Gross

Director: Robert Cuffley

Writers: Paul Gross, John Krizanc, Paul Quarrington Producers: Robert Lantos, Julia Rosenberg, Frank Siracusa Cinematographer: Thom Best EditorSusan

Writers: Robert Cuffley, Jason Long Producer: Colin Neale Cinematographer: Marc Dobrescu Editor: Ken Berry Music: Michael Shields Cast: Katherine

Maggi Music: Paul Gross, Jack Lenz, The Tragically Hip Cast: Paul Gross, Leslie

Isabelle, Nicholas Campbell, Brendan Fletcher, Tom Higginson, Philip DeWilde, Nikki

Nielsen, Molly Parker, Michelle Nolden, Peter Outerbridge, Jed Rees, James Allodi,

Barnett Running Time: 112 minutes

Kari Matchett, Polly Shannon, Greg Bryk Running Time: 104 minutes

pon first impression, teenage writer Paige Fleming is every­ thing her surrounding New Brunswick landscape is: sunny but frigid, according to her half-naked boyfriend, Jeff, screaming at her in a second-story window from the snowy sidewalk. Unconvinced her breakup reasoning holds any logic (he does after all have one of two matching coffee cups with their names on them), Jeff sets the pace for this potent, bittersweet, and tragic coming-of-age story about one girl's amazing capacity for reinventing the life around her as she creates a better one in her imagination. Paige lives with her father, Ross, a broken man who nonetheless is cheerily insistent that this new job is the one that will take. Her favorite teacher is either a bitch or a mentor, but Paige still summons the courage to ask for her help on a literary contest. And if Jeff would just quit trying to get back in the house, Paige's life could move on with the steady ease of a well-oiled schedule.

Except there is no balance in Paige's world despite her efforts otherwise, and when her estranged brother, Trevor, moves back in, all of Paige's carefully constructed façade begins to crumble. What sets director Robert Cuffley's feature debut apart is not only its extraordinary casting: Katharine Isabelle shines as girl-on-the-edge Paige; Brendan Fletcher as lovesick Jeff is captivating; erstwhile glamour-boy Nicholas Campbell, heartbreaking as the father. It’s also respectfully attentive to the complex layers that make up our ability to navigate day-today existence while hiding the most painful secrets of our past.

There's a craftily built web of denial entrapping this family, and the misdirection and implications are fascinating to watch.

U

e know. You've seen every sports-related movie ever made, and you don't have room for another. We have one word for you: Curling. Yes, that lunatic Scots-Canadian pastime wherein growh men bear down with religious intensity to slide a 42-pound coaster along the ice to come to rest on a small, hieratically appointed circle - while other grown men scamper alongside, whiskbrooming the ice to make the coaster go faster. (Co slower? Something.) This deadpan comedy shattered Canadian box-office records. It's not just because - at last! somebody made a movie about curling. That somebody also knows every preposterous triumph-of-the-indomitable-humanspirit, victory-for-the-underdog, reconciliation-just-before-thesudden-death-finale cliché in the sports movie genre, and how to blow them sky high. The movie opens with, in one auda­ cious stroke, a reverent homage to Caddyshack and a stirring invocation of national identity: a caravan of beavers waddling toward a picturesque Long Bay, Ontario, lake. This is also a cunning narrative device, for on that lake - and out of it, as it were - the coach of Long Bay's now-disbanded curling team hopes to recover the coaster that his star player bitterly threw away after ... well, you aren't ready for that yet. The coach expires just as the sacred relic rises into view, and his video­ taped will calls for the reconstitution of Long Bay's once-fab four - an emblematic cross-section of genial smalltown loutdom - so that they can compete for curling's highest trophy, the Golden Broom. Paul Gross, who played the Mountie in TV's Due South, does Wellesian duty as star, director, cowriter, and co-music scorer.. Molly Parker and Michelle Nolden are charming as sisters in undeclared rivalry over Gross (did we mention that Nolden's character is an astronaut?). And just to put sprinkles on your doughnut: Leslie Nielsen as Gross's estranged, and strange, recluse-father.

W

Filmography: Soother (1999), Eyes for You (1996)

KIRO

NEWSRADIO

C a n a d a A m e ric a Society C a n a d ia n Consulate Jackson S c h o o l o f International Studies

93

CONTEMPORARY WORLD CINEMA

Friday, June 7 ■ 7 :0 0 PM ■ H arvard E xit Tuesday, June 11 ■ 4 :3 0 PM ■ H arvard Exit

CONTEMPORARY WORLD CINEMA

CONTEMPORARY WORLD CINEMA

A Cab for Three

A Savage Soul

TAXI PARA TRES

LES ÂM ES FORTES

Monday, M ay 27 ■ 4 :0 0 PM ■ H arvard Exit W ednesday, M ay 29 ■ 9 :3 0 PM ■ H arvard Exit

Friday, M ay 24 ■ 4 :3 0 PM ■ Pacific Place Sunday, M ay 26 ■ 9 :3 0 PM ■ Pacific Place

CHILE ■ 2001

CHILE / FRANCE / BELGIUM ■ 2001

Director-Writer: Orlando Lübbert

Director: Raoul Ruiz

Producers: Adrian Solas, Orlando Lubbert Cinematographer: Patricio Riquelme

Writers: Alexandre Astruc, Mitchell Hooper, Eric Neuhoff, Alain M. d'lnguimberg Producer: Paulo Branco Cinematographer: Eric Gautier Editor: Valeria Sarmiento

Editor: Alberto Ponce Music: Eduardo Zvetelman Cast: Alejandro Trejo, Fernando Gómez-Rovira, Daniel Muñoz, Juan Rodriguez, Ivonne Becerra, Elsa Poblete,

Music: Jorge Amagada Cast: Laetitia Casta, Frédéric Diefenthal, Arielle Dombasle,

Cristian Quezada, Denitze Lecaros, Rene Castro, Daniel Alcaino, Victor Rojas

John Malkovich, Charles Berling, Edith Scob Running Time: 118 minutes

Running Time: 89 min

he writings of Jean Giono have inspired many of the classics of French cinema, including a number of Marcel Pagnol's best-regarded films. Initially, this adaptation of Giono's Les Âmes fortes was to have been directed by Alexandre Astruc, the onetime nouvelle vague critic-filmmaker responsible for articulating the notion of the film director "writing" through images and camera movements as an author wrote with a pen - the camera-stylo. Alas, Astruc passed away before shooting could begin. But it's hard to imagine a more auspicious replacement than Raoul Ruiz, the astoundingly prolific Chilean-born filmmaker who, only a year or two ago, made such dazzling work of bringing Marcel Proust's Time Regained to the screen. In the harshly beautiful Haut-Provence countryside that was always Giono's setting, A Savage Soul unfolds a haunting story of socioeconomic Darwinism playing out over six decades. A wealthy, childless couple, the Numances (Arielle Dombasle and John Malkovich) "adopt" Thérèse (Laetitia Casta), a fiercely handsome servant girl whose blacksmith husband Firmin (Frédéric Diefenthal) ekes out a meager income. As her benefactors decline - financially and otherwise - over the years, Thérèse grows stronger and more ruthless, using her sexuality to take control of her fate.

Ruiz observes all this with the consummate visual authority we have come to take for granted.

T

rlando Lübbert's witty, sharp-edged thriller locates the heart of noir in sun-drenched Santiago, Chile. Stranded in a back alley when his taxi stalls, Ulises Morales (Alejandro Trejo) is set upon by a pair of street thugs who hold a knife to his chest and offer him a simple choice: behind the wheel, or in the trunk. Ulises opts for the former, agreeing to drive the two criminals to and from their various crimes. The cabbie quickly realizes that he's in a unique position to advance from captive to accomplice; and that neither Chávelo (Daniel Muñoz), constantly spouting cynical, raspy-voiced ju s ti­ fications for his lawlessness, nor baby-faced Coto (Fernando Gómez Rovira), whose youth is confirmed both by his arrogant brandishing of the blade and his queasy reluctance to draw blood, will get very far without some prodding. And so Ulises, as his name decrees he must, undergoes a modern-day odyssey, escalating from purse snatching and robbing street vendors to armed robbery. A Cab for Three wickedly inverts Homer's moral; here it's the dangerous wandering, and its attendant fiduciary reward, that entices, with domesticity the horrible fate that must be endured. Each night Ulises returns home, sitting at the dinner table immobile and silent as stone while his family squawks around him. Every day, when not lying lazily abed with the lover his adventurous new life has brought him, he hectors his confederates to abandon their penny-ante schemes and reach for the big money. His tutelage proves dangerously effective. Shot through with a nervy, blackcomic fatalism that recalls Claude Chabrol (who coincidentally headed the jury that awarded the film grand prize at the San Sebastian Film Festival), A Cab for Three is minutely attentive to the ordinary - dust and sweat; the sweet taste of canned peach juice; the thickness of the cuts in a pork sandwich - yet still relishes the thrill and audacity of the criminal life.

O

Selected Filmography: Comedy of Innocence (2000), Love Tom in Dream (2000), Time Regained (1999), Shattered Image (1998), Genealogies of a Crime (1997), Three Lives and Only One Death (1996), Life Is a Dream (1986), Les Destins de Manoel (1985), City of Pirates (1983), On Top of the Whale (1982), Three Crowns of the Sailor (1982), Musée Dali (1980), The Hypothesis of the Stolen Painting (1978), The Penal Colony (1970)

Filmography: Die Kolonie (1987)

94

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CONTEMPORARY WORLD CINEMA fl? ^ _j. h

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Happy Times Z U O T IA N

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CHINA ■ 2001

CHINA ■ 2001

Director: Zhang Yimou Writer: Gui Zi Producers: Zhao Yu, Yang Qinglong, Cinematographer: Hou Yong Editor: Zhai Ru Music: San Bao

Director: Zhang Yang Zhang

Weiping

Cast: Zhao Benshan, Dong Jie, Li Xuejian, Dong Lifan Running Time: 96 minutes

Writers: Zhang Yang, Huo Xin Producers: Peter Loehr, Zhang Peimin Cinematographers: Wang Yu, Cheng Shougi Editor: Yang Hongyu Music: Zhang Yadong

Cast: Jia Hongshen, Jia Fengsen, Chai Xiurong, Wang Tong, Shun Xing, Li Jie, ollowing the rural locations of The Road Home and Not One Less, director Zhang Yimou turns to the city for the setting of his latest film, a comedy with a bittersweet edge. Lonely, middle-aged, laid-off factory worker Zhao (Zhao Benshan) is eager to wed. A matchmaker lines him up with a heavy-set divorcee, who demands a pricey wedding. Zhao tries to raise money by refurbishing a derelict bus as a love nest for hire, the "Happy Times Hotel." Not surprisingly this scheme fails—but Zhao's fiancee now tells him to give her blind stepdaughter a job as a masseuse at his hotel. Zhao is reluctant, but takes pity on the unwanted Cinderella (played by the wonderfully expressive Dong Jie) and takes her on. He embarks on an elaborate plan, with the help of his colorful friends, to fake a massage parlor complete with clients. Despite her blindness, the girl sees more than Zhao suspects. With echoes of Chaplin's City Lights, the comedy turns poignant as the lonely bachelor and the surrogate daughter find in each other the companionship they crave.

F

Selected Filmography: Hero (2002), The Road Home (1999), Not One Less (1999), Keep Cool (1997), Shanghai Triad (1995), To Live (1994), The Story of Qiu Ju (1992), Raise the Red Lantern (1992), Ju Dou (1990), Red Sorghum (1987)

Zhang Yang, An Bin, Yu Baoshan, Zhao Zuan, Chen Liang, Du Chunxia, Bai Yuhong, Zheng Pin

Running time: 112 minutes

his ambitious new work is the latest from the director of Shower, SIFF 2000 Golden Space Needle Award-winner. It explores the life of a gifted young actor whose rapid rise to film and stage stardom causes him to undergo his own inner turmoil amid the breakneck social transformations gripping Chinese society in the early '90's. Based on the life of actor Jia Hongsheng, Quitting opens with a series of man-in the street interviews, with ordinary people being asked if they've heard of the young actor, each speculating about what has happened to him as the film traces Jia's meteoric career. The film then segues into a straightforward recounting of his story, picking up with him in the mid-'90s, as he lives the alienated life of a hermit in the Beijing high-rise apartment he shares with his sister. Having heard that their son is in trouble, his parents arrive from the countryside and announce they are moving in with him. But the foul-mouthed rogue they encounter is a far cry from the caring, sensitive son they once knew. What follows is an alternately funny and moving story about family dysfunction, as the stage is set for a culture clash that mirrors the tensions between tradition and modernization in contemporary China.

T

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Image: Daniel Lee. Leopard King (From the series Judgment, 1994), 1999.

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Lan Yu

Skies Satellites NEBO SATELITI

W ednesday, M ay 29 ■ 7 :0 0 PM ■ H arvard Exit Saturday, June 1 ■ 11 :3 0 AM ■ H arvard Exit

CHINA / HONG KONG ■ 2001

CROATIA ■ 2001

Director: Stanley Kwan

Director-Writer-Producer: Lukas Nola

Writer: Jimmy Ngai Producers: Zhang Yongning, Jian Qin Cinematographer: Yang Tao Editor: William Chang Music: Zhang Yadong Cast: Hu Jun, Liu Ye, Su Jin, Li Huatong Running Time: 87 minutes

Cinematographer: Darko Suvak Editor: Slaven Zecevic Music: Legen Cast: Filip Nola, Filip Sovagovic, Barbara Nola, René Bitorajac, Leon Lucev Running Time: 85

mong the many gay-themed movies recently produced in East Asia, Lan Yu is a standout. What starts as a freewheeling depiction of Beijing's gay scene ends up as a sensitive portrayal of a couple that happens to be gay. Chen Handong, a successful and self-assured businessman, meets Lan Yu, an inexperienced student, and takes him home for the night. Despite Handong's warnings not to take the relationship seriously, Yu stays true to his feelings and in the process leads Handong to confront his own emotions. Various obstacles from Handong's marriage to business troubles - threaten their relationship, but love proves stronger. Despite the potential pitfalls to drop the enterprise into sappy melodrama, the film steers clear of contrivance and tear-jerking. Even a scene in which the two say "I love you" to each other rings true, rather than descending into bathos. Director Kwan, who interviewed his mother about his own homosexuality in Yang & Yin (1996), never mellows things out. Based on an underground novel that was posted anonymously on the Internet, the film cour­ ageously ignores sexual or political taboo. Yet Lan Yu makes its strongest statement in avoiding generalizations about China and Chinese gay men. It is the story of an older, wealthy, and manipulative man who falls for the charms of a lover who never conceals what is in his heart. It is the tale of a man who does not cry for his dead father, but instead learns to cry for his love.

nto the middle of the savagery and confusion of SerboCroatian civil war suddenly drops a man with no name from ... well, who can say where? We know he's special because he can walk safely through minefields, like a man charmed or gifted with special powers. A kind of Christ plunked into a Homeric epic, he dreamwalks from one haunting, nightmarish, or simply puzzling episode to another, part of yet apart from the drama, encountering an array of stark, eccentric, wartwisted characters. "Whose are you?" they keep asking him. In this war, no one can be sure whose side anyone is on. In fact, no one can even tell what's going on most of the time. Caught up in the revels of a drunken celebration, one soldier asks, "Have we won?" Director Lukas Nola's film, like its mysterious hero, is looking for something - a single act of connection, perhaps - anything to justify the inhumanity and madness of the former Yugoslav states in the post-Cold War world. As both film and hero move relentlessly toward a crucial moment of sacrifice, Nola interweaves visual and verbal poetry with both acknowledged and unacknowledged cinematic influences most notably Apocalypse Now, Lawrence of Arabia, and, oddly, Starman. Skies Satellites rages against the absurdity of war, yet touches with its final discovery of something of value.

minutes

I

A

Filmography: Rusko meso (1997), Svaki put kad se rastajemo (1994), Dok nitko ne gleda (1993)

Selected Filmography: Island Tales (1999), Hold You Tight (1997), Yang & Yin: Gender in Chinese Cinema (1996), Red Rose White Rose (1994), Actress (1992), Full Moon in New York (1989), Rouge (1987), Love Unto Waste (1986), Women (1985)

Hong Kong Economic & Trade Office

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97

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Sunday, June 9 ■ 9 :3 0 PM ■ E gyptian Tuesday, June 11 ■ 4 :3 0 PM ■ E g yptia n

Parallel Worlds

The Wild Bees

PARALELNI SVETY

D IV O K É VCELY

Saturday, June 1 Sunday, June 2

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CZECH REPUBLIC ■ 2001

CZECH REPUBLIC ■ 2001 Director-Writer: Petr Vaclav

Director-Writer: Bohdan Slama

Producers: Katerina Cerna, Petr Vaclav Cinematographer: Stepan Kucera Editors: Luba Durkovicova, Jacques Comets Music: Jiri Vaclav Cast: Karel

Producers: Viktor Schwarcz, Alice Nemanska, Helena Slavikova Cinematographer: Divis Marek Editor: Jan Danhel Cast: Jaroslav Dusek, Pavel

Roden, Lenka Vlasakova, Marek Daniel, Petra Ernyeiova, Jitka Schnelderova

Liska, Zdenek Rauser, Tatiana Vilhelmova, Marek Daniel, Vanda Hybernova

Running Time: 99 minutes

Running Time: 97 minutes

rom the first shot director Petr Vaclav presents the obsessions that will run through the film. Tereza is seen in closeup, her hands covering her eyes. "Now it looks like great explosions, like underwater eruptions. It's amazing that every time I close my eyes quickly, a shred of reality freezes and morphs. Just like now. Now I can see fish. And now it's all gone." Tereza (Lenka Vlasakova) is a French translator, and her partner, Krystof (Karel Roden), with whom she is in bed at this moment, is an architect. Krystof s comment to Tereza is merely "What's the matter?" The film depicts their disintegrating relationship as a function of a breakdown of communication, and of some more deep-seated form of alienation that takes filmic form in a series of dream sequences. These nightmares affect the two main characters in different ways, commenting on the fragility of their relationship and their psychic troubles, emphasizing their separateness. They live together but don't touch in an emotional sense, suggesting that dream and reality run parallel as well, two possible interpretations of the film's title. With Krystof as the noncommunicative male who seeks solace in an uncomplicated affair, and dealing as it does with hopelessness and alienation, the film has drawn favorable comparisons to the films of Michelangelo Antonioni. But it's just as apt to invoke French cinema with its careful observation of the dynamics of a relationship. Vaclav's documentary-style camera draws us into the seemingly quiet spaces of his character's lives, making us wait for their troubles to well up to the surface. Beautifully photographed, and hypnotic.

C

F

Filmography: Prague Stories (1999), Marian (1996)

zech cinema has always excelled at blending bittersweet drama with ironic, at times almost surreal, humor, and The Wild Bees is no exception. Set in a northern, rural corner of the Czech Republic, the film explores a community struggling between capitalism's riches and communism's poverty - cell phones coexisting with shabby kiosks and muddy roads. The town is sunk in perpetual ennui that is broken only by regular dosing of peppermint schnapps. Even in such a place, shy and quiet Kaya is an outsider. His father, who fancies himself the town philosopher, berates him for not thinking "philo­ sophically" enough, like his brother Petr, who is away at univer­ sity. Perhaps Kaya would entertain thoughts of leaving, if his dreams weren't already preoccupied with local girl Bozhka pretty, self-assured, and alas unattainable. Not only is there a feud between Kaya's grandmother and Bozhka's family, but she is dating Ladya, a motorcycle-riding Michael Jackson enthusiast and the closest thing to a celebrity in the village. Yet hope arises for Kaya in the unexpected return of Petr just days before the annual Fireman's Ball, the village's big annual event.

Petr himself is in for a few surprises, when he discovers his ex­ girlfriend has married and borne a child. Together the brothers attempt to fulfill their desires, although neither can foresee the eventual consequences. In a manner reminiscent of the Czech New Wave (Forman, Passer, Menzel, et al.), writer-director Bohdan Slama has crafted a touching, personal film that manages to illustrate how community fuels the dreams of the individual, sometimes even fulfilling them - if only to keep them safely at home.

Filmography: Akaty bile (1997)

CONTEMPORARY WORLD CINEMA

Wild Flowers

Kira’s Reason - A Love Story

KYTIC E

EN K A E R LIC H E D S H ISTORIE

I

Friday, M ay 24 ■ 4 :3 0 PM ■ Egyptian Sunday, M ay 26 ■ 6 :3 0 PM ■ H arvard Exit

CZECH REPUBLIC ■ 2000

DENMARK - 2001

Director-Cinematographer: F.A. Brabec

Director: Ole Christian Madsen

Writers: F.A. Brabec, Deana Jakubiskova-Horvathova, Milos Macourek Producers: Deana Jakubiskova-Horvathova, Jana Tomsova Editor: Boris Machvtka Music: Jan Jirasek Cast: Bolek Polivka, Dan Barta, Anna Geislerova, Alena Mihulova, Karel Roden, Linda Rybova, Jiri Schmitzer, Veronika Zilkova, Stella Zazvorkova Running Time: 80 minutes

Writers: Ole Christian Madsen, Mogens Rukov Producers: Bo Ehrhardt, Morten Kaufmann Cinematography: Jorgen Johansson Editing: Soren B. Ebbe Cast:

o one does cinematic fairy tales like the Czechs, as this ravishing film from director-cinematographer FA. Brabec confirms. The source is seven stories by FK. Erben, ostensibly unconnected yet suggestively linked by imagery, mood, and a shared countryside. In the first, a woman is struck by lightning on a rural horizon and borne to her grave. In consolation for her grieving children, wild flowers burst forth in abundance from the earth where she lives buried. Figuratively, the blossoms and their vibrant colors spread throughout the ensuing tales. In "Waterman^' a girl's red scarf sinks in a pond and calls forth an amorous water spirit, and a terrible yet eerily satisfying visual poem of love, death, and regeneration unfolds. Next, vampire lovers lay siege to an isolated church.

In a world suffused with golden light like dust, a noonday witch on canes delivers a harsh rebuke to parental impatience.

A nobleman on horseback encounters a half-naked young woman in a forest. And so forth. Visually splendiferous, with an endlessly inventive color palette and exhilarating spectacle and not a little scary.

N

Filmography: King Ubu (1996)

Stine Stengade, Lars Mikkelsen, Sven Wollter, Camille Bendix, Ronnie Hiort Lorenzen, Oliver Appelt Nielsen

Running time: 93 minutes

ften the most compelling stories of the heart are the ones most simply told. Look for no further proof than Kira's Reason, the twenty-first film to receive Dogma 95 certification.

As the film opens, Kira has just been discharged from a psychiatric ward. At first the reasons for her stay are unclear.

On the surface everything seems fine: she possess a charming beauty, comes from a comfortable suburban home, and is raising two lovely boys. But after only a few hours at home, it becomes all too obvious that her convalescence has a ways to go. A surprise homecoming party thrown by her husband Mads proves too much, and she retreats to her bedroom crying.

Eventually, she abandons her house altogether to go see her father in a rundown motel. It is only the first of several episodes in which Kira's fragile psyche is laid bare. Subsequent episodes - one at a swimming pool, the other a nightclub reverberate with their own mixture of ironic humor and morose tragedy. But it's not until the film's denouement that Kira and Mads finally acknowledge the void between them that has fractured marriage and mind. Director Ole Christian Madsen turns the Dogma tenet that permits only handheld camerawork to wonderful advantage: he fills the screen with closeups of Kira and Mads, cinematically dissecting the couple's intimacy.

But it is the acting, particularly Stine Stengade's Kira that gives the film its emotional texture. Together, these elements com­ bine to create a radiant film that sears the heart. Winner of the Danish (Bodil) Film Awards for Best Film, Best Actress.

O

Selected Filmography: "Edderkoppen" (2000 miniseries), Pizza King (1999), Sinans bryllup (1997), Lykkelige Jim (1993)

DANIA

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A S o n g For M artin

The Zooke ep er

EN SÂNC FOR M A R TIN

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Tuesday, June 4 ■ 7 :0 0 PM ■ Pacific Place W ednesday, June 5 ■ 4 :3 0 PM ■ Pacific Place

CZECH REPUBLIC / D E N M A R K / UK / NETH ER LAN DS ■ 2001

DENMARK / GERMANY / SWEDEN ■

Director: Ralph Ziman

Director: Bille August

Writers: Matthew Bishop, Ralph Ziman Producers: Michael Alden, Juliusz Kossakowski Cinematography: Piotr Kukla Editors: Christopher Holmes, Ralph Ziman Music: Nikolaj Egelund

Writers: Bille August, Ulla Isaksson Producers: Bille August, Lars Kolvig, Michael Lundberg, Michael Obel Cinematographer: Jôrgen Persson Editor: Janus Billeskov Jansen Music: Stefan Nilsson

Cast: Sam Neill, Gina McKee, Ulrich Thomsen, Om Puri, Marek Vasut, Javor Loznica Running Time: 108 minutes

Werlinder, Peter Engman, Klas Dahlstedt, Lo Wahl, Kristina Tomqvist

200 1

Cast: Sven Wollter, Viveka Seldahl, Reine Brynolfsson, Linda Kallgren, Lisa Running Time: 117 minutes

n an unnamed city in Eastern Europe, a man moves numbly through his tasks as zookeeper while civil war detonates around him. Exactly who he Is - or what he was before his present career - is left vague. He may have been an officer of a totalitarian regime. He may have been involved in horrific events he now regrets. His current, politically unaligned role may be part of some penance he is undergoing. He isn't saying.

He merely tends - and defends - the animals. At first he has a couple of colleagues in this enterprise, but the ongoing Balkan conflict takes them away from him. Finally, his solitary world and just maybe his suppressed emotional susceptibility - is penetrated by a wounded child, the very personification of the war and its human cost. Then a woman appears, an escapee from a concentration camp, looking for her son. Which may or may not be the nine-year-old boy who preceded her. Sam Neill gives a superb performance in the title role, taking us deep into the enigma of a man who desperately seeks to create a protective cage for himself to withdraw from the world, yet finds himself being drawn back out of it. Gina McKee (Wonderland, Croupier) plays the mother; Javor Loznica, the boy. The great Om Puri is the veterinarian who primes Neill for his mission, and Ulrich Thomsen plays a brutal partisan leader with no mercy for any species.

I

parks fly between famous composer and maestro Martin (Sven Wollter) and first violinist Barbara (Viveka Seldahl).

The fact that both are married with adult children is a minor obstacle as the two fall into a passionate, and refreshingly mature, love affair. A couple of divorces later, they're honey­ mooning like young lovers in the Mediterranean, with a renewed lust for life. But bliss is short-lived. Struggling to finish his new opera, Martin finds that he's becoming forgetful.

When he's diagnosed with Alzheimer's, the couple must face up to the fact that, in sickness and in health, the future of their marriage will be a rough ride. Returning in fine form to intimate drama, director Bille August (Best Intentions, Pelle the Conqueror) takes us on a very personal and moving journey of a dedicated couple facing the challenge of untreatable illness.

As Barbara stubbornly fights her husband's mental deteri­ oration, she finds a new strength and resolve in her dedication to him, no matter the obstacles. The unmistakable chemistry between real-life partners Sven Wollter and Viveka Seldahl is the heart of this unflinchingly honest look at the destructive­ ness of disease, and its effect not only on the victim but on family members and friends. The cinematic journey is made the more poignant in that Seldahl herself died of cancer soon after completing the film.

S

Filmography: Hearts and Minds (1996)

Selected Filmography: Les Misérables (1998), Smilla's Sense of Snow

(1997),

Jerusalem (1996), The House of the Spirits (1993), Best Intentions (1992), Pelle

DANIA 101

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On the Road to Emmaus

H EAD KAED

EM M AUKSEN T IE L L A / LA S T R A D A II

Tuesday, June 4 ■ 7 :0 0 PM ■ H arvard E xit T hu rsd a y, June 13 ■ 7 :0 0 PM ■ B ro ad w a y PH

Saturday, M ay 25 ■ 1:45 PM ■ Pacific Place M onday, M ay 27 ■ 6 :3 0 PM ■ Pacific Place

ESTONIA ■ 2001 ■ U.S. PREMIERE

FINLAND ■ 2001 ■ U.S. PREMIERE

Director: Peeter Simm

Director-Writer: Markku Pôlônen

Writers: Toomas Raudam, Peeter Simm Producers: Artur Talvik, Gatis Upmalis Cinematographer: Uldis Jancis Editor: Sirje Haagel Cast: Lembit Ulfsak, Rezija Kalnina, Tonu Kark, Tiit Sukk, Maija Apine, Kristel Elling Running Time: 96 minutes

Producer: Kari Sara Cinematographer: Karli Sohlberg Editors: Jukka Nykanen Music: Vesa Makinen Cast: Puntti Valtonen, Tommi Korpela, Janne Reinikainen, Aake Kalliala Running Time: 77 minutes

n this whimsical Latvian/Estonian coproduction, director Peeter Simm achieves a relaxed tone that might be described as "Kaurismaki meets Local Hero." Itinerant thief Margita (Rezija Kalnina) separates from her accomplice sister Evija (Leonarda Klavina) after a crime spree in the Latvian capital of Riga. Heading north, she seeks police-free sanctuary in the small Estonian town of Vineeri, only to find a small populace of oddballs and eccentrics who welcome her without a hint of suspicion. She adopts a young orphan boy who's got "good hands" like hers - which is to say, he's a pint-sized crook with a knack for cracking ATM codes. They get along just fine as Margita continues to swipe ^anything she can get her good hands on. She even covers her tracks by cozying up to the town's only cop (Tiit Sukk), but Good Hands is ultimately a tale of nomadic lifestyle, lending itself to director Simm's unpredictable shifts in tone, from light comedy and farce to sentimental drama tinged with tragedy. That makes Good Hands a bit diffuse in its intentions, but the rural atmosphere is gently beguiling, just like its central character and her conflicting impulse to care for her hosts while robbing them blind. There's a thin line between sympathy and suspicion toward a character like this, and Kalnina's performance walks that line with a kind of scrappy allure. It's easy to see why the locals find her so charming, just as it's inevitable that Margita will eventually move on, leaving goodwill and good memories for those who took her in. Simm's low-key direction is similarly inviting, and Good Hands bodes well for his filmmaking future.

edolent of Aki Kaurismaki's trademark brand of deadpan Nordic humor, this giddy tale revolves around the conflict between city and country life. The story follows a cynical city dweller - Helsinki estate agent Rane Koskivuo - who returns to the town of his birth, intent upon selling his family home and finally severing all ties to the place. Arriving in the town, which he has never visited in the last twenty years, even for his father's funeral, Rane decides to take one last long walk through the village. This amble becomes instead an unexpected and wholly bizarre trip through his youth. He's quite literally surrounded by a procession of strange and grotesque ghosts from his past, each of whom causes him to reflect on his life. Among the spirits he encounters are his late father, his childhood sweetheart, a boyhood friend and his fiancée, a fellow villager and the curiously androgynous wife whom he had brought back from a trip to the city, and ultimately Rane's own childhood self. The resulting riot of nostalgic incidents causes him to reassess everything he was and has become. Though director Markku Pôlônen has been a part of Finland's filmmaking scene for nearly two decades, this weird and amusing dramedy buzzes with the same kind of irrepressible anarchic spirit of a first or second feature.

R

I

Selected Filmography: Badding (2000), Viimeinen kesàpàivâ (1999), A Summer by the River (1998), The Last Wedding (1995), Land of Happiness (1993)

Filmography: Roller-Coaster (1994), Inimene, kedapolnud (1989), There Were the

DANIA

Trees... (1985), Arabella, dochpirata (1983), Ideaalmaastik (1980)

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Her Mother, The Whore

Girls C an’t Swim

SA MÈRE, LA PUTE

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Friday, June 7 ■ 9 :3 0 PM ■ B roadw ay Friday, June 14 ■ 9 :3 0 PM ■ B roadw ay

FRANCE ■ 2001

FRANCE ■ 2002 ■ U.S. PREMIERE Director: Brigitte Roüan

Director: Anne-Sophie Birot

Writers: Brigitte Roüan, Marc Villard Producer: Lissa Pillu Cinematographer: Jimmy Glasberg Editor: Laurent Roüan Music: Jean-Claude Vannier.

Writers: Anne-Sophie Birot, Christophe Honoré Producer: Philippe Jacquier Cinematographer: Nathalie Durand Editor: Pascale Chavance Music: Ernest

Cast: Brigitte Roüan, Remo Girone, Dragan Nicotic, Raphaël Krepser, Stéphanie Durand, Cathy Guetta, Yolande Moreau, Christine Murillo, Eric Bonicatto Running Time: 98 minutes

Chausson

Cast: Pascale Bussières, Pascal Elso, Marie Rivière, Yelda Reynaud, Sandrine Blancke, Julien Cottereau, Dominique Lacarriere

Running Time: 102 minutes

hen the body of her beautiful young daughter is found sprawled in an abandoned lot, Catherine (Brigitte Roüan) first reacts with shock, then disbelief - especially when the cops report Coralie died of an accidental drug overdose. The daughter she knew was a straight-arrow premed student, just another bright child of bourgeois respectability. Catherine cannot let go of her grief, her suspicions that the police are too glibly writing this tragedy off. With the help of her friends, this stubborn middle-aged mother, far from beauty, goes under­ ground, posing as a streetwalker, haunting the dives where drugs and flesh are up for sale. She means to trace her daughter's downhill slide, to find the predators responsible for that decline from promising youth to human debris. In the narrow, neon-lit streets of nighttime Paris, Catherine meets and forges friendships with prostitutes who range from earth mothers in black leather to spaced-out junkies in their teens.

Beginning to identify the brutal masters of these mean streets - pimps and bent cops - she slowly infiltrates their inner circle in her quest for vengeance. Under the most physically degrading circumstances, Catherine vicariously experiences her daughter's long night's dying. With Outremer and Post Coitum, Animal Triste to her previous credit, director-writeractress Brigitte Roüan has proved beyond doubt that she possesses an absolutely authentic grasp of what it means to be female, sexual, under fire. She aims her camera like a lie-killing gun, never retreating into coy euphemism. Sa mère, la pute is strong, good medicine, the kind that makes you glad there are alternatives to Hollywood confections.

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he sexual tension that rumbles just beneath the surface of adolescence has never been more palpable than in this bold debut feature from newcomer Anne-Sophie Birot.

Detailing the cruelty and deepest intimacy that can exist between teenage girls, Birot's complete identification with both her main characters transcends the pitfalls of many coming-ofage films as it maintains the often ruthless nature of youthful passions. Gwen (Isild Le Besco) and Lise (Karen Alyx) are 15year-old best friends whose families have summered for years in the same coastal town in Brittany. While Gwen lives yearround on the windswept coast with her financially strapped mother and fisherman father, Lise comes from just outside Paris to vacation every year with her mother and sisters. As the film opens, the girls anticipate yet another insouciant season of flirting and fun in the sun together - only to have family turmoil and burgeoning sexuality intervene. After learning that her estranged father has died in a car accident in England, Lise, brilliant but introspective, faces the prospect of a summer without Gwen's frivolous, carefree charm, stuck in a household dumbstruck with grief. For her part, Gwen readily forgets her disappointment over Lise's absence by pushing the laissezfaire attitude of her feuding parents to the limit. Tomboy tumbles with local guys accelerate into out-of-control sexual escapades in an overwhelming effort to be noticed. But when Lise jumps on a bus to Brittany and shows up unannounced, the two girls are forced to reevaluate their friendship in light of newfound roles and growing anxieties. The next two weeks challenge their suddenly fragile bond as Gwen openly wields her sexual power and Lise struggles to find her place in an increasingly mature world. Le Besco's unbridled performance confirms her rising star status in France, while Karen Alyx's debut, a subtle counterbalance, is a revelation.

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Filmography: Post-coi'tum, animal triste (1997); Overseas (1990), Grosse (1985)

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Merci Pour le Chocolat

In Praise of Love ELOGE DE L 'A M O U R

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FRANCE ■ 2001

FRANCE ■ 2000

Director-Writer: Jean-Luc Godard

Director: Claude Chabrol

Producers: Alain Sarde, Ruth Waldburger Cinematographers: Christophe Pollock, Julien Hirsch Editor: Raphaële Urtin Music: Ketil Bjornsta, David Darling, Karl Amadeus Hartmann Cast: Bruno Putzulu, Jean Davy, Françoise Verny, Cecile Camp Running Time: 97 minutes

Writers: Caroline Eliatcheff, Claude Chabrol Producer: Marin Karmitz Cinematographer: Renato Berta Editor: Monique Fardoulis Music: Mathieu Chabrol Cast: Isabelle Huppert, Jacques Dutronc, Anna Mouglalls, Rodolphe Pauly, Brigitte Catillon, Michel Robin, Mathieu Simonet Running Time: 99 minutes

t last year's Cannes Film Festival, a near-riot broke out among the press when the salle doors opened for Jean-Luc Godard's latest film. Nothing like the legendary mêlée inspired by the first performance of Le Sacré du printemps, of course, but for a moment it seemed that film art might still have the power to galvanize even jaded film critics. Back in the day, the old nouvelle vague-er made revolutionary movies that definitively altered film syntax and style.

Post-revolution, you'd think Godard would have mellowed, disappointed in the dimming art of the flickers but content to be venerated as an Old Master. Not a chance. For Godard, making movies remains a moral act, creative energy aimed at embracing both truth and beauty. Translate Eloge de l'amour more pointedly as "eulogy to love," for it's suffused with exquisite melancholy, inspired by the death of a beautiful actress - a kind of Muse - and the loss of movies as our collective memory, an art that civilizes us.

The first section focuses on a director who's casting for a movie about the various stages of love: meeting, passion, separation, recon-ciliation. Godard shoots this present day in voluptuous 35mm black-and-white film, recalling the glorious Paris he immortalized in early masterpieces such as Vivre sa vie and Masculin-Féminin. The second chapter, an excursion into memory, explodes on the screen in supersaturated digital color, an impressionistic painting. Godard's filmmaker meets with an old couple who are negotiating with Steven Spielberg for the rights to their experiences as French Resistance fighters during WWII history and memory for sale to the highest bidder. Full of feeling, humor, wisdom, Eloge de l'amour pleasures your senses as well as your mind. What more can a film-lover desire?

an it really be that Merci pour le chocolat is Claude Chabrol's 53rd film? And how is it that this nasty little exposure of bourgeois sociopathy simmers as richly with Hitchcockian flavor and style as any early Chabrol? In the wintry Swiss lake town of Lausanne, Mika (Isabelle Huppert), head of a chocolate factory, and André, a famous pianist, quietly remarry. After his initial parting from Mika, André (Jacques Dutronc) had been married to the love of his life, with whom he'd had a son, Guillaume. After his second wife was killed in a car accident, André gravitated back to soothing Mika, whose calm, sphinx-like demeanor seems to hold all the answers - or endless enigma. Into this domestic bliss comes Jeanne (Anna Mouglalis), a beautiful young pianist who believes she and Guillaume were switched at birth; certainly, her prodigious musical talent gives credence to her claim.

Unruffled, Mika graciously opens her home to this newcomer, who begins to study with "daddy." When a thermos of hot chocolate meant for Guillaume turns out to have been laced with poison, the smooth surface of ultracivilized life in Lausanne turns more than a little muddy. Chabrol's playing virtuoso variations on Hitchcock's Suspicion, of course - think of Cary Grant rising through stairwell shadows to deliver that glowing glass of milk to quivering Joan Fontaine. Unsettling camera angles, an increasingly pervasive sense of menace, a cold lethargy that seems to infect the very air - everything in Chabrol's mise-en-scène works to taint his characters with potential guilt. The cast of Merci pour le chocolat is uniformly excellent, but it must be said that the superb Isabelle Huppert has become Chabrol's perfect partner in cinematic crime; recall her terrifying amorality in La Cérémonie (1995), her tightlipped lack of remorse in Une Affaire de femmes (1988), her lethally enigmatic Violette Nozière (1978).

A

Selected Filmography: Origins of the 21st Century (2000), Histoire(s) du cinéma (1998,1989), The Old Place (1998), For Ever Mozart (1996), 2 x 50 Years of French Cinema (1995), JLG/JLG - Self-Portrait in December (1995), Hélas pour moi (1993), Germany Year 90 Nine Zero (1991), Nouvelle vague (1990), King Lear (1987), Détective (1985), Hail Mary (1985), First Name: Carmen (1984), Passion (1982), Sauve qui peut (la vie) (1979), Numéro deux (1975), Letter to Jane (1972), Tout va bien (1972); One P.M., aka One A.M./One American Movie (1972); British Sounds (1970), Wind from the East (1969), Le Gai Savoir (1968), Sympathy for the Devil (1968), Weekend (1967), La Chinoise (1967), Two or Three Things I Know About Her (1967), Made in U.S.A. (1966), Masculin-féminin (1966), Pierrot le fou (1965), Paris vu par... (1965, segment), Alphaville (1965), Une femme mariée (1964), Bande à part (1964), Contempt (1963), Les Carabiniers (1963), Vivre sa vie (1962), Une Femme est une femme (1961), Le Petit Soldat (1960), À bout de souffle (1960)

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Selected Filmography: Au coeur du mensonge (1999), Rien ne va plus (1997), La Cérémonie (1995), L'Enfer (1994), Betty (1992), Madame Bovary (1991 ), Une Affaire de femmes (1988), Le Cri du hibou (1987), Violette Nozière (1978), Juste avant la nuit (1971), La Rupture (1970), Le Boucher (1969), La Femme infidèle (1969), Les Biches (1968), Les Bonnes Femmes (1960), Les Cousins, Le Beau Serge (1959)

CONTEMPORARY WORLD CINEMA

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Murderous M aids

M y Wife Is an Actress M A FEMME EST UNE AC TR IC E

T h u rsda y, June 6 ■ 7 :0 0 PM ■ Pacific Place Saturday, June 8 ■ 1:45 PM ■ Egyptian

FRANCE ■ 2001

FRANCE ■ 2001

Director: Jean-Pierre Denis

Director-Writer: Yvan Attal

Writers: Jean-Pierre Denis, Michele Halberstadt Producers: Michele Halberstadt, Laurent Petin Cinematographer: Jean-Marc Fabré Editor: Marie Hélène Dozo

Producers: Pierre Grunstein, Claude Berri Cinematographer: Remy Chevrin Editor: Jennifer Auge Music: Brad Mehldau

Cast: Silvie Testud, Julie-Marie Parmentier, Isabelle Renauld, François Leventhal, Dominique Labourier Running Time: 94 minutes

Cast: Charlotte Gainsbourg, Yvan Attal, Terence Stamp, Lionel Abelanski, Noemie Lvovsky, Laurent Bateau, Ludivine Sagnier, Keith Allen, Jo Mclnnes Running Time: 93 minutes

he notorious murder case of the Papin sisters rocked France in the 1930s and inspired a number of notable dramatic renderings. Including Jean Genet’s play The Maids and previous SIFF favorites Sister, My Sister and La Cérémonie. This latest version departs dramatically from its predecessors. The film details the true story of the Papin sisters, two chambermaids in the town of Le Mans who brutally murdered their employer and her daughter in 1933. The case was rife with factors that fascinated the public, from the inherent class issues to the viciously violent nature of the killings — the victims’ eyes were gashed out and the bodies were severely mutilated — to the apparently incestuous relationship between the killers. Featuring a brilliant, César-winning performance by Silvie Testud as elder sister Christine Papin, Murderous Maids stays close to the facts and fills in much of the psychological background missing from earlier accounts. Lensed in handsome widescreen, with sets and costume designs that meticulously re-create the era, the film is an alternately chilling and engrossing vision of sibling psychosis pushed beyond the edge.

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harlotte Gainsbourg, the daughter of Jane Birkin and the fetching adolescent star of the Claude Miller-directed, François Truffaut-scripted The Little Thief, plays what she has now become, a French movie star in her damnably attractive prime cast in a London-based romantic comedy. Yvan Attal who also wrote and directed the present film - plays her husband, a TV sportscaster stuck back home in Paris and going bonkers with jealousy. He may have cause: Gainsbourg's costar in the British production is a rakish matinee idol (Terence Stamp having a field day), and Lord knows what fringe benefits he may seek to reap from playing nude scenes with the comely wife. My Wife Is an Actress is the best, funniest, and most adroit French comedy in years. The showbiz satire is savvy and spot-on, and Gainsbourg, with her idiosyncratic, gaminegrown-up glamour, makes a wonderfully fresh and delightful centerpiece to the sometimes frenzied comic inspiration. For his part, Attal contributes a memorable comic portrait of romantic paranoia. And Terence Stamp is sublime. But you knew that.

C

Filmography: I Got a Woman (1997)

Consulate General of France

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CONTEMPORARY WORLD CINEMA

La Route

Das Experiment

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Saturday, M ay 25 ■ 6 :3 0 PM ■ Pacific Place Sunday, M ay 26 ■ 1:45 PM ■ Pacific Place

FRANCE/KAZAKHSTAN/JAPAN - 2001

GERMANY ■ 2001

Director: Darezhan Omirbaev

Director: Oliver Hirschbiegel

Writers: Darezhan Omirbaev, Limara Jeksembaeva Producers: Elise Jalladeau, Joel Farges, Ueda Makato Cinematographer: Boris Trochev Editor: R. Beliakova

Writers: Mario Giordano, Christoph Darnstaedt, Don Bohlinger Producers: Marc Conrad, Norbert Preuss, Friedrich Wildfeuer, Benjamin Herrmann Cinematogra­ pher: Rainer Klausmann Editor: Hans Funck Music: Alexander Bubenheim

Cast: Djamshed Usmonov, Saoule Toktibaeva, Alnour Tourgambaeva, Magjane Omirbaev, Valeria Gouliaeva, Valeri Skorikov Running Time: 91 minutes

Cast: Moritz Bleibtreu, Justus von Dohnyanyi, Christian Berkel, Oliver Stokowski, Running Time: 116

Andrea Sawatzki, Edgar Selge, Antoine Monot Jr., Andre Jung

ith clear - and deeply satisfying - affinities to the visions of both Robert Bresson and Michelangelo Antonioni, Kazakh filmmaker Darezhan Omirbaev is nevertheless his own master, and one well worth making the acquaintance of. At the Toronto International Film Festival several years ago, we were impressed with Killer, an eerily matter-of-fact film noir about an economically beleaguered young family man driven to crime, and Cardiogram, a Bressonian contemplation of a 12-year-old child with a weak heart. Both those were reality-based films, although rendered a bit abstract by the meticulous clarity of Omirbaev's style. La Route is something else again, a dreamlike film - albeit pseudodocumentary in approach - and a bit of a satirical self-portrait. An esteemed Kazakh director (resembling Omirbaev but played by Tadjik director Djamshed Osmonov!) has a recurring nightmare that he is about to introduce his new film to a stuffed-shirt audience; what hits the screen instead of his own precious art film is a down-and-dirty martial arts meller. He's horrified; the audience, not realizing there's a problem, loves it. This Is only the beginning of an unpredictable excursion into the celebrity director's psyche, paralleling a journey back through time as well as space to the distant village where he was born.

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Filmography: Killer (1998), Cardiogram (1995), Kairat (1991)

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wenty men - some to get a peek at how the other half lives, others searching for a change of pace from the humdrum, but most just for the promise of easy cash - agree to take part in a scientific experiment designed to examine the behavioral effects of incarceration. Segregated by the computer, twelve of the subjects become prisoners, donning white hospital robes adorned only with the numbers by which they will henceforth be known; the remaining eight, suited up in crisp blue uniforms from which batons and glistening handcuffs dangle, will be the guards. A university basement fitted out with cells serves as playground, with the scientists monitoring events from a bank of video screens. Even without such enforced intimacy, however, men have a way of learning how to push one another's buttons, and it isn't long before one of the prisoners (Moritz Bleibtreu) has established himself as the prevailing rebel. This Is a situation that weighs not at all well with Berus (Justus von Dohnanyl) - not the most lip-smackingly enthusiastic of the guards, but more ominously a focused, consummate leader. Though Das Experiment is loosely based upon an actual study conducted in the 1970s at Stanford, the mere relocation of the events to German soil brings with It a raft of associations, which director Hirschbiegel and von Dohnanyi's award-winning performance bravely engage directly.

Dispassionately observing the ease of backsliding into fascism even as it ratchets up the events in tried-and-true thriller fashion, Das Experiment handily belies the cool neutrality of its title.

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• T A B L E T * Consulate General of the Federal Republic of Germany

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M onday, June 1 0 th ■ 9 :3 0 p m ■ Pacific Place Tuesday, June 1 1th ■ 4 :3 0 p m ■ Pacific Place

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Bungalow

SASS SASS - DIE M EISTERDIEBE

T h u rsd a y, June 13 ■ 9 :3 0 PM ■ B ro ad w a y PH Saturday, June 15 ■ 1 1 :3 0 AM ■ H arvard E xit

Friday, M ay 24 ■ 4 :3 0 PM ■ H arvard Exit M onday, May 27 ■ 9 :3 0 PM ■ H arvard Exit

GERMANY ■ 2001 ■ U.S. PREMIERE

GERMANY ■ 2002

Director: Carlo Rola

Director-Writer: Ulrich Köhler

Writers: Holger Karsten Schmidt, Uwe Wilhelm Producers: Oliver Berben, Jens Christian S u sa Cinematographer: Martin Langer Editor: Friederike von Normann Music: Georg Kleinebreil

Producers: Peter Stockhaus, Tobias Büchner Cinematographer: Patrick Orth Editor: Gergana Vogf

Cast: Ben Becker, Jürgen Vogel, Henry Hübchen, Frank Sieckel, Karin Baal, Otto

Cast: Lennie Burmeister, Trine Dyrholm, Devid Striesow, Nicole Gläser Running Time: 84 minutes

Sander, Traugott Buhre, Jeanette Hain, Miguel Herz-Kestranek, Lutz Mackensy

Running Time: 112 minutes cclaimed television director Carlo Rola makes the leap to glossy, widescreen feature filmmaking with this true-life story of the Sass brothers, who, in 1920s Berlin, went from impoverished auto mechanics to celebrity criminals overnight.

Perhaps Franz and Erich would have never turned to crime had it not been for a zealous tax collector threatening to seize their struggling garage. Their solution was ingenious: using their mechanical expertise, they burgle the Berlin Tax Office for the funds! Tired of poverty and seeking greater thrills, they move on to bigger, richer projects, their many exploits and escapes taking on a legendary allure for their fellow Berliners. In the city's cabarets, the Sasses proudly flaunt their ill-gotten wealth, introducing themselves to the social élite as "bank robbers." To their impoverished neighbors, they represent the impossible dreams of lucre in a Germany mired in economic depression.

Of course, their cult of personality also attracts the unwanted attention of local protection racketeers, along with constant police surveillance. Still, ever innovative in their craft (they pioneered the use of acetylene torches and acids in cutting open vaults), the Sasses manage to stay one step ahead of the law--until they undertake their supreme coup: the burglary of the impenetrable Diskonto bank, where the rising Nazi Party lodges its millions of reichmarks in campaign funds. Deftly blending noir and melodrama, director Rola pays homage to such films as The Asphalt Jungle, The Cotton Club, and Killing Zoe in creating this shimmering cinematic portrait of German society between the wars.

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n army truck convoy pulls into a rest stop, disgorging the troops for a brief coffee break. One soldier (Lennie Bur­ meister) unobtrusively fails to remount, and hitches a ride to a little bungalow outside a rural village. The place is deserted and closed up, and at first it seems that the young man is breaking into the home of strangers. And perhaps he is, though in fact the home is his own. Soon his older brother turns up with Danish would-be movie starlet (Trine Dyrholm) in tow.

Tensions arc through the lazy summer air like furtive breezes, and over the town nearby an explosion leaves its mark in the sky. Is there terrorist activity afoot? Is the young soldier himself planning something apocalyptic? The army phones up peri­ odically, and patrols come by to look for him. The young man, who speaks vaguely of making a trip to Africa, is reluctantly spirited away by his alienated brother, yet somehow fails to take the train awaiting him. And so it goes, as the actress who mostly speaks to the young man in English (though not to her lover) - becomes alternately more exasperated and intrigued by his growing fascination with her. One SIFF programmer characterized the film, aptly and admiringly, as "a slow-motion train wreck." Director Ulrich Köhler and cameraman Patrick Orth map the titular bungalow and the surrounding trees and hillsides with a chilling precision that never ruffles the laidback summer calm, and the film builds to a masterly, metaphysically charged long-take finale worthy of Antonioni.

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Filmography: Rakete (1999)

We're proud to play a supporting role in tonight's performance At AT&T Wireless, we know that serving the communication needs or our customers is just the beginning. That’s why we’ve also been so involved in our communities. We are proud to continue sponsoring the Seattle International Film Festival and Cinema Seattle.

S A T & T W ir e le s s

CONTEMPORARY WORLD CINEMA

The Navigators

Sunday, June 2 ■ 6 :3 0 PM ■ H arvard E xit W ednesday, June 5 ■ 4 :3 0 PM ■ E gyptian

Friday, M ay 31 ■ 7 :0 0 PM ■ H arvard Exit W ednesday, June 5 ■ 9 :3 0 PM ■ H arvard Exit

GREAT BRITAIN ■ 2001

SPAIN / GERMANY / UK ■ 2001

Director-Writers: Tom Hunsinger, Neil Hunter

Director: Ken Loach

Producer: Martin Pope Cinematographer: Sean Bobbitt Editor: Scott Thomas Music: Adrian Johnston

Writer: Rob Dawber Producers: Peter Gallagher, Rebecca O'Brien Cinematographers: Mike Eley, Barry Ackroyd Editor: Jonathan Morris Music:

Cast: Doug Henshall, Tom Hollander, Bill Nighy, Clémentine Célarié, Josephine

George Fenton

Butler, Ellie Haddington, Stuart Laing, Sukie Smith, Dominic Hall, David Coffey, J.M.

Cast: Dean Andrews, Tom Craig, Joe Duttine, Steve Huison, Venn Tracey, Andy Swallow, Sean Glenn, Juliet Bates Running time: 96 minutes

Barrie, Peter Sym onds

Running Time: 99 minutes

ombining East Enders-type characters and relationships with a Rashomon sensibility, The Lawless Heart charts the course of the lives, loves, and liaisons of a handful of people touched - or not touched - by the death of a restaurateur named Stuart Marsh. Killed in a boating accident, Stuart leaves behind his grieving sister Judy, his disoriented gay lover Nick, and no will. Though Judy is Stuart's next of kin and legal heir, she is inclined to give Stuart's money to Nick, believing it is what Stuart would have wanted. But Judy's husband, Dan, could use the money for the family's own needs; and Judy begins to rethink the plan when Nick takes up with a rowdy young woman named Charlie. Tim, a hanger-on, seeks to take advantage of the situation and those involved in it, and finds his own life moved in a new direction as a result. The events of the days following Stuart's funeral unfold three times, each time tracking a different central character. The film becomes a contemporary middle-class British La Ronde, in which everyone ultimately connects with everyone else by only a degree or two of separation. Stuart himself - the central mystery of the film is revealed only sparely, first through the conversations of those who did or didn't know him, and finally in a viewing of his and Nick's last reel of home movies. Along the way, ruminations on loyalty, fidelity, honesty, selfishness, and trying to do the right thing intermix with intimate connections and incidental couplings, and the film's key events become richer, more illuminated, and more touching with each retelling.

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Filmography: Boyfriends (1996)

Capitol Hill Times

en Loach's acclaimed new film focuses his idiosyncratic blend of sardonic humor and social criticism on the plight of British railway workers suffering under government bureaucracy and the effects of industrial "privatization" in contemporary England. At a British Rail depot in Yorkshire, depot supervisor Harpic (Sean Glenn) undertakes the task of explaining the new rules to his men: either take redundancy pay and sign on as casual workers, or stay on under a new set of conditions, which preclude paid holidays and other elementary benefits. Furthermore, fewer men will be employed in maintenance, and daily contract workers will be hired from the outside. Since their old union has been broken up into sundry private organizations, the men find themselves powerless to resist these new conditions. When a new, rather careless safety policy creates dangerous working condition; the stage is set for tragic consequences. As in all films from this master director, there is much more going on here than a simple political or social screed; Loach's deeply humanistic portrayal of these men is alive with humorous dialogue and the intimate details of familial lives spent beyond the battlegrounds of public policy. And as usual, his way with actors is wellnigh magical.

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Selected Filmography: Bread and Roses (2000), My Name Is Joe (1998), Land and Freedom (1995), Ladybird Ladybird (1994), Raining Stones (1993), Riff-Raff (1990), Hidden Agenda (1990), Singing the Blues in Red (1986), Which Side Are You O n?

(1984), Looks and Smiles (1981), Black Jack (1979), Family Life (1972), Kes (1969), Poor Cow (1967)

CONTEMPORARY WORLD CINEMA

The Lawless Heart

MKS&-

CONTEMPORARY WORLD CINEMA

O ne D a y in A u g u s t

The Em peror’s New C loth e s

CONTEMPORARY WORLD CINEMA

D E K APE N D A VG O U S TO S

Friday, M ay 31 ■ 7 :0 0 PM ■ E gyptian Saturday, June 1 ■ 4 :0 0 PM ■ E gyptian

Saturday, M ay 25 ■ 9 :3 0 PM ■ H arvard E xit Sunday, M ay 26 ■ 1 1 :3 0 AM ■ H arvard E xit

GREAT BRITAIN / GERMANY ■

GREECE ■ 2000 ■ U.S. PREMIERE

2001

Director-Writer: Constantine Giannarls

U.S. PREMIERE

Producer: Pandelis Mitropoulos Cinematographer: Aggelos Vlskadourakis Editor: Ioanna Spillopoulou Music: Akis Daoutis

Director: Alan Taylor

Cast: Emilios Chilakis, Michalis latropoulos, Akllas Karazisls, Eleni Kastanl, Costas Kotsianidis, Amelia Moutoussi, Theodora Tzimou Running Time: 106 minutes

Writers: Kevin Molony, Alan Taylor, Herbie Wave Cinematographer: Alesslo Gelsini Torresi Editor: Masahlro Hlrakubo Music: Rachel Portman Cast: Ian Holm, Iben Hjelje, Tim Mclnnemey, Tom Watson, Nigel Terry, Murray Melvin Running Time: 106 minutes

t's August 15, the Feast of the Assumption and a traditional day when Athenians leave town on holiday - an annual escape made de rigueur by the heat and stress of the city in high summer. One Day In August focuses on three couples from the same apartment building who set out for the ritual getaway. Their paths cross initially cross but diverge, and the sought-after relief and renewal becomes, for each of them, a dark night of the soul. One long-married couple heads for the shrine of the Blessed Virgin, where they hope their daughter will be cured of her leukemia - or they at least will find the strength to face her illness together, as a family. Katia, a doctor who operates an infertility clinic, has decided she wants a child; her domineering husband Costa says no. And the freespirited Sandra is about to break off her relationship with her devoted but drug-distracted boyfriend Michalis. On the road, things happen to each of them that will prove decisive. But that's not all. Back in Athens, a troubled young man breaks into the apartment building and vicariously encounters the troubled lives of each of the couples. Constantine Giannaris's rich film filled with striking images bathed in lush Mediterranean light and color, and set to pulsing, infectious music - faces and even celebrates the tensions and contradictions of modern Greek life, and ultimately finds a way to love and redeem each of its characters ... whether they like it or not.

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828, the island of St. Helena. Although maintained in a condition of modest luxe by his loyal retainers and respectfully treated by his British keepers, Napoléon Bonaparte is quite fed up with exile, thank you, and wishes to be gone.

Reclaim the throne of France, and all that. His followers contrive a daring nighttime exchange: a sailor from a passing ship - an exact lookalike for the Emperor, though His Majesty doesn't see a bit of resemblance - will come ashore to take the Emperor's place as the Emperor takes his. Nicely done, except that being treated like a deckhand doesn't sit well with Napoléon - and the ship that is supposed to stop at a French port, where other loyalists are waiting to embrace him, keeps right on sailing to Belgium, of all places. (They have Waterloo there.) Bonaparte does eventually make his way back to French soil, but the revolution remains on hold. It seems that the impostor back on St. Helena likes being Emperor, even in exile.

Besides, Napoléon himself starts getting involved in the lives of some French commoners, and finds that his monumental skills have their curious peacetime, bourgeois uses. This is a charming what-if tale, based on the novel The Death of Napoléon by Simon Leys and produced with considerable ingenuity, wit, and handsomeness on a delightfully modest scale. Ian Holm is delicious in the role he was born to play twice.

1

Selected Filmography: From the Edge of the City (1998), Three Steps to Heaven (1995), Caught Looking (1991), North of Vortex (1991), Trojans (1990)

Filmography: Palookaville (1995)

1 1 6

I CONTEMPORARY WORLD CINEMA

Beijing Rocks

Risotto

B A K C IN C LO K YU LO

M onday, June 10 ■ 9 :3 0 PM ■ Egyptian W ednesday, June 12 ■ 7 :0 0 PM ■ Pacific Place

GREECE ■ 2001

HONG KONG ■ 2001 U.S. PREMIERE

Director: Olga Malea

Director: Mabel Cheung

Writers: Olga Malea, Manina Zoumboulaki Producer: Tassos Papandreou Cine­ matographer: Yorgos Argyroiliopoulos Editor: Yorgos Mavropsidaris Music: DN A Cast: Anna

Mascha,

Dimitra

Matsouka,

Kleon

Markoulakis, Christos Efthimiou, Sotiris Skantzikas

Gregoriadis,

Writers: Alex Law, Mabel Cheung Producer: Alex Law Cinematographer: Peter Pau Editor: Danny Pang Music: Henry Lai

Konstadinos

Running Time: 97 minutes

Cast: Daniel Wu, Shu Qi, Geng Le, Richard Ng, Faye Yue Running Time: 109 min

ewing to the classic screwball tradition of women as moral and intellectual fingerposts, navigating men toward re­ sponsibility whether they want to be led or not, Risotto offers an airy, fizzy take on the battle of the sexes. Fashion pho­ tographer Eugenia (Anna Mascha) and her wardrobe assistant Vicky (Dimitra Matsouka) spend each day posing mostly naked women in hazily erotic images to sell magazines; each night, after walking home through streets plastered with ads similarly obsessed with breasts and buttocks, both begin a completely new workday tending home and caring for their children.

Eugenia's husband Filippos (Konstantinos Markoulakis) is at work till all hours, though his arrival is invariably announced by the stream of papers and dirty clothes he tosses about the just-cleaned apartment, and the excited jabbering of their young daughter whom he's awakened from her needed sleep.

Whereas Manolis (Kleon Gregoriades) generally greets Vicky at a decent hour, but provides even less help, leaving her to care for their baby as he fixes himself a snack and whines their romance has gone south. When Vicky learns Manolis is having an affair, Eugenia decides the two of them should move in, since a pair of women must be a more efficient team than the male-female partnerships they've endured. The arrangement works swimmingly, and the abandoned husbands are forced to hook up themselves, offering mutual commiseration ("It was just a one-night stand"), and embarking upon a set of charmingly lunkheaded schemes to win their mates back - the main difficulty they must overcome, of course, being whether they are even wanted. Without bogging down in didacticism, Risotto offers many rueful observations on gender, while keeping the proceedings as light and easy on the palate as a ... well, a good analogy escapes us at the moment.

H

remarkable collaboration between director Mabel Cheung and longtime partner-screenwriter Alex Law, Beijing Rocks is filmed by Oscar-winning cinematographer Peter Pau (Crouching Tiger, Hidden Dragon) and reverberates with extraordinarily vibrant color and light. At its core a rock'n'roll anthem of privilege, artistry, and love, the film also stands as a metaphor for the culture clash between mainland China and Hong Kong five years after the handover. Starring San Francisco-born architect/champion martial artist/model Daniel Wu, leading lady Shu Qi (Millennium Mambo, Viva Erotica, Gorgeous, Portland Street Blues), and rising star Geng Le, Beijing Rocks is told through the eyes of a Hong Kong pop-icon (Wu) who is exiled to China by his father to await a drug charge and trial. He stumbles upon an indie rock group - part punk, part street performers - led by an idealist singer (Geng Le) and his can-can dancer girlfriend (Shu Qi). Traversing the city's elusive, kinetic underground music scene, the group decides to go on tour in the countryside, taking their new friend with them on a journey rift with pitfalls only the young can survive.

Cheung is seamless in her mastery of visual imagery, driving soundtrack, and strikingly beautiful characters. She achieves a rich complexity, blending a soft naïveté with the folly of youth as she allows those characters to move in and out of emotional stability, always searching for a home, both literally and figuratively, they can call their own.

A

Selected Filmography: City of Glass (uncredited, 1998), The Soong Sisters (1997), Love: Now You See Love, Now You Don't (1992), Eight Tales of Gold (1990), An Autumn's Tale (1987), Illegal Immigrant (1985)

Hong Kong Economic & Trade Office

Filmography: The Mating Game (1998), The Cow’s Orgasm (1997)

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• T Â â L Ê T * 7

CONTEMPORARY WORLD CINEMA

Tuesday, June 11 ■ 7 :0 0 PM ■ H arvard Exit W ednesday, June 12 ■ 4 :3 0 PM ■ H arvard Exit

Pho to gra p h y b y L O IS P IE R R I

Sound Design • Foley • ADR • Original Music • Surround Mix

2212 4 th A venue, Seattle, W A 98121 Phone: (206) 443-1500 o r (800) 236-5544 w w w .badanim als.co m

T hu rsd a y, M ay 30 ■ 7 :0 0 PM ■ E g yptian Sunday, June 2 ■ 4 :0 0 PM ■ H arvard Exit

Director-Writer: Evans Chan

Director-Writer: Arpad Sopsits

Producer: Willy Tsao Cinematographer: O Slng-Pui Music: Milos Raickovich, Peter Stuart, Giacomo Puccini, Tuna Macaense, Blue Hope

Producers: Laszlo Kantor, Ferenc Kardos Cinematographer: Peter Szatmari Editor: BelaBarsi Music: After Crying

Cast: Bernardo Chow, Victor Ma, Cheri Ho, Lindzay Chan Running Time: 130 min

Cast: Tamâs Mészâros, Szabolcs Csizmadia, Attila Zsilék, Pal Mâcsai, Laszlo Gâlffi, Dora Létay, Enikö Eszenyi, Sândor Gâspér, Péter Müller, Lajos Kovâcs, Tamés Fodor

T he Map of Sex and Love is a seductive visual exploration of the rocky shoals of desire and inhibition, love vs. lust, the troublesome mind and the bothersome body. The film, designed in three parts, gives the interrelated protagonists one chapter each. Wei Ming is an American-Chinese filmmaker who comes to Hong Kong to make a documentary about a soon-tobe-built, bopund-to-be-controversial Hong Kong version of Disneyland. Mimi is an introverted, homophobic woman traumatized by an experience in her past. Larry, a dancer, is a compulsive gay cruiser who has never quite got over the gayaversion therapy a teacher once imposed on him. These three soon become lost in the convoluted shortcuts, detours, and roadblocks created by two colliding relationships; Wei Ming Mimi and Wei Ming - Larry. How can love, friendship, and honesty survive the inevitable crash with lust, sex, and dishonesty? Everything comes together in the third chapter, when Mimi and Larry join Wei Ming on a visit to his father in Macau, where he hopes to learn the truth about the laundering of Nazi gold in the enclave during the Pacific War. This sexy, cinematic trip is all the better for a trio of terrific performances and a "carry me away," Portuguese-flavored soundtrack. Finally, it is director Chan's secure storytelling and deep exploration of the heart, mind, and body that guides the viewer into another cinema adventure.

Filmography: Journey to Beijing (1998), Crossings (1994)

Running Time: 98 minutes n 1960, in the aftermath of the short-lived Hungarian Revolution, the nation is in a state of chaos, and likewise the lives of its individual citizens. Following the breakup of his parents' marriage, nine-year-old Âron (Tamâs Mészâros) is theoretically in the custody of his father (his mother being blind). But Dad is preoccupied with everything but taking care of his son, so Âron soon winds up in a state orphanage. The institution is a horror (what is the Hungarian word for "Dickensian'?): vicious headmaster, slimy child-molesting staff members, terminal desperation. At first the children are as antagonistic and suspicious toward one another as they are toward their adult tormentors and stark environment. But soon they realize that their only recourse is to bond together for mutual protection - and to share furtive glimpses of hope when they finally identify a couple of adults they can, perhaps, trust.

Despite the extremity of the youths' situation, Abandoned achieves considerable power and beauty thanks to the meticulous artistry of writer-director Arpad Sopsits, who based the film on his own childhood experiences as a ward of the Communist state. The considered pacing, superb acting (especially by the children), and melancholic music come together for maximum human impact, and won Sopsits the Grand Prize at the 2001 Montreal World Film Festival.

I

Filmography: Fly Trap (1998), Lost Leading Man (1998), Video Blues (1992), Shooting Gallery (1990)

Hong Kong Economic & Trade Office Sent "ptUMciee»

CONTEMPORARY WORLD CINEMA

HUNGARY ■ 2001

HONG KONG / USA ■ 2001

CONTEMPORARY WORLD CINEMA

Temptations

Asoka

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T hursday, June 6 ■ 9 :3 0 PM ■ H arvard Exit Saturday, June 8 - 1 1 : 30 AM ■ H arvard Exit

T h u rs d a y , M ay 30 ■ 9 :3 0 PM ■ E gyptian Tuesday, June 11 ■ 1 :0 0 PM ■ C ine ra m a

HUNGARY ■ 2001

INDIA ■ 2001

Director-Writer: Zoltán Kamondi

Director: Santosh Sivan

Producer: Gyorgy Budai Cinematographer: Gabor Medvigy Editor: Zsuzsa Posan Music: Laszlo Melis, Gyorgy Arvai, Gabor Valcz

Writers: Saket Chaudhary, Santosh Sivan Producers: Sanjiv Chawla, Mark Burton Cinematographer: Santosh Sivan Editor: Shreekar Prasad Music: Anu Malikn,

Cast: Marcell Miklos, Julianna Kovacs, Kati Budai, Juli Basti, Janos Derzsi, Zoltán Seress, Eszter Onodi Running Time: 88 minutes

Sandeep Chowta

Cast: Shah Rukh Khan, Kareena Kapoor, Danny Denzongpa, Ajit Rahul Dev, Hrishitaa Bhatt, Umesh Mehra, Gerson Da Cuhna, Subhashini, Suraj Balaje, Johnny

inner of three top awards at the 33rd Hungarian film festival and a Golden Bear nominee at Berlin this year, Temptations is the third feature from Hungary's most celebrated new director, Zoltán Kamondi. Kamondi's previous films, Paths of Death and Angels and The Alchemist and the Virgin, were light on plot and heavy on lavish visuals; Temptations takes the opposite approach, punctuating its straightforward, black-and-white imagery with brief passages of color for closeups or when emotions run high. And run high they do, when 19-year-old Marci (Marcell Miklos) becomes the adoptive father - or is he the husband? - of a 1 0 -year-old Romany girl named Juli (Julianna Kovacs), sold into marriage by her parents for three crates of onions. Unaware that gypsy tradition has brought him a young bride, Marci treats Juli as a young charge who will benefit from his brotherly tutelage; for her part, Juli is determined to fulfill her wifely duties - a situation complicated by Marci's sexually vibrant girlfriend Elvira (Kati Budai) and protective mother Anna (Juli Basti).

Seeking the truth about his absentee father, and uncertain of his future despite a scholarship to Cambridge, Marci hacks into ATM machines to divert large sums of money, exploiting Juli's magical powers to assist his stealthy crimes. Temptations is pretty magical itself, though it reaches a shocking conclusion a surprise twist that retroactively casts an ominous shadow over all that precedes it, and was reportedly added at the last minute when the terrorist attacks in America on Sept. 11, 2001, compelled Kamondi to end his film on a sobering note.

As a compelling clash of cultures, Temptations has a resonant impact, right up to its final, haunting image.

W

Lever, Raghubir Yadav, Suresh Menon

Running Time: 180 minutes

big, beautiful historical epic that looks like the result of cross-fertilization among Braveheart, Crouching Tiger Hidden Dragon, and the Best of Bollywood, Asoka serves up comedy and tragedy, passion, politics, songs and belly­ dancing, bloody battles, and Buddhism. And did we mention, a couple of the most gorgeous star-crossed lovers ever? Let yourself go, as you once did with Spielberg and Lucas, and follow the incredible fortunes - from bloodthirsty conquerer to Buddhist missionary - of legendary Indian emperor Asoka (hunky Shah Rukh Khan), who lived 200 years before Christ. As a young man, wearying of his brothers' scheming for the throne, Asoka goes a-wandering, ending up in a neighboring kingdom where he falls madly in love with a lovely princess (Kareena Kapoor) on the lam with her younger brother - their parents have been overthrown and murdered. Naturally, Shakespearean misunderstandings and betrayals abound; when it seems that his beloved has died, Asoka goes home to kill anybody who stands in his way, becoming a brutal megalomaniac who forces all of India under his rule ... except that aforementioned neighboring kingdom. During the bloodiest battle ever, Asoka crosses swords with a voluptuous warriorwoman. We can say no more, except to encourage you not to miss a minute of this richly colored, sexy, and genuinely moving movie-movie.

A

Filmography: Theeviravaathi (2000), The Terrorist (1999), Malli (1998), Halo (1997)

Filmography: The Alchemist and the Virgin (1999), Paths of Death and Angels (1991)

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CONTEMPORARY WORLD CINEMA

The Mapmaker

Sunday, M ay 26 ■ 9 :3 0 PM ■ H arvard E xit M onday, M ay 27 - 1 1:3 0 AM ■ H arvard Exit

W ednesday, June 5 ■ 7 :0 0 PM ■ Broadw ay PH Friday, June 7 ■ 9 :3 0 PM ■ H arvard Exit

INDIA ■ 2001 Director: Digvijay Singh

IRELAND ■ 2001 WORLD PREMIERE

Writers: Emmanuel Pappas, Digvijay Singh Producers: Emmanuel Pappas, Dileep Singh Rathore, Digvijay Singh Cinematographer: Mark Lapwood Editor: Bridget Lyon Music: Manesh Judge, Noorallah Lodhi

Producer: Paul Donovan Cinematography: Owen McPolin Editor: Catherine Creed Music: Cathal Coughlan

Cast: Anant Nag, Mita Vasisht, Nitya Shetty, Nikhil Yadav, Veerendra Saxena, Mukesh Bhatt Running time: 105 minutes

Cast: Brian F. O'Byme, Susan Lynch, Brendan Coyle, Ian McElhenny, Oisin Kearney Running Time: 92 minutes

igvijay Singh's Maya, which opens by stating that it's based on true practices, is the kind of film that sneaks up on you.

It appears to be about one thing, childhood, but is really about another, the end - nay, the brutal destruction - of childhood.

Consequently, the first half is light, both literally and figuratively, and the second is dark. The sun continues to shine ceaselessly down on the attractive, brightly dressed people who inhabit this movie, but something has changed that can never be undone. When we first meet her, Maya (Nitya Shetty) and her cousin Sanjay (Nikhil Yadav) are enjoying a comfortable summer in the country that revolves around warm milk, stolen candy, and sunny afternoons on the rocks. The two are as close as brother and sister. But then Maya "becomes a woman." She is never told what this means, only advised that it's now time to prepare for her "prayer ceremony." Her aunt and uncle bundle the children up for an extended trip into town, and the preparations commence. Everything is quite matter of fact from start to finish, but there are subtle signs along the way, alerting the characters (and the audience) that something is not right. What lies in store is in fact quite horrific - for Maya and for the audience, though the adults in Maya's world turn a blind eye to the horror. Just as they refuse to recognize the symbolic significance of the pale lizards that somehow turn up everywhere along the family's itinerary (particularly at key moments), their culture refuses to question the very customs they take for granted - regardless of the human consequences.

This is a complex and shattering film.

J

Director-Writer: Johnny Gogan

D

ourneying north to the parish of Rosveagh, just across the border with Northern Ireland, cartographer Richie Markey (Brian F. O'Byrne) assumes that the strife which formerly rocked this region is a thing of the distant past. Having taken the trip to fulfill a commission to create a tourist map of the surrounding countryside, he soon learns that things are not as peaceful as they had initially appeared. Community tension revolves around a large forestry company at work in the surrounding woods; a number of the locals are bitterly opposed to the venture, and in the course of his mapping Richie finds a number of archaeological sites that are threatened by the project. The forestry venture turns out to be tied to another source of tension in the close-knit community: some years ago, during the most recent "Troubles,” an alleged informer disappeared. Richie learns from a local schoolteacher (Susan Lynch, The Secret of Roan Inish) that a young boy whom he's spotted in the woods is the son of the missing man. As tensions rise, Richie forms a bond with the boy, reinforced by memories of his own family past and their involvement in the Irish strife. When a body turns up in the woods, the friction that has lain just beneath the surface of the community threatens to erupt into full-scale turmoil.

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Maya

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Ì CONTEMPORARY WORLD CINEMA

CONTEMPORARY WORLD CINEMA

I

Yellow Asphalt

The Last Kiss

ASPHALT Z A H O V

L 'U L T IM O B A C IO

Sunday, May 26 ■ 4 :0 0 PM ■ Pacific Place Tuesday, M ay 28 ■ 7 :0 0 PM ■ Pacific Place

Friday, June 7 ■ 7 :0 0 PM ■ Pacific Place Saturday, June 8 ■ 1:45 PM ■ Pacific Place

ISRAEL ■ 2000

ITALY ■ 2001

Director-Writer-Producer: Dan Verete

Director-Writer: Gabriele Muccino

Cinematographer: Yoram Millo

Editors: Anna Finkelstein, Zak Hara, Rabel Yagil

Producer: Domenico Procacci Cinematographer: Marcello Montarsi Editor: Music: Paolo Buonvino

Music: Yves Touati

Claudio Di Mauro

Cast: Raida Adno, Tatiana Blacher, Moshe Ivgi, Motti Katz, Sami Samir Running Time: 87 minutes

Cast: Stefano Accorsi, Glovanna Mezzogiorno, Stefania Sandrelli, Marco Cocci, Pierfrancesco Favino, Regina Oribli Running Time: 114 minutes

nce solely the domain of nomadic tribes, the Judean desert supplies the relentlessly bleak, inherently dramatic backdrop for three fables of the uneasy coexistence and common humanity of Bedouins and Israelis. Yellow Asphalt, Grand Prize winner at the 2000 Haifa International Film Festival, is a self-contained trilogy whose elements were actually shot several years apart. Each story treats of the clashing of cultures; each episode is longer, more complex and more troubling, than the one that went before. "Black Spot" (shot in 1994) centers on a pair of truck drivers who deal with a disaster they themselves have created. The second story, "Here Is Not There" (1997), is about a German woman trying to escape her unhappy marriage to a Bedouin: "We will end the way we started," her husband says to the elders deciding the couple's fate. The final installment, "Red Roofs," ostensibly focuses on the love relationship between a Bedouin woman and her married Israeli employer. But it is Abed, a hired hand (played beautifully by Sami Samir) seemingly on the periphery of the relationship, who will be caught in the middle. Abed advises Suhilla, the woman, to "go out among the Jews," to assimilat - advice he will have to heed himself. Writer-director Dan Verete spent seven years making the film, living half of that time with the Jahalin Bedouin tribe (many of whose members comprise the nonprofessional cast). He has worked since 1981 as both director and screenwriter for television, and wrote the script for Daniel Waxman's Hammsin, winner of the Silver Leopard at Locarno in 1983.

en years after their heyday in college, a group of buddies find themselves having midlife crisis a couple decades too early. Girlfriends, jobs, families, and stability: is this it for the rest of their lives? The wedding of one of their own serves as an alarm - they need to take drastic action, to reclaim their lives in a burst of delayed adolescent glory. Carlo, probably the most stable of the group, has a good job, a gorgeous girlfriend, and a seemingly perfect life. But when his girlfriend Giulia announces her pregnancy, goes shopping for baby buggies, and talks of getting married and buying a house, panic sets in.

Suddenly Carlo finds himself lured by the teenage charms of Francesca, a pretty young thing that he knows will cause him nothing but trouble. In the meantime, his friends Adriano, Paulo, and Alberto mull over their own escape plans from their everyday life - the answer presenting itself as a beat-up van that promises to drive them the length of Africa far away from their commitments and troubles. Funny and romantic, not to mention emotionally and dramatically real, The Last Kiss was a huge hit in its native Italy as well as Europe, winning five David di Donatello Awards (the Italian equivalent of the Oscars), as well as the Audience Award for World Cinema at Sundance.

O

T

Filmography: But Forever in M y Mind (1999), That's It (1998), Intolerance: Max suona il piano (1996)

i* q u L t £ 122

CONTEMPORARY WORLD CINEMA

The W ay We Laughed

All About Lily Chou-Chou

COSI R ID EV AN O

LILY C H O U -C H O U NO SUBETE

T hu rsd a y, M ay 30 ■ 9 :3 0 PM ■ Pacific Place S aturday, June 1 ■ 1:45 PM ■ E gyptian

T hu rsda y, June 6 ■ 9 :3 0 PM ■ Pacific Place W ednesday, June 1 2 ■ 1:00 PM ■ C ineram a

■

JAPAN ■ 2001

1 9 9 8

Director: Gianni Amelio

Director-Writer: Shunji Iwai

Writers: Gianni Amelio, Daniele Gaglianone & Lillo Jacolino & Alberto Taraglio Producers: Rita Cecchi Gori, Vittorio Cecchi Gori Cinematographer: Luca Bigazzi Editor: Simona Paggi Music: Franco Piersanti

Producer: Koko Maeda Cinematographer: Noboru Shinoda Editor: Yoshiharu Nakagami Music: Takeshi Kobayashi Cast: Hayato Ichihara, Shugo Oshinari, Yu Aoi, Ayumi Ito, Takao Osawa, Izumi Inamori Running Time: 146 minutes

Cast: Enrico Lo Verso, Francesco Giuffrida, Rosaria Danzè, Fabrizio Gifuni, Claudio Contartese, Domenica Ragusa, Simonetta Benozzo, Pietro Paglietti Running Time:

here have been many films in recent years concerning cyberculture, but All About Lily Chou-Chou goes them one better - it began life as an interactive website before becoming a movie (which, naturally enough, now has its own website!).

Lily is an "ethereal" pop star, somewhat akin to Bjork, although actually inspired (according to director Shunji Iwai) by Faye Wong. Her music represents a collaboration among Iwai, composer Takeshi Kobayashi, and vocalist Salyu. Iwai's highgrade DV production isn't really "all about" Lily so much as it's all about passive teen Yuichi (Hayato Ichihara) and his rural classmates. As we plunge into the youth's world, it becomes increasingly difficult to distinguish friends from enemies: Yuichi starts hanging out with the "bad" kids - the bullies whereupon the formerly "good" kids - like Hoshino (Shugo Oshinari), who becomes the biggest bully of them all - turn on him. As Yuichi becomes more of a participant in the maelstrom, he reserves the greatest cruelty for those he holds in the highest esteem - like Kuno, a talented Debussy devotee.

Listening to Lily's soothing, seductive music and chatting online with other fans (under the handle "Philia") is his means of escape. If it weren't for fellow chat-room denizen "Blue Cat," he wouldn't have any friends at all. But who is Blue Cat, really?

(Or Lily, for that matter.) In the end, does Yuichi represent the youth of Japan, the youth of today, or both? Iwai leaves the question tantalizingly unanswered in this elegiac work of fictional nonfiction that catapults him into the cutting-edge company of Shinji Aoyama (Eureka) and Kiyoshi Kurosawa (Cure), two other directors who combine fantasy and reality, beauty, and horror in exploring and questioning a wired world that connects more and more people ... but at what cost?

T

124 minutes

he director of Ladro di bambini and Lamerica made this potent study of fraternal connection and its persistence despite deep conflict - and the fact that the two brothers are so dissimilar, they might be almost descended from different species. Giovanni (Amelio regular Enrico Lo Verso in his most dynamic performance yet) is an uneducated, and rather uncouth, working-class fellow, though his native Sicily holds no work for him as the film begins. His younger sibling Pietro (Francesco Giuffrida) is a scholar and aspiring teacher, based in Turin. The fascinating structure of the film refracts their relationship over a period of seven years, beginning in the early '50s - but dramatizing only a single day in any one of those years. Giovanni comes to Turin and soon concludes that it is his duty to undertake the support of his brother, so that Pietro can become a man of distinction and bring honor to the family. The intention is noble, but despite his intellectual advantages the beneficiary of Giovanni's dedication is not.

However, The Way We Laughed is much more complex than a simple parable of peasant nobility vs. urban sophistication and phoniness. Giovanni needs to embrace his role as his brother's savior, otherwise what is his life about? The prismatic structure of the narrative, and Amelio's penchant for leaving a great deal unspecified and ambiguous even in the days/scenes we are given to witness, make for a compelling, even mysterious personal drama, set against the historical backdrop of oncewar-ravaged Italy evolving into the affluent world familiar from early-'60s classics such as La Dolce Vita.

T

Selected Filmography: Non è finita la pace, cioè la guerra (1994), Il Mercante

(1992), The Stolen Children

Ragazzi di via Panisperna

(1988), 6 Mina

(1997), Lamerica

Selected Filmography: April Story (1998), Swallowtail & Butterfly (1996), Picnic

(1992), Open Doors (1991), I

(1985), Camera oscura

(1996), Love Letter (1995), Undo (1994)

(1985), La

Squadra del lunedi (1985), Idalina (1984), Passeggeri (1984), Vocazione (1984), I Velieri (1983), In cammino (1979), II Piccolo Archimede (1979), La Città del sole (1973), Il Campione (1967), Undici immigranti (1967)

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IT A L Y

AF t h e

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Brasa Urbane Dining Until 1:30 AM Third at Lenora Reservations: 206 728-4220

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m t u » ¿i 111 ■ i i t t i 1 1 1 i f i i r i n n i f i n i n

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Hush!

Firefly Dreams IC H IB A N U TSU KU SH I NATSU

Saturday, June 8 ■ 6 :3 0 PM ■ H arvard Exit Sunday, June 9 ■ 4 :0 0 PM ■ H arvard Exit

M onday, M ay 27 ■ 6 :3 0 PM ■ H arvard Exit Tuesday, M ay 28 ■ 4 :3 0 PM ■ H arvard Exit

JAPAN ■ 2001

Director-Writer: John Williams

Director-Writer: Ryosuke Hashiguchi

Producers: Martin B. Z. Rycroft, John Williams, Kazuaki Kaneda Cinematographer: Yoshinobu Hayano Editor: John Williams Music: Paul Rowe

Producer: Tetsujiro Yamagami Cinematographer: Shogo Ueno Editor: Ryosuke Hashiguchi Music: Bobby McFerrin

Cast: Maho Ukai, Yoshie Minami, Tsutomu Niwa, Etsuko Kimata, Haruo Hanahara, Shunsuke Kabeya, Kyoko Kanemoto, Chie Miyajima, Atsushi Ono, Ayako Sato, Sadayasu Yamakawa Running Time: 104 minutes

Cast: Seiichi Tanabe, Kazuya Takahashi, Reiko Kataoka Running Time: 135 min­ utes yosuke Hashiguchi's followup to his sensitively acted coming-of-age drama, Like Crains of Sand (SIFF '97), is a more mature, ambitious work. Although the storyline may seem similar to that of The Object of My Affection or The Next Best Thing, Hush! looks and feels nothing like those films even if it does concern a straight woman who would like to bear the child of a gay man. Lonely professional Asako (Reiko Kataoka) doesn't actually come to that decision until she meets soft-spoken engineer Katsuhiro (Seiichi Tanabe) and his boyfriend Naoya (Kazuya Takahashi) when thrown together by chance at a restaurant - nearly 30 minutes into this gently humorous film. Before that, Hashiguchi immerses us in the details of their lives and careers, including Asako's awkward encounters with a former lover, Katsuhiro's problems with a disturbed co-worker, and the efforts of Naoya's meddlesome mother to control his life. Their lives are far from simple, but Asako isn't looking to complicate things, just for a father - or two - with kind eyes and a good heart. In many ways, the relationship they form suggests an adult version of the love triangle in Like Crains of Sand. Hashiguchi also directed A Touch of Fever (SIFF '94), and Hush! is yet more proof that there are few directors working today with more empathy for their characters - gay, straight, male, or female. Whatever their flaws, Hashiguchi cares deeply about them and, by the end of this affectionate valentine to the modern family, it's hard not to feel the same way. The title comes from Bobby McFerrin's version of the lullaby "Hush Little Baby," and he also provides the film's wistful soundtrack.

R

oung Naomi's day is filled with activities - skipping classes, dancing till all hours, teasing strange boys on the train familiar to anyone who has ever been a sullen teen, Japanese or otherwise; but her parents have just about reached the end of their tethers over her rebellious disdain. The strain has even begun to fracture the marriage, and her father decides he and his wife need time alone to sort out their difficulties, shipping Naomi off for the summer to work at the resort hotel of her aunt and uncle. Initially the sun-dappled forests, the river winding sleepily through the heart of town, the curving mountain roads, are no less boring and stifling to Naomi than the cluttered cityscape of Nagoya; she tramps through the hotel's airy rooms and traditional sliding doors as sullenly as she did her cramped Western-style apartment at home. Small towns have a way of slowing you down to their pace, however, and when it's decided that she should keep daily company with the elderly Mrs. Koide (Yoshie Minami), lest the stubborn old woman neglect her medications, Naomi finds her way into the rhythm. One that doesn't shelter you from pain and regrets which can of course be found even in this quiet village - but makes them at least a little easier to bear. A warm, unhurried drama that glows with respect for tradition (perhaps in part due to its being written and directed by 2 Welshmen, John Williams), Firefly Dreams doesn't strive for sweeping revelations, preferring instead the gentle epiphanies that can sidle up to you when you're examining a drawer of old photos or resting by a pond.

Y

Filmography: Like Grains of Sand (1995), ATouch of Fever (1993), The Secret of Last Night (1989)

125

CONTEMPORARY WORLD CINEMA

JAPAN ■ 2001

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The Broadway Breakfast Special. Two eggs any style, two pieces of bacon, hashbrowns, toast and small orange juice.

Only $3.95.

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Available Monday - Friday, 8am - 11am.

314 Broácíway East, Seattle • 328-7000

C O N T E M P O R A R Y W ORLD CIN EM A

Princess Blade

Uzumaki

SHURA Y U K IH IM E

SPIRAL INTO HORROR

Saturday, June 1 M onday, June 3

Tuesday, M ay 28 ■ 9 :3 0 PM ■ E gyptian Friday, M ay 31 ■ 1 2 :0 0 AM ■ E gyptian

JAPAN ■ 2 0 0 0

■ 2002

Director: Shinsuke Sato

Director: Higunchinsky

Writers: Shinsuke Sato, Kei Kunii Producer: Taka Ichise Cinematographer: Taro

Writers: Kengo Kaji, Takao Nitta, Chikka Yasuo Producers: Man Kurosawa, Dai Miyazaki, Toyoyuki Yokohama Cinematography: Gen Kobayashi Music: Tetsuro

Kawazu Editor: Hirohide Abe Music: Kenji Kawai

Kashibuchi, Keiichi Suzuki

Cast: Hideaki Ito, Yumiko Shaku, Shiro Sano, Yuko Maki, Yoko Chosokabe, Naomasa Musaka, Yutaka Matsushiga, Shintaro Soooka, Takashi Tsukamoto, Yoishi

Cast: Erko Hatsune, Fhi Fan, Ren Osugi, Keiko Takahashi, Taro Suwa, Masama

Numata, Kyusaku Shimada Running Time: 86 minutes

Horiuchi Running Time: 90 minutes

aking place 500 years in the future, this martial arts revenge drama involves a clan of sword-wielding assassins called the Takemikazuchi, once guards to royalty but now killers for hire. Yuki, our hero, is a master swordsperson and daughter of Azora, the former Princess Takemikazuchi - former because Byakurai, the present guy-in-charge, had her killed so that he could assume the mantle of leadership. Now, as Yuki turns twenty, she must decide whether to claim her right of succession - and thereby seal the fate of the Takemikazuchi by dissolving the tribe - or leave. But above all, Yuki must avenge the murder of her mother. Of course, the bad guys aren't going to let any of that happen. Hence Yuki ends up in sanctuary with a young operative of the Reformers (dare we call them by the T word?), Takashi, whose leaders are just as corrupt and powermongering as Yuki's. The presence of a femme-samurai is a refreshing twist on the usual martial arts fare, and a worthy addition to what science fiction author and editor Gardner Dozois once dubbed "The Beautiful-Female-Kicks-Male-Butt Genre." (Some notable female butt gets kicked as well.)

Shinsuke Sato's film was inspired by the comic by Kazuo Koike and Kazuo Kamimura. The spectacular action sequences are the work of Donnie Yen, who has acted and choreographed fight scenes in such films as Blade II and Iron Monkey. The very special visual effects are Shinji Higuchi's.

zumakfs another entry in the current wave of Japanese horror kicked off by the massive success of Ring (1998) and Kiyoshi Kurosawa's elegant terrorshows. While American horror movies grind their way through numbing gorefests that deliver not the slightest frisson of genuine fear, the Japanese stir up actual visual style that subtly creates a climate of dread and creepiness. Something nasty's afoot in Kirie's apparently normal - normal like Blue Velvet’s Lumberton! - little village: Uzumakis heroine, an innocent schoolgirl, watches uncomfortably as her boyfriend's father videotapes a snail ... for a very, very long time; soon dad has ''corkscrewed” himself, suiciding in a washing machine. The unsettling image du jour in first-time director Higunchinsky's deliciously atmospheric adaptation of a popular manga by Junji Ito is the spiral: snails, stairways, the seaweed floating in bowls of miso soup, the cracked windshield of a car after an accident, a giant spiral cloud - the cremated remains of the corkscrewed parent - that hangs over the town. Slowly but surely, the townsfolk succumb to irresistible obsession and grotesque mutation; a miasma of apocalyptic horror infects the very air Uzumakis soon-to-besnail-people breathe. Higunchinsky breeds hallucinatory weirdness through superslow dissolves, backward-running film, subliminal shock cuts, overexposed stock, celluloid melting on screen - and makes the short hairs rise with excruciating images such as a centipede crawling into a hospital patient's ear and Beetlejuice-sty\e haunts with spiral tongues. You'll find yourself in knots before this nightmare's over!

U

T

127

C O N T E M P O R A R Y W ORLD CINEM A

JAPAN

1 2:0 0 AM ■ E gyptian 9 :3 0 PM - E gyptian

C O N TE M P O R A R Y W ORLD CIN EM A

My Brother Silk Road

Pistol Opera

C O N T E M P O R A R Y W ORLD CIN EM A

A LTYN K Y R C H O L

Sunday, June 9 ■ 9 :3 0 PM ■ Pacific Place Wednesday, June 1 2 ■ 4 :3 0 PM ■ E gyptian

Friday, June 14 ■ 9 :3 0 PM ■ H arvard E xit Sunday, June 16 ■ 6 :3 0 PM ■ H arvard E xit

JAPAN ■ 2001

KYRGIZSTAN/KAZAKHSTAN - 2001 ■ U.S. PREMIERE

Director: Seijun Suzuki

Director: Marat Sarulu

Writer: Kazunori ltd Producer: Saturo Ogura Cinematographer: Maeda Yonezo Editor: Suzuki Akira Music: Kodama Kuzufumi

Cast: Busurman Odurakaev, Tinak Abdrzaeva, Mukhambet Toktay Running Time:

Cast: Makiko Esumi, Sayoko Yamaguchi, Masatoshi Nagase, Mikijiro Hira, Yeong-he Han, Haruko Kato, Kirin Kiki, Kenji Sawada, Kensaku Watanabe Running Time: 112

80 minutes

he second feature film of Kirghizian director, Marat Sarulu, writer of the Award-winning The Adopted Son (1998), this is an entrancing film about destiny. It opens on four children from a mountain village who are wandering on the Kirghiz steppe. On the way through the forest they drink birch nectar from the trees and discover the wonders of the landscape and of each other. They head for the train tracks where the Great Silk Road used to run. Playing around the tracks, they listen for trains and dream of adventure. Meanwhile, some distance away, an actual train winds its way down the monotonous yet beautiful steppes. People on board pass the time in various ways: a young woman and her mother argue, people gamble, an artist draws. Following an argument, the artist is thrown off the train and marooned in the wilderness, where he encounters the children. Marat Sarulu gives us a microcosmic look at the spirit of the inhabitants of the steppe, and the different possibilities of what life might have in store for them. The beginning of the story and the end of the story come together, and life for some will never be the same.

T

minutes

orn in 1923, Seijun Suzuki began directing films in the mid'50s, working for a studio known for grinding out yakuza movies and soft-core "roman-pornos." But Suzuki's "assembly line" efforts garnered a cult following; somewhat in the fashion of American B maestros Samuel Fuller, and Budd Boetticher, these films transformed the most routine assignment into a dazzling personal statement. Awash in bold, aggressive colors, staged in impossible places, taxing the limits of Cinemascope compositions, this outlaw art transcended its genres - perhaps created its own genres. In 1967 the studio fired Suzuki for allowing art to interfere with making money; 1967's gorgeously nihilistic Branded to Kill was the final straw. After a long hiatus, he plunged into making movies that practiced razzle-dazzle style with a vengeance. Now, comes Pistol Opera, the octogenarian's orgiastically colorful sequel to his stark, black-and-white masterpiece Branded to Kill. And oh yes, instead of Branded's "Number 3 Killer," ultracool machismo personified, we have "Stray Cat," a statuesque hitwoman in the assassins guild who's given to wearing high-heeled boots and a kimono. Pistol Opera's plot has to do with the rivalry to be "Number One Killer," with all manner of exotic types ("Painless Surgeon," "Dark Horse," "The Teacher") angling for the prize.

But for Suzuki, the plot's just an excuse for pedal-to-the-metal excursions into rapturously beautiful Technicolor style. As Miyuki the Stray Cat, Makiko Esumi (last seen in Kore-eda's Maborosi) grabs and holds your eyes, her potent physicality expressed in ritualized choreography. Not your mother's martial-arts movie!

B

Filmography: In S P E (1993), Mandala (1998), The Fly Up (2002)

Selected Filmography: Kekkon (1993), Yumeji (1991), Capone Cries a Lot (1985), Lupin III: The Gold of Babylon (1984), Kageroza (1981), Tsigoineruwaizen (1980), The Fang in the Hole (1979), A Tale of Sorrow and Sadness (1977), Branded to Kill (1967), Elegy to Violence (1966), Tokyo Drifter (1966), Gate of Flesh (1964), Our Blood Will Not Forgive (1964), Wild Youth (1963), A Hell of a Guy (1961), Sleep of the Beast (1960), Aim at the Police Van (1960), Age of Nudity (1959), Young Breasts (1958), Voice Without a Shadow (1958), Eight Hours of Terror (1957), The Naked Woman and the Gun 1957), Satan's Town (1956), Harbour Toast: Victory Is In Our Grasp (1956)

1 28

C O N T E M P O R A R Y W ORLD CINEM A

Streeters

Written on the Body of the Night

DE LA CALLE

ESCRITO EN EL CUERPO DE LA NOCHE

Sunday, June 2 ■ 9 :3 0 PM ■ H arvard Exit M onday, June 3 ■ 4 :3 0 PM ■ H arvard Exit

M onday, M ay 27 ■ 9 :3 0 PM ■ Egyptian W ednesday, M ay 29 ■ 4 :3 0 PM ■ Egyptian

MEXICO ■ 2001

Director: Gerardo Tort

Director: Jaime Humberto Hermosillo

Writer: Jesus Gonzalez Davila Cinematography: Hector Ortega Music: Diego

Writers: Jaime Humberto Hermosillo, Emilio Carbadillo Producer: Fernando Gou Cinematographer: Angel Goded Editor: Carlos Puente Music: Omar Guzman

Herrera

Ayala

Cast: Luis Fernando Peña, Maya Zapata, Armando Hernández, Mario Zaragoza, Alfonso Figueroa, Abel Woolrich, Cristina Michaus Running Time: 85 minutes

Cast: Marta Aura, Ana Ofelia Murquia, Giovanna Zacarias, Ramiro Guerrero Running Time: 128 minutes

unning deftly through alleys, across rooftops, and into city sewers, the street kids of Mexico City are both invisible and seemingly everywhere. Rufino and his scrappy circle of friends amuse themselves with dreams of seeing the ocean, leaving the cruel city for a better life once and for all. But the problem is, they joke, that none of them have even been so far as the other side of the freeway. Between taking occasional odd jobs to earn cash, the street urchins pass their time roving the streets in packs, or getting high in their secret lair in the depths of the sewer system. In a desperate endeavor to follow his dream, Rufino steals some drug money from a corrupt cop, with the full intention of leaving town by nightfall with his girlfriend Xóchitl and her baby. But when he hears a rumor from a crazy street prophet that his long-thought-dead father is still alive and living in the city, Rufino feels he must find and meet the man who abandoned him as a baby. With clues leading to dead ends, and a crazed violent cop on his trail, Rufino may be running out of time. Filmed with a documentary­ like gritty urgency, Gerardo Tort's assured directorial debut Streeters goes deep into the unforgiving world of street life, while humanizing the plight of kids scorned by society.

R

heartfelt ode to cinema from one of Mexico's most highly regarded directors, the film begins rather playfully with a director premiering a new autobiographical film about his close-knit family of three. After the screening, his decision to finally revisit the apartment he lived in as a teenager triggers a series of flashbacks, filling the remainder of the film with a far more inhibited version of his youth than his artful, romanticized depiction had allowed for. Stifled memories from his adolescence come flooding back, fraught with the presence of a neurotic mother and somewhat deluded grandmother, since the less expansive, more intimate version told is confined to two small rooms in Mexico City. Nicolás, the successful director, is forced to confront the tumult of his youth and the fraudulence his film of it portrays. In the more faithful depiction, a young Nicolás is saved from his suffocating mother and grandmother only when a troubled yet seductive young boarder appears. Calling herself Adela H. (after François Truffaut's Adèle H.), she presumably pays for her tiny room in their apartment through prostitution. Nicolas's subsequent romance with this outsider unafraid to lie in order to survive frees him to begin to invent his own surroundings and ultimately follow his quixotic dream of making films. Based on a story and play by Emilio Carbadillo, Written on the Body of the Night surrounds one young man's sexual and artistic awakening with the tornado-like temperaments of three mercurial women to show how one brief period in a person's life can provide a lifetime's creative impetus.

A

Selected Filmography: Esmeralda Comes by Night (1996), Unexpected Encounter

(1993), Homework

(1997), Why Don't W e?

(1990), Bathroom Intimacy

(1989), The Summer of M iss Forbes (1988), Clandestino destino, aka 1999 (1987), Dona Herlinda and Her Son (1985), The Heart of the Night (1983), Confidencias (1982), Amor libre (1978), The Passion of Berenice (1976)

1 29

C O N T E M P O R A R Y W ORLD CIN EM A

MEXICO ■ 2001

■ m M B B H Im |[H |H H H ||H H

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Audio for all media. 206-464-0520

www.clatterdin.com

C O N T E M P O R A R Y W ORLD CINEM A

Elling

Saturday, June 8 ■ 1 1 :3 0 AM ■ E gyptian M onday, June 10 ■ 9 :3 0 PM ■ Pacific Place

T h u rsda y, June 6 ■ 7 :0 0 PM ■ Egyptian Sunday, June 9 ■ 1:45 PM ■ H arvard Exit

N ET H E RL A N D S ■ 2001

NORWAY ■ 2001

Director-Writer: Pieter Verhoeff

Director: Peter Naess

Producers: Erwin Godschalk, Hans de Weers, Hans de Wolf Cinematographer:

Writer: Axel Hellstenius Producer: Dag Alveberg Cinematographer: Svein Kravel

Paul van den Bos

Editor: Inge-Lise Langfeldt Music: Lars Lillo-Stenberg

Cast: Monique Hendrickx, Jeroen Willems, Peter Tuinman, Rients Gratama, Carine

Cast: Per Christian Ellefsen, Sven Nordin, Marit Pia Jacobsen, Jorgen Langhelle,

Crutzen, Joke Tjalsma, Porgy Franssen, Marijke Veugelers, Gonny Gaakeer, Astrid

Per Christiansen Running Time: 89 minutes

Reitsema Running Time: 110 minutes

his funny and heart-warming film, based on the Norwegian novel Br0dre I Blodet (Brothers in Blood) by Ingvar Ambjornsen, was one of this year's Academy Award nominees in the category of Best Foreign-Language Film, and a runaway hit in its native Norway. Following a breakdown precipitated by the death of his mother, Elling (Per Christian Ellefsen) spends two years at Broynes psychiatric hospital, where he meets the sex-crazed Kjell Bjarne (Sven Nordin). Under the watchful eye of a social worker (J0 tgen Langhelle), the two are released together to fend for themselves In a flat in central Oslo, though they lack all the requisite social skills to do so. Elling characterizes himself as a "mommy's boy," very prissy and fastidious, having spent all of his 40 years under the care of his mother, who handled all the phone calls, leaving Elling unable to cope with the simple task. The two together find crossing the road, or shopping, or using a men's toilet, to be a challenge, leading to many hilarious situations. But soon they hit their stride, when Elling discovers a talent for poetry, leaving his poems in packages of sauerkraut, and dubbing himself the mysterious underground poet "E" (though the local media call him simply "The Sauerkraut Poet"). Meanwhile, the intellectually challenged Kjell Bjarne, ever the crude, sex-mad virgin, falls for their pregnant neighbor (Marit Pia Jacobsen).

The way this odd couple surmount their many difficulties, ones the rest of us wouldn't think twice about, is both very funny and touching.

T

elf-liberation is the theme of this gorgeously mounted period piece about famed Dutch children's author Nynke van Hichturn. Set in Friesland toward the end of the 19th century, her story plunges us into the whirlwind romance that Nynke experiences with a man who seems her ideal love. An idealist and poet, Dutch Socialist leader Pieter Troelstre sweeps the impressionable fledgling writer off her feet and into marriage. However, as his political career soars during the heady early years of the socialist movement, Nynke finds her own aspirations quashed by his old-fashioned ideas about women. Tied down by the births of two children, and with her husband pressing her to give up her writing aspirations for the life of a dutiful wife and mother, the high-strung Nynke realizes that her own talent and independence are being shredded by the relationship. The conflicts in her life finally goad her into action. This year's official Dutch Oscar® submission for Best Foreign Language film, Nynke is yet another striking example of stories about liberated women that has become a strong tradition in Dutch filmmaking in recent years.

S

Filmography: Mates (1999), De langste reis (1996), Sunday Boy (1991), Van geluk gesproken (1987), De Dream (1985), Mark of the Beast (1980), Grote Klaas en kleine Klaas (1974), Rudi Schokker huilt niet meer (1974)

C O N T E M P O R A R Y W ORLD CINEM A

Nynke

Filmography: Absolutt blcimandag (1999)

DANIA HOME AMO OFFICE INTERIORS

131 a

C O N T E M P O R A R Y W ORLD CINEM A

Hi, Tereska

Angelus

CZESC TERESKA

M onday, June 10 ■ 9 :3 0 PM ■ H arvard Exit Tuesday, June 11 ■ 9 :3 0 PM ■ H arvard Exit

POLAND ■ 2001

POLAND ■ 2001

Director: Lech Majewski

Director: Robert Glinski

Writers: Lech Majewski, Bronislaw Maj, Ireneusz Siwinski Producer: Henryk Romanowski Cinematographer: Adam Sikora Editor: Eliot Em s Music: Jozef

Writers: Jacek Wyszomirski, Robert Glinski Producer: Filip Chodzewicz Cinematographer: Petro Aleksowski Editor: Krzysztof Szpetmanski

Skrzek

Cast: Aleksandra Gietner, Karolina Sobczak, Zbigniew Zamachowski, Malgorzata

Cast: Jan Siodlaczek, Pawel Steinert, Jacenty Jedrusik, Malgorzata Madejowska,

Rozniatowska Running Time: 86 minutes

Marian Makula Running Time: 110 minutes

H i, Tereska charts the slow erosion of a 15-year-old girl's innocence amidst the poverty and casual violence of Polish suburban life. Tereska (Aleksandra Gietner) enters seamstress school with the somewhat far-fetched hope of escaping her low existence by becoming a fashion designer. She's wised-up pretty fast when her worldly friend Renata introduces her to smoking, drinking, stealing, and the boys in their neighborhood. Everywhere she turns, Tereska meets one variety of disappointment or other. Her father's an unemployed, sometimes abusive drunk; her mother, ineffectual. The neighborhood boys are crude, and sex seems pointless; Tereska's forays into that zone are juxtaposed alongside her relationship from an early age with the middleaged Mr. Edek, a wheelchair-bound neighbor who lets her abuse his legs with lit cigarettes in exchange for a kiss. On top of everything else, her wallet with her school fees is stolen from her locker. Yet Tereska presses on, driven to seek some measure of control over her surroundings. Shot in a realistic, often kitchen-sink black and white, the film depicts a world in which values and hope for the future collide head-on with stubborn reality; yet there's not a moment of self-pity in it. An absorbing psychological character study and insightful examination of the social disaffection of youth, Hi, Tereska confirms Robert Glinski as a director to watch. His taut direction brought him three prizes at the Karlovy Vary Film Festival. Yet his and the film's greatest triumph is the performance of Aleksandra Gietner: with her face expressing at once her character's shyness and burgeoning awareness, she richly deserved her Young Artist Award for Best Young Actress in an International Film.

oet, painter, playwright, composer, director, producer.

Poland's multitalented Lech Majewski switches from one artistic medium to another with fertile imagination. Filmgoers may recognize him as the writer of 1985's The Flight of the Spruce Goose, the producer-director of The Gospel According to Harry (1992), and/or the co-producer of the acclaimed 1995 artist-biography Basquiat. Majewski has lived in New York City since 1981, but he recently returned to Poland to create Angelus, a fascinating film that recalls the work of Jodorowsky, Greenaway, and Tarkovsky, while standing alone as a unique expression of Majewski's creative impulse. It's an otherworldly film, its images meticulously composed in a vivid, painterly style to support the curiously factual basis of the screenplay.

Majewski drew inspiration from a celebrated occult commune that thrived in the Janow district of Silesia from the 1920s through the '60s - a closed cultural enclave consisting of uneducated miners who cultivated Old World traditions, rituals, and customs through art, alchemy, magic, and the pursuit of spiritual perfection. Angelus observes this eccentric group as they obsessively follow the dying prophecy of their master, who predicts the onset of World War II, the subsequent rise of Communism in Poland, the "huge mushroom" of the atomic age - and a powerful ray from Saturn that will destroy the Earth unless its power is absorbed by a sacrificial virgin. Will the virgin deliver the Janow miners to their next epiphany? With the invaluable aid of Adam Sikora's award-winning cinematography, Majewski's film offers a bizarre survey of the 20th century while paying visual homage to the Janow commune's painters. The result is a film of uncommon beauty, celebrating the pursuit of art and enlightenment in all its myriad forms.

P

Filmography: Matka swojej matki (1996), All That Really Matters (1992), Swan Song (1988), Sunday Pranks (1987), Poisonous Plants (1985), The Most Eligible Bachelor (1982)

Filmography: Wojaczek (1999), Desert Lunch (1994), Yesterday Goodbye (1993), The Gospel According to Harry (1993), Prisoner of Rio (1989), Flight of the Spruce Goose (1987), The Knight (1980), An Anunciation (1978)

1 33

C O N T E M P O R A R Y W ORLD CIN EM A

Sunday, June 9 ■ 1:45 PM ■ E gyptian Tuesday, June 11 ■ 7 :0 0 PM ■ E gyptian

Esquires Dubious World Recordsfbr Men Cameron Diaz Spills HerGuts... And M ore

Manat HisBest • April 2002

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inThatD am n Purse

EXCLUSIVE:THE FORMERTERRORIST HOCOULD BETHE NEXTYASIR ARAFAT US: Pete Dexters First Short Story. Ever

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C O N T E M P O R A R Y W ORLD CINEM A

I’m Going Home

Supplement

JE RENTRE À LA M AIS O N I

M onday, June 10 ■ 7 :0 0 PM ■ Pacific Place

POLAND ■ 2 0 0 2 ■ U.S. PREMIERE

FRA NCE / PO RT UG AL ■ 2001 Director-Writer: Manoel Oliveira

Director-Writer: Krzysztof Zanussi Editors:

Producer: Paulo Branco Cinematographer: Sabine Lancelin Editor: Valerie Loiseleux Music: Henri Maikof

Cast: Pawel Okraska, Monika Krzywkowska, Zbigniew Zpasiewicz, Karol Urbanski, Szymon Bobrowski Running Time: 100 minutes

Cast: Michel Piccoli, Antoine, Catherine Deneuve, John Malkovich, Leonor Baldaque, Leonor Silveira Running Time: 89 minutes

eturning home after visiting a monastery perched in the mountains he so loves to climb, medical student Filip (Pawel Okraska) has to flinch away from his brother's welcoming hug, as all along his back run á set of bruises such as you'd find on a medieval flagellant. It's a witty - and nicely ambiguous - encapsulation of the young man's dilemma: torn between becoming a doctor or becoming a priest, agonizing over whether he has truly received a calling or is merely exhibiting the worst of all sins, Filip forces all those who love him to hang in suspense while he struggles with himself. Most cruelly affected is Filip's girlfriend Hanka (Monika Krzywkowska), kept at arm's length while he wavers about a profession that would of course exclude her from his life altogether. Filip is buffeted by advice both sound and lunatic: kindly atheist Dr. Berg (Zanussi stalwart Zbigniew Zapasiewicz) advocates a surrender to whatever fate has in store, while a music producer posits that only repeated trial-and-error experiments with LSD hold the answer. Our hero spirals into desperation over how to reconcile earthly desires with what he's decided must be God's grim will. Supplement is a companion piece to Krzysztof Zanussi's previous feature Life as a Fatal Sexually Transmitted Disease, which focused on Dr. Berg and touched briefly on Filip and Hanka's story. No less intellectually provocative or realistically consoling than its predecessor - though, more urgent and discursive in its arguments - Supplement offers a vivid portrayal of the merits and limits of faith, and an admirable refusal to choose between the flesh and the solid rock.

T

Selected Filmography: Life as a Fatal Sexually Transmitted Disease (2000),

Selected Filmography: Trésor de famille (2002), I'm Going Home (2001), 0 Porto da

Producer: Iwona Ziulkowska Wanda Zeman, Marek Denys

Cinematographer: Edward Klosinski Music: Wojciech Kilar

he first 15 minutes of I'm Coing Home gazes enraptured at a stage production of Ionesco's Exit the King, wherein the 400year-old monarch rails against the inevitability of mortality; a similar block of time at the movie's end is dedicated to watching a film crew recreate a scene from Joyce's Ulysses. In between has flowed a film so lovely and organic, so serenely assured, that neither the two high modernists nor even the lengthy extract from The Tempest that falls almost midway seem remotely forced or out of place; well into his 90th decade when he made I'm Going Home, Portuguese master Manoel de Oliveira has long earned the right to call even the most exalted artists his peers. A sublime study on aging, creation, the ache of nostalgia and the joy of watching patiently, the film follows legendary actor Gilbert Valence (Michel Piccoli), his life turned horribly upside down when he learns that his wife, daughter, and son-in-law have been killed in a car crash, leaving him sole guardian to grandson Serge. "Some Time Later," as a title card discretely puts it, Gilbert has settled into a comfortably predictable life: mornings looking out his window as Serge runs off to school, always forgetting his snack; later, a drink at his favorite café, the traffic humming pleasantly outside; evenings at the theater, followed by a relaxing walk. These moments glow with the exquisite pleasure of routine, one made all the more sweet by the awareness of what a fragile foundation routine truly is. De Oliveira's gently meandering wit is marvelously well served by Piccoli; the actor's fine dome still radiates a somewhat wary intelligence, but with time his face and body have filled out, softening his brittle edges. He makes for a beautiful Prospero, and one can even see the appositeness when a director (John Malkovich) idiosyncratically casts Valence as stately, plump Buck Mulligan; but neither Piccoli or the film is ever more captivating than when window-shopping for a new pair of shoes, or mounting the stairs with a suddenly exhausted tread.

R

Weekend Stories

(1996-97), At Full Gallop

(1996), The Silent Touch (1993),

The Constant Factor (1980), Ways in the Night (1979), Spiral (1978), Camouflage

Minha Infância (2001), Palavrae Utopia (2000), La Lettre (1999), Inquietude (1998), Voyage to the Beginning of the World (1997), Party (1996), O Convento (1995), Blind Man's Bluff (1994), Valley of Abraham (1993), The Day of Despair (1992), The Divine Comedy (1991), No, or the Vain Glory óf Command (1990), 0 Canibais (1988), My

(1977), A Woman's Decision

Case (1987), The Satin Slipper (1985)

Inventory (1989), Power of Evil (1985), A Year of the Quiet Sun (1984), Imperativ (1982), The Unapproachable (1982), From a Far Country (1981), Kontrakt (1980),

(1973), Family Life

(1975), The Catamount Killing

(1971), The Structure of Crystal

(1974), Illumination

(1969), Witness

C O N T E M P O R A R Y W ORLD CIN EM A

W ednesday, June 12 ■ 7 :0 0 PM ■ H arvard E xit T hu rsda y, June IB ■ 4 :3 0 PM ■ Pacific Place

(1964),

Umbrella (1960), The Tram to Heaven (1958)

1 35 Æ-

created by nature The snow th at melts atop the French A lps slowly trickles through glacial san d a n d rock form ations th at are deep wthin the m ountains.

The result is pu re n atu ral spring w ater with a unique balance o f

,

m inerals provided by nature. N oth ing artificial.

evian.com

1

C O N T E M P O R A R Y W ORLD CINEM A

101 st Kilometre

The Lover

Saturday, June 1 ■ 9 :3 0 PM ■ B ro ad w a y PH M onday, June 3 ■ 4 :3 0 PM ■ B ro a d w a y PH

Saturday, June 15 ■ 9 :3 0 PM ■ Pacific Place Sunday, June 16 ■ 6 :3 0 PM ■ Pacific Place

RUSSIA ■ 2001 ■ WORLD PREMIERE

■ U.S. PREMIERE

Director-Writer: Leonid Maryagin

Director: Valery Todorovsky

Producers: Alexander Litvinov, Natalia Popova Cinematographer: Yuri Nevsky

Writer: Gennady Ostrovsky Producer: Aleksander Akopov Cinematographer: Serguey Mihalchuk

Cast: Pyotr Fedrov, Oleg Zhukov, Glafira Sotnikova, Yevgeny Kozyrov Running Time: 103 minutes

Cast: Oleg Yankovsky, Serguey Garmash, Vera Voronkova, Evgueny Kosyrev, Andrey Smirnov, Galina Kashkovskaya, Julia Rytikova, Yelena Laskovaya, Aleksander Lukash, Vladinir Yumatov Running Time: 120 minutes

uring Soviet times, once Russian criminals or political unreliables completed their prison sentences, they were not allowed to take up residence within 1 0 1 kilometers of Moscow. Hence the title of veteran director Leonid Maryagin's landmark film, a part-autobiographical, part-archetypal story that takes place within a year of Stalin's death in 1953. The Soviet government is falling apart; one day a person is a hero, the next an enemy of the state. In the small town of OrechovoZuyevo, 101 kilometers from the capital and largely populated by ex-cons, a young man named Lyonya - scion of a Jewish intellectual family - lives with his mother and grandmother.

(Father resides in the city, where he's employed as a writer of political speeches and texts.) Lyonya is a bright student, clever enough to feed his teacher fa!t lies about heroes in school essays. But he's also an all-around star: a sportsman and a marksman and a lover, who dreams of his future life as a writer.

He also happens to be deeply involved with a gang of thieves, willingly collaborating in plotting robberies with the local criminal leader, Kostya. Altogether a busy boy - and on top of everything else, the KGB is trying to enlist his support in ratting out citizens who listen to The Voice of America! To reconstruct the smalltown atmosphere and feeling of the times, the film is punctuated with radio announcements and product commercials from magazines and cookbooks of the '50s. This simple yet richly suggestive story shows a post-WWII generation growing up in a world of hypocrisy and fear, where the "double life" became the ordinary way of living.

D

brand new film from Valery Todorovsky, the winner of the SIFF1998 New Directors Award for his brilliant feature Land of the Deaf. For the last four years, Todorovsky has been producing a series of films for television based on the detective novels of Alexandra Marinina; a policewoman turned popular thriller writer. The Lover (not to be confused with his 1991 film Love) marks his return to cinema. Veteran actors Oleg Yankovsky (of Andrei Tarkovsky's Nostalghia and The Mirror) and Sergey Garmash (Children of the Iron Cods, Time of a Danced star in this modern story, hard-edged but human, filmed in Minsk. It's about two strangers who are united by circumstance. Yankovsky's character is a scientist, a linguist, from a good family, who finds himself in an uneasy situation when he's unable to answer his own nagging questions. The nature of Garmash's character is more difficult to interpret; he's an ex-military man who has drastically changed his life, having left the service to become a clerk in the passport department.

The two don't know each other and have nothing in common until a tragedy brings them together. Actor Yankovsky calls the script "wise, professional and philosophic. Good literature from the new generation."

A

Filmography: Land of the Deaf (1997), Moscow Nights (1994), Katya Ismailova (1993), Love (1991), Catafalque (1990)

Filmography: Trotsky (1993), Public Enemy Bukharin (1990), Expensive Pleasure (1988) City of Brides (1985), Birthday (1983), The Uninvited Friend (1981), Citizen Nikanorova Waits for You (1979), Flight Is Postponed (1974)

1 37

C O N T E M P O R A R Y W ORLD CINEM A

RUSSIA ■ 2001

FOOD AND FILM A WINNING COMBINATION

LU

MAGAZINE OF G O O D LIVING

IS PLEASED TO SUPPORT THE

28 th A n n u al Seattle International Film Festival

GOURMET • 4 TIMES SQUARE • NEW YORK • NY • 10036 WWW • GOURMET • C O M

C O N T E M P O R A R Y W ORLD CINEM A

War Live

Chicken Rice War

RAT U Z IV O

H A U H A P C A I YUN

W ednesday, June 5 ■ 9 :3 0 PM ■ Pacific Place T h u rsd a y, June 6 ■ 4 :3 0 PM ■ Pacific Place

W ednesday, May 29 ■ 7 :0 0 PM ■ E gyptian Saturday, June 1 ■ 1 1 :3 0 AM ■ E gyptian

SINGAPORE ■ 2001

Director: Darko Bajic

Director-Writer: Cheah Chee-Kong ("CheeK")

Producer: Dragan Bjelogrlic Writer: Nikola Pejakovic Cinematographer: Vladan

Producer: Daniel Yun

Pavlic Editor: Stevan Magric Music: Toma Babovic

Music: Lim Sek

Cast: Dragan Bjelogrlic, Srdjan Todorovic, Daryl Haney, Aleksandar Bercek,

Cast: Pierre Png, Lum May-yee, Kevin Murphy, Cheong Wu-seong, Lee Weng-kee

Dubravka Mijatovic, Vesna Trivallc, Velimir "Bata11 Zivojinovic, Natasa Ninkovlc,

Running Time: 98 min

Milorad Mandlc, Gordan Klcic, Klara Akerman Running Time: 104 minutes

Cinematographer: Daniel Low

Editor: Lawrence Ang

ward-winning short-film director CheeK sends Seattle the first romantic comedy to come out of Singapore's small but dedicated film community, and it's a delightful romp brimming with heart, life, and irreverence. Using Shakespeare's Romeo and Juliet as a template, CheeK craftily sets his family-feud love story in the capital city's teeming, chaotic food markets, then uses the play itself to further the action - though always keeping the distinctive flavor of his homeland's personality intact. Employing speedy camera moves, fast-as-lightning cuts, and freeze frames, CheeK keeps his story in high gear with barely a pause between courses. The story sits with two rival families, the Wongs and the Changs. Both are in the chicken rice business (Singapore's national dish), and gibe with each other from adjacent food court stalls. This feud almost outshines even the Hatfields and McCoys for longevity; the two families have been at it for nearly twenty years, long enough now that the families children inherit the bitterness borne by their parents. Still, it is the children who are willing to overcome the impulse to despise the other's families, and indeed they do when two are cast opposite each other in a university production of Romeo and Juliet. As Fenson Wong wins Audrey Chang's heart, a decision is made to bridge the rift between the families. But a citywide festival is quickly approaching and the families are already sponsoring competing events. Will love triumph? Or will the Chicken Rice War move onto a new battlefield?

A

s the first few scenes of War Live make clear, film production in wartime Serbia was never easy. Besides the regular checklist of headaches, movie producer Sergej Stanic (Dragan Bjelogrlic) must deal with a government that can seize his assets, send a squat, bearded toad of a Security agent to sit in on the dailies and ensure no deviation from accepted political truths, even shut things down on a whim. Then comes March 24, 1999, and the U.S.-led NATO bombings. Invisible planes drone through the night sky; ancient buildings are smashed into rubble; and a mover and shaker as ingeniously self-serving as Sergej suddenly finds that making his picture has become an almost childishly simple task. Once, that is, he's shanghaied an American tampon tycoon to star in his reimagined scenario. Like its American counterpart Wag the Dog, War Live is an inspired mix of moviemaking satire and take-no-prisoners political burlesque. As Sergej soldiers on, playing every possible end against the middle - convincing his director (Srdjan Todorovic) that they're returning to their artfilm origins, Security man Mileta (Aleksandar Bercek) that the result will be a patriotic call to arms, the crew that they should work for free, and the press that all of this is somehow newsworthy - his gloomy countenance progressively brightens in admiration of his own con artistry. (Bjelogrlic gives a beautifully nuanced portrayal of how show business ironically demands both bitter cynicism to survive the daily grind and a childlike romanticism to achieve anything worthwhile.) Even as fireballs balloon in the distance, Sergej can drape a drunken arm around temporary comrade Mileta and assure him, "In the film we're winning; that's all that matters." But it's not, of course; and as the twin menaces from on high - American bombs and Serbian politicians - take more and more of a toll, Sergej learns that he can't talk his way out of every crisis.

A

Filmography: Stories About Love: Click (2000, segment), Bean Sprouts and Salted Fish (1997, short)

Filmography: Balkan Rules (1997), The Black Bomber (1992), Pocetni udarac (1990), "Zaboravljeni" (1989 miniseries), Zaboravljeni (1988), "Sivi dom" (1984 miniseries), Direktan prenos (1982), Trag (1981)

1 39

C O N T E M P O R A R Y W ORLD CIN EM A

SERB IA ■ 2001

C O N TE M P O R A R Y W ORLD CIN EM A

Sweet Dreams Are Made of This

C O N T E M P O R A R Y W ORLD CINEM A

SLADKE SANJE

Friday, May 24 ■ 7 :0 0 PM ■ H arvard Exit Saturday, M ay 25 ■ 1 1:30 AM ■ E gyptian

T h u rs d a y , M ay 30 ■ 7 :0 0 PM ■ Pacific Place Saturday, June 1 ■ 4 :0 0 PM ■ H arvard E xit

SLOVENIA ■ 2001

GER MAN Y / SOUTH A F R I C A ■ 2001 Director-Writer: Stefanie Sycholt

Director: Sa so Podgorsek

Producers: Jürgen Biefang, Dieter Horres

Cinematographer: Jürgen Jürges

Writer: Miha Mazzini Producer: Franci Zajc Cinematographer: Sven Pepeonik Editor: Slatjan Cuckov Music: Mitja Vrhovnik Smrekar

Editor: Ulrike Tortora Music: Annette Focks

Cast: Janko Mandic, Veronika Drolc, Josef Nadj, Olga Kacijan, Iva Babic, Gregor

Cast: Ian Roberts, Kagiso Mtetwa, M usa Kaiser, Wilmien Rossouw Running Time:

Bakovic, Neda Brie, Natasa Burger Running Time: 110 minutes

119 minutes

ou might think Slovenian cinema would be preoccupied with the tumult of the former Yugoslavia, but such assumptions wouldn't account for the universal charms of Saso Podgorsek's Sweet Dreams. That familiar title (sometimes expanded to Sweet Dreams Are Made of This) is well served in this thoughtful coming-of-age drama, set in 1973 - nearly two decades before Slovenia officially declared its independence and focusing on a slightly nerdy 13-year-old named Egon Oanco Mandic). Egon, a bit of a loner, feels the growing pains of poverty amidst prosperity as Yugoslavia enjoys the pleasures - American films, music, and fashion - that accompany economic recovery. How much better he could appreciate one of those pleasures if he had a portable recordplayer. But his unstable mother (Veronika Drolc) has other priorities, like railing against the hardship that comes with being abandoned by her husband and left to care for her aging mother - and a teenager who won't shut up about getting a phonograph. Simple matters, but Podgorsek plumbs unexpected depths of emotion and nostalgia as Egon encounters a variety of characters and crises, from the potaddled "hippie" neighbor who gives the latest T-Rex album a passing grade, to the lovely classmate who surprisingly offers affection, and the volatile gym teacher who hides a dirty secret by tormenting students into quivering submission. Through it all, Sweet Dreams draws us closer to Egon and his needs fulfilled or not - while steadfastly avoiding the sentiment of a rose-colored remembrance. Superior performances and a loose-knit yet cumulatively effective narrative style make Podgorsek a filmmaker to watch, one capable of finding humor, tenderness, and even happiness on a young boy's uneasy path to adulthood.

tefanie Sycholt's Malunde, the documentary filmmaker's first feature, concerns two strikingly different citizens of the "New South Africa." Apartheid may have been repealed in 1996, but life in Johannesburg remains difficult for many - like Kobus (South African actor Ian Roberts), a bitter, middle-aged Afrikaner, and "Wonderboy" (engaging newcomer Kagiso Mtetwa), a homeless black child. The decorated ex-soldier lives with his sister and scratches out a living doing odd jobs; the w ily 1 1 -year-old lives on the streets with pimps and prostitutes, hustling to get by. Kobus is heading out to the country to sell wax when Wonderboy hitches a ride (he's escaping some dealers, and manages to convince the man he's about to be carjacked). Kobus is willing to take the boy out of the city, but has little interest in a surrogate son or business partner - until the natural-born salesman starts to live up to his name by pawning off the seemingly useless tins of wax on the most unlikely customers. Kobus agrees to take him as far as Table Mountain, where Wonderboy intends to reconnect with the mother who abandoned him. The long drive through the dusty, barren flatlands of rural South Africa may recall the similarly eventful Brazilian road trip in Walter Salles's Central Station. Malunde swept the 2001 Avanti Awards (South Africa's equivalent of the Oscars), winning best picture, best director, and a shared best actor award for Roberts and Mtetwa. Despite the fact that Roberts has been acting for decades (Cry, the Beloved Country, Mandela and de Klerk, etc.) and that Mtetwa had little previous acting experience, the two establish an easy, believable rapport on screen - a sort of Truth and Reconciliation Commission in miniature.

S

Y

Filmography: Mbube — Night of the Lion (1998)

Filmography: Dark Angels (2000)

140

Sunday, M ay 26 M onday, M ay 27

6 :3 0 PM 1:45 PM

M onday, June 3 ■ 4 :3 0 PM - E gyptian W ednesday, June 5 - 7 :0 0 PM ■ E gyptian

Pacific Place Pacific Place

Director-Writer: Agustín Diaz-Yanes

Director: Jeong Jae-Eun

Hwan Editor: Lee Hyeon-Mi Music: Kim Jin-Cheol

Producers: Gerardo Herrero, Eduardo Campoy, Edmundo Gil C a sa s Cinematographer: Paco Femenia Editor: Jose Salcedo Music: Bernardo Bonezzi

Cast: Bae Doo-Na, Lee Yo-Won, O k Ji-Young, Lee Eung-Sil, Lee Eun-Ju Running

Cast: Victoria Abril, Penèlope Cruz, Demian Bechir, Fanny Ardant, Gael Garcia

Writer: Jeong Jae-Eun

Producer: Oh Gi-Min

Cinematographer: Choi Yeong-

Bernal, Juan Echanove, Bruno Bichir, Emilio Gutiérrez Caba, Luis Tosar, Cristina

Time: 112 minutes

Marcos Running Time: 115 minutes

ebut director Jeong Jae-Eun chooses an oft-used genre for her feature film debut: the coming-of-age/rite-of-passage themes found in Take Care of My Cat recur throughout both Korean and Japanese cinema, with the motif of transition through adolescence being a favorite for Asian audiences.

Rarely are the results as fresh and engaging as this. The director confidently imbues her five chief characters with an embracing light and vitality that contrast sharply to the grimness of their surroundings, while allowing the distinctive voice of each to be heard. These young, 20something girlfriends live in the harbor city of Inchon. Beautiful but arrogant Hae-Ju, artistic Ji-Yeong, and rebel Tae-Hee dominate the group. The girls have finished Secondary school and dream of a life abroad, but finding ways out of Inchon is a major challenge at beast. Hae-Ju takes a job as a stockbroker, earning enough money to start living the life she thinks she's always wanted: clothes, nights out on the town, a romantic relationship with a co-worker. Her dreams, however, pull her further and further from her friends, who are outspent, outclassed, and outdistanced by Hae-Ju's vanity and elitism. JiYeong is torn between trying to bridge the ever-widening gap between her friends or following Hae-Ju's example. Although the other four try to keep up, Hae-Ju soon leaves for Seoul and the girls left behind are stunned by her departure. Slowly, a tentative opportunity develops for Ji-Yeong and Tae-Hee to forge a relationship that may bring more satisfaction than JiYeong thought possible.

D

ere is a cast made in heaven: Victoria Abril plays Lola, an angelic nightclub singer in Heaven. Penèlope Cruz plays Carmen, a waitress in Hell. Fanny Ardant is Cod; Demian Bechir, Many, a young boxer. And there are scads of cameos by great Spanish actors such as Bruno Bichir, Emilio Gutiérrez Caba, Cristina Marcos, and Gael Garcia Bernal. The plot is a miracle of wit, humor, and satire: Abril and Cruz are sent respectively from a Heaven that looks like Paris - and everyone speaks French - and Hell, a red-hued prison where English is spoken.

They're competitors sent to save or damn the soul of Many.

There is, of course, a catch: angels can exist on Earth only by possessing humans. Lola becomes Many's ex-wife, and Carmen his long-lost cousin. The fun begins as both are forced to hire on at a supermarket managed by a sleazy capitalist and his smartass sidekick. All the performances are topnotch - SIFF favorite Victoria Abril doing her wide-eyed innocent victim look; Cruz exploring new dramatic territory as a gum-chewing, hard-nosed bad girl; and Bechir brooding, intense, and very believable. Add three musical numbers (two featuring Abril doing her "act" in a nightclub in Heaven, and one with Cruz bopping to a '70s hit, "Kung Fu Fighting”) to this great cast and script, and you have a surefire winner. No News From God is both a meditation on good and evil, and a sharp satire on how evil is manifested in today's world.

H

Filmography: Nobody Will Speak of Us When We're Dead (1995)

14

C O N T E M P O R A R Y W ORLD CIN EM A

SPAIN ■ 2001

2001

SOUTH KOR EA

C O N T E M P O R A R Y W ORLD CIN EM A

G o ssip

Saturday, June 1 ■ 9 :3 0 PM ■ Pacific Place M onday, June 3 ■ 4 :3 0 PM ■ Pacific Place

Tuesday, M ay 28 ■ 7 :0 0 PM ■ E gyptian T h u rsd a y, M ay 30 ■ 4 :3 0 PM ■ E gyptian

S WE DE N

■ 2001

■ 2001

• U.S. P R E M I E R E

Director-Writer: Colin Nutley

Director-Writer: Vicente Aranda Producer: Enrique Cerezo Cinematographer: Paco Femenia Editor: Teresa Font

Producers: Colin Nutley, Maritha Norstedt

Music: José Nieto

Editor: Perry Schaeffer Music: PerAndreasson

Cinematographer: Jens Fischer

Cast: Pilar Lôpez de Ayala, Daniele Liotti, Manuela Arcuri, Eloy Azorin, Rosana

Cast: Pemilla August, Helena Bergstrom, Lena Endre, Stina Ekblad, Ewa Froling,

Pastor, Giuliano Gemma, Roberto Alvarez, Carolina Bona, Chema de Miguel, Juan

Margaretha Krook, Marika Lagercrantz, Suzanne Reuter, Marie Richardson, Gunilla

Sanchez Running Time: 117 minutes

Roor, Harriet Andersson, Peter Andersson, Brasse Brannstrom, Peter Haber

Running Time: 126 minutes

n his best film since 1991 's Lovers, leading Spanish director Vicente Aranda brings full-blooded passion to a fascinating historical epic. Set in the early 16th century, Mad Love is the story of Juana the Mad (Pilar Lopez de Ayala), daughter of Queen Isabella (Columbus's patroness) and eventual Queen of Spain herself. Sheltered and naive, smothered in luxury, Juana is married at 18 to a man she has never met, Philip the Handsome (Daniele Liotti), son of the Holy Roman Emperor. She journeys to Brussels for the wedding and immediately is attracted to Philip, who loses no time initiating her into the pleasures of lust. Soon she is following the court fashion of painted nipples, and when she has a son, even suckling her baby arouses her. Unfortunately, Philip lives up to his name only in looks--not in behavior--as Juana discovers when she finds him bedding a Moorish bellydancer. Consumed by jealousy, Juana becomes obsessed with her husband, driven to more and more extreme behavior in her desperation. As in Maria Luisa Bemberg's I, the Worst of All, her rebellious behavior threatens the establishment, which collectively declares her mad. Pilar Lopez de Ayala won the Best Actress Goya (Spanish Academy Award) for her incandescent yet delicate performance as the "mad" queen, filled with a seething turmoil of sensual impulses. Shot in widescreen format, using several historical locations, Mad Love is a sumptuous production that brings long-past history to vivid life.

I

(1996), Intruder (1993), Lovers: A True Story (1991), I Want to Be a Woman

thank almighty God that I was born of royal stock." We hear the line intoned by each of nine Swedish actresses making their screen tests for the title role in Queen Christina, a remake of the celebrated Greta Garbo film. Of royal stock indeed, since the actresses in Gossip comprise a kind of royalty of Swedish film performers. Written and directed by Colin Nutley, whose Academy Award-nominated Under the Sun delighted SIFF 2000 audiences, the film gives us a privileged glimpse behind the scenes of these actresses' lives. Cecilia (Marie Richardson) is famously pregnant, the identity of the father a secret. Georgina (Ewa Froling) juggles a music career along with her desire to play Christina. Eivor (Stina Ekblad) and her actor husband Tomas (Peter Andersson) argue incessantly over the wisdom of her starring role in a new stage musical, since she can neither sing nor dance. Rebecca (Lena Endre, the luminous star of Liv Ullmann's Faithless) is dealing with turning 40, which she will do on the very day the winner of the Christina role is to be announced. Git (Gunilla Roor) has an unhealthy obsession with one of her own films, while seeking to play Joan of Arc, a role for which she's too old. Stella (Helena Bergstrom) is having an affair with Karin (Marika Lagerkrantz), the wife of her director, and can't get her lines straight. Alexandra (Suzanne Reuter) has a husband who's jealous over her doing sex scenes with her ex. And Molly (Pernilla August) finds she's pregnant by the husband of one of the other Garbo wannabes. Both comedy and soap opera, Gossip is a witty, glamorous, and tantalizing look at enchanting, exasperating creatures to whom all the world's a backstage.

(1977), Blood Castle (1972), The Exquisite Cadaver (1969), Brilliant Future (1965)

Selected Filmography: The Bomber (2001), Under the Sun (1998), Such Is Life

I

Official Oscar Submission: BEST FOREIGN FILM Selected Filmography: Jealousy (1999), The Naked Eye (1998), Libertarias

C O N T E M P O R A R Y W ORLD CIN EM A

S PA IN

(1996), House of Angels - Second Summer (1994), The Last Dance (1993), House of Angels (1992), Black Jack (1990)

DANIA

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C O N T E M P O R A R Y W ORLD CINEM A

The Reunion

M illennium M am bo

KLASSFESTEN

W ednesday, June 12 ■ 9 :3 0 PM ■ E gyptian Saturday, June 15 ■ 1 1 :3 0 AM ■ E gyptian

■ 2 0 0 2 • U.S. P R E M I E R E

TAIWAN

Directors: Meins Herngren, Hannes Holm

■ 2001

Director: Hou Hsiao-hsien

Cast: Bjorn Kjellman, Inday Ba, Cecilia Frode, Oscar Taxen Running Time: 100

Writer:

minutes

Cinematographer: Mark Lee Editor: Liao Ching-Sung Music: Lim Giong, FISH,

Chu

Tien-wen

Producers:

Alain

Vannier,

Hou

Hsiao-hsien

Yoshihiro Hanno

his sweet, funny comedy from Sweden opens by introducing us to young Magnus Edquist, a nerdy high school student who is spending a typical evening at home with his dysfunctional family when a momentous opportunity arrives. Hearing the rap of stones hitting his bedroom window, Magnus opens it to find Hillevi, the gorgeous, rebellious girl he's fantasized about since she transferred to his school. She beckons him to join her in an escape to a new life in Amsterdam. Things don't go quite as Magnus might have hoped--and the story then lurches two decades later. Magnus, who now shares his own dysfunctional household with a wife and young daughter, receives an invitation in the mail to attend his twentieth high school reunion. Repulsed by the idea of revisiting the scene of his tormented youth, he's nevertheless intrigued by the possibility of reencountering Hillevi after all these years. Thus begins a serious comedy in which directorscreenwriters Mans Herngren and Hannes Holm serve up an imaginative and highly engaging blend of laughter and poignancy about the passage of emotional adolescence that all too often confronts us in adulthood.

T

Cast: Shu Qi, Jack Kao, Chun-hao Tuan, Yi-hsuan Chen, Jun Takeuchi, Niu Chener Running time: 105 minutes

new film from Hou Hsiao-hsien is always an event. After that intense immersion in period atmosphere Flowers of Shanghai, the Taiwanese master returns to his take on the moral ambivalence of present-day Taiwan in Millennium Mambo. Vicky is a hostess in a trendy bar, living the selfabsorbed nightclub lifestyle of the Ecstasy generation. She's trying to leave her fanatically jealous and shiftless dopehead boyfriend, Hao-Hao--but not before cleaning out their bank account. Meanwhile, she halfheartedly enters into an affair with Jack, a charismatic gangster who has a stake in the bar where she works. Jack's presence in her life becomes both a source of trouble and a beacon of salvation (and along the way allows her a first glimpse of snow as she follows him on a trip to Japan). The film is narrated evocatively by Vicky, in the third person, at a point some ten years into the future when she has outgrown the flighty young woman she was. Hou has drawn luminous performances from both the very sexy Hong Kong starlet Shu Qi (see also Beijing Rocks in the current SIFF) as Vicky and Hou's regular featured actor Jack Kao as the gangster in his most nuanced and sensitive performance to date.

A

Filmography (both): Fot i graven, En (2001 miniseries), Shit Happens (2000), Snow (1998), Adam & Eva (1997), One in a Million (1995)

Filmography: Flowers of Shanghai (1998); Goodbye South, Goodbye (1996); Good Men, Good Women (1995); The Puppetmaster (1993), City of Sadness (1989), Daughter of the Nile (1987), Dust in the Wind (1986), The Time to Live and the Time to Die (1985), A Summer at Grandpa's (1984), The Sandwich Man (1983), The Boys From Fengkuei (1983), The Green, Green G rass of Home (1983), Play While You Play (1981), Lovable You (1980)

DANIA

HOMS AND OFFICE INTERIORS

145

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S WE DE N

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C O N TEM P O R A R Y W ORLD CIN EM A

BÜYÜK A D A M KÜÇÜK ASK

13 C onversations A bout One Thing

Saturday, June 8 ■ 6 :3 0 PM ■ B ro ad w a y PH M onday, June 10 ■ 4 :3 0 PM ■ B ro ad w a y PH

Saturday, M ay 25 ■ 9 :3 0 PM ■ Pacific Place W ednesday, M ay 29 ■ 4 :3 0 PM ■ Pacific Place

C O N TE M P O R A R Y W ORLD CIN EM A

H ejar - Big Man, Small Love

TURKEY

■ 2001

• U.S. P R E M I E R E

USA ■ 200 1

Director-Writer: Handan Ipekgi

Director: Jill Sprecher

Music: Serdar Yalcin, Mazlum Cimen

Writers: Jill Sprecher, Karen Sprecher Producers: BenAtoori, Gina Resnick, Sandy Stem, Michael Stipe Cinematographer: Dick Pope Editor: Stephen Mirrione Music: Alex Wurman

Cast: Sukran Gungor, Dilan Ergetin, Fusun Demirel, Yildiz Kenter, Y'smail Hakki Sen Running Time: 120 minutes

Cast: Alan Arkin, David Connelly, Clea DuVall, Frankie R. Faison, Amy Irving, Matthew McConaughey, Barbara Sukowa, Tia Texada, John Turturro Running Time: 103 minutes

nitially banned, but subsequently a critical and commercial hit in its native land, Hejar is the deeply moving, exquisitely acted story of a Kurdish child taken in by a retired judge after she is effectively orphaned. A remarkably composed Dilan Ergetin plays the sad-faced five-year-old of the title, suddenly and violently cast into a world that does not, and will not, make any attempt to understand her language or culture.

Recalling Victoire Thivisol's uncomprehending orphan in Jacques Doillon's powerful Ponette (SIFF '96), Hejar is confused and traumatized, a handful for even the most patient and experienced of caregivers - which Rifat Bey decidedly is not.

Rifat (veteran Turkish actor Sukran Gungor in an impressive performance) is a strict, emotionally guarded widower who has late parenthood thrust upon him due to an accident of fate: he lives across the hall from the scene of the police raid that leaves young Hejar homeless. Along with his housekeeper, Sakine, he gradually learns to communicate with Hejar in her native tongue, and discovers how she ended up in Istanbul and what happened to her family. Handan Ipekgi's accomplished film (only her second) isn't just a mature and emotionally involving look at the relationship that develops between two very different individuals (much like the cross-cultural, crossgenerational union in Jan Sverak's Oscar-winning Kolya), but an important work that is helping to change some of the attitudes, and even laws, that have kept the Kurdish people effectively invisible - to their Turkish compatriots, and to the rest of the world.

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eeming with subtle wit, rich irony, and superb performances, 13 Conversations About One Thing is a masterly exploration of how all human interaction is governed by the search for simple happiness - and how that search is further complicated by the Rubik's Cube of chance. Over the course of a single year, the characters' experiences overlap and illuminate one another in strange and wondrous ways.

Intricately structured, the film opens and closes in a bar, where two strangers exchange remarks that reflect their very different views of life. This hotshot young lawyer (Matthew McConaughey) and shopworn insurance executive (Alan Arkin) then go off on their separate itineraries, neither suspecting how their respective lives and attitudes will be altered by events to come. Among the other characters, a fastidious professor (John Turturro) abandons his settled life in a quest for happiness, only to be consumed by existential panic when he gets what he wants. A young woman (Clea DuVall) transcends her modest situation as a housekeeper through her faith, only to confront a harsher reality when her daily routine is disrupted. As writer-director Jill Sprecher's tapesty of contemporary life unfolds, we're along for the ride on a vivid exploration of the nature of cause and effect, the power of karma and the essence of fate. A must-reprise favorite in our 2002 Women In Cinema Festival last January, 13 Conversations About One Thing was subsequently chosen to open the San Francisco International Film Festival. If you missed it the first time, don't pass up this special chance to catch one of the most perfectly realized films of the year.

T

Official Oscar Submission: BEST FOREIGN FILM Filmography: Dad Is in the Army (1995)

Filmography: Clockwatchers (1997)

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American Gun

Friday, June 7 ■ 7 :0 0 PM ■ E gyptian M onday, June 10 ■ 4 :3 0 PM ■ E gyptian

T hu rsda y, June 13 ■ 9 :3 0 PM ■ C ineram a Saturday, June 15 ■ 1:45 PM ■ C ineram a

USA ■ 2 0 0 2

USA ■ 2 0 0 2 ■ WORLD PREMIERE

Director: Alexandre Rockwell

Director-Writer: Alan Jacobs

Writers: Brandon Cole, Alexandre Rockwell Producers: Brandon Cole, Michael Din, Alexandre Rockwell Cinematographer: Phil Parmet Editor: John David Allen

Producers: Elyse Eisenberg, Brent Morris Cinematographer: Phil Parmet Editor: Paul Millspaugh

Cast: Steve Buscemi, Peter Dinklage, David Proval, Daryl "Chill" Mitchell, Rose

Cast: James Coburn, Virginia Madsen, Barbara Bain, Alexandra Holden, Ryan Locke Running Time: 89 minutes

Rollins, Karyn Parsons, Elizabeth Bracco, Pruitt Taylor Vince, Peter Stormare, Sam Rockwell, Jennifer Beals, Michael Badalucco Running Time: 90 minutes

ans of Alexandre Rockwell's Sundance hit In the Soup (1992) won't want to miss this, his latest seriocomic collaboration with actor Steve Buscemi (Ghost World, Fargo) and what seems like dozens of the usual suspects from the American indie acting world. Buscemi plays Bananas the Clown, freshly fired from his TV kiddie show and dumped by his girlfriend. When he and his midget-clown partner Binky (Peter Dinklage) team up to seek reconciliation with Banana's ex, they land instead at the local police station, where the paths of this film's lively ensemble begin to cross in unusual ways over the course of a single L.A. night. At the center of these conjunctions is David Proval (The Sopranos' Richie Aprile) as Moe Potter, a bail bondsman whose young son is terminally ill. Pruitt Taylor Vince (Heavÿ) is Owen, a priest with doubts about his calling. Peter Stormare (who stuffed Buscemi in the wood-chipper in Fargo) is Stovo, a drug-addicted Santa and potential organ donor.

Daryl "Chill" Mitchell plays a volatile music producer, and Rose Rollins is his recording artist and lover, Sanandra. All these outré or at least semi-outré creatures are troubled in one way or another, yet as the I Sth moon gets higher and bigger in the sky, their basic humanity brings them together to ensure that Moe's kid Timmy will have a kidney transplant. The handheld, digital look of the film contributes to the general feeling of the street, where most of the action takes place, and where each character makes an important connection despite being near the end of his or her rope.

aking good on his post-Affliction career revival, James Coburn provides the redemptive emotional core of this melancholy drama, in which devoted father Martin Tillman (Coburn) confronts the demons of his past and present while tracing the history of the gun that killed his daughter. Titled after the fictional firearm manufacturer that brought the deadly .357 Magnum into existence, the film opens with low-key holiday cheer as Martin's daughter Penny (Virginia Madsen) arrives to spend Christmas with her parents (mother Anne is played by Barbara Bain). But the holiday is shattered when Penny is fatally shot at a nearby mall, and Martin grows secretly obsessed with the weapon's previous ownership. His interstate odyssey is interwoven with flashbacks to a similarly violent episode from his duty in World War II. This emotional landscape is ultimately shared with Penny's runaway daughter (Alexandra Holden), who precipitates a plot twist that changes American Gun from a story of random violence to an intimately tragic cautionary tale. Best known for his 1994 marital comedy Nina Takes a Lover, writer-director Alan Jacobs demonstrates equal facility with this heavier material, drawing finely understated performances from his esteemed cast while avoiding any sentiment that might dilute the story's psychological impact. When American Gun focuses on Coburn's performance, and the inner torment that motivates his character's behavior, its hot-button issue cedes emotional priority to the haunting portrait of a family brought together by the most painful kind of loss.

Filmography: Someone to Love (1996), 4 Rooms (1995, segment), In the Soup

Filmography: Just One Night (2000), Nina Takes a Lover (1994)

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(1992), Lenz(1981)

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13 Moons

Live The V iew !

S tart on th e to b s e rv a tio n D eck w ith spectact panoram ic vistas. Savor th e view and Pacific.

N o rth w e s t cuisine at o u r ro tating SkyGity ■ Restaurant Pick up a unique m em ento in the new Space Base pavilion. Uj

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C O N T E M P O R A R Y W ORLD CINEM A

Cherish

Dangerous Lives o f A ltar

Sunday, June 2 Tuesday, June 4

Friday, M ay 24 ■ 9 :3 0 PM ■ Pacific Place Saturday, M ay 25 ■ 4 :0 0 PM ■ Pacific Place

9 :3 0 PM 9 :3 0 PM

Pacific Place Pacific Place

Director-Writer; Finn Taylor

Director: Peter Care

Producer: Johnny Wow, Mark Burton Cinematographer: Barry Stone Editior: Rick

Writers: Jeff Stockwell, Michael Petroni Producers: Jodie Foster, Meg LeFauve, Jay Shapiro Cinematographer: Lance Acord Editor: Chris Peppe Music: Marco Beltrami, Joshua Homme Cast: Kieran Culkin, Jena Malone, Emile Hirsch, Vincent

LeCompte Music: Mark De Gli Antoni

Cast: Robin Tunney, Tim Blake Nelson, Brad Hunt, Liz Phair, Jason Priestley, Nora

D'Onofrio, Jodie Foster, Jake Richardson, Tyler Long Running Time: 105 minutes

Dunn, Lindsay Crouse Running Time: 100 minutes

odie Foster demonstrated her feeling for lost childhood in her directing debut, Little Man Tate', she returns to the subject, this time as a producer and ensemble player, in this engaging coming-of-age film. Set in the mid-1970s, the film tracks the adventures of a group of Catholic schoolkids, the most central of whom are Francis Doyle and Tim Sullivan - think of them as an Irish-American Tom Sawyer and Huck Finn, respectively, stuck in the listless backwash of the apathy era. Thoughtful Francis (nicely played by Emile Hirsch) is constantly being dragged into life experiences by the restless Tim, who reads William Blake and ponders ways of stealing the school's beloved statue of St. Agatha. As Tim, Kieran Culkin proves his Cider House Rules performance was no fluke, and rising star Jena Malone (Life as a House, Donnie Darko) is heartbreaking as Francis's first girlfriend, a classmate whose life is not the apple pie it seems to be. Vincent D'Onofrio is the school priest, and Foster plays an Irish nun - amusing performances that don't stoop to easy laughs (and damned if Jodie Foster didn't have a nun's face all along). The boys are obsessed with comic books, having invented their own brawny superheroes for Francis's notebook, and the film brings these adventures to life through the genius of comic-book giant Todd MacFarlane (Spawn). Director Peter Case lends a delicate touch to the material, nudging the movie between moments of realism (you've been in that bedroom, with the Stephen Stills LP playing quietly on the turntable) and the absurd. The film's sustained mood of funny-sad is a tonic after so many lunkheaded Hollywood movies purporting to depict the dangerous lives of teenagers. Altar Boys was adapted from a first novel by Chris Fuhrman, a promising young writer whose own story is tragically sad; he died of cancer before the book was published.

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ith his feature film debut Dream With the Fishes, writerdirector Finn Taylor established himself as a singular cinematic talent. Now Taylor confirms his standing with Cherish, a claustrophobic tale of obsession and suspense. Zoe Adler (Robin Tunney) is a talented computer animator living in San Francisco. Unfortunately, her withdrawn, tongue-tied nature fails to win many friends among her coworkers. Life outside the office isn't any more fulfilling. Rarely spending evenings home, she hops from club to club and makes requests to '80s station KXCH "Cherish," under the pseudonym Nadia. But then her life takes a horrible turn: While attempting to retrieve her stolen cell phone, she's involved in a carjacking that results in the hit-and-run death of a police officer. The carjacker flees the scene - and Zoe is arrested, with a blood alcohol level well over the legal limit. Under house arrest while awaiting trial, Zoe's already constricted world shrinks to her sleazy apartment and a radius of 57 feet. Her only regular visitor is shy, awkward Daly (Tim Blake Nelson), the county deputy who services her ankle bracelet, and a wheelchairbound neighbor. Her life is filled with boredom and '80s songs, until one night she calls that stolen cell phone - only to have the carjacker answer. In this gripping paranoid thriller, Taylor takes traditional Hitchcockian conventions - confined spaces, a wrongly accused hero, voyeurism - and gives them modern currency in a world where GPS and personal communication technology have made it nearly impossible to hide or escape.

The paranoia is heightened via Taylor's wickedly ironic use of '80s chart-toppers. You'll never listen to Hall & Oates or Soft Cell in the same way again.

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Filmography: Dream With the Fishes (1997)

96.5

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USA ■ 2 0 0 2

USA ■ 2 0 0 2

Screenplay.com Proud to be the o fficial screenWritinq softw are o f Cinema S e attle an d the 28th annual Seattle International Film F estival

MoVte M agic Screenwriter ùram atica Pro StoryVieW Visit us a t WWW.screenplay.com or calf SOOSh-STORV to launch your Writing career.

C O N T E M P O R A R Y W ORLD CINEM A

Door To Door

Saturday, M ay 25 M onday, M ay 27

9 :3 0 PM 1:45 PM

Just a Kiss

W ednesday, June 12 ■ 7 :0 0 PM ■ E gyptian Saturday, June 1 5 ■ 4 :0 0 PM ■ E gyptian

B ro ad w a y PH B ro ad w a y PH

Director: Fisher Stevens

Director: Steven Schachter Producer: Warren Carr

Writer: Patrick Breen Producers: Dolly Hall, John Penotti, Matthew H. Rowland Cinematographer: Terry Stacey Editor: Gary Levy Music: Sean Dinsmore

Cast: William H. Macy, Kyra Sedgwick, Helen Mirren, Kathy Baker Running Time:

Cast: Marisa Tomei, Kyra Sedgwick, Taye Diggs, Ron Eldard, Marley Shelton, Sarita

94 minutes

Choudhury, Patrick Breen Running Time: 90 minutes

he doctor who clamped his forceps around Bill Porter's skull during delivery cruelly afflicted the child with cerebral palsy, but also inadvertently fostered a lifelong determination for independence; In adulthood, Porter's stiffened limbs and compressed spine force him Into a permanent, stooped-over shuffle, but the effect is less of a man struggling against the wind than a bullet rushing forward. Precisely the hardheaded gregariousness that makes for a natural-born salesman.

Marching into homes without concern over how strangers will take to his jug ears or slurred, froggish rumble of a voice, Porter extols his soaps, detergents, and spaghetti sauces with a persistence that seems singleminded. Though he's also, as a salesman should, taking note of his customers' needs and gently insinuating himself Into the rhythm of their lives: sadly noting the breakup of a marriage; adjusting to the novelty of befriending a gay couple; conscious how a lonely alcoholic is buying company more than cleaning products. William H. Macy and director Steven Schachter, who previously collaborated on the clever noir A Slight Case of Murder, take on an altogether rosier genre in this inspirational biopic, which makes only the briefest of allusions to the upheavals of the five decades it traverses while warmly celebrating the decency and Integrity of its subject. Macy Is, as ever, wonderful - forsaking the easy out of indulging In a collection of actorly tics to realize Porter's affliction; without betraying the film's essential optimism, Macy's deft, minimalist indications of grief and the ache of loneliness ensure that the potentially saccharine tale remains always immediate and human. Supported by Helen Mirren as Porter's mother and Kathy Baker as a sad client, Macy causes Door to Door to gleam with the efficient pride of a job well done.

slapstick study of coincidence and consequences, Just a Kiss can arguably claim more "meet cute" moments than any film ever made. These range from variations on such chestnuts as the unwittingly shared apartment to some wholly twisted and original hookups involving drunken bar patrons, stolen nurse uniforms, and deliberately dropped trousers. The roundelay of romantic entanglements spirals outward from the breakup of Dag (Ron Eldard) and Halley (Kyra Sedgwick), itself precipitated by the revelation that Dag slept with Rebecca (Marley Shelton), troubled girlfriend of best buddy Peter (Patrick Breen), whose fame as a TV commercial mascot for peanut butter has meanwhile caught the eye of volatile stalker Paula (Marisa Tomei) ... all of which covers the first quarterhour or so. The screenplay, by Breen, starts off in Allenesque (Woody, not Irwin) mode as an episodic, bittersweet portrait of born losers in love. Before long, however, the tone shifts to the blackly mordant; at one point the cast is almost evenly divided between those recuperating in a hospital and those maintaining vigil at bedside. Director Fisher Stevens manages the shift without losing control by playing things light even at their most outrageous. A jazzy temporal structure of flashforwards and flashbacks keeps events humming, and the film's grace notes are highlighted by lovely interludes of digital painting, dreamy squiggles of crayon-like coloring that single out a needed key chain, a pair of wild, dangerous eyes, a batch of sleeping pills. Like many actors-turned-director, Stevens also knows how to assemble a fine group of actors and give them room to breathe: The uniformly charming ensemble tear into the off-kilter absurdity of the film, bouncing off each other's eccentricities like kids in a schoolyard.

Writers: William H. Macy, Steven Schachter Cinematographer: Jan Kiesser Editors: Paul Dixon

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A

Filmography (TV): For All Time (2000), A Slight C a se of Murder (1999), To Live Again (1998), The Con (1998), Every W oman's Dream (1996), To Face Her Past

(1996), Lady Killer (1995), Legacy of Sin: The William Coit Story (1995), Above

Filmography: Early Edition (1996 TV series), Phinehas (1995)

Suspicion (1995), Getting Up and Going Home (1992), The Water Engine (1992)

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USA ■ 2001 ■ U.S. PREMIERE

USA ■ 2001

SAFECO IS PLEASED TO SUPPORT THE SIFF AND THE FILMMAKERS FORUM f ^

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a n d b e sure to ch e ck o u t Tablefs

REEL TO REAL jewish film festival — arab and Iranian film festival — Seattle international film festival — g a y and lesbian film festival — Seattle underground film festival — satellites film festival — w igglyw orld — 911 media arts — blackchair productions — women in cinema film festival — super 8 queer film club

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C O N T E M P O R A R Y W ORLD CINEM A

Liberty Stands Still

Love In the Time o f Money

W ednesday, June 5 ■ 9 :3 0 PM ■ E g yptian Saturday, June 8 ■ 4 :0 0 PM ■ Pacific Place

M onday, M ay 2 7 ■ 9 :3 0 PM ■ Pacific Place Tuesday, M ay 28 ■ 4 :3 0 PM ■ Pacific Place

USA ■ 20 0 2 Director-Writer: Peter Mattei

Producers: Ogden Gavanski, Gary Pearl

Producers: Lisa Bellomo, Yves Chevalier, Jason Kliot, Gretchen McGowan, Joana

Cinematographer: Denis Maloney

Vicente Cinematographer: Stephen Kazmierski Editor: Myron I. Kerstein Music:

Editor: Jim Munro Music: Michael Convertino

Theodore Shapiro

Cast: Linda Fiorentino, Wesley Snipes, Oliver Platt, Martin Cummins, Hart Bochner Running Time: 91 minutes

Cast: Vera Farmiga, Domenick Lombardozzi, Jill Hennessy, Malcolm Gets, Steve Buscemi, Rosario Dawson, Adrian Grenier, Carol Kane, Michael Imperioli Running

n the way to a tryst with her actor-lover, Liberty Wallace (Linda Fiorentino), wife of Victor Wallace (Oliver Platt), bigtime gun manufacturer involved in the sleazy world of international arms deals, gets a call on her cellphone. The guy at the other end caller identifies himself simply as Joe (Wesley Snipes), and instructs Liberty to chain herself to a nearby hotdog cart. It contains, he says, a bomb, "a really big bomb," which is set to go off when her cellphone battery dies. Or she hangs up. That gives them 80 minutes to talk, about responsibility, revenge, accountability, gun control, and the 2nd amendment, all punctuated by occasional, brutal acts demonstrating to Liberty that her actions have consequences.

See, Joe is sitting in a high-rise building with a high-powered rifle and Liberty and all her surroundings squarely in his sights.

During the tense and thought-provoking cat-and-mouse game that comprises the film, we learn that Joe's daughter was killed in a high school shooting - by one of the Wallace's guns. But that's only the beginning, for there's much more to Joe's agenda than meets the eye. Part debate on gun control and the systemic corruption of business, part thriller with a brain, Liberty Stands Still is destined to be one of the most-discussed films at this year's festival. Wesley Snipes brings measured cool to his part, and Linda Fiorentino has the patent on a characterization that can only be described, as one character in the film does in passing, as an "ice-queen rich bitch." Director Kari Skogland has worked impressively on episodes of Family Law and the U.S. Queer As Folk.

Time: 90 minutes

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Filmography: Zebra Lounge

his striking first feature by celebrated theater director Peter Mattei takes the form of a journey through the emotional twilight zone of a group of New York City strangers linked only by their common need for emotional connection. The story opens as neophyte hooker Greta is picked up by a building contractor who refuses to pay for her services. In the subsequent chapter, the contractor succumbs to the advances of a lonely housewife who's convinced that her husband is having an affair with another woman. Her husband, we subsequently learn, has his own yearnings for an emotional connection his wife is ill-equiped to satisfy. As this chain of human longing progresses through the wind-swept landscape of the soul, each of the protagonists will find momentary solace in connection with a stranger. The story comes full circle with a grace and simplicity that befits the basic yearning of its characters. With its crisply crafted dialogue, gifted cast, and imaginative scenarios linking each of the rondelay's characters to the others, Love in the Time of Money is a vivid exploration of emotional longing and urban ennui.

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(2001), Children of the Com 666: Issac’s Return

(1999), White Lies (1998)

$ citysearch.com

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USA ■ 2 0 0 2 Director-Writer: Kari Skogland

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Lovely & Amazing

Missing Persons

Saturday, May 25 ■ 6 :3 0 PM ■ Egyptian Sunday, May 26 ■ 1:45 PM ■ Egyptian

Friday, M ay 24 ■ 9 :3 0 PM ■ B ro adw ay PH Saturday, June 8 ■ 9 :3 0 PM ■ B ro adw ay PH

USA ■ 2001

USA ■ 2 0 0 2

Director-Writer: Nicole Holofcener

Director-Writer-Editor-Producers: Matt & Dan O'Donnell Cast: Matt & Dan O'Donnell (voices) Running Time: 85 minutes

Producers: Anthony Bregman, Ted Hope, Eric d'Arbeloff Cinematographer: Harlan Bosmajian Editor: Robert Frazen Music: Craig Richey Cast: Catherine Keener,

oney Island's 60th Precinct is the setting for this frankly Dadaist foray in CGI-generated 3D animation. Populating the surrealist stew are John Funn, a world-weary Missing Persons detective near the end of his career, and rookie Officer Snookie, the mumbling, seemingly dispossessed, possibly retarded cop with whom he forms a strange attachment.

Intersecting their story is that of Computo, a World War II Army surplus robot, dealing drugs with his streetfighter buddy Crazy Legs, who gets cut in half by a hail of police bullets, yet keeps on going. All this revolves around a Missing Persons case involving a common drinking straw weaving around the ducks in the Atlantic Ocean. An oddball amalgam of noir, sci-fi, and some unclassifiable element that this film may itself define, Missing Persons manages also to parody courtroom dramas, police bureaucrats, and the difficulty of the job hunt--especially if you're a computer with the murder of a cop on your resume.

The film's official website lists the genre as "Wwwwweird." Matt and Dan O'Donnell, twin brothers each with a masters degree in engineering, expanded Missing Persons from their 3-D short Officer Down, which premiered at the 2000 Sundance Film Festival. The O'Donnell brothers achieved the film's stunning visuals through their own custom software, cutting up to 90 percent of the usual animation steps through natural language processing by which spoken commands are used to direct the characters. The result is a one-of-a-kind film experience.

C

Brenda Blethyn, Emily Mortimer, James LeGros, Dermot Mulroney, Jake Gyllenhaal, Clark Gregg, Raven Goodwin Running Time: 89 minutes

ovely & Amazing is an apt title for the delightful new film from writer-director Nicole Holofcener, whose feature debut Walking and Talking was a 1996 indie hit. The title could describe the hot-and-cold relationships of Holofcener's closeknit characters, or it could be an appreciative description of the characters themselves, since all of them are indeed lovely and amazing, despite having their feet planted on the shaky ground of modern family dynamics. Holofcener's comedy, slyly understated and universally appealing, focuses on the 30something anxieties of Michelle (the marvelous Catherine Keener, of Walking and Talking and Being John Malkovich); her decidedly unprofitable artistic endeavors leave her at odds with her husband (Clark Gregg) and, after she takes a job at a One-Hour Photo shop, disposed to contemplate a fling with her 17-year-old boss (Donnie Darko's Jake Gyllenhaal). Younger sister (Emily Mortimer) is an insecure actress who's ready to quit showbiz, till an A-list star (Dermot Mulroney) offers ego­ boosting affection. Meanwhile, their mother (Brenda Blethyn) is tormented from moment to moment by her dread of imminent liposuction surgery and her distraction as twilight-years single parent of a newly adopted chubby, African-American daughter (Raven Goodwin), who's indulging her first taste of preteen rebellion. Indie stalwart James LeGros adds to the film's pedigree as Mortimer's unfulfilled boyfriend. Holofcener achieves a seemingly effortless balance of character development and low-key plotting, while her excellent cast brings subtle, compassionate humor to the shifting tides of their characters' everyday lives. These are normal people with modest needs and sensible desires, and there's something lovely and amazing in the film's casual approach to their elusive fulfillment. At first glance nothing much happens; look closer and you'll find revelatory observations of behavior from a writer-director who really knows what makes people tick.

L

Filmography: Walking and Talking (1996), Angry (1991)

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Pipe Dream

Friday, June 7 ■ 7 :0 0 PM ■ B ro ad w a y PH Sunday, June 9 ■ 1:45 PM ■ B ro a d w a y PH

W ednesday, June 12 ■ 9 :3 0 PM ■ Pacific Place Friday, June 14 ■ 4 :3 0 PM ■ Pacific Place

USA ■ 2 0 0 2

USA ■ 2 00 2

Director-Cinematographer: Ernest Dickerson

Director: John Walsh

Writer: Gordon Rayfield Producers: Joseph Stem, Angela Bassett Editor: Stephen

Writers: John Walsh, Cynthia Kaplan Producers: Sally Roy, Carole Curb Nemoy,

Lovejoy Music: Patrice Rushen

Mike Curb

Cast: Josh Charles, Roderick Pannell, Brandon Hammond, Vanessa Williams, Mykelti

Cast: Martin Donovan, Mary-Louise Parker, Rebecca Gayheart, Kevin Carroll, Peter

Williamson, Peter Paige, Irma T. Hall, Serena Lee, Djanet Sears, Gene Mack, Ruyika

Jacobson, Guinevere Turner, Jill Hennessy Running Time: 91 minutes

Bernard, Justin Mitchell, Mark Taylor, Daniel Farris Running Time: 95 minutes

or every high society person, there are hordes of faceless people on whom they depend to fix their plumbing, serve them coffee, and cater their parties. Disgruntled with being invisible in the eyes of his rich customers, plumber David (Martin Donovan) strikes a deal with his friend RJ (Kevin Carroll), a casting agent for a movie studio. In exchange for getting his bathroom fixed up, RJ creates for David a casting call for a nonexistent film, giving David the opportunity to masquerade as a hotshot director for the simple purpose of picking up chicks. With a script borrowed from David's neighbor Toni (Mary-Louise Parker), a struggling screenwriter, their nonexistent film Pipe Dream suddenly becomes the hottest indie project in town. Before they know it, the film has multi-million dollar funding, a cast and crew, and the film industry all abuzz. As Toni and RJ use David as a willing puppet for realizing their dreams of hitting the big time, Pipe Dream becomes a sort of Cyrano de Bergerac for the modern age. With a sharp and playful script by writer-director John Walsh and Cynthia Kaplan, Pipe Dream not only pokes fun at the superficiality of the film industry, but brings to light the unspoken class system of American society. Next time you need your leaky faucet fixed, you may not look at your plumber the same way again.

F

hen LeAlan Jones and Lloyd Newman, two charismatic and ambitious African-American teenagers, came late to audition for NPR producer Dave Isay, little did they know that it would eventually set them on the path to becoming the youngest-ever recipients of the prestigious Peabody Award.

Based on a true story, Our America follows the two teens as they began their journalistic careers under Isay. Their first project was a series of recordings entitled "Ghetto Life 101," with the boys giving first hand, no-holds-barred accounts of their lives within the Ida B. Wells Housing Projects on Chicago's South Side. Jones was being raised by his grandmother - never having known his father, and his mother debilitated by mental illness. Newman was growing up virtually parentless; his mother had drunk herself to death, and his father remains an unpredictable alcoholic. (One of the film's most chilling moments comes when Newman interviews his father giving a strangely lucid account of his alcoholism.) When the young men's stories were first broadcast, they came under fire as being nothing more than stereotypical ghetto reportage manipulated by a white producer. Shaken by the criticism, but ever tenacious, the boys decided to prove their detractors wrong by investigating the death of Eric Morse - a five-year-old killed by two other boys, aged ten and eleven, when he was dropped from a fourteenth-story window. Newman and Jones delved deep into the story, uncovering more complex circumstances behind the crime than were revealed by the national press. What emerges is a complex portrait of inner-city life where two teens give voice to a largely misunderstood, sometimes ignored, community.

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Filmography: Ed's Next Move (1996)

Filmography: Bones (2001), Strange Justice (1999), Futuresport (1998), Ambushed (1998), Blind Faith (1998), Bulletproof (1996), Tales from the Crypt Presents: Demon Knight (1995), Surviving the Game (1994), Juice (1992)

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Our America

CELEBRATING

FIFTY YEARS

PUBLIC

RADIO

Alone in the attic, young Tom Douglas ogles the CoqAu Vin in his father’s Gourmet magazine.

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C O N T E M P O R A R Y W ORLD CINEM A

Pumpkin

The Safety o f Objects

T hu rsday, M ay 30 ■ 4 :3 0 PM ■ H arvard E xit Sunday, June 2 ■ 9 :3 0 PM ■ E gyptian

M onday, June 3 ■ 9 :3 0 PM ■ Pacific Place

USA ■ 2001 Director-Writer-Producer: Rose Troche

Writer: Adam Larson Broder Producers: Willi Baer, Linda Reisman, Francis Ford

Cinematographer: Enrique Chédiak

Coppola Cinematographer: Tim Suhrstedt Editor: Sloane Klevin

Morrison, Charles Nleland, Nance Nleland

Music: John

Ottman

Editor: Geraldine Peronl Music: Barb

Cast: Glenn Close, Dermot Mulroney, Jessica Campbell, Patricia Clarkson, Joshua

Cast: Christina Ricci, Hank Harris, Brenda Blethyn, Dominique Swain, Marisa

Jackson, Moira Kelly, Robert Klein, Mary Kay Place Running Time: 121 minutes

Coughlan, Samuel Ball, Harry Lennix, Nina Foch, Caroline Aaron, Lisa Banes, Julio

ose Troche burst upon the scene in 1994 with her deliciously fresh comedy Go Fish, then followed that success with the acclaimed Bedrooms and Hallways (SIFF '98).

Neither of those offbeat treasures prepared us for the rich emotional texture and sheer stylistic panache she has brought to her third feature, an engaging, intricately structured seriocomedy focusing on four dysfunctional households in idyllic suburbia, and the ways their members' lives intertwine to unexpected effect. Accordingly, we showcased The Safety of Objects as our Opening Night Gala in the Women In Cinema Festival this past January - and we knew, even before the delighted reception it got, that we'd have to offer another look come spring. Based on a book of short stories by A.M. Homes, the film embraces a compelling community of characters, each of them smothered one way or another by the posh comfort of material objects. Glenn Close plays a mother obsessed with her gifted singer-songwriter son, left in a coma by a recent car accident. Next-door neighbor Dermot Mulroney is similarly obsessive - about his legal career - to a degree that, as with Close, isolates him from the rest of his family. Another neighbor, Patricia Clarkson, is trapped in a messy divorce and strapped by single parenthood, while Mary Kay Place is deeply gaga searching for any inspiration that will distract her from the banalities of her existence. Drawing superb performances from her gifted ensemble, Troche has created a film both rich in humor and loving in its embrace of human foibles.

R

Oscar Mechoso, Phil Reeves, Tasha Smith, Michael Bacall, Erinn Bartlett, Michelle Krusiec, Melissa McCarthy Running Time: 122 min

ou say there is nothing new under the sun and that film has just about covered every "we can't talk about that" topic?

Think again. Adam Larson and Tony R. Abrams' directorial debut is a bold, hysterical satire about a sorority princess falling for a handicapped man. Carolyn McDuffy (Christina Ricci) is a blond Southern California State senior and a sister at Alpha Omega Pi sorority. Hoping to win her house Sorority of the Year honors, Carolyn agrees to coach some "special" athletes from Riverside in the upcoming Challenged Carnes.

She and her Capri pants - wearing sorority sisters try to act as if they care about their charges, but in truth are just grossed out by their seemingly hopeless disabilities. However, her perfectly shallow world is turned head over heels when she meets and is moved by the profound vulnerability of the young man she is coaching. Pumpkin Romanoff (Hank Harris), a wheelchair-bound mama's boy, wants nothing more than to compete in the shotput event. Carolyn starts to fall for Pumpkin after a brutally funny and sad "blind date" she sets up for him. The perfect tennis-star boyfriend (Sam Ball) is dumped; her friends, parents, sorority sisters are outraged as the affair between Pumpkin and Carolyn grows. Even Pumpkin's tippling mother (Brenda Blethyn) tries to stop the romance; she wants to keep him her precious little boy, bound to his wheelchair.

Pumpkin is a feature that challenges the conventions of film romance. It successfully blends satire, high camp, and another sexual taboo into a really funny movie.

Y

Filmography: Six Feet Under (episode, 2002), Bedrooms and Hallways (1998), Go Fish (1994)

SKYT VODKA

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USA ■ 2 0 0 2 Directors: Tony Abrams, Adam Larson Broder

C O N T E M P O R A R Y W ORLD CIN EM A

CO N TEM P O R A R Y W ORLD CIN EM A

Skins

Soft for Digging

Wednesday, May 29 ■ 9 :3 0 PM ■ Pacific Place T hursday, May 30 ■ 4 :3 0 PM ■ Pacific Place

Friday, M ay 24 ■ 7 :0 0 PM ■ B ro adw ay PH Saturday, M ay 25 ■ 1:45 PM ■ B ro adw ay PH

USA ■ 2002

USA ■ 2 0 0 2

Director: Chris Eyre

Director-Writer: JT Petty

Writer: Jennifer D. Lyne Producers: Jon Kilik, David Pomier, Eugene Mazzola Cinematographer: Stephen Kazmierski Editor: Paul Trejo Music: B.C. Smith

Producer: Jeffrey Odell Cinematographer: Patrick McGraw Editor: Dean Holland

Cast: Eric Schweig, Graham Greene, Gary Farmer, Noah Watts, Lois Red Elk

Cast: Edmond Mercier, Sarah Ingerson, Andrew Hewitt, Kate Petty Running Time:

Running Time: 87 minutes

74 minutes

ust over 60 miles southeast of one of America's most enduring symbols, Mount Rushmore, lies the poorest of all U.S. counties, the Pine Ridge Indian Reservation. With the unemployment rate at 75 percent and death by alcoholism at a rate nine times the rest of the country, the Sioux rez has its own enduring symbol: the memorial for the hundreds of men, women, and children massacred by the U.S. Army at Wounded Knee in 1890. Brothers Rudy (Eric Schweig) and Mogie (Graham Greene) have struggled with their land's legacy in different ways. Mogie, once the strong older brother, went to war in Vietnam for his country, but deteriorated upon his return into a washed-up drunk. Rudy, now a reservation policeman, has become so desperately frustrated with his nightly calls to break up drunken brawls and domestic violence that he decides to take matters into his own hands. But his vigilantism ultimately comes at a high, personal price. In Skins, director Chris Eyre (Smoke Signals) takes us deep into a community that has struggled to keep its cultural identity and traditions, while combating a seemingly endless cycle of alcoholism and poverty. Interspersing the drama with documentary footage of the actual reservation, Eyre focuses his camera beyond the surface stereotypes, offering a deeper portrait of one family fighting back.

utting together a film festival is a multifariously gratifying experience, but perhaps no pleasure compares with having an utterly unheralded gem of a movie come bobbing to the surface and leave you feeling astonished and renewed. Soft for Digging is one of those special films, and we are thrilled to be able to invite you to share the discovery. A reclusive old man leaves his shack in a damp Maryland woods and hobbles deeper into the backcountry to see what became of his cat. The perverse creature stays always a few yards ahead of him, so that he doesn't notice right away that he's no longer alone.

Over there beyond those spindly birches sits a car. A man has got out of the car, and a little girl who peers with disquieting intensity at the old duffer. Then, a few moments later (where did that damn cat go?) ... something happens. And what was already a creepily disquieting country morning turns into one of the most pervasively chilling horror movies you're ever likely to see. JT Petty has made the kind of assured film debut some of us have dreamed of in private moments, while walking in the fields, appreciating the textures of the atmospheric, everyday reality surrounding us, and wanting sometime to communicate the particular feel of that kind of day, that kind of quiet, that kind of anything-might-happen apprehensiveness.

You know that he's looked at certain, seemingly inauspicious corners of his familiar landscape and thought, yeah, that's special; there's a movie scene in that. There's certainly a movie scene in one dream location, an isolated old monastery or school building or whatever-the-hell-it-is, that no production designer could ever hope to match. And you know, fully an hour of this barely-more-than-an-hour feature film goes by with only one word being pronounced. And that word is ... well, hear - and above all, see - for yourselves.

Music: James Wolcott, Sophocles Papavasllopoulos

P

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Filmography: Things We Do (1998), Smoke Signals (1998)

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USA ■ 2002

Director: Gary Winick

Director-Writer: Lynn Hershman-Leeson

Screenwriter: Niels Muller, Heather McGowan Producers: Alexis Alexanian, Dolly Hall, Gary Winick Cinematographer: Hubert Taczanowski Editor: Susan Littenberg

Producers: O scar Gubemati, Youssef Vahabzadeh, John Bradford King Cinematographer: Hiro Narita Editor: Lisa Fruchtman Music: Marc Tschanz Cast: Tilda Swinton, Jeremy Davies, Karen Black, James Urbaniak, Josh Kombluth, John O'Keefe Running Time: 85 minutes

Cast: Sigourney Weaver, Aaron Stanford, John Ritter, Bebe Neuwirth, Robert Her, Adam Le Fevre, Peter Appel, Alicia van Couvering, Kate Mara, Hope Chernov,

hile the majority of cyberpunks wait impatiently for the upcoming pair of Matrix sequels, Teknolust offers a scintillating alternative for those who prefer ideas combined with a fiercely independent spirit. Writer-director Lynn HershmanLeeson's exploration of loneliness, love, and software is full of provocative insights about cyberculture, the elusiveness of human contact in the hi-tech era, and the inevitable mingling of humankind with artificial intelligence. Following her rewarding collaboration with Hershman-Leeson in the title role of 1997's Conceiving Ada, the remarkable Tilda Swinton (SIFF '94 Best Actress for Orlando) continues to demonstrate her fearless embrace of challenge in her quadruple role as lovelorn biogeneticist Rosetta Stone (get it?) and the alter-egos she has created in her computer. A shy virgin with a tragic family history, Dr. Stone downloads her own DNA into an experimental A.I. program, creating a trio of "self-replicating automatons” (SRAs) named Ruby, Olive, and Marinne (all played by Swinton, of course).

But these cyber-human hybrids lack male chromosomes, so Ruby (the lady in red, so to speak) is programmed to seduce men in the real world, gathering sperm samples as much-needed sustenance for the SRAs' continuing evolution. This attracts the attention of the FBI and a maverick cyber-tracker (Karen Black), with comedic results. For her part, Ruby attracts an introverted copy-shop clerk Oeremy Davies) who unlocks her capacity to love. Spiced with equal amounts ingenuity and whimsical cleverness, Teknolust is smart, silly, and serious when it comes to exploring our need for tangible connections in a bit-streaming world. Shot on hi-def video and making the most of its low-budget resources, the film tickles the viewer with its unconventional love story. And Swinton brings it all vibrantly to life, clearly enjoying an opportunity to spread her wings and soar into the near-future of Hershman-Leeson's vivid imagination.

Debbon Ayer, Ron Rifkin, Paul Butler Running Time: 78 minutes

W

adpole is one of those amazing independent films that has a great script, proficient, flawless direction, and an outstanding cast of people you've actually heard of - and all of them turn In terrific performances. Director Gary Winick has crafted a thoroughly delightful, funny, and perceptive take on a well-worn storyline - first love - that mixes the slyly suggestive, a very sharp wit, and the innocence of youth.

Newcomer Aaron Stanford plays Oscar Grubman, an articulate and precocious 15-year-old with a bad, and inconveniently misplaced, case of the hots for an older woman. The statuesque Sigourney Weaver plays his 40something stepmother, Eve; John Ritter is Stanley, Oscar's dad, a wellmeaning but somewhat clueless professor at Columbia. Then there's Diane - Bebe Neuwirth in high sultry mode (rather than Lilith mode) - Eve's best friend, and soon to be a very close friend of our young hero. Oscar has decided to follow the passionate advice of his sage Voltaire and win the heart of his beloved. What follows is a farce very much In the French tradition - misunderstood conversations, unintentional trysts, and mistaken identities. It must be a dream of actors to have a script like Tadpole's, with well-drawn characters, honest, witty dialogue, and hilariously fraught situations. Certainly the results are a dream to watch.

T

Filmography: Molly Gunn (2001), Sam the Man (2000), The Tic Code (1998), Sweet Nothing (1996), Out of the Rain (1991), Curfew (1989)

Filmography: Conceiving Ada

(1997), Double Cross Click Click (1995), First Person Plural: The Electronic Diaries (1995), Seduction of a Cyborg (1994), Virtual Love (1993), Shooting Script: A Transatlantic Love Story (1992)

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USA ■ 2002

CONTEMPORARY WORLD CINEMA

CONTEMPORARY WORLD CINEMA

The Trip

CQ

Saturday, M ay 25 ■ 9 :3 0 PM ■ Egyptian Sunday, May 26 ■ 4 :0 0 PM ■ H arvard Exit

Friday, M ay 24 ■ 9 :3 0 PM ■ Harvard Exit Saturday, May 25 ■ 1 1 :30 AM ■ Harvard Exit

USA ■ 2002

USA/LUXEMBOURG/FRAIMCE/ITALY ■

20 0 1

Director-Writer-Producer: Miles Swain Producers: Houston King, Michael Van Briesen

Director-Writer: Roman Coppola

Cinematographers: Charles

Barbee, Scott Kevan Music: Steven Chesne

Producers: Willi Bär, Francis Ford Coppola, Georgia Kacandes, Gary Marcus,

Cast: Larry Sullivan, Steve Braun, Alexis Arquette, Sirena Irwin, Ray Baker, Jill St.

Michael Polaire, Jean-Claude Schlim, Jimmy de Brabant Cinematographer: Robert

John Running Time: 95 minutes

D. Yeoman Editor: Leslie Jones

Cast: Jeremy Davies, Angela Lindvall, Élodie Bouchez, Gérard Depardieu, Giancarlo

hree decades of Queer struggles are touchingly framed by the story of two lovers in writer-director Miles Swain's wonderful feature film debut. When the pair first meet, Alan is an up-and-coming reporter at the Los Angeles Chronicle, while Tommy is a young activist in the fledgling gay rights movement. For Tommy, the attraction is instantaneous, and he eagerly agrees to have dinner with Alan. Upon his arrival, however, he discovers not only Alan's girlfriend, New Age naif Beverly, but Alan's true motives behind the invitation: "Why would a straight, young Republican write a book about homosexuality?" Tommy asks. Well, because Alan is very much a closet case, hoping to impeach his own burgeoning homoerotic feelings by writing an anti-gay diatribe, The Straight Truth. But his attraction for Tommy grows too strong to ignore, even turning into obsession. The film overleaps four years at this point, to find Tommy and Alan's relationship still in its protracted honeymoon period. In fact, the couple is planning their first vacation together, a road trip through Mexico. Then Alan's long-forgotten book is published to capitalize on singer Anita Bryant's homophobic "Save Our Children" campaign, and both men's professional reputations are destroyed by the public disclosure of their relationship.

Years of separation follow, with neither seeking reconciliation, until dreadful news brings them together once more. And now they finally embark upon their once-planned road trip. With his skillful depiction of Tommy and Alan, Swain creates a powerful, character-driven tale that is the cinematic equal to works by Edmund White and Tony Kushner.

T

Giannini, Massim o Ghini, Jason Schwartzman, Billy Zane, John Phillip Law, Silvio Muccino, Dean Stockwell Running Time: 91 minutes

he feature-film debut of Roman Coppola, son of F.F.C., explores the wildly diverse world of filmmaking in the late '60s, the era of Free Love and revolution. Paul Oeremy Davies), a young filmmaker living in Paris, is working as editor and second-unit photographer on a sci-fi spy caper called Dragonfly, a visually stunning extravaganza reminiscent of Barbarella. All Paul wants is access to the equipment so he can make a personal filmed diary. But when Dragonfly*s temperamental director Andrezej (Gérard Depardieu) is fired, Paul is promoted to the director's chair, and now has to deal with a project plagued with difficulties, such as the film has no ending. He has personal problems, too. His girlfriend (Élodie Bouchez) finds him too involved in his work, which includes the stunning star of Dragonfly, Valentine (Angela Lindvall).

While the personal story of Paul and the sexy futuristic costumes are enough to entice any viewer, director Roman Coppola has loaded the film with enough cinematic references to the period to give a film buff wet dreams. Balancing the director's penchant for fun movies like Barbarella, Mario Bava's Danger: Diabolik, and Modesty Blaise are quotes from artier, intellectual fare from the likes of Godard and Antonioni. These dual influences come together in the character Paul, flailing between kitsch and cinéma-vérité. The star of the Bava flick, John Phillip Law - also the Blind Angel in Barbarella - appears in the film, as does L.M. "Kit" Carson, star of Jim McBride's David Holzman's Diary, another inspiration for CQ. Look for Roman's sister Sofia in a cameo role. CQ there.

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Green Dragon

See You Off to the Edge of Town ...

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USA ■ 2001

USA / HONG KONG ■ 2001 ■ WORLD PREMIERE

Director: Timothy Linh Bui Writers: Timothy Linh Bui, Tony Bui Producers: Elie Samaha, Andrew Stevens, Tony Bui, Tajamika Paxton, Forest Whitaker, Alison Semenza

Director-Writer-Editor: Ching C. Ip

Cinematography:

Producers: Ching C. Ip, Pei-I Lin Cinematographer: Lawrence Schweich Music:

Kramer Morgenthau Editor: Leo Trombetta

Jose Halac

Cast: Patrick Swayze, Forest Whitaker, Don Duong, Hiep Thi Le, Billinjer Tran, Long Nguyen Running Time: 111 minutes

Cast: Zhu Xi Juan, K.K. Wong, Yvonne Teoh, Jo Chim, Christopher Cheng, Henry Amitai Running Time: 87 minutes

imothy Linh Bui's feature debut as writer-director is as beautiful and lush in its own way as his brother's debut, Three Seasons, a few years ago. Together (Green Dragon is co­ written and produced by Tony Bui) the two brothers once again re-create a time and place with immense sincerity and emotion.

This time it's America in the waning days of the Vietnam War. At a first-wave refugee camp in the southwestern deserts of the U.S., recent arrivals from Vietnam try to adjust to what has been left behind, and what may (or may not) be waiting ahead.

Various stories take their turns emerging and retreating: two young children insistently watching and waiting for their mother to join them; a camp cook (Forest Whitaker) whose own demons take shape on a hidden mural; an ex-army translator who serves as a de facto leader of the refugees although his heart is lost elsewhere; the company sergeant (Patrick Swayze) who sees the humanity in front of him but has little capacity to bring it closer to his heart. While at first glance this painful space seems to offer little in the way of nurturing or understanding, it is from this transitory life that hope quietly emerges as a worthwhile commodity. The Bui cinematic eye for vivid visual storytelling is fast emerging as their filmmaking trademark, and Timothy's restrained ability to bring forth emotion through silence and images is a deeply affecting talent.

T

Hong Kong mother and father fly into LAX to attend their younger daughter's graduation. Elder daughter, a fully assimilated American yuppie, is also on hand. With a weekend to kill, the foursome hits the interstate to do the tourist-y thing, see the Grand Canyon. The trip instead will carry each family member into a new understanding of themselves and the ties that don't quite bind them. And just in case you're thinking, Okay, I know where that movie's going, I've seen a dozen like it at film festivals - guess again. The winner of the first SIFF Alpha Cine Award is a real achievement: delicately nuanced, constantly surprising, warmly witty without lapsing into sentimentality, and visualized by a distinctive eye for place and texture and time of day. You do not, in fact, know what mood or potentiality it's going to veer into in the next moment or scene, what contemplative angle it's going to find to look at something (be it a cactus or an averted face), what history and dimensions it's going to discover in its characters. You do not know how you're going to feel when an edging-past-middleage Asian man sits in a bar in the desert Southwest and realizes that he has caught the interest of the attractive American woman behind the counter. (Don't worry: he isn't sure how he feels about it, either.) This is a lovely film and a wondrous discovery. As for its director, NYU grad Ching C. Ip isn't a ''promising" filmmaker - she's arrived!

A

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TEAM PHOTOGENIC

CORPORATE«EVENTS«WEDDINGS ARCHITECTURE t PERSONAL « ART developing courtesy of our partner:

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R a in

Sunday, M ay 26 ■ 1:45 PM ■ H arvard E xit Tuesday, M ay 28 ■ 9 :3 0 PM ■ H arvard E xit

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USA ■ 2002

USA/SPAIN/GERMANY ■ 2001

Director: Ludi Boeken Writer: Jonathan Bourne Producers: Anne Lieske, Gene Roscow, Eric Dussart Cinematographer: David Carr-Brown Editor: Sonja Schenk Music: Alexander Van Bubenheim

Cast: Mark Borchardt, Mike Schank, Robert Stephens, Shannon Williams, Frank Potter,

Director-Writer: Katherine Lindberg Producers: Victor Albarran, Martin Scorsese Editor: Carolyn Dysinger Music: Clint Mansell

Cinematographer: Vanja Cernjul

Cast: Melora Walters, Kris Park, Jo Anderson, Diane Ladd, Jamey Sheridan, Ellen Muth, Adrian Johansson Running Time: 97 minutes

Karl Makinen, Gina Torrecilla, Zumi Rosow, Julia Christmas Running Time: 83 minutes

ritney, Baby, One More Time isn't really about the pop princess - or her platinum-selling CD, Baby One More Time.

Ludi Boeken's focuses instead on a Britney impersonator and the television news crew following her around the country on a trip to meet her idol. That crew just happens to include aspiring horror maestro - and sometime Late Show commentator - Mark Borchardt (Coven) and slacker buddy Mike Schank from Chris Smith's American Movie (winner, coincidentally enough, of Sundance's 1999 Documentary Grand Jury Prize). And the film's Britney isn't just another young female fan, but Robert Stephens (Angel Benton), a gay 20something Japanese-American who does a mean impersonation of the chirpy chart-topper and really did win a lookalike contest in real life - just as in the movie. When Borchardt and Schank, as Milwaukee-based filmmakers Dude and Mike Schmitz, fail to secure an interview with the genuine article for their local TV station, they run into the irrepressible Stephens shortly afterwards and mistake him for the real thing.

Even after they realize their error, they decide to push on with the assignment; if they can't tell the difference, who's to say their clueless producer will either? Plus, they could really use the money, since they have a horror film (Sudden Doom) to complete. Art imitates life (and life imitates art) in this hilariously offbeat romp in which the world's most unlikely trio - plus droll editor and camera operator JJ. (Frank Potter) and Diane (Girlfights Shannon Walker Williams) - hit the road for one unexpected adventure after another. Dancing truckers, goth rock kidnappers - you never know what's out there along the highways of rural America.

B

classic tale of sex, murder, and redemption, Katherine Lindberg's feature debut Rain is written deep within the soil of America's heartland, festering in the barren and frigid landscape of a small Iowa town hiding secrets so incendiary as to threaten its very existence. At first glance a simple story of forbidden passion and buried sexuality, the film subtly moves further into the unsettling mind of a woman lost to herself and, perhaps inevitably, to the rest of her world. Most striking is Lindberg's assured visual aesthetic, driving this American Gothic tragedy with a striking sense of craft, design, and ambition - an unusual combination from a first-time director.

Melora Walters (Magnolia) plays Ellen Biddle, housewife, lingering tenuously in the faded Iowa farm town she still calls home. The harvest done, withered cornstalks fill the isolating landscape as a never-ending drought stretches onward. Eightytwo trains a day whistle through this "fly-over" land - a desert painted in corn, filled with ghostly images of things that were.

For Ellen, home is stifling ... crushing ... airless. Sweaty and sticky, Ellen's husband Paul is having a torrid, backseat affair with Patsy Gibson (Jo Anderson). Patsy's husband, Sheriff Tom Gibson (Jamey Sheridan), is running for mayor. Tom, enmeshed in his memories of a few brief moments spent with Ellen nearly twenty years earlier, is faced with a quickly crumbling marriage and feelings he had thought long locked away. Ellen herself finds fleeting solace in an illicit sexual liaison, only to discover the cost exorbitant and deadly. Employing a strong cast (including Diane Ladd and newcomer Kris Park) and complex characters, Lindberg weaves this multileveled drama with tight control and a stark, minimalist reality that allows for access to a deeply disturbed yet exotically compelling wasteland of passion and despair.

A

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B r it n e y B a b y , O n e M o r e T im e !

VULCAN

There’s business...and then there’s show business.

Best wishes to Seattle International Film Festival for a dazzling 2002 festival!

REFRACTING REALITY m - -----------------------------------------------------------------------

Afghan Alphabet

Friday, May 24 ■4 :3 0 PM ■Broadway PH Sunday, May 26 ■ 1 1 :3 0 AM ■Pacific Place

Sunday, June 2 ■6:30 PM ■Broadway PH Wednesday, June 5 ■4:30 PM ■Broadway PH

IRAN ■ 2001

IRAN ■ 2001

Director Abbas Kiarostami

Director-Writer-Cinematographen Mohsen Makhmalbaf Running Time: 96 minutes

elebrated Iranian filmmaker Mohsen Makhmalbaf, director, writer, producer, and editor of over twenty films, shot this documentary in the winter of 2001. The subject is illiteracy among Afghan émigrés in the villages along the border between Iran and Afghanistan, the territory of the director's previous film Kandahar. Finding children who do not attend school, Makhmalbaf, assisted by his two daughters, Samira Makhmalbaf and Hana Makhmalbaf, questions the students about why they are not being educated. He finds girls studying in UNICEF classes in one region. One of the girls is not willing to come out of her burqa despite the fact that she has run away from Afghanistan and the Taliban are not present - her potential unveiling becomes the crux of the film and "is more human and compelling than almost anything in Kandahar” (in the estimation of Variety). According to the director, the Taliban are not a political regime in Afghanistan but a culture.

"Bombarding can ruin a political regime, but it cannot change a culture. You cannot free a woman who is imprisoned in the burqa with a rocket. The girl needs education. She is imprisoned but she does not know that she is a prisoner of poverty, ignorance, prejudice, male chauvinism, and superstition." The film seeks the lost key to open the lock of the cultural problems of Afghanistan. All income generated from this movie belongs to the Afghan Children Education Movement.

C

Producers: Abbas Kiarostami, Marin Karmitz Cinematographer Seifollah Samadian Editor Abbas Kiarostami Music: Reza Delpak Running Time: 83 minutes

T a r more than a sidebar to a magnificent career (as some I critics have proposed), ABC Africa marks an important transition in the work of one of the world's greatest filmmakers. In the spring of 2000, Abbas Kiarostami was approached by the UN to make a documentary dealing with the plight of 1.6 million Ugandan children orphaned by AIDS. A fax scrolling down the first seconds of the film attests to Kiarostami's agreement to visit a series of camps in Kampala, Uganda, to research the possibility. With his crew of two himself and an assistant - Kiarostami shoots from the moment he touches the ground. The equipment is handheld digital videocameras, since Kiarostami intends using the footage as a mere sketch for a more planned-out 35mm production. The somewhat recalcitrant master finds himself out from behind the cumbersome lens of authorial control, wandering freely through marketplaces, AIDS hospices, and an orphanage exclusively housing children whose parents succumbed to the disease. Rather than positing a film about a filmmaker making a film about Africa, the ease and intimacy of the footage seems to release the director from his signature need to comment incisively on his own storytelling. A village where all the men have died tugs at the camera's sleeve, as does a boy's dead body wrapped in a blanket and quietly taken away on the back of a bicycle. But so, too, does the music spilling out of storefronts, car radios, and groups of child-singers everywhere. Clearly disarmed and enraptured by the stark contrasts to be found in contemporary Africa, Kiorastami decides to let the contradictions of his attraction resonate through his own presence rather than a character's. As the cameramen soak up suffering and enthused joy equally, only to then catch a plane home at the end, the viewer is left to mull over the implications alongside the director. In the process, Kiarostami has forged a new genre: the making of a film never attempted. Unadorned yet stunningly beautiful.

Selected Filmography: Ten Minutes Older (2002), A B C Africa (2001), The Wind Will

Carry Us (1999), Taste of Cherry (1997), Through the Olive Trees (1994), And Life Goes On... (1991), Close Up (1990), Homework (1989), Where Is the Friend's

REFRACTING REALITY

I

ABC Africa

Filmography: Kandahar (2001), Tales of an Island: Testing Democracy (2000), Tales of Kish: The Door (1999), Le Silence

(1998), A Moment of Innocence

(1996),

Gabbeh (1996), Salaam Cinema (1995), The Actor (1993), Images From the Ghajar Dynasty (1993), Once Upon a Time, Cinema (1992), Nights of Zayandeh-Rood (1991), Time of Love (1990), Marriage of the Blessed (1989), The Cyclist (1987), The Peddler (1987), Boycott (1985), Two Blind Eyes (1984), Fleeing from Evil to God (1984), Tobeh Nosuh (1983)

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NOT LOVE, JUST FRENZY

SARAGOSSA MANUSCRIPT

CHRISTIANE F.

A group offriends looking for love at Madrid's Critically applauded and embraced over the years by hottest disco get tangled up in a maze of wild sex, such admirers as Jerry Garda, Francs Ford Coppola, drugs and gunfights as they encounterflashy drag and Martin Scorsese, this swirling tapestry has been queens, self-absorbed gigolos and a whole host of restored to its original, full length director's cut with other outrageous characters. all of its labyrinthine riddles intact.

A true story about a nirl | who the scene ^ m o s t shocking and controversial films of our time.

Features a David Bowie soundtrack.

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Black Picket Fence

Cinemania

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USA ■ 2001

USA ■ 2001 ■ WORLD PREMIERE

Director-Cinematographer: Sergio Goes

Director-Writer-Editors: Stephen Kijak, Angela Christlieb Producers: Gunter Hanfgarn, Stephen Kijak, Angela Christlieb Cinematographer

Running Time: 92 minutes

Angela Christlieb

Running Time: 79 minutes

lack Picket Fence, Brazilian-born photographer Sergio Goes' debut feature, is an intimate look at life in the projects of East New York, Brooklyn. Tislam "Tiz" Milliner is an aspiring rapper who's been in trouble with the law a few times, but what he really wants is to make a living at hip-hop, like hero and mentor, Kool G Rap. Tiz has a way with words. As he notes, "The hood is like an icebox. We all just movin' around like we froze. We movin', but we ain't movin." His best friend, Mel, has been in trouble with the law more than a few times and is what's most often described as a "career criminai” - locked up five times since the age of 11. When we meet them during the winter of 1999, he's just been released from prison after a twoyear stretch, but Tiz doesn't think any less of him. He knows what a decent human being Mel can be - how much he loves his friends, his girlfriend, and her son; how loyal he can be to the people he cares about. Unlike Tiz, however, he has no hopes of going legit. Hustling is all he knows. During the course of the film, Tiz and his girlfriend become first-time parents ... and five associates are killed. That's what life is like in the '"hood." For every new life - new hope - there are new deaths, new disasters, waiting around the corner. As Mecca, Tiz's mother, puts it, "The street is so powerful that it will swallow up a young black man so quick that they wouldn't even know what happened." Black Picket Fence sidesteps stereotype and cliché in allowing these young men to tell their own stories - away from the harsh glare of a media spotlight that passes judgment first, asks questions later.

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ew York is a city of innumerable attractions: fine museums, architectural landmarks, and legendary music clubs. All of which are so much chaff to the subjects of this documentary, for whom nothing in the five boroughs matters save the movie auditoriums. Dedicated to the art with a singlemindedness they all freely admit lies somewhere on the far side of obsession, each has made cinema not merely the center of his or her life, but a superior substitute for living. What little time not occupied in scurrying from one moviehouse to the next rushing to catch three, four, six films a day - is spent crossreferencing theater listings, film programs, subway schedules, in a desperate attempt to see everything. Diets are modified to ensure minimum bathroom interruptions; apartments overstuffed with towers of film books and videocassettes become cramped labyrinths; relationships, of course, are nonexistent. (Though in fairness it's not as if any of them are tossing aside the sole month of guaranteed good weather for the year.) Recalling the Maysles' Grey Gardens, but without the lurid manipulations of that film, Cinemania views its five movie addicts with a sardonic fondness that never indulgently overlooks the costs of such extreme devotion. The cinemaniacs themselves seem surprisingly indifferent to the attention, and the opportunity to finally be placed upon the screen; but then they've been living in movies all along, describing their battles with projectionists and film programmers in Manichean terms straight out of two-reel Westerns, speaking of Betty Grable's industriousness and Sophia Loren's sex appeal as if they were old friends. Being followed around by actual, glass-and-steel cameras perhaps evoked at most a pleasant sense of déjà vu.

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Filmographies: Stephen Kijak: Cinemania (2001), Never Met Picasso (1996) Angela Christlieb: Cinemania (2001)

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Producer Keiko Takahashi Editor Emily Gumpel Music: Woody Pak

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The Cockettes

The Cuban Game EL JUEGO DE CUBA

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USA ■ 2002

SPAIN ■ 2001

Directors: Bill Weber, David Weissman

Director Manuel Martin Cuenca

Producers: David Weissman, Roger Klorese Cinematographer Marsha Kahn Editor Bill Weber Music: Richard "Scrumbly" Koidewyn

Writers: Alejandro. Hernandez, Manuel Martin Cuenca

Cast: Goldie Glitters, Scrumbly Koidewyn, Pristine Condition, John Waters Running Time: 99 minutes

Hernandez

ixing still photos, archival footage, filmed performances, and contemporary interviews, this documentary explores the successes, excesses, and failures of the celebrated 1960s San Francisco drag-queen performance group. It begins on the eve of the Cockettes' much-heralded 1971 performance in New York, attended by everyone who was anyone in the Big Apple's arts and theater community. What made this event so exciting?

Who were these androgynous troupers and where did they come from? Bill Weber and David Weissman's documentary then flashes back to recount the origins and outrageous innovations of the group during the half-decade leading up to the New York event. Interviews with surviving members of the group, as well as hangers-on and such eyewitnesses to history as John Waters, chart the meteoric rise and fall of the improvisational "hippie acid-freak drag queen" ensemble whose influence on subsequent standards of concert performance, and on gay cultural liberation, cannot be overestimated. Along the way, the film intimately evokes an era, a lifestyle, and a performance style that Waters describes as "sexual anarchy." The film finally returns to the New York show, and its pivotal role in the subsequent fragmentation of the group. Though clearly admiring and celebrating the legacy of the groundbreaking group, the documentarists are honest enough to also confront the devastating toll exacted by their sexual and pharmaceutical promiscuity. The occasional nudity and sexual and drug activity depicted and discussed in the film are, on the whole, a bit tame to represent the full range of the Cockettes' impact, yet bold enough that the easily offended should stand forewarned.

his documentary's title should be read two ways: it refers to the importance of baseball in Cuba, to be sure, but it also applies to the larger "Cuban game" that has existed between the United States and its Caribbean neighbor for fortyplus years. This is a film of politics as much as athletics.

Baseball's origins in Cuba had a distinctly political edge: originally organized as an anti-Spanish gesture, the sport was promptly banned by the island's occupiers. And when Castro took over, he used baseball as a nationalistic symbol of pride (once organizing a game with a team of government leader known as "The Beards"). Curiously, the film leaves Castro's own prerevolutionary baseball career unexplored. Interviews with former and current "peloteros" (baseball players) recall the emotional story of the 1966 Pan-American Games in Puerto Rico, when the Cuban team defied a U.S.-led embargo and made a heroic voyage to compete. But the movie is not a simple upraised middle finger toward the Yanqui imperialist running dogs; another heroic voyage, that of the Mariel boatlift in 1980, is also recollected. Among the thousands of Marielitos fleeing Castro's regime was one of Cuba's top ballplayers, Barbara Garvey, escaping to a fine career in the American majors. Also included are interviews with Orlando and Livan Hernandez, the hard-throwing half-brothers who separately defected from Cuba during the mid-'90s. The film is framed by an international exchange of games in 1999, when Cal Ripken's Baltimore Orioles went to Havana for a game, and the Cuban nationals came north for a contest in Camden Yards. Even this tentative olive branch between the countries had its thorns: when an anti-Castro demonstrator ran onto the field in Baltimore, a Cuban umpire lost his cool and began scrapping with the man. It isn't just a game.

Producers: Belen Agosti,

Eduardo Campoy Cinematographers: Alfonso Parra, Rafael De La Uz Editor Angel

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Filmographies: Bill Weber first film David Weissman: Boy-Girl, Boy-Girl (1996), Complaints (1991), Mothers (1989), Song From an Angel (1988), 976 (1987), Beauties Without a Cause (1986), The Steps (1984/1)

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Running Time: 93 minutes

lights...camera...plenty of action.

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Daddy and Papa

David Hockney, Secret Knowledge

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USA ■ 2002

GREAT BRITAIN ■ 2001 ■ U.S. PREMIERE

Director-Producer Johnny Symons

Director-Producer Randall Wright

Cinematographers: Gail Huddleson, Johnny Symons, AndyAbrahams Wilson Editor: Kim Roberts Music: Janice Giteck, Glenys Rogers, David Conley

Cinematographer-Editor Paul Binns Running Time: 72 minutes

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To be shown with Hope Along the Wind (see p. 177).

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n his book, Secret Knowledge: Rediscovering the Lost Techniques of the Old Masters, international art star David Hockney delves into his theory about the Old Masters' use of lenses and mirrors (precursors to the camera lens) to help them catch the details of what they painted. In this BBC documentary, Hockney continues developing his theme, revealing startling evidence that camera lenses have been a secret tool for artists since the 15th Century. With a Camel perfuming the air, Hockney sits in the midst of a studio plastered with copies of paintings from different centuries. He shows us how the painting of the 15th Century undergoes a startling change. Suddenly painters seemed able to achieve startlingly exact proportions. Textures began to shine like photos, and artists seemed to have found a new way to capture three-dimensional worlds in two dimensions. "If you're an artist," Hockney says, "you have to ask yourself how something like this was done. I'm sure optical devices have been used here; there are clues that tell you they have. The ripples and cracks in the map in the background - you wouldn't see with the naked eye, but an optical projection would show exactly that." Ultimately the artist makes the painting, he says; it's the artist who has to draw, to find the tones and colors, construct the picture. "There'll always be mystery. It's impossible to take it away." Filmed in Bruges, Florence, and in a stunning set that Hockney designed in Hollywood.

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never would have imagined," says Johnny Symons, "that my most revolutionary act would be the most traditional thing in the world." This film takes us along on a personal journey as director Symons and his partner William adopt a baby boy. With gentle humor and insightful interviews, Daddy and Papa delves into the very timely subject of gay men adopting. Touching upon such subjects as surrogate parenting, kids of gay divorce, white gay men adopting African-American children, and the social stigmas of gay adoption for both the parents and the children, this documentary looks at all sides of a controversial and difficult topic. Nominated for the Grand Jury Prize (Documentary) at the Sundance Film Festival.

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The Devil in the Holy Water

A Dream in Hanoi

Sunday, June 9 ■ 6 :3 0 PM ■ B ro a d w a y PH Friday, June 14 ■ 4 :3 0 PM ■ B ro ad w a y PH

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USA ■ 2002 ■ U.S. PREMIERE

USA / VIETNAM ■ 2002 ■ WORLD PREMIERE

Director-Writer-Producer-Editor: Joe Balass Running time: 94 minutes

Director-Writer: Tom Weidlinger

uring the 1999 Christmas ceremonies, Pope John Paul II decreed 2000 a Jubilation year for Catholics the world over: special services, pilgrimages, and celebrations would commemorate Christianity's second millennium. But the Church's message of universal love, hope, and salvation were to be sorely tested when the gay rights organization WorldPride selected Rome as host city for its Y2K convention.

Among the activities planned were conferences on gay issues, a march to the Colosseum, and a fashion show. But immediately following WorldPride's announcement, the Vatican launched a press campaign to bring public pressure to bear upon city and federal governments, with a view to limiting, if not contravening outright, WorldPride's plans. The most outspoken opponent was Alberto Corteggeani, a Vatican legal scholar who viewed the conference as nothing less than an affront to the Church and the Pope's Jubilee proclamation.

Demonstrators on both sides of the issue gathered in the streets of Rome. Fortunately, filmmaker Joe Balass was there to document the conflict as it emerged, interviewing nearly everyone he could point a camera at: conference organizers, nuns and priests, protesters, pilgrims, young gay lovers; even Cardinal Roger Etchegaray, head of the Vatican's Jubilee Committee (who proved less than responsive). Ultimately the WorldPride conference went forward - gaining final approval only days before it was scheduled to begin - but the Church still managed to intervene by censoring one of the conference's high-profile speakers. Throughout this documentary, Balass takes care to allow both sides equal and evenhanded access to his camera, all the while capturing the Roman Catholic Church's struggle to maintain its rituals and traditions against a changing, modern world beyond its influence.

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Cast: F. Murray Abraham (narrator), Doan Ho^ng Giang, Allen Nause, Lorelle Browning, Kristen Martha Brown, Do Ky, Anh Dung, Doug Miller

n historic collaboration between American and Vietnamese theater companies is chronicled in this engrossing documentary, in the process exposing the many differences between these two disparate cultures. In the fall of 2000, American Shakespeare scholar Lorelle Browning raised the funding to pursue this bilingual, bicultural production of William Shakespeare's A Midsummer Night's Dream, to be performed in Hanoi. Featuring interviews with the actors and artistic staff of the Central Dramatic Company of Hanoi and Artists Repertory Theater of Portland, Oregon, who comprise the production, the film reveals through behind-the-scenes footage the many cultural rifts and frustrations that threatened to scuttle the project. Kristen Brown has a typically Western take on her character, Helena, as aggressive - a quality that, to Vietnamese eyes, appears crude and unacceptable. Doug Miller, as Lysander, has to deal with the Vietnamese taboo against kissing on stage, shyness being a Vietnamese national trait.

Battles of ego over the sacredness of the text are waged, as the Vietnamese director Doan Hoang Giang begins to add characters not in the original play, to the chagrin of American director Allen Nause, and insists on more cuts than producer Browning can stand. Then there's the sudden rumor that the President and Hillary Clinton will be in Hanoi and might attend the opening night performance. And that they aren't allowed to sell tickets for said performance, since the first show is always reserved for public officials so they can "censor" the content of the play. As Doan says, "This production is like a wife with two husbands. There will be a lot of squabbling. There will be a lot of jealousy." But in the end, the two theater companies forge an enduring bond.

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Filmography: Nana, George and Me (1998)

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Producers: Tom Weidlinger, Michael Sherman, Rose Shirinian Cinematographer: Tom Weidlinger Editor: Maureen Gosling

WE: WOMEN’S ENTERTAINMENT is a proud sponsor of The Seattle International Film Festival

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The Good War and Those Who Refused to Fight It

Family Fundamentals

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USA ■ 2002

USA ■ 2000

Director-Writer-Producer-Cinematographer-Editor: Arthur Dong

Director-Writer: Judith Ehrlich Producers: Judith Ehrlich, Rick Tejada-Flores

Running Time: 75 minutes

Narrator: Edward Asner Running Time: 57 minutes

hat happens when parents believe that their own children represent the very element that will lead to the destruction of the human race? Continuing his documentary exploration of anti-gay prejudice in America (see Coming Out Under Fire, 1994, and the provocative Licensed to Kill, 1997), Arthur Dong employs digital video to create this revealing portrait of three conservative Christian families with gay or lesbian children. Talk about sheep in the lions' den! Dong approaches the issue of intolerance from the painful perspective of his gay or lesbian subjects. There's the 40something public servant, only recently come out, whose Pentecostal mother founded a Christian ministry for parents of children who've "become" homosexual; a Mormon bishop's son, ousted from the Air Force and now reluctantly attending a relative's wedding despite the smothering effect of family disapproval; and the former chief of staff to conservative Congressman Robert "B-l Bob" Dornan (R-California), an employer with whom he enjoyed a close, father-and-son-like relationship until he revealed his homosexuality. While maintaining objectivity, Dong exposes the long-term damage done by parents to children whom they have effectively exiled for having "addictions" to "destructive behavior." In stark contrast, the adult offspring enjoy healthy careers and remain openminded in their hopes for reconciliation that remains elusive, if not impossible. It's a heartbreaking impasse, but Dong's gay subjects maintain admirable resolve in the face of forbidding familial circumstances. What finally emerges from Family Fundamentals is a poignantly intimate portrait of mutual stubbornness - and of parents who risk permanent alienation from their children while ignoring the un-Christian nature of their own behavior.

ecent bestsellers extol the virtues of the Greatest Generation that both weathered the Depression and fought World War II. Yet unknown to many, nearly 40,000 men refused to serve in WWII, even though they fully recognized the evil that the Axis powers posed to freedom. At last their stories are given voice in The Good War and Those Who Refused to Fight It. The film begins with the early protests staged by seminary students (such as the Union Seven) and others against the peacetime draft. Many of these men - in particular, prominent minority and civil rights activists - were given prison sentences, conveniently removing them from the public discourse. Most objectors, however, were permitted to work at Civilian Public Service camps. Initially frustrated by assignment to futile public works projects, they were soon allowed to nurse in mental health hospitals (which later provided material for a groundbreaking Life magazine exposé), volunteer for medical experiments, and eventually to serve as frontline noncombatants such as medics or ambulance drivers.

Throughout the film, their agonizing struggles for acceptance, by both family and society, are contrasted against their ironwilled resolve to adhere to their moral principles.

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To be shown with Into the Fire: American Women in the Spanish Civil War. Please see p. 179.

Filmography: Licensed to Kill (1997), The Question of Equality (1995 TV series episode: Out Rage '69), Coming Out Under Fire (1994); Forbidden City, U.S.A.

(1989); Sewing Woman (1983), Public (1980)

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Music: Mark Adler

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Hope Along the Wind: The Story of Harry Hay

I Will Not Be Sad in This World

T hursday, June 6 ■ 7 :00 PM ■ B ro ad w a y PH Saturday, June 8 ■ 4 :0 0 PM ■ B ro ad w a y PH

S aturday, June 1 ■ 4 :0 0 PM ■ B ro ad w a y PH Tuesday, June 4 ■ 4 :3 0 PM ■ B ro ad w a y PH

USA ■ 2002

USA ■ 2001

Director-Producer-Cinematographer: Karina Epperleln

Director: Eric Slade

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Producer: Jack Walsh

make myself happy," says Armenian immigrant Zaroohe Najarian, well into her nineties and living independently in her neatly kept home near Fresno, California. Her selfcontentment may seem like a simple achievement, but as filmmaker Karina Epperlein demonstrates in this moving documentary, Zaroohe's happiness is a miraculous example of optimism as a consciously chosen lifestyle. We soon discover that the old woman's infectiously cheerful outlook thrives despite a history that would leave a lesser human devastated, cynical, and terminally morose. A survivor of the 20th century's first case of organized genocide, Ms. Najarian lost her entire family in 1915 when Turkey's Ottoman government systematically deported or exterminated 1.5 million Armenians, many of them forced by death march into the Syrian desert. Escaping an orphanage at 12, she worked as a servant in Beirut before coming to America at 16, later caring for her second husband through seven years of paralysis. In Epperlein's affectionate portrait, Zaroohe's story is told as a legacy of hope and goodwill, passed on to her loving grandchildren and, thanks to Epperlein's unobtrusive camera, to the lucky viewers of this film. Connection to the earth is emphasized by Zaroohe's small but thriving vegetable garden, and daily visits by her son illustrate a family dynamic that has likewise thrived under Zaroohe's careful cultivation. Proving that many of history's heroes have endured in satisfied obscurity, / Will Not Be Sad in This World stands as a loving postcard - "May there be a Zaroohe in every life” is the film's closing wish - and a fitting tribute to a woman who blesses everyone with her presence.

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Running Time: 57 minutes arry Hay indelibly altered 20th-century America for the better when he expanded a proposed platform plank for the Henry Wallace campaign to the founding document of the Mattachine Society, one of this country's first gay rights organizations, and the very first to invoke for homosexuals the status of an oppressed minority. This fleet, informative documentary chronicles not just Hay's life, but also the long march of American activism, from Communist party idealism to Cold War hysterics, the generational conflicts of the '60s to the spiritual reawakening spurred by study of American Indian culture. Events that Hay helped shape - and that shaped him in turn, though never swaying him from his earliest ideals of freedom, respect, and community. The elderly Hay, resplendent in flowing white mane and dangling crystal earring, is vivid testimony to the benefits of a life lived on one's own terms.

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To be shown with Daddy and Papa (please see p. 171).

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In th e M ir r o r o f M a y a D e r e n

T h e In n e r T o u r

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AUSTRIA ■ 2001

ISRAEL ■ 2001 Director: Ra'anan Alexandrowicz

Director-Writer: Martina Kudlacek

Producer: Noemi Schary

Music: John Zorn Running Time: 103 minutes

Cinematographer: Sharon De Mayo

Editor: Ron

Goldman Music: George Yosef Semain, Mussein Abel Al-Hamid

Running Time: 97 minutes

his courageous Israeli documentary dares to examine today's Israel with the eyes of Palestinian Arabs who view that country as their homeland, but who were displaced - or are descended from Arabs who were displaced - in either the 1948 or the 1967 war. This "Journey Through Israel in Seven Chapters" follows a group of Palestinians from three generations as they tour Israel. Some of them are old enough to remember when there was no state of Israel. Some have never seen the Mediterranean Sea. And though each has roots in the land now called Israel, the culture shock is jarring: collisions of language, the abundance of American advertising and franchise businesses, retellings of history, visits to flourishing Israeli cities built on the ruins of "abandoned" Arab villages, the recognition that every one of them has lost a loved one to the war and that the Jews around them have, too.

Particularly riveting is the tension between an Israeli cab driver and one of the Palestinian visitors, who asks to be driven to the site of Yitzak Rabin's assassination. The cab driver gradually extracts from the Palestinian an account of the visitor's longago encounter with Rabin in a POW camp. But this eye-opening film is not all conversation and idea. It is filled with evocative music and intelligent, thoughtful, often hauntingly beautiful compositions. The metaphoric power director Ra'anan Alexandrowicz evokes from the Palestinians' visit to an Israel amusement park is stunning. The Inner Tour bids fair to be one of the more controversial films in SIFF 2002.

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Filmography: The Adventures of James in the Holy Land, The (2002) , Martin

Filmography: Aimless Walk - Alexander Hammid (1996), L'Amour fou (1995)

(1999), Self-Confidence Ltd. (1996)

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aya Deren was the Anais Nin of film: an American experimental filmmaker and film theorist of the 1940s and '50s, the first filmmaker to receive a Guggenheim, and the first American and first woman to win a Grand Prix Internationale at Cannes. Born Elenora Darenkovsky in 1917 in Kiev, she moved to New York with her parents in 1922. Deren's contributions to film include six shorts - three silent, three with music. They are challenging experiences and boldly grounded in formal principles, like poetry and dance. Deren, who served as heroic figurehead of the "Underground" film movement, once said that her films cost what Hollywood spends on lipstick. When she received her Guggenheim, she traveled to Haiti to make a film on Haitian dance and voodoo cosmology.

This was in the '50s; she shot over 20,000 feet of celluloid but never got a chance to edit it. Still, the footage of Divine Horsemen, the Living Gods of Haiti, is proof of her indelible eye. At this same time, she wrote a book by the same name that is considered today to be a classic study of voodoo. She died mysteriously in 1961. Her fascinating career and indomitable spirit have been distilled in this remarkable film by Czech-Austrian director Martina Kudlacek, who in 1996 made a documentary, Aimless Walk, about Alexander Hammid, the Czech experimental filmmaker who was Deren's husband. He appears in the present film, along with such avant-garde luminaries as Jonas Mekas, Katherine Dunham, Miriam Arsham, Marcia and Amos Vogel, and Stan Brakhage. The voice of Maya Deren herself is also heard, and there is evocative original music by John Zorn.

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Into the Fire: American Women in the Spanish Civil War

Last Dance

Sunday, June 2 Tuesday, June 4

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USA ■ 2001

USA ■ 2001 Director-Prodcuer: Julia Newman

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1:45 PM 7 :0 0 PM

Director: Mirra Bank

Running Time: 59 minutes

Running Time: 84 minutes

hortly after the outbreak of the Spanish Civil War, numerous International Brigades were assembled from volunteers abroad to fight against Franco's Fascist Falange party. Many came from countries threatened, or already occupied, by the Axis powers; others were from Western democracies, such as France and the United States, where isolationist sentiments prevented any official intervention. Into the Fire focuses on the American women who left home to join up. For the most part, they served as nurses, although in practice they soon became de facto doctors. But their duties were not limited to bandaging the wounded; they also drove vehicles in supply convoys and did relief work among the Spanish peasantry. Through newsreels, first-person interviews, letters, diary excerpts, and reportage from the likes of Dorothy Parker, Josephine Herbst, and Martha Celhorn - whose correspondence with First Lady Eleanor Roosevelt provides one of the film's most illuminating narrative threads - filmmaker Julia Newman has fashioned a unique portrait of a nearly forgotten conflict.

spry, informative examination of the creative process, Last Dance traces the development of a ballet project - "A Selection"-that originated in the meeting between two equally inventive but seemingly oppositional "minds": the dance ensemble Pilobolus, dedicated to collaborative creation and the exploration of bodies moving in abstract beauty, and Maurice Sendak, children's author and devotee of the coherence and clarity offered by narrative structure. His imagination seized upon by the orderly horror of Terezin, the "public consumption" concentration camp used by the Nazis to mask the Holocaust with a smiling face, Sendak dreamed of a troupe of entertainers waiting at a train station, set upon by a devil in disguise. A mere sketch of a story, to be sure; yet even that was too confining a structure for Pilobolus artistic director Jonathan Wolken, who constantly demanded: Why a depot? Why the nudity? Why, in fact, make a dance about the Holocaust at all?

In welcome contrast to too many backstage documentaries, Last Dance is refreshingly frank in portraying these squabbles, revealing with disinterested candor both Wolken's resentment toward an outsider and Sendak's intransigent pique, without stinting on the respect either artist is due. As is only proper in a Terpsichorean hymn, however, the film reserves its deepest awe for the dancers themselves, staring in rapt amazement as they slither and leap; twist and bend beyond all human reckoning until contorted limbs somehow redefine themselves as clocks, houses, swings, pure bolts of force and grace. Last Dance forces no editorial comment upon the debate between freestyle collaboration and hewing to the hierarchal demands of storytelling, but it makes clear that even the most brilliant choreographic concept would come to naught without a human form able to summon it to life.

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To be shown with The Good War and Those Who Refused to Fight It. Please see p. 175.

Filmography: Nobody's Girls: Five Women of the West (1995), Enormous Changes at the Last Minute (1983)

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My Voyage to Italy

The Pinochet Case

IL M IO V IA G G IO IN IT A L IA

EL CASO P IN O C H E T

M onday, M ay 27 ■ 1 1 :3 0 AM ■ E g yptia n W ednesday, M ay 29 ■ 7 :0 0 PM ■ B ro ad w a y PH

M onday, M ay 27 ■ 1 1 :3 0 AM ■ B ro adw ay PH Tuesday, M ay 28 ■ 7 :0 0 PM ■ B ro adw ay PH

ITALY / USA ■ 2001

BELGIUM / CHILE / FRANCE ■ 2001 Director-Writer: Patricio Guzman

Writers: Suso Cecchi d'Amico, Kent Jones, Martin Scorsese, Raffaele Donato Producers: Barbara De Fina, Giuliana Del Punta, Bruno Restuccio Cinematographer: Phil Abraham Editor: Thelma Schoonmaker

Producer: Yves Jeanneau Cinematographer: Jacques Bouquin Editor: Claudio Martinez Running Time: 114 minutes

Running Time: 246 minutes

ugusto Pinochet ruled Chile from 1973 to 1990. During those years, some 1,200 citizens of his land - political dissidents who dared criticize the regime in any way disappeared from the face of the earth ... and in one locale in particular, into it. "Everybody knew" Pinochet was responsible; proving it in court was another matter, even after El Presidente had been forced to relinquish power. Carlos Castresana, a young Spanish prosecutor in Madrid, undertook to build a case against the dictator, starting in the 1990s. And Patricio Guzman, the veteran activist documentarían who had chronicled events in his troubled country all through Pinochet's reign, began to make a record of Castresana's campaign, and the mounting evidence of specific terror visited upon anyone suspected of being an enemy of the state. One harrowing interview after another establishes the individual and collective toll of the government torture and liquidation, and you'll never forget the bleak, haunted landscape where, through a process of something we might call forensic archaeology, investigators discovered where many of "the disappeared" had gone. Then, in 1998, it seemed that justice might actually be within reach.

Visiting London on a pleasure trip, the deposed dictator underwent surgery for sudden back pain - and woke up to find himself under arrest. The legal establishment began to establish the procedural basis for putting a former head of state on trial. Throughout, for 503 days, Pinochet was under house arrest - during which time he was often treated as a virtually royal personage, in one astonishing instance receiving a visit from an admiring Margaret Thatcher! (He had been so helpful during that Falklands escapade.) You know, of course, that the old dog slipped the leash and managed to return to Chile. Guzman also records, bitterly, how that came about and how a monster was treated to a hero's homecoming. This is one of the most compelling, inspiring, and exasperating documentaries you will ever see.

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s a kid, Martin Scorsese first saw Italian movies in dubbed versions on New York City television. He was hooked from the start: films that he would later learn were masterworks of neorealism had great impact on him, and soon he realized he was also discovering the world from which his Sicilian-born grandparents had come. The love affair with Italy’s movies continued when the future auteur became a serious student of film art; eventually he would be able to assert that, without these films, he would be neither the filmmaker nor the person he is now. My Voyage to Italy is conjured up from these threads of autobiography, but its real subject is the films themselves, with Scorsese serving as a passionately astute guide to a string of masterpieces from Roberto Rossellini's Open C/'fy (1945) to Federico Fellini's 8 1/2 (1963). The extensive clips and incisive comments focus in particular on films by Rossellini (Paisa, Germany Year Zero, Stromboli), Vittorio DeSica (Bicycle Thieves, Shoeshine, Umberto D.), Luchino Visconti (Ossessione, La Terra Trema, Senso), Fellini (/ Vitelloni, La Dolce Vita), and Michelangelo Antonioni (L'Awentura, Eclipse).

In the process, Scorsese's voyage into the movies of post-World War II Italy also becomes a masterclass in cinema studies. He takes the time to linger over the intricacies of the art being practiced - the rhythmic patterns in Senso, or a telling detail of acting in The Gold of Naples. Along the way, he makes a compelling case for some comparatively neglected gems and confers a new sense of urgency upon some taken-for-granted landmark films. Rossellini's Voyage to Italy (1953) is this film's namesake, and Scorsese excludes it from the long, superb passages on Rossellini at the start to return to it only near the end, where it serves as a subtle but touching climax to both the autobiographical and the critical-historical strands of this epicsize chronicle. With all this, and a running time that tops four hours, My Voyage to Italy is a film festival all by itself.

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Selected Filmography: Gangs of NewYork (2002), Bringing Out the Dead (1999), Kundun (1997), A Personal Journey with Martin Scorsese Through American Movies (1995), Casino (1995), The Age of Innocence (1993), Cape Fear (1991), GoodFellas (1990), The Last Temptation of Christ (1988), The Color of Money (1986), After Hours (1985), The King of Comedy (1983), Raging Bull (1980), The Last Waltz (1978), NewYork, NewYork (1977), Taxi Driver (1976), Alice Doesn't Live HereAnymore (1974), Italianamerican (1974), Mean Streets (1973), Boxcar Bertha (1972), Who's That Knocking at My Door? (1968)

Filmography: Chile, Obstinate Memory (1997), The Southern Cross (1992), En nombre de Dios (1987), La Rosa de los vientos (1983), The Battle of Chile (I, II, & III, 1975-79), La Respuesta da octobre (1972), Primer año (1971), El Paraíso ortopédico (1969), La Tortura (1968)

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Director: Martin Scorsese

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Ruthie & Connie: Every Room in the House

Sherpa - Unsung Heroes

Monday, June 3 ■ 7 :0 0 PM ■ B ro ad w a y PH Wednesday, June 5 ■ 9 :3 0 PM ■ B ro ad w a y PH

T h u rsd a y, June 13 ■ 4 :3 0 PM ■ C ine ra m a Sunday, June 1 6 - 1 1 : 30 AM ■ B ro adw ay PH

USA ■ 2002

USA / INDIA / SIKKIM ■ 2002 ■ WORLD PREMIERE

REFRACTING REALITY

Director: Deborah Dickson Producers: Deborah Dickson Cinematographer: Feme Pearlstein Editor: Rachel Kittner Music: Chris Cunningham, Michelle Kinney

Producer: Karen Snizik Alvarez Cinematographer: Sarah Wheat Whittaker

Cast: Ruth Berman, Connie Kurtz Running Time: 56 minutes

Running Time: 86 minutes

n inspiring and humorous documentary portraying a rainbow-flag-waving, 60something lesbian couple, Ruthie & Connie introduces us to two women whose relationship spans four decades. Meeting as married women with children in a tight-knit Jewish neighborhood in 1950s Brooklyn, Ruthie and Connie became fast friends as well as leaders in their synagogue. After 15 years of friendship, they fell in love, left their families, and caused a sensation in their community. Now, 25 years later, their love has outlasted most of their old friends' marriages. Though time hasn't quite healed the wounds of their own families, they have persevered, establishing themselves as activists and advocates for their adopted gay and lesbian family. Through raucous storytelling, laughter and tears, these two exceptional women share their story of an exceptional love affair.

herpa - Unsung Heroes boasts a pedigree that few documentaries about mountaineering can match. Writerdirector Win Whittaker isn't just a renowned climbing guide with years of experience, but a member of the legendary family that includes his uncle Jim, the first American to reach the summit of Mount Everest (in 1963). As such, he's particularly well qualified to depict the training sherpas and sherpanis (female sherpas) receive at the famed Himalayan Mountaineering Institute (HMI) on their way to careers as highaltitude climbing experts. As Whittaker makes clear from the outset, sherpas and porters (load carriers) are not the same, and he explores the difficult physical and emotional path the hopeful must cross to get to the other side of that equation. It's the first look by an "outsider" into the Sikkim-based HMI, founded in 1954 by Tenzing Norgay, who climbed Everest alongside Sir Edmund Hillary. Adding fascination is the fact that Whittaker decided to focus exclusively on the women enrolled in the 28-day basic and advanced courses. Ranging in age from 14 to 36, they hail from India, Nepal, West Bengal, and Sikkim.

Whittaker and his team, including his wife, cinematographer Sarah Wheat Whittaker, track their progress in rappelling, ice climbing, crevasse rescue, etc. Although the focus is primarily on the students, Whittaker also profiles some of the instructors, including Kushang Sherpa, the only person to have achieved the summit of Everest from all four points of the compass, and Kunga Bhutia, the first woman from West Bengal to make the climb. Sherpa - Unsung Heroes lives up to its title in granting these skillful mountain guides the credit they deserve - and haven't always received. As Jim Whittaker notes, "There's no question that our expedition wouldn't have been successful without the sherpa."

Director-Writer: Win Whittaker

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To be shown with Swimming Upstream (please see p. 182).

m odem digital

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The Smith Family

Strange Fruit

Friday, June 14 ■ 2 :3 0 PM ■ B ro ad w a y PH Sunday, June 16 ■ 1:45 PM ■ B ro ad w a y PH

M onday, M ay 27 ■ 4 :0 0 PM ■ B ro adw ay PH T h u rsd a y, M ay 30 ■ 9 :3 0 PM ■ B roadw ay PH

USA ■ 2002 ■ WORLD PREMIERE

USA ■ 2002

Director-Producer: Tasha Oldham

Director-Producer-Editor: Joel Katz Cast: Amiri Baraka, Abbey Lincoln, Farah Jasmine Griffin Running Time: 57 minutes

Running Time: 88 minutes

ention the song "Strange Fruit" to people and they'll think of Billie Holiday's haunting 1939 recording. Probably they also assume she, or another black artist, wrote it. The truth may surprise you, and it's fascinatingly explored In Joel Katz's documentary, which takes the viewer deep into the history of radical protest in America. The "Lewis Allen" credited as lyricist on the sheet music was not a Southern black from a countryside where lynching was all too frequent - the "strange fruit" of the title being black men hanged from trees. Rather, he was one Abel Meeropol, a Jew who taught school in the Bronx (DeWitt Clinton High) and sustained a lifelong dedication to radical and egalitarian causes. He later wrote the song "The House I Live In" that became the centerpiece of the 1945 Academy Award-winning short with Frank Sinatra, and in the 1950s intersected American sociopolitical history In a way that we'll leave to the film to describe. Strange Fruit explores the overlap and interfusion of black culture - especially jazz - and urban Jewish political activism in New York City of the '30s, and offers an intriguing and inspiring portrait of an exemplary American few of us ever heard of.

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he Smith family was highly regarded by their friends and community as the perfect, loving, and model Mormon family. Steve was a successful pilot in the military, supportive wife Kim was a stay-at-home mom, and they had two handsome growing sons. But when Kim started feeling poorly and went for a health checkup, she was shocked to find out she was HIV-positive. This discovery forced Steve to admit that he had been unfaithful to Kim. He had been unfaithful with men.

As Steve develops full-blown AIDS, a situation that would have ripped any other family apart actually makes the Smith family grow closer and more committed to each other. Using interviews with family members, old home videos of happier times, and scenes of everyday struggles such as grappling with astronomical medical bills, Steve's increasingly frail health, and older son Tony's impending departure for his two-year churchrequired mission, The Smith Family is an intimate portrayal of one family dealing with the emotions of guilt, betrayal, anger, faith, and ultimately forgiveness. This is an inspiring documentary of one family leaning on their spiritual beliefs as well as their love for each other to make the best of a bleak situation. Younger son Parker perhaps puts it best when he describes his family's positive attitude: "We were dealt these cards, and we're gonna play them. We're gonna play them, and we're gonna win."

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Cinematographer: Tahlee Booher Editors: Janet Swanson

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S w i m m in g U p s t r e a m : A Y e a r in

T o k y o N o is e

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th e Life o f K a re n & J e n n y

Monday, June 3 ■ 7 :0 0 PM ■ B roadw ay PH W ednesday, June 5 ■ 9 :3 0 PM ■ B ro ad w a y PH

M onday, June 10 ■ 7 :0 0 PM ■ B ro ad w a y PH Tuesday, June 11 ■ 4 :3 0 PM ■ C ine ra m a

USA ■ 2002

SWEDEN ■ 2002 ■ WORLD PREMIERE

Director-Writer-Producer: Jennifer Freedman

Directors: Kristian Petri, Jan Roed, Johan Soderberg

Cinematographers: Jennifer Freedman, Michael Rishkofski, Geoffrey “Jib'1Heintz, Mark Daniels Editor: David Dawes Music: Amy Mikel, GlennAulepp, Gary Denton

Producer: Per Forsgren Cinematographers: Jan Roed, Lucia Kangur-Roed, llppo Pohjola Editor: Johan Soderberg Music: Johan Soderberg, Zbigniew Karkowski

Running Time: 74 minutes

Running Time: 81 minutes

n Swimming Upstream: A Year in the Life of Karen & Jenny, Jennifer Freedman (producer of TLC's A Baby Story) spends a year with lesbian couple Karen and Jenny. It's a particularly propitious time in their lives, for the two have decided to have a child. Freedman follows the Los Angeles-based couple from conception (via sperm donor and syringe) through pregnancy, the birth of their son, and several months of postnatal coping.

Karen (who carried him) and Jenny are frank the whole way through regarding their relationship, sexuality, reasons for wanting to have a child, and hopes for the future. Freedman films them in all the places one would expect to find expectant parents: at the doctor's office, at Lamaze class, shopping for baby clothes, etc. They're always engaging, never boring, but they aren't "perfect": they argue, they fight-just like any couple. Becoming a first-time parent is a big job for anyone, and Karen and Jenny are realistic about the challenges that await them, but sometimes the stress is just too much.

Fortunately, both have a well-honed sense of humor, which helps to smooth over some of the rough spots. While Karen's pregnancy itself is mostly uneventful, unforeseen difficulties await them after little Wyatt's birth, but they're able to ride them out and the film ends on a hopeful note. Incidentally, this isn't the first time Jenny has been in the spotlight-she was the young woman who filed the lawsuit that lead to 1972's Title IX Act granting women greater access to federally funded sporting activities. As a result, she was the first girl to play Little League baseball in the United States. Swimming Upstream was awarded a Certificate of Merit in the Society & Culture Division at 2002's San Francisco International Film Festival.

okyo Noise is a fascinating study of Tokyo, its noise, its mountain, its artists, people and culture, made by three Swedish directors: Kristian Petri, Jan Roed, and Johan Soderberg. For some of us who are not very Zen, this documentary gives us insight into the special balance that Japanese society tries to attain. Tokyo as metaphor and mirror for modern Japan is an exciting place full of impulses and obstacles and "unimportant things." We meet a number of individuals, all of them in their own very personal ways closely connected to Tokyo: two photographers, two robot constructors, one professor, one priest, one psychiatrist, one game contractor, one editor-and one noise musician. The documentary begs questions about purity and tyranny, and investigates the Japanese inclination to protect their culture and tradition while fending off other influences. We investigate the crowded city, walk through crowds of people with "hidden feelings, autistic and lonely," a culture of "inwardness." We are told that Japanese have an affinity for machines. Virtual reality is a world where they can be the main characters, have new adventures from the safety of their livingrooms. We meet some of those machines-especially memorable is a fantastic, rhythmic sushi-making machine-and we make a visit to a '60s Love Hotel for lessons in retro architecture. We journey with an experienced photographer, who has photographed Mt. Fuji almost one hundred times; he shows us what he looks for, different moods, different lights, different locations, and he helps us connect the mountain with the city. Tokyo Noise is a fugue-like documentary, a symphony of sounds and words, a multileveled experience.

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To be shown with Ruthie & Connie (page 180)

DANIA

HOMS AND OFFICE INTERIORS

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What About God?

Two Towns of Jasper

JASPER CITY LIMIT POP. ; 7160

M onday, M ay 2 7 ■ 6 :3 0 PM ■ B ro ad w a y PH Saturday, June 1 ■ 6 :3 0 PM ■ B ro ad w a y PH Friday, June 7 ■ 2 :3 0 PM ■ B ro a d w a y PH

Friday, June 7 ■ 1 2 :0 0 PM ■ B ro adw ay PH

USA ■ 2002

USA ■ 2002

Director-Producers: Whitney Dow, Marco Williams

Writer: Bill Jersey, Mark Page Producer: Bill Jersey Cinematographer: Robert Elfstrom Editor: Aaron Butler Music: Sheldon Mirowitz

Cinematographers: Jonathan Weaver, Steven Miller Editor: Melissa Neidich

ne hundred and forty years after Charles Darwin first proposed the theory of evolution, there still remains a heated debate between the teachings of science and religion.

Specifically, for conservative Christians in America, where does God fit into the equation of biological evolution that is widely taught in American schools? What About God? focuses on two academic settings debating this very question. At Wheaton, a highly respected Christian college in Illinois, biology students find themselves questioning what they learned in Sunday school about six-day creationism, while teachers try to contend with a strict school policy that bars them from teaching evolution. In Lafayette, Louisiana, science teachers at a public high school are alarmed when half the student body goes on strike to demand that "special creation" be included as an alternative theory in the science curriculum. Presented with a petition signed by 500 students demanding that the course content be changed, the school board has to contend with an issue that pits passionately opinionated students against equally vocal, yet defensive, teachers. Representing opinions across the spectrum, from "Biblical literalists" (who take the Bible at its word, rather than allegorically) to evolutionaccepting Christians (who believe in the scientific theory, while maintaining faith in a higher being), this fascinating documentary delves deeply into a sensitive debate that has no easy answers.

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n June 7, 1998, James Byrd, a 44-year-old African-American from the racially mixed town of Jasper, Texas, was chained to a pickup truck and dragged for three miles, still alive and struggling, until his bloody, road-ravaged body was snagged on a drainage pipe and decapitated. Three young white men with ties to white supremacist groups were arrested and later convicted for their heinous crime. To explore the genesis and aftermath of this racially motivated murder, documentary filmmakers Whitney Dow and Marco Williams assembled two separate crews—one all white to interview the white townsfolk, and one all black to interview the black citizens of Jasper. What emerges from this two-sided approach is a sharp perspective on an intimate community simultaneously divided and hopeful, separated by the hate crime yet united in determination to see justice served. With a black mayor and a 45 percent black population, Jasper is both trapped in its past and ambitiously progressive about its future, symbolized by the removal of a fence dividing the black and white sides of the town's only cemetery. Culled from 200 hours of digital video, Two Towns ofJasper is remarkably evenhanded in revealing the simmering good-ol'-boy racism that made the Byrd killing possible, and the remarkable patience and tolerance of its black and sympathetic white populace, who await guilty verdicts as if their very survival depended on it. The tension preceding those verdicts is palpable, and Two Towns could easily have witnessed an explosion of violence had things gone differently.

As it is, this film captures an tenuous balance, challenged and yet ultimately maintained, in response to a crime so vicious that it partially erased the racial divide in Jasper, if only for a moment. What remains, as this film so powerfully demonstrates, is a long, long road to recovery.

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Filmographies: Whitney Dow: First film Marco Williams: In Search of Our Fathers (1992), Without a Pass (1991)

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Running time: 57 minutes

Running Time: 90 minutes

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Exploding Cinem a EXPLODING CINEMA sets o u t to do e x a c tly th a t: e x p lo d e th e tr a d itio n ­ al d e fin itio n s o f w h a t c o n s titu te s th e c in e m a tic e x p e rie n c e .

A u die nce s w ill e x p e rie n c e m ovies b re a kin g o u t o f fa m ilia r m o ld s , trie d -a n d -tru e e x p e c ta tio n s . SIFF's EXPLODING CINEMA p ro g ra m sa m ­ ples tra d itio n a l and a v a n t-g a rd e film s and m ixe s th e m w ith live p e rfo rm a n ce s b y DJs and v id e o a rtis ts , m usic, and o th e r m ed ia .

The idea in th is in n o v a tiv e a pp ro ach is to bend a n d /o r e x te n d k n o w n b o u n d a rie s , to ta k e o f f in to b ra n d -n e w c in e m a tic te r r ito r y - b y m eans o f p e rfo rm a n c e s th a t are live and e p h e m e ra l.

Saturday, May 25 Scratch Cinema featuring DJ Spooky (Tha1 Subliminal Kid) and Spaceboat.tv, KEXP 90.3's Expansions, Sky Church, 9:00 p.m. to 12:30 a.m.

Scratch C ine m a flu id ly jo in s th e tr ip p y so u n d s o f c ritic a lly acclaim ed DJ S p o o ky w ith th e g ro u n d b re a k in g v is u a ls o f S p ace b oa t.tv to create a m a rria g e o f so und and screen fre e d fro m the c o n s tra in ts o f n o rm a l s to ry te llin g . T he p e rfo rm e rs w ill im p ro v is e m u s ic and im a ge , fu e lin g each o th e r in th e sp o n ta n e o u s c re a tio n o f a rt. A live b ro a d ca st o f KEXP 9 0 .3 's E xpansions o p e ns th e show .

EMP's Sky C hu rch is th e p e rfe c t place fo r th is la rg e r-th a n -life e ve n t.

Tickets $15 fo r th e p u b lic . A ll ages.

Bar w ith I.D. T icke ts on sale 4 /2 6 fo r the p u b lic . A d vance tic k e ts are available a t EMP, b y c a llin g 2 0 6 .7 7 0 .2 7 0 2 o r 1.877.1-LISTEN, o r by fa x a t 2 0 6 .7 7 0 .2 7 4 2 .

Saturday, June 1

Saturday, June 8

Exploding Cinema and Nation present zero, 9pm to 2am

Exploding Cinema's Bazaar at the Rendezvous, 9 pm to 2 am

T he M a x w e ll Im p lo s io n and DJ C h ris to w ill sp in th e ir o w n b ra nd o f e le c tro n ic m u s ic m ayh em , a cco m p a n ie d b y im ages and v id e o fro m Japanese a n im e and g ra p h ic a rt. W e'll lo o k a t h o w a n im a tio n and m u s ic m erge to create a c in e m a tic e v e n in g o u t o f c lip s and beats. M a x w e ll is a Berlin-based DJ w h o is a re -m ix m a s te r as w e ll as an a c c o m p lis h e d s p in n e r in his o w n rig h t. C h ris to com es all th e w a y fro m A u s tra lia to p re s e n t his g ro o v e -b e a t so u n d . Im ages b y

Join us fo r a Bazaar o f s ig h t and s o u n d as w e fe a tu re e x p e rim e n ta l film s , fla sh a n im a tio n , DJs, and liv e m u sica l acts such as An A m e ric a n S tarlet, DJs Kid Hops fro m KEXP's E xpansions and S h ing i. W e'll screen e x p e rim e n ta l film fro m local and n a tio n a l film m a k e rs , as w e ll as v id e o clips and a n im a tio n fe a tu rin g a rtis ts fro m all o v e r th e w o rld . W e'll also have on hand local DJs to spin all k in d s o f s o u n d s, as w e ll as local bands w h o 'll p la y a lo n g s id e vis u a l and film a c c o m p a n im e n t to m eld m u s ic and im age in a h e ig h te n e d live p e rfo rm a n c e . M ain roo m im ages b y L illi W h ite o f W rong Side

S to p w o rk s .

T ic k e ts , $ 1 0 a dvance at w w w .tic k e tw e b .c o m , O rp h e u m Records, and N a tio n (3rd flo o r a b o ve I Spy fo r no service charge), fo r m ore in fo rm a tio n call 2 0 6 -6 2 1 -

o f th e Bed P ro d u c tio n s.

N a tio n is lo ca te d a t 1921 5th

C ost: $7, 21 and over. T ic k e ts w ill be a v a ila b le a t th e d o o r only, th e n ig h t o f th e e ve n t. R endezvous is lo ca te d a t 2 3 2 0 2nd Ave in

A ve nu e .

B e llto w n .

71 87 o r v is it w w w .is p y s e a ttle .c o m . 21 and up.

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EXPLODING CINEMA w ill g iv e n e w ­ com ers to SIFF a u n iq u e e n tré e to th e F estival, w ith e ve n ts p re se n te d in e x c itin g Seattle ve n u e s such as the E xperience M usic P roject, th e C ro cod ile Café, 1-Spy, and th e n e w ly re fu rb is h e d R en dezvous.

EXPLODING CINEMA

Saturday, June 1 5 Exploding Cinema's Bazaar at the Rendezvous, 9 pm to 2 am Join us fo r th e fo llo w up n ig h t o f Bazaar as w e go o u t w ith a bang.

We'll fe ature th e Seattle Premiere o f Engram Sepals (M elodram as 1 9 9 4 -2 0 0 0 ) b y film m a k e r Lewis Klahr. Klar's co lla ge style in co rp o ra te s fo u n d fo o ta g e fro m the '50s, '60s, and 7 0 s , as w e ll as m usic by Frank Sinatra, Ig g y Pop, and M ercury Rev. We'll also p re sen t Seattle's o w n Voyager One and th e ir s tu n n in g vis u a l show , in a h ig h ly a n tic ip a te d live p erform an ce. There w ill be o th e r e x p e rim e n ta l sh o rts, v id e o s and p ro je c tio n s a lo ng w ith DJs and live acts. Main room im ages by S top w o rks

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EXPLODING CINEMA

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C ost: $7, 21 and over. T ickets w ill be a vailab le at th e d o o r only, th e n ig h t o f th e even t. R endezvous is located a t 2 3 2 0 2nd Ave in B e lltow n .

Sunday,June 1 6 Exploding Cinema and the Richard Hugo House present Bloomsday, 7 pm In h o n o r o f James Joyce's Ulysses and the day th e b o o k co m m e m o ra te s, th e Seattle

In te rn a tio n a l Film Festival and th e Richard H ugo House are m o u n tin g BLOOMSDAY, a c o lle c tio n o f re a din gs fro m Ulysses, w ith o rig in a l w o rk s o f w ritin g and film and m u sic. The p ro g ra m w ill e x p lo re th re e passages fro m th e b o o k , and h o w in te rp re ta tio n th ro u g h o rig in a l a rt can create n o t o n ly a lin k fro m th e p ast to th e p re se n t, b u t a g re a t u n d e rs ta n d in g o f Joyce's m aze o f p e rc e p tio n laid upo n th e m ap o f D u b lin . We'll

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fe a tu re o rig in a l w o rk s b y local w rite rs A u ra C uevas and Fionn M eade, as w e ll as o rig in a l film s b y film m a k e rs D avid H an nig an and A n d y Spletzer. C u ra te d b y Rob W est. Film s p ro d u c e d b y A n d y Spletzer.

C ost: $7, $5 fo r C ine m a Seattle and H ug o House m e m b e rs.

R ichard H ug o H ouse, 163 4 1 1th Ave on C a p ito l H ill. T icke ts a v a ila b le d a y o f th e e v e n t a t th e d o o r only.

EXPLODING CINEMA

Exploding Cinema and the Crocodile Café present

Music Video Machine Local bands and m u s ic a l a rtis ts w ill in te rp re t, re -m ix , and re­ im a g in e songs fro m th e c u ttin g edge o f m u sic v id e o . The C ro co d ile Café w ill fe a tu re n o te d m usical acts as th e y p e rfo rm w ith m usic v id e o s b y som e o f th e m o s t ren o w n e d v id e o a rtis ts in th e w o rld . T he m u s ic w ill n o t m e re ly a c co m p a n y th e im a ge s, b u t create an e n tire ly new p e rc e p tio n th ro u g h live p e rfo rm a n c e .

Dates tbd T ickets $7, a v a ila b le a t th e d o o r only, th e n ig h t o f each e v e n t. 21 and up. The C ro c o d ile Café is located a t 2 2 0 0 2 n d Ave in B e lltow n . For fu ll in fo rm a tio n call 441-561 1 o r v is it

Exploding Cinema's Online Flash Film Fest A c o lle c tio n o f m o tio n a rt fro m e m e rg in g a rtis ts in an e m e rg in g a rt fo rm . T h e y say th e s ilic o n c h ip is a h a rb in g e r o f social re v o lu tio n - E xp lo d in g C ine m a 's O n lin e Flash Film Fest sh ow s y o u w h a t re v o lu tio n is all a b o u t. We've

Online at www.seattlefilm.com beginning May 23rd through June 16th.

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EXPLODING CINEMA

www.thecrocodile.com.

c o m p ile d a c o lle c tio n o f a m a z in g w o rk fro m all o v e r th e w o rld b y a rtis ts th a t create in th e d ig ita l realm . See h o w m a th e m a tic ia n s , a n im a to rs , 3D a rtis ts , and s o ftw a re e n g in e e rs all spea k w ith one v o ic e to s h o w y o u w o rld s th a t S tan le y K u b ric k d id n 't even im a g in e . C u ra te d b y The W rong Side o f th e Bed P ro d u c tio n s .

NIGHT MUSIC

Biggie and Tupac

Gigantic (A Tale of Two Johns)

Sunday, June 2 ■ 4 :0 0 PM ■ Pacific Place Tuesday, June 4 ■ 9 :3 0 PM ■ E gyptian

T h u rs d a y , June 6 ■ 9 :3 0 PM ■ B ro adw ay

GREAT BRITAIN ■ 2002

USA ■ 2002

Director: Nick Broomfield

Director: AJ Schnack

Producers: Nick Broomfield, Michele d'Acosta Cinematographer: Joan Churchill

Producer: Shirley Moyers Cinematographer: Jon B. Thomas Editors: Jason

Editors: Mark Atkins, Jaime Estrada Torres Music: Christian Henson

Kool, Alisa Lipsitt Music: John Flansburgh

Cast: Biggie "The Notorious BJ.G." Smalls, Marion "Suge11 Knight, Tupac Shakur,

Cast: Gina Arnold, Michael Azzerad, Adam Bernstein, David Bither, Frank Black,

Sean “Puffy" Combs, Snoop Dogg Running Time: 107 minutes

Linwood Boomer, Pat Dillett, Sue Drew, Dave Eggers, John Flansburgh, Jake Fogelnest, Joe Franklin, Dennis Gattra, Ira Glass, Jonathan Gregg, Dan Hickey, Kurt

ick Broomfield has never been afraid of controversy. It's the very engine driving the British filmmaker's career, as much for his choice of topics as for his unconventional - some might say inflammatory - approach. His filmography includes such titles as Heidi Fleiss: Hollywood Madam (in which he's seen paying interviewees for their participation) and one that attracted particular attention in the Northwest: Kurt and Courtney (which Courtney Love attempted to suppress). With Biggie and Tupac, the indomitable Brit tackles the Holy Grail of celebrity scandal: the still unsolved murders of rap superstars The Notorious B.I.C. and Tupac Shakur in the mid-1990s. This time, Broomfield put more than his reputation on the line; he risked his life attempting to get to the bottom of a story clouded by lies, half-truths, skillful evasions, and full-blown mythologizing. No wonder. Biggie and Tupac started out as friends, but that ended when Death Row Records, in the person of Marion "Suge" Knight, "stole" Tupac away from Bad Boy Entertainment, in the person of Sean "Puff Daddy" Combs, and proceeded to sell literally millions of records. A full-blown war of words - and weapons - was on, with Biggie and Tupac becoming the most visible figures in the rivalry between East and West Coast crews: Biggie, Faith Evans (his wife), and Combs representing the East, and Tupac, Knight (who's interviewed while in prison), and Snoop Dogg representing the West. Most agreed, some grudgingly, to participate in the film, but there are other, lesser-known - less often heard - voices that also get to have their say, like Biggie's loving mother, Miss Wallace. If the truth is still out there, at least Broomfield has helped put an end to some of the more specious rumors and half-baked theories that have come to define this cause célèbre.

N

Hoffman

igantic's two Johns are Flansburgh and Linell - as unlikely a duo as ever to become America's critical and popular rock darlings. Yet their band They Might Be Giants has weathered many storms and remained standing as one of the great success stories of the alternative music scene. Who would ever think that songs about President James K. Polk or birdhouses in your soul could be toe-tapping pop gems? The Giants' brand of songwriting crafts brightly colored sugar packets that contain hard granules of truth. Infectious, smart, unique, beautiful and elliptical, They Might Be Giants have proven that pop music can be intelligent and popular. Gigantic chronicles the complete history of the duo - from their beginnings as a New York avant-garde art band predicted for failure, to MTV/music video pioneers, to the top of the charts, to a summary dismissal by their label. Throughout the ups and downs, the Johns create their own unique style of music without compromising on anything, all for the love of music itself. It just goes to show that nice guys can succeed in rock 'n' roll. Who else would record a new song a day, then place it on their answering machine for all the world to dial up and hear for absolutely free? The film's interview list reads like a who's-who of American pop culture: Harry Shearer, Ira Glass, Sarah Vowell, and Dave Eggers to name a few. And there's plenty of concert footage for the die-hard fan and uninitiated alike to uncontrollably bob their heads to.

G

Selected Filmography: Kurt & Courtney (1998), Fetishes (1996), Heidi Fleiss: Hollywood Madam (1995), Aileen Wuomos: The Selling of a Serial Killer (1992), Monster in a Box (1991), Dark Obsession (1991), Chicken Ranch (1983), Soldier Girls (1981), Proud to Be British (1973)

188

NIGHT MUSIC

S u p e r 8 S t o r ie s

P l e a s u r e a n d P a in

M EM O R IAS EM SUPER 8

Friday, June 14 ■ 1 2 :0 0 PM Saturday, June 15 - 9 :3 0 PM

USA

Sunday, June 2 ■ 6 :3 0 PM ■ E gyptian Tuesday, June 4 ■ 4 :3 0 PM - H arvard Exit

C in e ra m a B ro ad w a y

GERMANY / ITALY ■ 2001

2002 • U.S. PREMIERE

Director-Writer: Emir Kusturica

Director: Danny Clinch

Producers: Carlo Cresto-Dina, Raimond Goebel Editor: Svetolik Mica Zajc Music:

Running Time: 92 minutes

No Smoking Orchestra

en Harper is a name you know from somewhere. Maybe you can't place it. Or you know the name, are passionate about it, his music runs in your blood. Pleasure and Pain, marking the directorial debut of rock photographer Danny Clinch, chronicles the story of this singular roots musician. Harper is a fan favorite, and has spent the past years touring nonstop to spread his aural gospel to the masses, one concert hall at a time. The film follows him and his band the Innocent Criminals across the U.S. and Europe, with pit stops in his hometown to talk to his biggest musical influences: his mother and grandparents. How does a black man who plays soul, funk, blues, pop, rock all equally well, to the point that he defies categorization, gain a grassroots following in several countries, with little to no radio airplay? Tour, tour, tour. Harper is a wizard on the guitar, and his songs bleed passion in the folk rock tradition. He's genuinely enthralled by playing music and the life he leads on the road, despite the grueling demands of his work that the movie carefully documents. The film's crowning moment is not the dynamic live concert footage in Paris, nor the backstage access, nor is it the beautiful photography, but rather, a quiet, intimate exchange between Harper and his mother as they play guitar and sing a song together for the first time in her livingroom. Mother and son communicating through their love of music and each other in the magical, unspoken ways that only music can.

B

Cast: Joe Strummer, Emir Kusturica, Nelle Karajilic, Stribor Kusturica, Dejan Sparavalo, Zoran Marjanov Ceda, Nenad Gajin Running Time: 91 minutes

Filmography: Super 8 Stories (2001), Black Cat, White Cat (1998), Underground (1995), Arizona Dream (1993), Time of the Gypsies (1989), When Father W as Away on Business (1985), Do You Remember Dolly Bell? (1981), Buffet Titanic (1979), Guernica (1978), The Brides Are Coming (1978)

KEXI&

KEX& 189

NIGHT MUSIC

ollowers of American music often hear how tough life on the road is for the touring musician, how hard it is to carve out a name for yourself. If you're the No Smoking Orchestra, things couldn't be harder. Try playing since 1980 in and around Communist and war-torn Yugoslavia. Have your band's leader make tasteless remarks about the death of Marshal Tito in the last days of Communist rule, to be essentially boycotted by the state. Play music that borrows heavily from the Muslim Bosnian culture. But times changes, and so have the band's fortunes.

After a lineup change in 1986, noted director Emil Kusturica (White Cat, Black Cat; Underworld) joined the band on bass; soon afterward, Kustruica's son came on board as the new drummer. Due to the political thaw of the late '80s, the band embarked on a new tour and newfound popularity. Soon fighting would break out in the region, then full-fledged war.

No Smoking would be one of the few acts that would commit themselves to the people of Sarajevo and other areas in the region, by continuing their live shows, playing to crowds well over 50,000 in the summer of '99. Kusturica directs this documentary filled with concert footage that captures the band's rollicking live shows-and their deeply felt connection with a region that has had little to applaud in the last ten years.

F

N IC H T

L a T r o p ic a l

Sunday, May 26 ■ 9 :3 0 PM ■ B roadw ay Tuesday, M ay 28 ■ 4 :3 0 PM ■ B roadw ay

USA / CUBA ■ 2001 Director-Producer-Cinematographer: David Tumley Running Time: 95 minutes f you can make it there, you'll make it anywhere ... in Cuba.

La Tropical is the fabled open-air music hall on the outskirts of Havana that, for more than half a century, has been the testing ground for popular Cuban musicians and musical acts.

Crowds can number in the tens of thousands: sweaty, gyrating, grinding crowds whose approval can catapult you to greatness, and whose disapproval can signify failure before you clear the stage. David Turnley's documentary chronicles the diverse lives of the club's patrons, performers, and workers and their relationship to music, the club, and each other. The film's music isn't the refined, romantic crooning sometimes associated with Cuban music, but the raw sexually charged vibrations of drums, horns, and heat played out in salsa, timba, and rumba across the sweat-soaked dance floor, for the people on and of the street. There's a sexual identity and celebration captured in La Tropical that, sadly enough, Americans no longer enjoy. The Pulitzer Prize-winning Tumley captures the locale and its people in beautiful black and white, framing the racial politics surrounding this street music. The tones of class identity that affect most Cubans of African descent, mulattos and blacks alike, are illustrated through a place and music to call their own. For their part, "whites" of Spanish descent tend to view the music and the club as a haven for undesirables.

There's concert footage of the Crammy-winning Los Van Van as well as a myriad of lesser-known performers, who at one memorable juncture are heard playing disparate forms of the same Cuban song. The soundtrack is so alive, the beat so infectious, even the stiffest sticks will be jumping in their seats.

I

1

dan - guitar, theremin, DJ, arranger - and has played all over the country with acts as varied as Sonic Youth, the Flaming Lips and Looper.

Mon.Jun. 10 ■ 7:00 PM ■Egyptian

S P E C IA L A R C H IV A L P RESEN TA TIO N S

GER MANY ■ 1 9 1 9 - 2 0 Director: Robert Wiene Writers: Hans Janowitz, Carl Mayer Cinematographer: Willy Hameister Cast: Werner Krauss, Conrad Veidt, Lil Dagover, Friedrich Feher, Hans M. von Twardowski, Rudolf Klein-Rogge Running Time: 67 minutes

hances are you had to see The Cabinet of Dr. Caligari in a film appreciation class sometime. The thing was kinda freaky, you had to admit: All those weird, painted sets, so distorted they somehow flattened three-dimensionality into something less than two-dimensionality. Everybody acting and looking Expressionist to the max; even the nameless Town Clerk on his seven-feet-high stool, to connote how remote and unresponsive bureaucracy could be. Caligari himself, like some demented grandpa people used to keep locked in the attic - a carnival mountebank who just maybe was the same guy who, legend had it, had been wandering around Europe since back before the Renaissance. Cesare, the living-skeleton type he keeps locked in a coffin; no problem, since Cesare sleeps most of the time, even when, as The Somnambulist, he skulks around town like a painted shadow, slipping into people's bedchambers to murder them. Fritz Lang, no less, had come up with the storytelling device that made you wonder whether everything you saw was delusional - a tale told by a lunatic.

Oh, yeah, the film had its quirks, and the professor insisted it marked a milestone in cinema history, introduced ambiguity to film narrative, and even predicted Hitler in some crazy way you've lost your notes on. But it was also so ... faded ... and blotchy-murky black and white because the print was publicdomain and twenty generations removed from the original negative. Which brings us to this special Archival occasion: Friend, you have never seen this classic film. At least, that's how we felt when confronted with Kino's spanking-clear restoration print, which shimmers with shadows and textures and layers of creepiness we never knew were there. The Cabinet of Dr. Caligari is no museum piece - not anymore. And to help entice you to check it out, we've arranged for the esteemed Kento Oiwa to accompany it on the theremin for two ultraspecial SIFF showings. The handwriting is on the wall: you must be cornin' to Caligarfl.

C

Filmography: Ultimatum (1938), A Night in Venice (1934), Polizeiakte 909 (1933), Panik in Chicago (1931), Eight Days of Happiness (1931), The Other (1930), Le Procureur Hallers (1930), Scandal in Paris (1929), Die Große Abenteuerin (1928), Unfug der Liebe (1928), Leontines Ehemänner (1928), Der Rosenkavalier (1926), Der Gardeoffizier (1925), The Hands of Orlac (1928), I.N.R.I. (1923), Tragikomödie (1923), Raskolnikow (1923), Die Höllische Macht (1922), Playing with Fire (1921), Die Nacht der Königin Isabeau (1920), Genuine (1920), Furcht (1917), Frau Eva (1916), Poor Eva (1914)

191

B ue na Vista H o m e Video

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S P E C IA L A R C H IV A L P RESEN TA TIO N S

The Private Life of Sherlock Holmes

The Orphan REN HAI GU HONG

Sun, Jun. 9 ■4:00 PM ■Egyptian

HONG KONG ■ 19 6 0

USA / G R E A T BRITAIN ■ 19 7 0

Director: Sun-fung Lee

Director-Producer: Billy Wilder

Writer: Ng Cho Fan

Writers: Billy Wilder, I.A.L. Diamond

Cast: Bruce Lee, Ng Cho Fan, Feng Feng Running Time: 104 minutes

Editor: Ernest Walter Music: Miklos Rosza

Cinematographer:

Christopher Challis

Cast: Robert Stephens, Colin Blakely, Geneviève Page, Christopher Lee, Clive

fter several years of trying, the Festival is thrilled to offer a once-in-a-lifetime chance to see a rare early film featuring martial arts legend Bruce Lee, courtesy of the Hong Kong Film Archive. Although born in San Francisco, Lee grew up in Hong Kong, where his father was a character actor. The Orphan, made when Lee was 19, is one of the last films he made in Hong Kong before leaving to seek fame and fortune in Hollywood (from Kato in The Green Hornet to Fists of Fury and Enter the Dragon). In it he plays a lazy hoodlum who snatches a purse and threatens a kindly female music teacher - but nevertheless attracts with his screen charisma. See an unseen Bruce Lee, before he became the world's best-known martial artist, in this rare treat.

A

Revill, Tamara Toumanova Running Time: 125 minutes

he late, abundantly great Billy Wilder (1906-2002) was variously celebrated and deplored as a cynic. Looked at either way, that characterization was inadequate to frame one of the most resonant of filmographies. Andrew Sarris, the dean of American film critics, roughed up Wilder badly in his 1960s codifications of the American cinema, but he recanted bigtime in the 1970s - partly because, as he had to admit, he kept sneaking back into repertory houses to enjoy Wilder's movies again and again, and partly because by the early '70s Wilder was making some of his best films ever, with a tenderness his earlier work had approached only furtively. Premier example is this enchanting mash note to the fictional world created by Sir Arthur Conan Doyle, easily the most beautiful film Wilder ever made, and in some ways his most personal. Released at Christmastime 1970, it was shunned by audiences grooving on the revisionist films of the day, shocking slices of contemporary reality (think Easy Rider and Midnight Cowboÿ) that proudly turned their backs on studio soundstages, Hollywood production values, and the antique art of telling coherent stories via multilayered screenplays and a classical camera. Who needed a script so well made that virtually every line of dialogue circles back, often several times, to take on new significance, comic value, irony, or poignancy? Who cared that production designer Alexander Trauner's ecstatically lavish Baker Street looks as if it might have slipped from the pages of Strand magazine? Who noticed that The Private Life of Sherlock Holmes was a great artist's autumnal meditation on the pain of love, mortality, and the transcendent power of art?

If Wilder the "closet romantic" (as Sarris put it) hadn't acquired a cynical streak by then, the thoughtless shrugging-off and overnight disappearance of this exquisite masterpiece would have been reason enough to cultivate one. We were already considering including Holmes in our '70s retrospective as the great film obscured in the rush to renaissance. Then Mr. Wilder left us, and we knew there was no finer way of remembering him. The game's afoot, my dear Watson, and it's far from elementary. Indeed, we think you'll find it "extra-extraordinary"!

T

Selected Filmography: La shou qing ren (1978), Qun fang pu (1974), Ba ba de qing ren (1968), Li hou zhu (1968), Ba ge xiong shou (1965), M a ling dao (1965), Xi Shi (1965), Chun Xiang zhuan (1964), Lang xin ru tie (1964), Nan nan nu nu (1964), Xianggang wu zhan xia (1964), Yong jie tong xin (1964), Liu Hai yu xian ji (1963), Liu Zhang xia shan (1963), SuXiaoxiao (1962), Jin fen shijia (1961), Hong (1960), The Orphan (1960), Shu jian en chou lu (1960), Hao men ye yan (1959), L igui yuan chou (1959), Sword of Blood and Valour (1958, Chu gu huang ying (1956), Duan hong ling yan ji 1955), Han ye (1955), Ai (1955), Chun (1953), Da di (1953), En qing shen si hai (1952), Xue ran du juan hong (1951), Shou de yun kai jian yue ming (1949), R u a n s h is a n xiong (1941), Zhan long yu xian ji (1940)

Selected Filmography: Fedora (1978), Avanti! (1972), Kiss Me, Stupid (1964), One Two Three (1961), The Apartment (1960), Some Like It Hot (1959), Love in the Afternoon

Hong Kong Economic & Trade Office

(1957), Sabrina (1954), Stalag 17 (1953), Ace in the Hole (1951), Sunset Boulevard

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(1950), A Foreign Affair (1948), The Lost Weekend (1945), Double Indemnity (1944), Five

193

S P E C IA L A R C H IV A L P RESEN TA TIO N S

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A M E R I C A N F I L M M A K I N G IN THE 7 0 s experiment and voluptuate in this medium of seemingly endless potentiality. Making movies indeed, watching movies - seemed a whole new arena, ripe for fresh aspiration and understanding.

Great things happened. And some extraordinary, unprecedented films that have seasoned from the must-see, audience-galvanizing sensations of their day into permanent classics, indispensable to any informed definition of modern cinema, and of America.

Who knows he's living through a golden age while it's happening? A lot of factors contributed to the 1970s being the healthiest, liveliest decade for American cinema in the past half-century: The increasing relaxation of taboos that had long constrained what Hollywood could put on screen and how they addressed it. A nation and a society in ferment, redefining everything from sexual mores to political priorities, casting off the received wisdom and bigotry of bygone days to explore new possibilities, redress old wrongs, and question kneejerk authority. The legacy of the '60s, when some of the sharpest homegrown movies began drawing inspiration from the work of European film artists, and marrying that order of sophistication and subtlety to a native vision. Lighter, more mobile filmmaking technology that enabled movies to be made - to happen - anywhere: not just on a soundstage or a backlot, but out there on the road and in the streets, wherever real experience and a liberated imagination might lead them. A generation of filmmakers - the first, really - who had grown up with movies as a pervasive fact of life and feature of their personal landscape, and yearned to evolve and

The Seattle International Film Festival was founded in 1976 - just one, local manifestation of the growing excitement about film as an artform, and a forum for assessing and exploring the issues and temper of our lives. So we may be forgiven for feeling a special kinship to the movies of that time, when so many things seemed newly possible, and the world was wide - as wide as a screen filled with days of heaven. True, we are made just a little uneasy by the fact that the vigorous enthusiasms of that heady time must now be the stuff of archival recall. But you know, they still look magnificent.

194

D A Y S OF H E A V E N

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McCabe and Mrs. Miller

Sun, May 26 ■4:00 PM ■Egyptian

Sun.Jun. 2 ■ 1:45 PM ■Egyptian

USA ■ 1 9 7 4

USA ■ 1971 Director: Robert Altman

Director: Roman Polanski Writer: Robert Towne Producer: Robert Evans Cinematographer: John A. Alonzo

Writers: Robert Altman, Brian McKay

Editor: Sam O'Steen

Cast: Jack Nicholson, Faye

Cinematographer: Vilmos Zsigmond Editor: Louis Lombardo Music: Leonard Cohen

Dunaway, John Huston, Perry Lopez, Dick Bakalyan, Joe Mantell, Bruce Glover,

Cast: Warren Beatty, Julie Christie, René Auberjonois, Hugh Millais, Keith Carradine,

John Hillerman, Diane Ladd Running Time: 131 minutes

Shelley Duvall Running Time: 120 minutes

Music: Jerry Goldsmith

“M id d le o f a d r o u g h t a n d t h e w a t e r c o m m i s s i o n e r d r o w n s -

Producers: David Foster, Mitchell Brower

horseman, looking overgrown with moss under a bulky wrap of furs, rides out of a rain-bleared stand of evergreens, his image fogged by sheets of precipitation that do not fall so much as film over the whole visible world, a natural condition of life. The tracking/panning zoom shot that marks his arrival and the movie's beginning has a drifty feel to it, as though this star entrance - for we are talking about Warren Beatty here - had only inadvertently been noticed by the camera. This quality predicts the course of events in the town of Presbyterian Church, Washington (actually, somewhere near Vancouver, B.C.), and in the film. John McCabe will have a definite impact on the nascent community he rides into, but finally that community, and history, and the world and its seasons, will move on without him. American cinema would move on, too, and although Hollywood's trade unions just hated the film - the sound guys complained that half the time you couldn't hear the dialogue, overlapped and slurred like real people talking, and the A.S.C. thought the photography was horribly underlit, messy, and unsharp - McCabe and Mrs. Miller heralded a new way of making movies. Few films have ever achieved a more comprehensive sense of a world and way of life all their own.

Partly that's because Robert Altman, consistent with his methodology when making his breakout hit M*A*S*H the year before, had the cast and crew live out there in the Northwest boonies. After all, he and his cowriters had holed up in a West Vancouver house and worked through the night on the screenplay, warmed against the drizzly weather by a fire and significant quantities of marijuana, listening to Leonard Cohen songs that, a year later in Paris, he would realize comprised the only imaginable score for the film he had made. No American filmmaker of the past 32 years has come close to the kind of rich, resonant, prolific body of work Altman has created. And this eccentric, anticapitalist Western with a deeply mysterious interior music all its own is still one of the two or three finest movies he ever made.

A

o n l y in L .A , h u h , J a k e ? "

hinatown is the great American movie of the 70s. The first two Godfathers often get that nod, and they have the Oscars to back it up (G-ll beat Chinatown in 1974). And there are days when Nashville, which got the jump on the Bicentennial by a year to offer its own allegory of life-as-showbiz in these United States, looks like the one, all glorious, teeming two hours 39 minutes of it. But no, just right now we insist: Chinatown - and the operative word is movie, not film, not cinemah. Everything about it is just so delicious and satisfying in a way movies have all but forgot to be.

The late John Alonzo's razor-sharp, layers-deep Technicolor cinematography is so rich, you'd swear the unsmogged 1937 California sunlight would feel like heavy cream to walk through.

The late Richard Sylbert's decor, Anthea Sylbert's costumes, the makeup evoke a time out of mind and memory as persuasive, as imaginatively transfigured, as the world of Bertolucci's The Conformist (whose U.S. release marked the unofficial kickoff of a decade of high cinematic excitement). We hasten to add that Chinatown is much more than the sum of all its panama hats, classic cars, bee-stung lips, and references to Seabiscuit in the Racing Form. Nor is it in any way a slavish homage to film noir, a species just beginning to be celebrated at the time; the movie is too busy reinventing film noir, going about its own exhilarating, harrowing, gorgeous business. And its mystery that's about more than whodunit and why, is also the entryway to guilty legend, a modern myth of evil writing its DNA across history. Robert Towne (the only guy to cash in one of Chinatown's eleven Oscar nominations) virtually wrote the script for his old colleague Jack Nicholson to play Jake Gittes, the smoothest private eye ever to peep over a transom. Nicholson's terrific, but the keynote performance is Faye Dunaway's. Her haunted Evelyn Mulwray always seems to be listening for a signal beyond the range of normal hearing. When we finally hear it, too, the knowledge is terrible.

C

Selected Filmography: Gosford Park (2001), The Gingerbread Man (1998), Kansas City (1996), Shortcuts (1993), The Player (1992), Vincent and Theo (1990), Tanner '88 (1988), Secret Honor (1984), Come Back to the 5 and Dime, Jimmy Dean Jimmy Dean (1982), Three Women (1977), Nashville (1975), California Split (1974), Thieves like U s (1974), The Long Goodbye (1973), Images (1972), Brewster McCloud (1970), M *A *S*H (1970), That Cold Day in the Park (1969)

Selected Filmography: Le Pianiste (2002), Death and the Maiden (1994), Bitter Moon (1994), Frantic (1988), Tess (1980), The Tenant (1976), Macbeth (1971), Rosemary's Baby (1968), Dance of the Vampires (1967), Cul-de-sac (1966), Repulsion (1965), Knife in the Water (1962)

American Movie Classics

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D A Y S O F H E A V E N - A M E R I C A N F I L M M A K I N G IN T H E 7 0 ’ S

Chinatown

D A Y S OF H E A V E N - A M E R I C A N F I L M M A K I N G IN T H E 7 0 ’ S

D A Y S OF H E A V E N - A M E R I C A N F I L M M A K I N G IN T H E 7 0 ’ S

Days of Heaven

The Parallax View

Fri, May 31 ■4:30 PM ■Egyptian

Fri,Jun. 7 ■4:30 PM ■Egyptian

USA ■ 1 9 7 8

USA ■ 1 9 7 4

Director-Writer: Terrence Malick

Director-Producer: Alan J. Pakula

Producers: Jacob Brackman, Bert Schneider, Harold Schneider Cinematography:

Writers:

Nestor Almendros, Haskell Wexler Editing: Billy Weber Music: Ennio Morricone

Cinematographer: Gordon Willis Editor: John W. Wheeler Music: Michael Small

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Cast: Richard Gere, Brooke Adams, Sam Shepard, Linda Manz, Robert Wilke, Stuart

Cast: Warren Beatty, Hume Cronyn, Bill McKinney, Walter McGinn, William Daniels,

Margolin, Richard Libertini Running Time: 95 minutes

Paul Prentiss, Jim Davis Running Time: 102 minutes

ow can space - rolling fields of wheat, mountains of cloud, a railway trestle reaching for heaven - look bigger on a movie screen than anywhere you've ever been? Terrence Malick's visual poem of turn-of-the-century America (and, indirectly, turn-of-the-century American literature) remains one of the cinema's true visionary experiences. Three rootless young Americans leave behind the stamping-mill grime of the city and head west, like several generations before them. Their characters, aspirations, and motives are never made clear, though a shadow of crime, or at least violence, trails behind and sometimes runs ahead of them. Onlookers take the man and woman for brother and sister; their younger companion, an enigmatic urchin worthy of Dreiser, knows better, but tells us little more. (She's the film's narrator, and rates more spoken words on the soundtrack than any of her fellow players.) They come to a farm, an endless reach of arable land, and find work there. The owner, a man of some wealth and considerable loneliness, is soon attracted to the woman. Accommodations are made; there could be a bright future for all. But nature, human and otherwise, won't allow it. Eventually there will be an almost Biblical vastation, and somewhere far away, a World War. As directorial careers go, what could have followed such a film? It took Terrence Malick the better part of two decades to hazard an answer. Meanwhile, Nestor Almendros' cinematography won the film's lone Oscar (there'd have been riots otherwise). There are people attending this festival working for this festival - who have never seen Days of Heaven on a theater screen. With a pristine, rarely loaned archival print awaiting them, they are to be envied.

ll the high excitement of the late Alan J. Pakula's directorial career took place during the '70s. He had assumed the director's chair in 1969 after producing a series of mostly distinguished films (To Kill a Mockingbird, Fear Strikes Out, Inside Daisy Clover, et al.) in partnership with Robert Mulligan.

Klute, a fiercely abstract psychological thriller that won Jane Fonda her first Oscar, established him as a visual stylist of no mean ambition - invaluably abetted by that master of chilly asymmetry, Gordon Willis. The Parallax View reaffirmed this, and All the President's Men - in which the investigative journalism of Bob Woodward and Carl Bernstein took on the overtones of a Fritz Lang battle for civilization itself - swept the critics groups' awards, though not the Oscars. At the time, The Parallax View got short shrift. Nowadays, it looks like the most brilliant, and certainly most radical, of the so-called modernparanoia trilogy. In a nation where political assassination is becoming epidemic, an antisocial reporter enters a labyrinth in search of a conspiracy, and gets swallowed up. The film is one amazing set-piece after another: an assassination on the Space Needle, a life-and-death confrontation at a reservoir (near Concrete), a palm-sweating scene aboard an airliner that makes inspired use of inflight boredom. And there's a film-within-thefilm that implicates the viewer, irresistibly, in the movie's nightmare world of ambiguity and sinister potentiality. What an enduring, definitively disturbing masterpiece of suspense.

When one heard of Pakula's death a couple years ago, in a freak motoring accident on the Long Island Expressway, the thought that couldn't be suppressed was: It's just like Parallax....

Filmography: The Thin Red Line (1998), Badlands (1973)

(1992), Presumed Innocent

A

H

Filmography: The Devil's Own (1997), The Pelican Brief (1993), Consenting Adults (1990), See You in the Morning

(1987), Dream Lover (1986), Sophie's Choice

(1989), Orphans

(1982), Rollover (1981), Starling

Over (1979), Com es a Horseman (1978), All the President's Men (1976), Love and Pain and the Whole Damn Thing (1973), Klute (1971), The Sterile Cuckoo (1969)

American Movie C lassics

American Movie Classics

196

D A Y S O F H E A V E N - A M E R I C A N FI

Bring Me the Head of Alfredo Garcia

Sun, Jun. 9 ■6:30 PM ■Egyptian

Fri.Jun. 14 ■4:30 PM ■Egyptian

USA ■ 1971

USA ■ 19 7 4

Director: Peter Fonda Writer: Alan Sharp

Producers: William Hayward

Director: Sam Peckinpah Cinematographer: Vilmos

Writers: Sam Peckinpah, Gordon Dawson, Frank Kowalski

Zsigmond Editor: Frank Mazzola Music: Bruce Langhorne

Producers: Martin

Baum, Sam Peckinpah, Helmut Dantine Cinematographer: Alex Phillips Editors:

Cast: Peter Fonda, Warren Oates, Verna Bloom, Severn Darden Running Time: 90

Robbe Roberts, Sergio Ortega, Dennis E. Dolan

minutes

Warren Oates, Isela Vega, Emilio Fernández, Janine Maldonado, Helmut Dantine,

Music: Jerry Fielding

Cast:

he Hired Hand begins with a slow-motion, molten-gold shot of a cowhand swimming in a dreamy river flow. The jaundiced viewer, ever suspicious of the fatal likelihood of a vanity production when a young actor is making his directorial debut, squirmed in his seat in 1971 and dreaded the worst.

The fear was unfounded. Peter Fonda is not, in fact, the cowhand swimming in the golden river, and the ensuing film in no way serves as a mirror held up to his own features.

Although he plays the title role, a drifter who wearies of drifting and returns to his wife's farm to work the land, the film doesn't star anyone. Whereas Dennis Hopper had treated him in Easy Rider as an empty myth on a road to nowhere, here Fonda doesn't seem to consider himself even that special. As a director he all but throws the film to his costars, the excellent Warren Oates and Verna Bloom. Their scenes together breathe with a steady rise and fall of possibility, a sense of tentative realization between the hired hand's wife and the friend who has ridden with him for seven years and has had more of his life than his own family. A quiet, uninsistent passion for the things of life runs throughout the movie, which also contains scenes of grotesque savagery to render the passion more vulnerable and poignant. The Hired Hand is a small but tenderly observed Western typifying the kind of exploratory filmmaking that busted out all over during the '70s American film renaissance. Vilmos Zsigmond, at the height of his visionary powers, brings a constant inventiveness to the cinematography, and Fonda and Frank Mazzola toy with a whole new film-editing lexicon. The spare script is by Alan Sharp, who wrote half the most interesting screenplays of the era. Peter Fonda will make a personal appearance with his new, restored print.

Time: 112 minutes

Gig Young, Robert Webber, Kris Kristofferson, Donnie Fritts, Jorge Russek Running

T

“I know you! You're the guy in the hole!" — Gold Hat to Fred C. Dobbs, The Treasure of the Sierra Madre am Peckinpah knew damn well he couldn't call a movie Bring Me the Head of Alfredo Garcia and have people sit still for it.

That's why he did it. He had created another great film, Pat Garrett and Billy the Kid, and seen it - like Major Dundee and The Wild Bunch before it - released in a mutilated version. So he exiled himself to Mexico, his spiritual home in any event, and made this raw, shockingly naked and beautiful film. It didn't have classy camerawork by Lucien Ballard or Johnny Coquillon. It didn't have a big-name cast - though Warren Oates, a comrade since doing an anonymous bit for Peckinpah in a '50s TV episode, was unbeatably the guy to carry the movie. An act of rage and defiance - against the powerbrokers in the towers, against critics who thought they had him boxed and labeled, against his own demons - Sam Peckinpah's Bring Me the Head of Alfredo Garcia is one of the bravest, most astonishing movies anyone ever made. Oates's Benny, a gringo piano-player in Mexico who long ago ran out of luck, hears that some big men are willing to pay a bounty on a guy. Since the guy is shtupping Benny's girlfriend (Isela Vega), Benny has added reason to want to collect. Then it turns out that Al Garcia has already died in a roadside accident the hunters haven't heard about. This will be easy. Except, of course, that it will cost Benny everything he has and ever wanted. Oates's surreal character work is his career apotheosis, evoking both the shade of Humphrey Bogart's Fred C. Dobbs (the film is a subterranean reworking of John Huston's Treasure of the Sierra Madre) and the carnival-mirror reflection of Peckinpah himself, down to the signatory dark glasses and shit-eating hipster grin.

Isela Vega's performance as the sainted whore Elita - looking bruised and middle-aged one moment, radiant and clear­ skinned as a child the next - is an act of grace.

S

Filmography: The Osterman Weekend (1983), Convoy (1978), Cross of Iron (1977),

Filmography: Wanda Nevada (1979), Idaho Transfer (1973)

The Killer Elite (1975), Pat Garrett and Billy the Kid (1973), The Getaway (1972), Junior Bonner (1972), Straw Dogs (1971), The Ballad of Cable Hogue (1970), The Wild Bunch (1969), Major Dundee (1965), Ride the High Country (1962), The Deadly Companions (1961)

A m erican Movie Classics

American Movie C lassics

197

D A Y S OF H E A V E N - A M E R I C A N F I L M M A K I N G IN T H E 7 0 ’ S

The Hired Hand

GRAND ILLUSIO N 7 0 ’S SID EBA R

M e a n S tre e ts

T w o L a n e B la c k t o p

F iv e E a s y P ie c e s

May 31-June 2 ■Grand Illusion

June 4-6 ■Grand Illusion

June 7-9 ■Grand Illusion

USA - 1973

USA - 1971

USA - 19 7 0

Director: Martin Scorsese

Director-Editor: Monte Heilman

Writers: Martin Scorsese, Mardik Martin Jonathan T. Taplin

Producer:

Cinematographer: Kent Wakeford

Writers: Rudolph Wurlitzer, Will Corry

Director: Bob Rafeison Producer:

Writers: Adrien Joyce (Carol Eastman), Bob Rafeison

Michael S. Laughiin Cinematographer: Jack Deerson,

Producer: Bert Schneider Cinematographer: Laszlo

Editors: Sid Levin, Martin Scorsese (uncredited)

Gregory Sandor Music: Billy James

Kovacs Editor: Christopher Holmes, Gerald Shepard

Cast: Harvey Keitel, Robert De Niro, David Proval, Amy

Cast: Warren Oates, James Taylor, Dennis Wilson,

Cast: Jack Nicholson, Susan Anspach, Karen Black

Robinson, Richard Romanus, Cesare Danova, George

Laurie Bird, H.D. (Harry Dean) Stanton Running Time:

Running Time: 96 minutes

Memmoli, Victor Argo, Murray Moston, David Carradine,

102 minutes

Robert Carradine, Martin Scorsese Running Time: 110 minutes

fter directing a drive-in movie for Roger Corman (Boxcar Bertha), Martin Scorsese was advised by John Cassavetes not to "waste another year of your life making something you don't care about."

He never would again, starting with this breakout film on growing up petty criminal in New York's Little Italy. Harvey Keitel, already established as a Scorsese regular, is excellent in the lead - but inevitably overshadowed by our first frontal encounter with the volcanic genius of Robert De Niro as the screwloose "Johnny Boy." And has anyone ever topped that opening "home movie" montage set to "Be My Baby"? (Short answer: No!)

GRAND ILLUSIO N 7 0 ’S S ID EBA R

A

wo guys, a Car, a girl. Another guy, another Car, with which he's so identified that his only name is "G.T.O." A road, any road, two lane blacktop, winding across an America where there's no percentage in looking at the scenery. A road race, though not one that answers to any normal conditions of urgency (or even a finish line) with which we have been familiar. Who wins? Can't tell. The film burns in the gate. But anyone else who claims to have made a road movie will have to get in line behind Monte Heilman.

T

Selected Filmography: Iguana (1989), China 9/Liberty 37 (1978), Cockfighter (1974), Ride in the Whirlwind (1966), The Shooting (1966), Flight to Fury (1965), Back Door to Hell (1965), Beast from Haunted Cave (1959)

Selected Filmography: see My Voyage to Italy, p. 180

obby Dupea works on a California oilrig. He may be happy at it, though he clearly doesn't belong, especially after the day he climbs out of a freeway tie-up to play the piano sitting on the back of a truck up ahead. It turns out that Bobby really belongs - though he would prefer not to - to a musically gifted, totally fucked-up family. The rest of them are up in the San Juans, and eventually he heads there with pregnant working-class girlfriend in tow. After his lightning-bolt "introduction" in Easy Rider (following more than a decade of Z-movies, two extraordinary Monte Heilman Westerns, and the co-invention of the Monkees), Jack Nicholson began defining what a '70s movie star should look like in this breathtakingly edgy, heartbreakingly disillusioned movie, which somehow managed to get nominated for the Academy Award.

B

Selected Filmography: Man Trouble (1992), Black Widow (1987), The Postman Always Rings Twice (1981), Stay Hungry (1976), The King of Marvin Gardens (1972), Head (1968)

198

G RA N D ILLU SIO N 7 0 ’S S ID EB A R

K lu t e

C a lif o r n ia S p lit

F at C it y

June 11-13 ■Grand Illusion

June 14-16 ■Grand Illusion

June 14-16 ■Grand Illusion

USA - 1971

USA - 1 9 7 4

USA - 1 9 7 2

Director-Producer: Alan J. Pakula

Director: Robert Altman

Writer: Andy Lewis, Dave Lewis Gordon Willis

Cinematographer:

Editor: Carl Lerner

Music: Michael

Writer: Joseph Walsh Joseph Walsh

Producers: Robert Altman,

Cinematographer: Paul Lohmann

Huston

Cinematographer: Conrad Hall

Margaret Booth

M usic:

Marvin

Editor:

Hamiisch, Kris

Small

Editor: Lou Lombardo

Cast: Jane Fonda, Donald Sutherland, Charles Cioffi,

Cast: Elliott Gould, George Segal, Ann Prentiss, Gwen

Roy Scheider, Dorothy Tristan, Rita Gam, Richard Shull,

Welles, Jeff Goldblum, Bert Remsen, Edward Walsh,

Cast: Stacy Keach, Jeff Bridges, Susan Tyrrell, Candy

Nathan George Running Time: 114 minutes

Joseph Walsh, Barbara Ruick Running Time: 109 min­

Clark, Nicholas Colasanto, Art Aragon, Curtis Cokes,

utes

Sixto Rodriguez Running Time: 100 minutes

obert Altman's decade-defining magnum opus Nashville didn't come out of nowhere. Its first stirrings can be retroactively detected in this fascinatingly frowsy comedy-drama about two guys one a fringe character (Elliott Gould), the other a castoff from respectable, workaday dreariness (George Segal) - who brush each other's trajectories in the halflight world of gambling. Altman protégé and idiosyncratic auteur-to-be Alan Rudolph was a very involved assistant and second-unit director on this slippery, totally original film, with its tirelessly fluid mise-en-scène and adventurously multilayered soundtrack. It's not just a technical run-through for bigger things to come - it's one of Altman's best, and most overlooked, movies.

J

A

Filmography: see The Parallax View, p. 196

R

Selected Filmography: see McCabe and Mrs. Miller, p.

195

Kristofferson

ohn Huston - perhaps the single greatest directorial influence on both Robert Altman and Sam Peckinpah - could work any room, any decade. Almost uniquely among the surviving masters of Hollywood's golden age, he had no trouble negotiating the freer, evolving working reality of filming away from the studio and incorporating a good deal of gritty reality at a thematic level as well.

Besides, in his youth he'd boxed in the same milieu where the two generations of tank-town fighters in Fat City make their quietly desperate way. This lean, toneperfect film, shot on location in Stockton, California, impressed critics as a strong return to form for Huston (though his neglect through the '60s said more about the critics than it did about the director or the films he'd been making). Stacy Keach and Jeff Bridges couldn't imaginably be better, and some amazing non­ professional actors prove excellent company for them.

Selected Filmography: The Dead (1987), Prizzi's Honor (1985), Under the Volcano (1984), Wise Blood (1979), The Man W ho Would Be King (1975), The Kremlin Letter (1970), A Walk With Love and Death (1969), Reflections in a Golden Eye (1967), Night of the Iguana (1964), Freud (1962), The Misfits (1961), Moby Dick (1956), Beat the Devil (1954), The African Queen (1951), The Red Badge of Courage (1951), The Asphalt Jungle (1950), Key Largo (1948), The Treasure of the Sierra Madre (1948), Let There Be Light (1946), San Pietro (1944), The Maltese Falcon (1941)

199

G RAN D ILLU SIO N 7 0 ’S S ID EB A R

n aristocratic West Virginia executive disappears during a trip to Manhattan, and a long drink of water from his hometown - a private detective (Donald Sutherland) - goes searching for what happened to him. The mystery isn't ail that mysterious, but then, that's not what the movie's interested in being about. Jane Fonda won her first Oscar (nothing imaginably could have stopped it) as the very smart call girl and aspiring actress whose infatuation with power, in both her crafts, puts her right at the nexus of dread, and a menace rendered almost palpable by Alan Pakula's icily patient rhythms and Gordon Willis's steeland-glass-Gothic compositions. Not a horror film, but inescapably a nightmare.

Music: Phyllis Shotwell

Director: John Huston Writer: Leonard Gardner Producers: Ray Stark, John

GRAND ILLU SIO N 7 0 ’S S ID EB A R

Shampoo

M*A*S*H

June 18-20 ■Grand Illusion

June 21-23 ■Grand Illusion

June 25-27 ■Grand Illusion

USA - 1973

USA - 197 5

USA - 1 97 0

Director-Writer: Terrence Malick

Director: Hal Ashby

B a d la n d s

Producers: Edward R. Pressman, Terrence Malick

Writers: Robert Towne, Warren Beatty

Cinematographers: Tak Fujimoto, Brian Probyn,

Warren Beatty

Director: Robert Altman Producer:

Cinematographer: Laszlo Kovacs

Writer: Ring Lardner Jr.

Producer: Ingo Preminger

Cinematographer: Harold E. Stine Editor: Danford B.

Editor: Robert C. Jones Music: Paul Simon

Greene Music: Johnny Mandel

Keetman, James Taylor, George Tipton

Cast: Warren Beatty, Julie Christie, Goldie Hawn, Jack

Cast: Donald Sutherland, Elliott Gould, Tom Skerritt,

Cast: Martin Sheen, Sissy Spacek, Warren Oates,

Warden, Lee Grant, Carrie Fisher, Tony Bill, Luana

Sally Kellerman, Robert Duvall, Jo Ann Pflug, John

Ramon Bieri, Jesse Vint Running Time: 95 minutes

Anders Running Time: 109 minutes

Schuck, René Auberjonois, Bud Cort, Roger Bowen,

he cross-country murder spree of Charles Starkweather and Caril Ann Fugate served as the inspiration for this first directorial effort of Terrence Malick, a man who decisively left his mark on the 7 0 s - see, always and forever, Days of Heaven - and then was not heard from again until 1998's The Thin Red Line.

Martin Sheen plays the Starkweather part, a wastrel acutely aware of his resemblance to James Dean, and blankly heedless of the meaningful existence of just about anybody else on the planet except Sissy Spacek's Holly. The murder of her father makes a minimal amount of sense as a means of releasing her from Middle American containment; the rest of his depradations lack even the motive of gratuitous sadism. Malick weaves an unholy spell of moral idiocy - Holly's voiceover commentary sounds like the mooning of a teen-magazine Sheherezade - and ecstatic legendmaking, with soundtrack interpolations of Carl Orff and Erik Satie under some of the most ravishing landscape photography ever seen.

ver the several days and nights leading up to the 1968 election of Richard Nixon, a Beverly Hills hairdresser much prized among the beautiful people for his talents as coiffeurist and cocksman scrambles to get (1) his lovelife straightened out and (2) financing for his dream of having his own salon. Variously a witty self-portrait of Warren Beatty's own persona in Hollywood and a critique of the attitudes that were eventually exposed in the fallout from the Watergate break-in, this film was written by the star and ace scenarist Robert Towne during a marathon siege in the former's hotel penthouse. Julie Christie plays the golden girlfriend the hairdresser has lost to a bigmoney Republican (the wonderful Jack Warden, who steals the movie), and Goldie Hawn is her touchingly ditsy successor. Laszlo Kovacs shot it arguably his best work ever.

Stevan Larner

Editor: Robert Estrin

Music: Gunild

Gary Burghoff, William Christopher, G. Wood, Corey

GRAND ILLUSIO N 7 0 ’S SID EBA R

T

O

Selected Filmography: 8 Million W ays to Die (1986), Being There (1979), Coming Home (1978), Bound for Glory (1976), The Last Detail (1973), Harold and Maude (1971), The Landlord (1970)

ourteen directors were offered M*A*S*H before the producer got to Robert Altman's name. It's safe to say that nary a one of them would have or could have made anything remotely resembling this movie, which singlehandedly did more to announce the new direction American cinema was aching to take in the 1970s. No one had ever ventured so sardonically disenchanted a vision of military life, or any aspect of - indeed, the very existence of - the Establishment. Or, while we're at it, religion. Or how little most movie dialogue resembles the way people really talk. The setting is nominally Korea, during America's undeclared war there in the '50s, but the real setting is the film's scruffy Vietnamera presentday, wherever hipsters gather to shove authority, gentility, and propriety up where they belong. Oh yes: Better know what the name of the movie is when you go in, because Altman doesn't bother with a title card.

F

Selected Filmography: see McCabe and Mrs. Miller, p.

198

Filmography: Days of Heaven (1976-78), The Thin Red Line (1998)

Fischer, Michael Murphy Running Time: 116 minutes

7 0 s Timecapsule: a collection of short films of the era June 24 only Includes two early Scorsese shorts, trailers (Star Wars, M*A*S*H), a short film of a Robert Altman lecture circa Images, Nixon’s resignation, a “lunchroom etiquette” film, John Lennon, and more.

200

FILM S 4 F A M ILIES

Her Majesty

Minoes MINOES: EEN CERAFFINEERDE FILMKAT

Mon, Jun. 10 ■4:30 PM ■Harvard Exit Sat, Jun. 1 5 - 1 1 :30 AM - Pacific Place

Sat, Jun. 1 - 1 1 :30 AM ■Pacific Place

NEW Z EA L A N D ■ 2001

N ET H E RL A N D S ■ 2001 ■ U.S. PREMIERE

Director-Writer: Mark J. Gordon Producers: Walter Coblenz, Judith Trye

Cinematographer: Stephen M. Katz

Director: Vincent Bal

Editor: Virginia Katz Music: William R o ss

Writers: Vincent Bal, Burny Bos, Tamara Bos Producers: Bum y Bos, Jan Roelfs

Cast: Sally Andrews, Vicky Haughton, Mark Clare, Liddy Holloway, Anna Sheridan,

Cinematographer: Walther Vanden Ende Editor: Peter Alderliesten Music: Flat Earth Society

E. Wallis Running Time: 105 minutes

Cast: Theo Maassen, Carice Van Houten, Jack Wouterse, Frits Lambrechts Running Time: 88 minutes

welve-year-old Elizabeth Wakefield (first-time actress Sally Andrews) is a gilt-haired, picture-perfect little girl who lives in the picture-perfect town of Middleton, New Zealand, circa 1953. Middleton's saturated in primary colors; there's nary a shadow in its bright gardens, spotless homes, award-winning cheese factory. Elizabeth moons over her idol, newly crowned Queen Elizabeth, soon to visit New Zealand; and her letter­ writing campaign leads to her hometown's getting tagged as a stop on the beautiful young monarch's itinerary. If possible, the sun seems to shine ever brighter in this manicured Eden. But Elizabeth has meantime made the acquaintance of Hira Mata (Vicky Naughton), a dusky old woman whose ramshackle cabin is situated on the outskirts of town, verging on wilderness.

Hira Mata, a queen in her own right, opens Elizabeth's eyes to Middleton's darker side, recounting the history of the Maori people and their losses at the hands of the town's founding fathers. Eventually, Elizabeth's conflicting loyalties land her in trouble with her best friend, the youthful teacher she has a crush on, her family (especially her punk brother), and a hypocritical pillar of the community who aims to level Hira Mata eyesore home before the British queen's visit. Full of hilarity and wisdom, Her Majesty's a beautifully directed and acted coming-of-age film in which a valuable young girl, poised on the edge of adolescence, earns her understanding of what royalty really means, what constitutes a bottom-line sense of who and what you are, and how hard it is to stand up for the truth when it would ever so much easier to go with the flow.

T

ased on the novel by Annie M.G. Schmitt, a famous Dutch writer of children's stories, Minoes is a feisty little fairy tale, supersaturated with color and charm. In the dead of night, an adorable little queen (as in female cat) investigates a barrel that's just rolled off a mysterious truck, driving slowly by with its headlights off. As quick as magic, an elegant young woman with a rather feline cast to her features turns up on the windowsill® of Tibbe, klutzy smalltown reporter too shy to grab a story. Miss Minoes tends to take to the trees at the sight of a dog, scarfs down raw fish, and sometimes scratches when cornered - but she also digs up wonderful dirt in rooftop gossipfests with all the cats in Killendoorn. (Recalling The War Between Cats and Dogs, every puss has a distinct personality and style, with flawlessly animated speech.) Soon Tibbe rules the front page of his newspaper, but when Minoes and her minions press him to write a story accusing the town bigwig and benefactor of environmental scandal (remember that errant barrel?) and cruelty to animals, his popularity - and his job - go up in smoke. This Netherlands fantasy never allows its genuine sweetness to go saccharine, effortlessly managing to wrap its fun around some strong medicine on the issue of carelessness with environment and kitty-cats. Carice van Houten couldn't be more enchanting as Miss Minoes, who must eventually decide between Tibbe's love and her truest form.

Musical pleasure is provided by the Flat Earth Society.

B

Filmography: Man van Staal (1999), The Bloody Olive (1996), Tour de France (1994)

ill ¡¡SZS1* "

ü

'W c V 201

Washington Mutual

FILM S 4 FA M ILIES

Alison Routledge, Cameron Smith, Stuart Devenie, David Stott, Geoff Snell, Rachel

FILM S 4 FA M ILIES I

Spooky House

Virginia’s Run

Sat, Jun. 8 ■ 11:30 AM ■Pacific Place

Sat, May. 25 ■ 11:30 AM ■Pacific Place

C AN A D A ■ 2 0 0 0

USA ■ 2 0 0 2

Director-Producer: William Sachs Writers: Margaret Sachs, William Sa chs

Director: Peter Markle Writers: Valarie Trapp, Peter Markle

Cinematographer: Thomas Burstyn

Producers: Leif Bristow, Robert Schwartz,

Bernard Bourret, Peter Markle, Robert Guy Miranda

Editor: Jeremy Presner Music: Garry Schyman

Cinematographer: Joel

Ransom Editor: Patrick McMahon

Cast: Ben Kingsley, Mercedes Ruehl, Matt Weinberg, Katharine Isabelle, Ronald

Skarsten, Robert Guy Miranda, Jeremy Akerman Running Time: 103 minutes

amed "Best of the Fest" at the Chicago International Children's Film Festival, Spooky House stars Oscar-winners Ben Kingsley and Mercedes Ruehl. The Great Zamboni (Kingsley) is a reclusive former magician who lives in an old, dark mansion with his pet jaguar, Shadow, and gazes out at the world through a telescope. Otherwise, he doesn't have much to do with it. Only a few years before, he was part of a popular magic act with his wife, Dawn Starr, but one of their illusions went awry and she disappeared without a trace. He isn't sure what happened, but blames himself. Max (Matt Weinberg), an orphan who lives nearby, is interested in magic in general and fascinated by Zamboni in particular (fascinated, rather than scared like everybody else). Katherine Isabelle (Ginger Snaps, SIFF '01) plays Mona, leader of a teen gang that likes to terrorize Max and his friends by stealing - or attempting to steal - their belongings to sell them for a profit. She and her dimwitted accomplices report to The Boss (Ruehl), whom Max and buddies refer to as "The Coughing Lady" due to her nicotine habit. (Zamboni, not too surprisingly, is known as "The Spooky Guy.") Despite Zamboni's lack of interest in Max, the kid won't give up. He's convinced that he and Zamboni have more in common than magic - and he's right. Gradually Zamboni's resistance begins to erode, just in time for the children and him to unite against the Boss and her minions when they break into his mansion. Spooky House should delight children - and families - with a fondness for ScoobyDoo, 101 Dalmatians, Where in the World Is Carmen Sandiego, and, most of all, the power of magic!

urther testament to the eternal verity that there exists no bond stronger than the one between a young girl and her horse, Virginia's Run is at once fresh and reassuringly familiar, offering the same cozy pleasures as rereading a forgotten children's book by candlelight. Forbidden her greatest pleasure since her mother's death in a riding accident, young Virginia (Lindze Letherman) nonetheless makes almost nightly pilgrimages to Blake Raines's stables, where she surreptitiously saddles up her favorite horse, the noble, ghost-pale Stormy, and goes joyously galloping through the forest. The notion of trespass never crosses her mind: after all, it was she who a few years prior biked out into a rainstorm to assist Stormy's mother in her difficult birth; she who named the young foal in honor of the torrential waterfall and booming thunderclaps that accompanied his delivery; and she alone who can calm the jittery stallion long enough to mount him. Capper to the argument is that Raines is a supercilious tycoon, and his son Darrow stomps through life - especially the town's annual equestrian race, whose trophy he claims each year by hook or by crook - with the casual arrogance of the privileged. They're screaming out for a comeuppance, and Stormy is the perfect vehicle to deliver it to them. Director Peter Markle never overextends his charming tale; the conflicts between Virginia and father Gabriel Byrne aren't brutal clashes but loving, regretful disagreements in a warmly observed family. Exquisite backdrop for the film is provided by the scenic wonders of Nova Scotia, as evergreen as the story itself.

Filmography: The Last Hour

Selected Filmography: The Last Days of Frankie the Fly (1997), W agons East

N

(1991), Hitz

(1989), Hot Chili

F

(1985), Galaxina

(1980), Van Nuys Blvd. (1979), The Force Beyond (1978/11), The Incredible Melting

(1994), Bat 21

Man (1977), Secrets of the G ods (1976), There Is No 13 (1974), South of Hell

Personals (1982)

(1988), Youngblood (1986), Hot Dog ... The Movie

Mountain (1971)

Washington Mutual

Washington Mutual 203

(1984), The

FILM S 4 FA M ILIES

Cast: Lindze Letherman, Gabriel Byrne, Joanne Whalley, Kevin Zegers, Rachel

Joshua Scott Running Time: 106 minutes

M ID N IG H T A D R E N A LIN E

May

Killer Tattoo MEU BEUN

Sat, Jun. 8 ■ 12:00 AM ■Egyptian

M ID N IG H T A D R E N A L IN E

Fri.Jun. 14 ■ 12:00 AM ■Egyptian

T H A IL A N D ■ 2001

USA ■ 2 0 0 2

Director-Writer: Yuthlert Sippapak

Director-Writer: Lucky McKee

Producers: Jantima Laiwsirikun, Pisoot Praesangelam Cinematographer: Suthas

Producers:

intranupakorn Editor: Mahasak Dhasnatayak

Cinematography: Steve Yedlin Editors: Debra Goldfield, Rian Johnson

Marius

Balchunas,

Scott

Sturgeon,

Richard

Middleton Music:

Jaye Barnes-Luckett

Cast: Somchai Khemglad, Pailin Pichitumphol Running Time: 111 minutes

Cast: Angela Bettis, Jeremy Sisto, Anna Faris, James Duval, Nichole M. Hiltz, Kevin

o loony-tunes it should have 'Midnight Movie' stamped on the film cans," wrote Var/efy’s Derek Elley. We know a cue when we hear one. Set in a Blade Runner Bangkok ten years from now (the subtitle might be Bangkok Even More Dangerous), Killer Tattoo deals with the aftermath from an elaborate but bungled hit on local police chief, who goes by the sub-Verhoevenian moniker Iron Cop. Trouble was, the assignment mistakenly fell to a less-than-lethal ex-convict named Pae Buffgun (don't go there). His inept crew - including a gun nut who offed his wife without meaning to and an Elvis impersonator who knows only three words of English and will communicate using them only - has made such a hash of things, the honor of the Thailand underworld demands that somebody take out a hit on them. Complications and cross­ purposes break out all over the place, till Bangkok can contain the chaos no longer and everyone heads for the picturepostcard seacoast to shoot it out.

S

Gage, Merle Kennedy, Chandler Hecht Running Time: 94 minutes

oor little misfit May. As a kid, her "lazy" eye and the pirate's patch she wore to cure it made her the butt of school teasing and even parental ridicule. Never mind, she's got a faithful friend at home in whom she can confide her unhappiness. But - weirdness alert! - outcast May's bonded with a creepy homemade doll. Still, all grown up and sweet as pie, her eyes perfectly aligned, our heroine seems as ready for girlfriends and boyfriends as any other pretty young thing making a life for herself in the big city. And why not try out both? Hopeful May hooks up with a hunky mechanic who makes cannibal movies, then an over-sexed lesbian who might be a refugee from David Lynch land. Need we say nothing goes right? Dumped, cheated on, her best pal - yes, the doll is still in the picture - shattered by some nasty kids, May decides to take her eccentric mother's advice: "If you can't find a friend, make one...." In the lead role of the dead-logical lady who acts on mom's counsel with a vengeance, Angela Bettis is superb.

Slowly, subtly, she reveals that though her eyes may have straightened, her vision of the world is dangerously off-kilter.

Director-screenwriter Lucky McGee's modernday Frankenstein fable is a cult classic in the making, a delicious pastiche of psychological horror, blackly morbid humor, and just plain blood-soaked thrills.

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M ID N IG H T A D R E N A L IN E

Teenage Hooker Became Killing Machine in Daehakroh

Versus

Fri, May 24 ■ 12:00 AM ■Egyptian

Sat, May 25 ■ 12:00 AM ■Egyptian

SOUTH KOREA

■ 20 0 1

JAPAN / USA ■ 20 0 1

Director-Writer-Cinematographer: Nam Gee-Woong

Director: Ryuhei Kitamura Producer:

Cast: Lee So-Yoon, Kim Dae-Tong, Hwang Pil-Su, Yu Joon-Ja Running Time: 61

Cinematographer: Takumi Furuya

minutes

Morino

Keishiro

Shin

Writers:

Ryuhei

Kitamura, Yudai Yamaguchi

Editor: Shuichi Kakesu

Music: Nobuhiko

Cast: Tak Sakaguchi, Hideo Sakaki, Chieko Misaka, Kenji Matsuda, Minoru

hat do you get when you cross the vivid violence of Japanese animé with the burgeoning audacity of the new South Korean cinema? Chances are you'll get something like Nam Cee-Woong's Teenage Hooker Became Killing Machine in Daehakroh, an absurdist tale of urban sex, death, and proto­ feminist retaliation. It's one of those Mix-Master films - toss everything into a blender and see what happens - and for all of its crude, undisciplined storytelling, there's no question that this twisted pop-fest is unlike anything you've ever seen. The influence of Hong Kong cinema is keenly felt, as are the nohold-barred aesthetics of Italian giallo and American splattergore. But there's something else - something new and outrageous - going on here as well, readily apparent when a teenaged schoolgirl (So-yun Lee) lures her latest "john" into a back alley, asking if he wants sex on-the-spot or after chasing her for a mile to act out a rape fantasy. Bad taste, you say? Just wait until her teacher (Dae-tong Kim) - a cackling demon who's gotten her pregnant - hires three sicko thugs to saw her into pieces and then reconstruct her as a killer cyborg, complete with a strap-on penis-cannon and an appetite for vengeance.

Oh, and did we mention the boogie-dance she does with her teacher before he has her killed? It's enough to make Tarantino stand at attention. Guaranteed to provoke shameless laughter or projectile vomiting (or both), Teenage Hooker reaches even greater heights of insanity with a soundtrack that mixes punk, pop, and opera with equal vigor and artistic pretension. Even at 60 minutes it feels padded, but if this is any indication of what Gee-Woong has planned for the future, you can bet he'll gain a cult following in no time flat.

W

Matsumoto, Yuichiro Arai, Kazuhito Ohba, Takehiro Katayama, Ayumi Yoshihara, Toshiro Kamiaka Running time: 119 minutes

here are 666 portals connecting this world to the next, with portal number 444 existing somewhere in Japan. So this gloriously gory splatterfest tells us, before plunging headlong into its martial arts tale of escaped convicts and zombie yakuza. Prisoner KSC2-303 (Tak Sakaguchi — picture Johnny Depp got up like Keanu Reeves in The Matrix) and a fellow inmate rendezvous with a group of gangsters, with female hostage in tow, on the outskirts of the Forest of Resurrection, the 444th portal. Said gangsters reveal unfriendly tendencies when they execute the fellow inmate, prompting their female hostage to escape into the woods. Gunfights ensue, the dead come back to life and more gunfights ensue, as well as swordfights and kung fu that sometimes leaves the camera peering through the gaping lesion that used to be someone's chest. That'll teach the yakuza to dump their victims in the Forest of Resurrection. There's a lot of hokum about resurrection and the power of the dead, but it's all just an excuse for over-the-top fight scenes, sword wizardry, and other ominous feng shui signs. Filmed entirely on location in a single forest, and on a very tight budget, the film makes deliberate reference to horror films like Sam Raimi's The Evil Dead, George Romero's Night of the Living Dead, and especially The Matrix.

A measure of its success may be gleaned from the fact that first-time director Ryuhei Kitamura has gone on to complete his second feature, Alive, and is currently working on his latest, a Hollywood-backed project entitled The Pirates of Tarutao.

T

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M ID N IG H T A D R E N A LIN E

Producer: Woon Ki-Jin Editors: Nam Gee-Woong, Lee Chang-Man

SHORT TAKES

The Ploys of Sex

Around the World in 80 Minutes

4 P.M., SATURDAY, MAY 25 BROADWAY PH

9:30 P.M., MONDAY, JUNE 3 BROADWAY PH

In any relationship, sex can be a powerful tool - and/or a deadly weapon, to be wielded like a scalpel or a bludgeon, manipulation, retribution, betrayal, absolution... .

Don't have time to sit still for a whole international film festival? Take this express on a whirlwind tour of cinematic splendors from around the globe. Your butt won't even have time to go numb.

At Dawning (Martin Jones, Great Britain) 12 minutes Jenny Agutter (Walkabout) wakes up in a strange man's bed and tries to escape without waking him.

Baking Lessons

SHORT TAKES

(Lisa Porter, Canada) 6 minutes A sexy baker cooks up some bread that, quite literally, brings people to their feet.

The Ballad of Courtney and James (Steve Collins, USA) 2 minutes There's just no explaining certain manifestations of sexual attraction...

Birju (Heeraz Marfatia, India/USA) 15 minutes One exotic day in the life of a mischievous kid on the dusty streets of a town in India.

Barrier Device (Grace Lee, USA) 26 minutes While conducting a female condom study, Audrey Moon discovers more than she wants to know about the sex life of one of her subjects.

Do tempo que eu comia pipoca [The Time I've Eaten Popcorn] (Catherine Agniez, Heloisa Passos, Brazil) 18 minutes An overworked woman takes some time out to recapture memories and feelings she fears she may have lost forever.

The Fine Line Between Cute and Creepy (Robert D. Slane, USA) 12 minutes Two different (but similar) women have divergent responses to the dating practices of the men trying to woo them.

Dos Más

Faithful

(Elias León Siminiani, Spain) 19 minutes Pilar and Oscar, her husband's brother, are having a secret affair. Well, they think it's a secret, anyway...

(Marzena Grzegorczyk, Poland/USA) 15 minutes When a woman suspects her husband of infidelity, her sister goes "undercover" to investigate.

Sepuluh Menit Menjelang Kematian [Ten Minutes Before Dying] Michel Cayla, Indonesia) 5 minutes Still images of an Indonesian prison accompany the reading of a letter from a death row inmate.

Vergiss Mein Nicht [Against Sadness] (Beatrice Sasha Kobow, Germany) 14 minutes A boy whose mother is chronically ill asks if there is any medicine "against sadness."

Vincent (Gert Embrechts, Belgium) 5 minutes Vincent is different. But he dreams of finding someone else who's different in the same way.

206

SHORT TAKES

Head Cases

Sensation-al Animation

4:30 P.M., THURSDAY, JUNE 6 BROADWAY PH

1:45 P.M., SATURDAY, JUNE 8 BROADWAY PH

There's no escaping it: We spend our lives locked inside our own heads, our experience of "reality" colored not only by the limitations of our senses but the constraints of our imaginations. Take a peek inside some other people's noggins and you may be surprised at what you see...

From deliberately crude to ultra-sophisticated, claymation to CGI, the range of technology available to today's animators is astounding. A survey of methods old and new.

1000 Marys

Apt. 310

(Christina Gruppuso, USA) 3 minutes A brief pictorial history of the Virgin Mary in Western art.

(Jon Knautz, Canada) 9 minutes A man witnesses a nightmarish murder that comes back to haunt him.

Apocalypse Part 9 & 16 (Zbigniew Dowgiallo, Poland) 8 minutes Fragments of a chilling CGI feature that now seems like a premonition of September 11.

Doppelgänger (Michael Horowitz and Gareth Smith, USA) 14 minutes This dazzling Hitchcockian thriller takes the Master's penchant for exaggerated artificiality to a new level - everything but the actors and the props is CGI. Timothy Olyphant and Rebecca Gayheart star.

The Crab Boy (Aaron Thedford, USA) 7 minutes An impressionable boy is haunted by a freak show attraction in this claymation fable.

Dream a Little Dream For Me

Extreme Man and Insane Boy, Episode I: "The Screaming Skull"

(Ned Farr, USA) 18 minutes An artist's inability to dream blocks his creativity. Meanwhile, his girlfriend spends each night in wild flights of fantasy.

Webster Colcord, USA) 6 minutes The comic-book superheroes must save the world from the decay ray of the villainous Screaming Skull.

The Duchess (Eric Koziol, USA) 16 minutes Plunge inside the mind of a lunatic noblewoman - an impressionistic, visually transfixing experience based on a Japanese Butoh dance production.

Hasta Los Huesos [Down to the Bone] (René Castillo, Mexico) 12 minutes Viva dias de las muertos! A new arrival in the land of the dead finds that, well, things could be a helluva lot worse!

The Host (Nicholas Tomnay, Australia) 25 minutes An imposter guest arrives early for a dinner party and experiences a bizarre display of hospitality.

Henry's Garden (Moon Seun & Kevin Geiger, USA) 8 minutes Development threatens to bury Henry's garden under a layer of asphalt, but even delicate flowers can prove remarkably hardy.

Casablanca (Mike Saenz, USA) 14 minutes Nadine explores her own (un-)consciousness, and is tormented by her inner demons in what might be viewed as a documentary of a dream.

Reaper, Sheeper, Treasure Seeker (Dave Lieber, USA) 15 minutes A story involving Death (who hates his job), a wooly mammal, and a gaggle of pirates.

See the Truth (Jerold Howard, USA) 9 minutes In order to see the world more clearly, it's a good idea to periodically clean the residue off your lenses. A modern parable.

207

SHORT TAKES

Boys & Boys and Girls & Girls

Shorts Stories 9: 30 P.M. TUESDAY, JUNE 1 1 BROADWAY PH

1:45 P.M., SATURDAY, JUNE 1 BROADWAY PH

Bar Time

Acid Petit Fours Oonathan J. Detrixhe, USA) 1 5 minutes Two schoolgirls decide to make a human sacrifice to Satan.

(Ernst Gossner, USA) 12 minutes Guy walks into a bar... That's the set-up; what follows is the story of a few life-changing moments in the wee small hours just before closing time.

Breaking Up Really Sucks Oen McGlone, USA) 11 minutes Let's face it: The title says it all.

SHORT TAKES

The Contestant (David Franklin, Canada) 8 minutes A game show contestant finds that events on the other side of the world (the Middle East) have a direct impact in his own neighborhood. Written by novelist Alicia Erian.

No Prom for Cindy (Charlie Adler, USA) 26 minutes Poor Cindy! A nice boy has asked her to the prom, but she is puzzled by her desire to kiss one of her girl friends.

Crossruff The Parlor

(Sergio Vasquez, USA) 17 minutes A day in the head of a judgmental guy with a very active interior monologue.

(Geoffrey Haley, USA) 11 minutes Strangers aren't always who they pretend to be.

Drowning Lessons

Unhung Heroes

(Gregory Kennedy, USA) 20 minutes "Jeremy wants something his sister will never let him have."

But it's not necessarily what you think.

(Ilya Pearlman, USA) 19 minutes The lengths some guys will got to for a little dick (or a big one, for that matter) - especially when their own endowment is... nonexistant.

Eight (Sarah Bassine, USA) 19 minutes Connections between the lives of eight people in a single subway car.

Empty Oared Micah Herman, USA) 23 minutes In the aftermath of World War II, a pair of escapees from a death march encounter enemy soldiers as they try to find their way to freedom.

208

SHORT TAKES

9/1 1: A CODA 4 P.M., SUNDAY, JUNE 9 B RAO DWAY PH SIFF felt compelled to screen these moving cinematic reflections arising from the pain, sympathy, and patriot* ism which the tragic events of September 11 inspired.

Site dir. Jason Kilot, 11 minutes Late for Work dir. Scott Peehl, 10 minutes Smile Cone, But Where? dir. Kevin Breslin, 9 1/2 minutes Voices from Ground Zero dir. Steven Rosenbaum, 51 minutes

2002

A D M IN IS T R A T IO N Director Darryl Macdonald Managing Director Helen Loveridge Director of Education/Special Projects Kathleen Murphy Festival Coordinator Michele Coodson Membership Coordinator Matt McCarty Operations Manager Holden Payne Operations Intern Logan Starr Staging Coordinator Jim Graham Office Manager Kristine Towne Administrative Assistant Fiona Henderson Financial Administrator Chrissie Scannell Administrative Interns Joceyln Hart Lisa Hufford Sara Saunders

2002

FESTIVAL

STAFF

DEVELOPMENT Director of Marketing/Corporate Relations Bill Kapfer Development Coordinator Steve Bartlett Consultant Nancy Kennedy Development Interns Dina Carey Tom Kim Eva Robins

P R O G R A M M IN G Maryna Ajaja Ruth Hayler Richard T. Jameson Helen Loveridge Darryl Macdonald Kathleen Mclnnis Kathleen Murphy Dale Nash Shorts Programming Jim Emerson Michele Goodson Programming Coordinator Brian Blue Programming Advisors Wouter Barendrecht Dennis West Don Ranvaud Lucias Barre Dan Ireland Alan Franey PoChu AuYeung

P U B L IC A T IO N S Editor Richard T. Jameson Production / Art Direction John Harper Production Assistants Christine Felton Conrad Chavez Contributing Writers

FESTIVAL

STAFF

Bruce Reid Dale Nash Darryl Macdonald Fionn Meade Jeff Shannon Jim Emerson Jim Gay Kathleen Murphy Kathy Fennessy Maryna Ajaja Matt McCarty Richard T. Jameson Robert Cumbow Kathleen Mclnnis Helen Loveridge Linda Gwilym Dan Doody Jay Kuehner Brian Blue Yomi Braester Peter Hogue Graphic Designer Steve Meyer

P U B L IC IT Y / P R O M O T IO N S Director of Publicity/Promotions Rebecca Fisher Publicist Fionn Meade Publicist Amy Li Ilard Press Screening Liaison Keaton Hubbert Publicity Interns Laure Derudder Kristin Farrell Brad Hyppa Promotions Manager Marisa Rodriguez Promotions Coordinator Denise Rodriguez Promotions Interns Leanne Tanizawa Miyo Christopher Weeg National Press Liaison Annalee Paulo Website Coordinator John MacIntyre

G U EST R ELA ­ T IO N S Guest Relations Manager Heidi Kauffman Guest Coordinator Erica Norgaard Guest Travel Coordinator Jay Wyeth Smith Guest Suite Coordinator Erin Lynch Transportation Coordinator Kari Morford Guest Relations Intern Weny Ashford

SP E C IA L EV EN TS Special Events Manager Kimberly deSoto Special Evetns Assistants Jennifer Johnson Beata Can by

F EST IV A L FO R U M S Talking Pictures Organizer Kathleen Murphy

Filmmakers Forum Producer Michele Goodson Filmmakers Forum Assistant Kate Bayley Screenwriters Salon/Exploding Cinema Coordinator Matt McCarty

VOLUNTEERS Volunteer Coordinator Tanja Pineda Volunteer Assistant Tara Steinke Volunteer Interns Tuan Nguyen Sarah Wilkes

P R IN T T R A F F IC Print Traffic Manager Dan Doody Associate Print Traffic Manager Brendan Fisher Print Traffic / Transportation Intern Amanda Jarman

VENUE COORDINA­ TION Venue Operations Manager Roberto Appicciafoco Relief Theater Managers Chris Hernandez Aaron Power Egyptian Theater Manager Lacey Swain Broadway Performance Hall Manager Alexander Bram Harvard Exit Manager Lauren Melodia Pacific Place Cinemas Manager David Valdez

210

Pacific Place Cinemas Assistant Manager Laurell Haapanen Cinerama Manager Chris Hernandez

BOX O FFIC E Box Office Manager Pablo Carrasquillo Assistant Manager Sean Manning Box Office Assistants Beth Mayes Dawn Wills Josh Joberts Jan-Henry Gray Stewart Williams Julie Lockard Amanda Schulz Ameli Sessions Nicole Trazo Cyndi Fling Kimberly Morris Henry Chamberlin Alison Sever Wendy Nelson Chris Schwan Michael Seely Advertising Agency Sedgwick Rd. Festival Founders Darryl Macdonald Dan Ireland Board of Directors Deborah Person, President Darryl Macdonald Tom Skerrit Rick Stevenson Julie Fay Barbara Magusin Advisory Board Harolynne Bobis David Brewster Dale Chihuly

Jean Michel Cousteau Tom Garvin Robert Gogerty Ruth Hayler Dan Ireland Donna James Bert Manzari Lucy Mohl Scott Rosenfelt Alan Rudolph Steve Shippert David Skinner Robert Stevens Jeffery Watts Honarary Board William Afleck-Asch Sherman Alexie Russel Bennett Mrs. Robert R Braun, Jr. BeBe Burns Paul Canniff Deb Clark Allen Cohn Christopher Conrad Conrad Denke Virginia Callison Dolan Carrie Gorringe Patrick Halstead Bruce Hawley Steve Kelly June Krumpotick Stephen McCandless Stephen Mellander Judith Mercer Walter Moore David Nyberg Jeff Parsons Deborah Parsons Deborah Person Mina Person J McLaren Peters Kevin Phaup Jessica Prince Daniel Roben Rosie Saunders Jane Suzick

2 0 0 2 SIFF V O L U N T E E R S Caitlin Elwood Nick Elwood Kat England Amelia Eraheta Tonya Erickson Darrin Estep Damien Evans Julie Ferkingstad Jennifer Fermon Alexis Ferris llene Fix Victoria Foote Jan Foucault Ryan Freese Molly Frickelton Kim Fulghum Mary E. Gaik Cathi Gainor Elaine Ganoulis Allison Gegan Jeff Gerson Rosemary Gibbons Rabia Gibbs Daniel Gibson Mike Gillis Laurie Gogic Nam Goo Jean Palamalai "Gopi" Gopalakrishnan David Gordon* Jensen Graham Wayne Greenwell Claire Gruenwoldt Debbie Guerrero Sandy Gutting Eunice Ha Jim Hagen Barbie Hall Shelley Hall Jillian Harrington Jocelyn Hart Eva Helgeson Bill Hendricks Randall Hendricks Chris Herzog Carolyn Hitter Jim Hitter* Terry Holm Saori Honda Terry Hoover Chris Horner Thomas Howard Man-Li Hsu Heidi Hubbard Maria Hughes Kamertap Hurmali Hiroo Imaki Richard Isaac Amanda Jarman Laura Jennings Sheila Jobe Karen Johnson Lori Johnson Mary Johnson Tyler Johnson Chris Jones Vivian Jun Chris Kachel Corinne Kalasky Myung Hee Kang

Satsuki Katano Robyn Katrina Steve Kaufman Miyuki Kawamura Margaret Kawasaki Bill Kaye Bergith Kayyali Deborah Kelts Harriet Kemp Meredith Kenyon Wright Deann Ketch urn James Kim Ji Hyun Kim Tom Kim Yoon Bae Kim Mai ko Kimura Hayley King Rich Knox Yu mi ko Koyama Elizabeth Kozlowski Dace Krasts Heather Krause Peter Krause Diane Krojanker Matt Krzycki l-Ching Lao* Virginia LaPre Cindy Le Daniel Leaver Grace Lee Kristian Lee Tuan Lee Lim Susie Lee Dale Lehrman Italo Leveratto Ab by Levin Lincoln Lewis Robbins Lines Jennifer Lovelace Scooter Lowrimore Hong Feng Ma Satoko Maekawa Craig Magaret Chris Magnusson Jason Malone Cindy Marjamaa Ray Marquez Jerry Martinez Rintaro Masuda Chris Mathews Masahiro Maumurayama Arlene McBride Chris Mccabe Ruth McCormick Mish McEntire Vari McKay Jim McLaren Mikheal Mei Williams Chris Mergerson Clifford Meyer Jacquelyn Miller Julie Miller Matthew Milligan Soo Jung Moon Deborah Moore Tim Moore Douglas Mora Patricia Moreland Mina Moriuchi Todd Morrison

Jennifer Moser Elena Mullin Kanako Muraoka Mami Nagano Kamesh Naidod Yoonhee Nam Yuko Nishimra Miyaki Nishimura Shinjiro Nishimura Lori Novitski Caroline O'Brien-Garcia Jessica Obrest Daniel Ogden Nathan Ohren Kazuko Oki Yumi Okubo Lilimar Oliveras Sarah Olsen Eriko Omura Peter Ong Lim Vanessa Ortblad Jerry Panglilnan Ann Park Jennie Park Matthew Pauonetti Dov Pearl Pin hui Peng Urania Perez Rachel Perlman Kristin Philips Su Phillips Emily Pickrell Temma Pistrang Sharon Poch Maria Poliski Carmel Pope Eve Psalti Jeanene Quinichett Mike Quinlan Douglas Quintero Wynn Rankin Renny Reep Lois Regen Michelle Reilly TJ Rhoades Sherry Richardson Corrie Rideout Melissa Riesland Mike Roberge Chelsea Robinson Emily Rogers Marivel Rojas Anna Rose Sheila Rosen Brandon Rothe Paola Rubbo Shelley Russak Deborah Rustin Michelle Sadlier Maria Santulli Corey Satow Jennifer Savage* Valerie Savidan Theresa Scherer Linda Schnee Louise Schollaert Ellen Schroer Margaret Schuler Tracy Schultz George Luis Sedano

Thanks to Kenneth and Marlene Alhadeff for their support

21 1

Susan Segalla Sherry Shanabarger Dawn Shanes Rosaia Shepard Jon Shepherd Patricia Sierra-Mauriz Carroll Simpson Sophia Siu Bill Skelly Justin Slye Janna Spinney Fon Srijuntr Leslie St. Pierre Scott Stanley Jenny Stendahl Graham Stevenson Amy (Amelia) Stodghill Irene Svete Jerry Swann Olivia Linda Szabo Mark Szarko Nobuko Tada Nobu Takahashi Anne Tarpey Virginia Tee Chraci Thadeus Dax Thomas Jeff Tolbert Kentaro Toyama Takako Tsutsui Jennifer Tucker Elizabeth Umbanhower Joaquin Uy Christine Villasenor Daren Wade Davoli Waggoner Caroline Corey Waggoner Gabriel Walsh Edward Ward Jim Ward Ratna Waroun Melissa Whittaker Nansi Wilks Hans-Martin Will Earl Williams Susan Williams Michelle Wills Heidemarie Windham Kaie Wise Kim Wisecup Jason Woodbury Gale Woods Heidi Wrightsman Kimiko Yabu Asako Yanase Ji Hyun Yang Matthew Yearsley Calen Yellow Robe Tiffany Yelton Jenny Yi Sun Yi Jeong-won Yoon Ashley Youmans Gregory Zerwekh Kyle Zitek Karl Zwick

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Bill Abelson Ayecha Ahmed Najabat Aleskerjade Carol Allen Rebecca Anspach Joanne Anthony Phlll Arensberg Kenneth Barger Audrey Bergerson Josh Bihary Kerry Billingham Jennifer Billips Zak Bisacky Bonnie Black Deanne Boisvert Masha Boitchouk Nicole Bolton Rana Bonnice Katy Borquist Nancy Bouchard Leora Braden Phillip Bransford Anna Broemel Terri Brooks Susan Broome Barry Brumltt Evelyn Brumitt Ena Bulanova Kelly Burns Andrea Bushdorf Trudy Butler Brigid Canning Emily Cannon Dean Carlson Greg Carlson April Carroll Howard Carson Brian Carter Liz Carter Jared Castor PJ Chao Wendy Chapman Vinita Cheema Jean Chemnick Melissa Chilson Carey Christie Stuart Cohen Brian Collins-Friedrichs James Costello Rebekah Cote David Courier Aleksandra Crechowska-Batee Laura Jean Cronin Susan Cudnohfsky Jerome Cuny Hilary Davidson John Davies Laurie Dawson Janelle De Coteau Devon DeLapp Christine Delgado Ali Burak Denizli Tiara Dillworth Jacquie Dinnie Julie Dodobara Robert Donnellan Raya Dukhan Victor Dunn Angela Dunstan Cyndi Edwards

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For membership info, call

206.464.58B0

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212

Cora Edm onds Joanne Edwards Craig Eidsmoe Vanessa Elan Ruth Eller Robert Ellering Brenda Ellering Charlotte Ellis Nancy Emery Kristine Eng Dan Erlandson Anne Erlandson Darrin Estep William Estes Elaine Ethier Lawrence Evans Karen Evans Lucy Everett A m y Faber Don Fabian Kevin Fansler Patricia Fay Christine Felton Lisa Fernow Patricia Ferret Philippe Ferriere James Fesalbon Janice Findley Beth Suzanne Findley M atthew Finn Claudia Fiore Rebecca Fisher Myron Fishman Dw ayne Flansburgh Nancy Foley Bryan Ford Dan Forsch Kenneth Forster Ken Foster Clenn Fox Tom Fraser Charlene Freman Karen Friend Fulmer Andria Friesen Deborah Froula Gillian Caar Ruthellen Cahm Norm an Cahm Joseph Gallagher Suzan Callup Todd Gardiner Rob Gardiner John Garnett D w ight Caut Jim Gay William Gee Sue Ceisler Paul Cettmann Vicki Cezon Rabia Gibbs Shelley G ibson Judith G ibson Arlene Giesm ann A n gela Gilliam Tom Gleason Renee G m ur Jennifer Goetz Paul Goetz Laurie G ogic Joan G olston Arthur G om ez Eiva G onzalez Krista Goodm an Bruce G ood n ow Michele G ood son Kathy Goonan Claudia Gorbm an Cathy Gorrell Craig Gourley David G ow Diane G ow m an Tamara Grahn Ron Greeley Patricia Groves Holly Gundacker Marla Gundle Mike Gunter San d y Gutting Linda Gwilym

Laurell Haapanen Michael H agy Marvin Halpern Shelley Halstead C h o n g-su k Ham Rhona Hamilton Margaret Ham m erstad Faith Hanna Lorilee Hanson Greg Hara C C Harling A m y Harris Wendy Harris Ron Harris White Elizabeth Hartka John Hartl Beth Hartman A s if Hasham T h om as Hastings Lee Ann Hayden Ruth Hayler Paul Heckel Susan Heideke Linda Heidem a Holly Henke Carmel HennessyPope Walter Henrickson Marjorie Henry Chris Hernandez Jeffrey Herre Nathan Herring Bill Hibler Chesley Hill Mark Hinshaw Richard Hirschberg Janet Hitchcock Lynne Hobbs A m y Hobson Diane Holbrook Lora Hollow ay Jim Holm Keith Hoofnagle David Hopkins A sa Horrell Kenneth Howe Gary How se W hitney Hum phrey Miriam Hunt Sheila Hyde Joe Ihm John Iki E Terry Inskeep Christina Isacson Laura Ishak Joanne Ivanek Ryan Jackson Wendy Jackson Andrée Jacovich Sasashidhar Jade Cynthia Jarrett Erika Jennings Ajay Jindal Richard Jobes Marjorie Jodoin Wayne Johnson Sandra Johnson Terry Anne Johnson Ryan Johnson Keith Johnson Brenda Johnson Leona Johnston Wendy Joseph Jonell Kalamar David Kaludy Sheri Kapfer William Kapfer Sr Malia Karlinsky Bea Kelleigh Beverly Kelly Barb Kem pf Bill Kennedy Larry Kerssen Madeline Keston Fred Ketteman Brad Keveiin Greg Key Janine Kikuchi

Ji Hyun Kim Joseph King Larry Kinley Kristin Kirby Vanessa Kirk Jo Anne Kirkland D o u g Knoop Richard Knox Karen Ko Kristine Konopka Judy Koven David K ow alsky David Krafchick Brian Kramer Sonja Jo Krenz-Bush Jim Krouskop Elmer Kruger Donald Kruse David Lahaie Edwin Lambert Deborah Lawrence Mark Leavitt Sandra Lee Marcia Legro Thea Lehm ing Scott Lemieux Sara Levin Stu Levy D'Vorah Levy Mark Lewis Patricia Lewis Gabriel Lewison Stephanie Lieu Cheryl Lieberman Karen Liebert Ben Lim Betsy Lind ley Robin Lindley Deborah Linkowski Leslie Loeb Andrea Loewen Spencer Looney Linda Lou Miriam Lowin Gail Ludvigson Julie LydersonJackson L K Lyles Sheila Lyon M ary Lyons Joseph Mabel Andrea Macaione Robert M ackay M ary Maclachlan Pat M aggard Ann M agn an o Bill Maiert Val Mallinson Royceann Malnik Lyndee Mann Larry Mann Sharen M anolop oulos Lou Manrique Joyce M anson M elody Marcelja Kelli M ason Rebecca M ason Meridee Matthews Otto Mattson Barbara Mauer Robin McCall Nancy McCann Matt McCarty Tim othy McClanahan A Carol McDaniel Colleen M cDonald Mish McEntire Lorri McGinnis Kathleen Mclnnis Ted McIntyre Lucinda McLaren Dann Mead-Sm ith Monte Means Nicole Merlan M ary Metastasio Norm an Meyer Eric Michels Janet Micka John Mifsud

I CIN EM A S E A T T L E MEMBERS

M ary Rainwater Clay Randolph Inm a Raneda Elizabeth Rave Fiona Redwood M ark Reed Cail Reed A n gela Reid Tonjia Rhen M eg Richman Bobby Righi M ary Riles Karen Rippel Michael Ritz Elisabeth Roberts Lisa Robinson W C Robinson, Jr Tina Rohila Justin Rohmer Richard Rose Anne Ross Dan Rosson William Rowden Randy Rowland Darlene Rudd Ken Rudolph Johannah Ryman Susan Saks Rob Sapirsteln Leela Sasaki Howard Schafer Joe Schaffer Sue Schellenbaum Bernadette Scheller Michael Schick Julie Schickling Clifford Schmidt Kathleen Schneider Margaret Schuler Michael Schuppert D ou g Schwartz Lynn Schwendim an Kathy Scott Xylia Scott Larry Sears Joseph Seely Sam Severn Lillian Shagrin Am it Shah Lil Shallow Don Shallow Sherry Shanabarger D ou g Sharp Steven Shaviro Barry Shaw Jane Sheridan Stan Shields Kim Shillington Lisa Sidor Annie Sieberson Ed Siegrist Cary Simon Jeffrey Sim onson M arsha Skinner Lisa Skow Jay Wyeth Smith Laure Smith Wayne Smith Steve Sm ock JD Snelson M elissa Snider Jill Snyder Patricia Song Wade Sow ers Sharol Sowl Carrie Sparlin Roxanne Spiegel Jim Spieth Linda Squires Gerald Stanley Ray Stark Cynthia Steele Alfred Stenson Riki Stevens Kerry Stewart Vera Stirling Adrienne Strickland Diana Striplin Derek Strokes

Jan Strout Todd Stryker David Stugart Jeanette Sullivan Craig Sum m ers Neil Sussm an Lois Suzuki Lacey Swain Phillip Sw anson Evelyn Sybor Henry Szym onik Raym ond Takeuchi Michael Taylor Tricia Terhaar Albert Teter Soleil Teubner Gillian Theobald Ande Thollander Jeanette Thom as Kim Th om pson M ary Lou Thom pson Christine Thom pson M ika Th om pson Bill Thorness Bonita Tiffany Sharon Tig he John Tilden Eric Tilleson Philip Tobin Tim Tomlinson David Toney Kristine Towne Jennifer Townsend Dean Trenery Gianni Truzzi Janet Turner Th om as Ulie Elisabeth Van Every Nicole Vandenberg MaryAnne Vandervelde Ron Veach Rory Veal Andrew Villone Jeff Voogt Michael Voris A nna W aggoner Kate Wakefield Ethel Waldo Bill Waldo Frank Walker Lee Walkling Kimberly Walsh Jodi Waltier Betty Walton Fred Ward Jim Ward John Ward Judith Warshal Carolina Wasicek Bill Watson Jared Watson Jerry Waugh Richard Weatherley Nancy Weiner Jane Weiss Alex Wells Dorothy Wendler Susan Whittington Parker Whittle Shannon W iegland Lilian Wilcox Diane Willett R oss Williams Eric Williams Stuart Williams Lucy Wilma Christopher W ing Flip W ingrove Heather Wirth Christine Wise Bic Wong Josephine Wong Howard Wood Ann W oodm ansee Dick W oodruff Leslie W oodward Katherine Woolverton Heidi W rightsm an Chris Yam anaka

Karen Young Stephanie Yukutake Cynthia Zaentz Lynda Zalupski Karin Z au gg Zenon Zazula Gregory Zerwekh John Zilly Henry Zim m erm an

FRIEND Raym ond Achen Ibrahim al Hussieni Salim Alam Najabat Aleskerzade Holly Allen Joan Alworth Kirsten A m os Linda Archer Nicole Barone Marcia Bennison Linda Betts David Billingsley Miriam Black Pio Blankas Joe Boldan Pirkko Borland Erick Borling Randy Boshart Jeff Botten Bonnie Bouman Michael Bracy Aaron Bregel Jill Briggs Elizabeth Bruning Robin Buerki David Buksh Susan Busbice James Callan Kara Ceriello Maxine Chan Cynthia Chapm an Cracien Charles-Antoine

Jean Cho Nick Chou David Churchill Chris Collison Jean Colm an George Constantine Christine Co ok D onna Co ok Shannon Coughlon David Courier Steven Crazier Helen Curtis Ken Dale Cherl Davis Giovanni Della-Libera Frances DeM arco M ary Denend Erna DeVick B Randall Dickey Gillian Didier Lynn D issin ger Elizabeth Djordjevich Adam Doppelt Bob D ou glas Christine Dow ner Johann Drewett Deborah Dunbar Bonnie Duncan Ruth D unlop A n gela Dunstan Wesley Edm unds Evan Emery Drew Emery Jennifer Fangman Kathy Fennessy Lee Fleming Tom Fox Stephen Friend Robert Callup Al Garcia Diana Card Charles Gardner

Serge Cart Jim Celdm acher Lyle George Denny Cm ur Tamara Gordy Chris Corley M arsha Green Tom Crisisner Dave Cross Clarica Crave Neli Crozeva Cary Haarsager Jodi Hartley M ary Beth Hasselquist David H astings C ayana Healy Robert Hendrix M elissa Hicks John Higinbotham Judy Hill Carolyn Hitter Terry Holm John Horn Todd Howard Heidi Hubbard Robert Huberth Rebecca Hughes DeeAnna Hulbert Harriet H usbands Lisa Irwin David Ishii Michael Jackson Marilyn Jarrell Charla Jennings Terri Johnson . Robert Johnston Christopher Jones Mark Kaehler Jennifer Kandzor Michael Kann Helene Kaplan Leslie Katsm an Heidi Kauffman Nancy Kazanjian Margaret Kelly Maureen Kerschbaum Marcia Knadle Dustin Knievel Barbara Knight Brent Knowles Shane Koball Steve Kodish Thom as Kolouch Dace Krasts Henry Kuharic Ruth Kulstad Robbie Kunreuther Natalie Kuranko Jim L'Abbe Joan La Briola Brian LaMacchia M eg Lancucki Dave Langford Catherine Lee Rob Lehman Caprice Leinonen James Lewis Chris Liles Bob Lilly Christin Livingston Jerry Luiten Tove Lund Chris M a gn u sso n Barbara M agusin Andrew M alakoff Michelle Mansfield Virginia Marabetta M ary Jane Marcus Ray Marquez M arna Marteeny Craig Martin Mike M athew son Andrew M ay Andrew M ayo Lyn M cCabe Jay McCanta Steve M cCarthy Susan M cC loskey Charles McCreary

Bill McDaniel Colleen McElroy Rob McKaughan Michael McKinnon Vinod Menon Linda Merelle Steve Meyer Nancy Mickley Kathy Milam Jim Miles Jacquelyn Miller Beverly Miller Melinda Miller David Miller Mark Mitchell Lisa Moore Lori Morgan Michael Morrow Don M o ss Valerie Mudra Lance Murakam i Dawn Nelson Kirsten Nelson Nader Noorfeshan Brett Norris Th om as Noyes David O 'Connor Ron Ohlenkam p Kami Olsen Barbara Ostw alt Taylor Frank Paiva Sr Lisa Palmatier David Paul Jennie Peabody Urania Perez Thornton Perry Barbara Perry James Petroskas Paul Plank Lisa Pounders Aubrey Pullman Paul Rafanelli Lori Ramon Joyce Ray Brian Reeh Liz Reese Lois Regen Jay Reitz Tom Reynolds Vallie Rice Jeff Ridgew ay Bruce Ritzen D ayna Roberson Tim othy Roberts Ken Robertson Thom as Robinson Saif Romani Ann Rom eo Lyle Romer Kenneth Rom ig M elissa Rom yn Anita Rowland Kristine Ruppelt Michelle Sadlier Abdi Sami Dan Sanderson Susan Segalla Jane Selle Gavin Shearer Laura Sheppard Ron Shoemaker Sandra Sickler Josh Sim m ons Paul Sim pson Cydly Smith Phoebe Smith Nancy Snapp Hande Solakoglu Cathi Soriano Rachel Speaks Charles Stahlhut Marcy Stein Christopher Stewart M ary Stone Joseph Stoneburner Jeff Stout Jeremy Stringer Peggy Suehiro A dam Sugarm an

CIN EM A S E A T T L E MEMBERS

Frank Miles April Millar Diana Miller Brad Miller Julie Miller Maren Misevich Joyce Mitchell Tim Mitchell Medora M oburg Olwen Moery Bob M onk Georgia Monsen Erika Moore Shoshanna Moore Julia Moore Natalia Morales Leon Morton Sim eon M oses Julian Mueller Barbara Mulrhead Nora Mukaihata C asey M uldoon Elena Mullin Joseph Munari Dale Nash Theo Nassar Henry Needham Jr David Negrette Tami Neighbors Daniel Nelson Sarah N ess Ch uck Norris Andrew Nothnagle M Ziad Nowelati Reed O'Beirne Robert O'Brien Bill O'Meara Tim Oerting Fukiko O gisu Lynn Ogle Naoko Oguchl Lily Oh Christine Olah Anna Olson Linden Ontjes Paul Opheim Jack Oram Robert Orndorff Sunny Otake Karyn Owen Ram ona Owen Bart Ozretich Frankie Paiva Philip Pangrac Leah Papernick Jeannie Park Pia Park Dan Parry Jennifer Payne D o v Pearl M elissa Peffers Arthur Pellman Michael Peskura Lacie Peterson Karine Peterson Holm Paulette Pettis Katrina Pflaumer Kristin Philips Ruby Phillips Andrew Phillips Christopher Piermont Carolyn Pietala Tanja Pineda Michele Plorde Jason Plourde Daniel Polk W endy Polio Randy Poole Eddie Poplawski D onna Poppe Tim othy Posey Janelle Poulsen Chris Prall Debra Pralle John Probst Carol Pruzan M ary Pund Brian Quinn Andrea Rabinowitz

213

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CIN EM A S E A T T L E MEMBERS

CIN EM A S E A T T L E MEMBERS

Lara Swimmer Joan Marie Tamalonis Tamsin Taylor June Thom as Darren Thurman Havens Tipps Carol Tobin Jessica Toguchi Khue Tran Whitney Trepel Daniel Trippel Carol Troup Kazuo Tsuchiya A m y Tullis Kim Turner Donna Van Zandt Marla Vandewater Vanessa Vandlik Denise Vaughn Alan W Jones Jessica Wagoner Laura Wall Eugene Wei Linda W essling Melanie White William Wichgers Annie Wilson Mike Wilson M andy Wilson George Wing Melissa Wolfe Suze Wood Kim Yadon Kathryn Yusi Jenny Zeng

FRIEND PARTNER Kate Adam s Beth Alderman Kimberly Allen Bronwyn Allenwise Monette Allenwise Holly Alonzo Ginger Alonzo David Am dal Eric Am es Thom as Anson David Antonsen Gilbert Archuleta Dana Arm strong Elizabeth Austen Judy Averill David Bair Andrea Barbier Greg Barnes Don Barr Clarence Barr Kathleen Bennett Angela Bergman Jennifer Bergman Brad Bergman James Bergstrom Marilyn Bergstrom Siddharth Bhatia Rob Bingham Luther Black Patricia Boiko David Brotherton Kim Brotherton Jenny Brown Paul Brown Clare Brunskill Andrew Brunskill James Buchanan David Burbank Jenn Burbank Drew Cady Patrick Campbell Barbara Campbell Maria Cardenas-Anson Dina Carey David Carpenter Erik Castro Melissa Chadwick Cali* Coles Jerome Colwell Lisa Coon

Bill Coon Liza Couchm an Dan Crisp Richard Critchlow Becky Crosby Susan Cudnohfsky Deb Dahrling Nadia Davis Roderic Davis Stephen de Tasnady Harvey Dean Nancy Dean Stuart DeSpain Kelly Devlin Chris Dragich Viki Dragich David Dunneback Michael Dupuis Richard E Smith Bob Fahrer Woods Fairbanks Izumi Fairbanks Jeffrey Faris Scott Faulkner Julie Fay Wilhelm Fitzpatrick Eric Fleming Catherine Fleming Jan Flesher David Fraser Carol Frillman Louis Frillman Mary Geary Annalisa Gironi Peter Greenfield Teresa Gregory Tyson Grumm Bruce Gutman Daniel Hadock Sahoko Hama Annie Han Jeffrey Hanna Rosario Hanna Mia Hannula Jan Hartley Roderick Hatfield Sean Heavey George Hein George Hein Kathy Herigstad Scott Hildenbrand Troy Hill D ouglas Hunt Nancy Ingallinesi Tony Ingallinesi Marie Inman Gary Ireland Joe Janes Spencer Johnson Eric Jordan Carolyn Keller Meredith Keller Rachel Kerbrat Paul Kerbrat Karen Kirby Lois Kirby Charles Klei Christine Kolodge Mark Krukar Robin Kurtz Cathy Kyomura Justin Laird George Lamb Linda Lamb Sheryl Larson Dean Larson Rebecca Lattimore Frank Lawrence M olly Lawrence Barbara Lazzaro Virginia Lee Frank Lee Harold Levy Robert Lind Andrea Lingenfelter Sandra Linsin Mark Listermann Daniel Lloyd Dianne Loeb

Steve Loeb Tara Lom bardo Scooter Lowrimore Beth Lukas Rob Lutz Suzanne Maclennan Stuart Mandel Martyna Mandel D an n y Martin Anne Martin G inger Martin Dace Martin Shaula M assena Darrin M assena Kirsten M ay Kevin M cCarthy Peggy M cC luskey Tracy M cKendry Leslie McMichael Jeff McMillen Kim McMillen Ada.m Medros Michele Meola John Merciadez John Middleton Daniel M ihalyo Vincent Miller Scott Miller David Miller Helen Modie Neil Modie Rick M oerloos Tim Moore Elise Morrison Steve M oseley Diane M oseley Wayne M urphy Sam antha M use Alex Nachman Jenny Neill Gerald Nelson M axine Nelson Heather Newman Jim Newman John O'Donnell Rose O'Donnell Francoise O'Donnell P eggy O'Neill Lee Olsen John Palmer Larry Palmer Josh Parks James Peoples Janine Perret Lisa Peters Stefan Peters Daniel Pezely Emily Pezely Whitney Pollack Eric Pravitz Becky Q uim by Eric Rehm Harry Reinert M egan Reitz Braiden Rex-Johnson Mark Rice M elissa Riesland John Rittenhouse Jan Rittenhouse Annette Rivlin Jennifer Roberson Elaine Robin Neil Roseman Tim othy Ross Janet Ross Lynn Ross kam p Kraig Rury Mike Russell Karen Rutherford David Satesin Robin Schächter Paul Schächter Marty Schafer Gary Schuldt Jim Scott Joan Scott Bill Scott Michael Sheldon Lauralee Smith

G eoff Stanfield Derek Stanley Judith Starbuck Jennifer Stewart John Stewart Nan Sullins Neal Sullins Paul Sureddin Kath Syverson T h om as Talboy Rose Tatlow Matthew Tebbs Clark T h om pson Laurie Towey John Towey Catherine Trestrail Christopher Tucker Kathleen Vandlik Paul Vandlik Paul Verano Elizabeth Walkup Meredith Waring Margaret Watson Ruth Watt James Weidman Tina Weirauch Judith Weisman Morton Weisman Tracey Welch Karl Weyrauch Dennis W illingham Sarah Willis Ray Willis Wayne Winters Lisa Wolterink Lisa W oodruff-Miller Jim W oods Christina Wright M eeno Yashar Zelda Zabin sky Don Zwink

BENEFACTOR Row land Adeniyi Joan Algarin Howard Anderson James Bhaskar Sachin Bhatia Laura Blanchard David Bockenkam p G ordon Bogert Richard Bremer Heather Carder ' D ou g Cavarocchi Liz Colson Curtis Crawford Alice C unningham John Daise Tristan DeCoster Scott Dierdorf Ellen D ow ney Joseph Edm onds Richard Ehrsam Paul Feavel Julie Ferkingstad Alice Forsythe M ark Frazer Nellie Fujii Anderson D o u g Griffin Susan Grinker James Gulian G eorge Haldem an Tim othy Hale Charles Hansen Keith Harris Laurence Hartfield-Coe M ark H ogendobler David Hua Jim Jackson Chris Kachel Richard Kam icar Bill Kaye David Kersey Lori Keys Joan Kinsey Diana Knauf Beth Kostecki Arthur Kuniyuki Scott Larson

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Karin Lee Darlene Lewis Colleen Little Kelli Maguire Joel Matter Michele Maynard Patrick McArdle Cara McClarty M elody M elodia Clifford Meyer Kelly M onis Alexander Moreno Ron Morris Brenda Murad D on n a M urphy Ann Nielsen M ark O'Kelly Randall Odegard Eric Ovestrud Randall Parr Nicholas Peddy D onna Peha Bill Phare Dan Poliak Joy Ralph Catherine Reed M elissa Reese Maria Ripley Cat Runden Lisa Salm ons Phil Seneker Tracy Sharpe Pamela Silimperi Lynette Skinner Don Sneesby M ary Sobczyk David Songer Russell Spence Shelly Sundberg Nancy Sutherland Yvonne Tate Eric Totherow Grace Tracy Gerald Tuttle Jana Uyeda Suresh Venkatraman Joanna von Behringer Paul Watts Michael Wautier Carolyn Wedekind Michael Weidemann M ord y Weinberg Joseph White

BENEFACTOR PARTNER Mark A g g a r Tanya A g g a r Jerome Arbes Larry Barney D ou g Barry Lisa Brummel Clifford Bunch Dan Cantrell Matt Carvalho John Cline Leonard Costello John D avis Rebecca Denk Francine Dinqrani Jack Dinqrani Don Driftmier Justin Ferrari Louis Fiset Joan Fiset Patty Greenwood Jennifer Griffith David Hamilton Rich Hamilton Lara Hamilton Sharon Hamilton Andrew Him berger Margaret H ooks Bethany lonta Dale Jarvis Celeste Keaton Khris Kline Anne Knight

Dave Kramer Jacqui Kramer Manuel La Rosa Silvia La Rosa A lida Latham Christopher Latham Diana Lee Jeff Levaur Vanessa Litzenberger M ary Lonien M ark M acD onald Robert Marritz Patricia McKenzie Lynn Pas ley Jean Patton Rich Patton Lucy Pond Cara Quinn Lorraine Roberto Ron Ryder San d y Ryder Ted Schuehle Carole Schuehle Nancy Shriver San d y Smith Robert Spence Kathryn Spence Tom Spencer Nancy Spencer Scott Stearns Neal S u g g s A hm ad Taie Helen Turner Greg Vernon Blake Voorhees Rebecca Ward Dennis West Rob West Helen Witter Michelle W oods Michael W oods

PATRON John Burdick Jon Newm an Meredith Potochnic

PATRON PARTNER Avi Belinsky Heidi Kappes

EXECUTIVE Rena Haveson

DIRECTO R PARTNER Brian Smith Laurel Smith

ACKNOW LEDGM ENTS Sponsor Acknowledgements

Landmark Theaters Les Boulangers Associes Lowell-Hunt Catering Luna Bars Marco Two Union Square Marios Master Park Mayor's Film and Video Office McDonald Insurance Group, Inc. Media Inc. Media Latino Entertainment Mercury Services Modern Digital Museum Quality Framing National Poster Natures, Inc. New York Times Noah's Bagels Northwest Cable News Northwest Flavors Oceanaire Od walla Office of the Governor Oppenheimer Cameras Pacific Grip & Lighting Pacific Place Pagliacci Pizza Palamino Paramount Café Paramount Hotel Paramount Theatre Pike/Pine Association Pinnacle Studios Pop Media Pro Tape NW Put on the Dog Pyramid Breweries, Inc./Thomas Kemper Soda Quark Rainier Color Red Bull Red Light Rendezvous Resonance Richard Hugo House Ristorante Machiavelli Rocket Pictures Rosebud Restaurant & Bar Rosenthal & Associates PR Russian Radio Safeco Sandpoint Country Club Scarecrow Video Schenker, Inc. Screenplay Systems, Inc. Seasonal Goods Catering Seattle Arts Commission Seattle Central Community College Seattle Central Community College Film & Video Dept.

Seattle Film Institute Seattle Grip & Lighting Seattle Magazine Seattle Pacific University Seattle Theatre Group Seattle Times Seattle University Seattle Weekly Sedgwick Rd. Serafina Sheraton Hotel Showtime Siete Dias Silverlake Wines Six Seven Skyy Spirits

Slice Snoqualmie Wines Sonic Boom Records Soy Source Space Needle Corporation Speakeasy.net Starbucks Stlmson Lane Sundance Channel Supercharge Superfad Tablet Magazine Talus/Canandaigua Tamara Wilson Public Relations Tango Team-Photogenic Terry Hines & Associates The Actor's Group The Cardinal (Skagit Valley College) The Collegian (SCCC) The Cooper Point Journal (Evergreen State College) The Halsey Home The Polaris (NSCC) The Sentinel (SSCC) The Stranger Tom Douglas Restaurants Trivers/Myers Music Two Downtown UW Canadian Studies Center UW Department of Comparative Literature/Cinema Studies Program UW Student Activities Valeo Graphics Valley of the Moon Venice Magazine Vivanda Vulcan, Inc. W Hotel Seattle WA-Jalisco Sister State Association Washington Mutual Washington State Arts Commisssion Washington State Film Office Washington Wine Commission Westwind Computing Wild Ginger Wilson Public Relations Women's Entertainment Yakima Grill YourPhotoz.com

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ACKNOW LEDGEM ENTS

13 Coins Restaurants A Grand Affaire Catering A&V Tape Handlers Action Events AD Services Adobe Alan's Clippings Service Alaska Airlines Alchemy Brand Promotions Allen Foundation for the Arts Allen's Press Clipping Service Alpha Cine Labs Amazing Ice AMCAN American Airlines American Express Financial Advisors American Movie Classics American Music Rentals American Production Services Amtrak Andaluca Apple Computers Argosy Cruises Art Access Art Institute of Seattle AT&T Broadband AT&T Wireless Audi of America Avid Technology Bad Animals Baltic Room Barnes & Noble BBC BCSR Computer Rentals Big Picture Boeing Brasa Brasserie Margaux British Consulate Broadway Business Improvement Assoc.

Broadway Market, The Broadway New American Grill Broadway Performance Hall/Broadway Management Group Bumblebdesign.com Cactus Canada America Society Canadian Consulate General Candles Capitol Club Capitol Hill Times Chihuly Studio Cinerama Citysearch.com Clatter & Din Clear Blue Sky Productions Coastal Kitchen/Chow Foods Colors NW Magazine Computer Store Consulate General De France Consulate General of Spain Consulate General of the Federal Rep. of Germany Corporate Council for the Arts Crane Paper Co.- Italo Leveratto Da Vinci Gourmet Dania David Goldin Dektor Films DHL Digital Kitchen Dilettante Chocolate

Dragonfish Ducky's Office Furniture Dulces Latin Bistro Earth & Ocean Eddie Bauer Elias Music Elliot Hotel, The Embassy of Pakistan Emerald Bay Events EMP Encore Media Group Entercom Epiphany Research Esquire Ethnic Heritage Council Evergreen State College Evian Fandango Federal Express Fifth Avenue Theatre Flowers at Convention Place Flowers at the Convention Center Freixenet USA Gem Events General Cinemas Gourmet Magazine Greater Seattle Business Association Greg Kucera Gallery GSBA Haagen Dazs Harris Communications Hollywood.com Hong Kong Economic and Trade Office Icon Grill IFP-Seattle IKON Office Solutions II Fornaio Interests Section of the Islamic Rep. Of Iran International Channel International Examiner Jackson School of International Studies Jacobson Jarvis & Co. Journal Newspapers Jungle City KBCS 91.3 FM KBKS (Kiss) 106.1 FM KBSG (Oldies) 97.3 FM KBTB (The Beat) 95.7 FM Kenneth Cole KEXP 90.3 FM KGNW KGRG King County Arts Commission Kinko's at the Convention Center KIRO 710 AM KKMO KKOL KLFE KMTT 103.7 FM The Mountain KNHC (C-89) 89.5 FM KNWX AM Kobe Trade Office Kodak KONP KPLU 88.5 FM KRIZ KSER KSUH KUOW 94.9 NPR KWJZ (Smooth Jazz) 98.9 FM KXPA KXPA (Multi-Cultural) 1540 AM KYPT (The Point) 96.5 FM

Individual Acknowledgements Richard Abromowitz Valeri Ajaja Barry Allen David Allen Holly Allen Lisa Arias David Armstrong Louise Avery Faye Balon Mirra Bank Keith Bean Jennifer Bean G. Ward. Beaudry Sara Bensman Jen Bergman Juergen Biefang Aleksandra Biernacka George Bissonnette Laura Bobovski Arianna Bocco Andy Bookwalter

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ACKNOW LEDGEM ENTS

ACKNOW LEDGM ENTS

Jenny Bouska Yomi Braester Terry Buchholz Reid Burkette Robert C. Cumbow Michal Campeau Martin Charlebois Conrad Chavez Sandy Cioffi Nick Collecchi Renee Collins Patrick Comiskey Corey Contreas Stacy Crockbank Steve Csutoras Susan D'Abru Dmitry Davidenko Janelle Decoteau Edral & Sofia deSoto Alberto Diaz Bryony Dixon Craig Donarum Dennis Doros Tamara Dover Erica Drugge Clay Eide Caitlin Elwood Byron Elwood Nick Elwood Sarah & Russ Engdahl Amir Esfandiari Sue Ethridge Rich Fassio Christine Felton Kathy Fennessy Jason Ferguson Peggy Flynn Peter Fonda Heather Fuentes Askar Gabdullin Laurie Gas kill Jim Gay Rosemary Gibbons

Bruce Goldstein Sonny Gorley Tawney Gowan Gigi Grinstad Debbie Guerrero Linda Gwilym Justine Hacken Verna Harbaugh Rod Hatfield Ruth Hayler Amy Heller Mable Ho Kathy Holliday Sung Hong/KSUH Robert Horton Todd Howard Spenser Hoyt Dave Hull Jaimie Humphrey Jason Hunke Tom Hyland Asel Ibraimova DinaraInkarbekova SarahJ. Allen Jennifer Jackson Darrell Jameison Tressa James Don Jensen Jim & Carol Jones Bergith Kayyali Elizabeth Keeley Dan Keller Tom Keogh Maria Kessovija Natalia Khenkina George Kindi Hayley King John Kirk Jessica Kocina Jay Kuehner Darcy Laukitis Anne Laurent Greg Lednicky

Ivana Letica Becky Lynn Byford Will Machin Niz Marar Troy Marco Rick McCallum Dave McRae Miles McRae Fionn Meade* BradleyMills James Moore Shane Muchow Kelly Muster Dale Nash* Haya Nastovici Larry Nelson Miki Nelson Monica & Rob Newby Lori Novitsky Jef Nuyts Marko Paljic Tawney Paperd Su Phillips David Pierce Alma Plancich Nataliya Popova Laurel Price Jitka Prochazkova Irene Ramos Bev Reed Bruce Reid Mohammad Reza Safiri Jennifer Rice John Riley Marivel Rojas Henryk Romanowski Michelle Roos Sally Rutledge John Sandvick Mike Schlessinger Ellen Schutz Doug Schwab David Schwartz

216

Jena Scott Jeff Shannon Josh Siegel Will Smith Carl Spence Paul Sposare Meg Stevenson Tom Stewart Cary Stringham Jeff Strunk Dan Sullivan Megan Sutherland Artur Talvik John Teegarden Stan Templeton Kenji Thielstrom Valery Todorovsky Jiri Turek Ryan Ulhorn Sedat Uysal Katlin Vajda Mariano Vanhoof Lien Vanreusel Victor W.R. Wong Britain & Gail Walker Ryan Werner Jon Wessel Jon Wessel Teri White Brian Whitish Tracy Wickersham Todd Wiener Melanie Willette Scott Wilson Christopher Wojciechowski Anne Zeiser Laura (intern) Lisa (intern)

C O U N T R Y INDEX

Australia La Spagnola.................... 84 Walking on Water............. 85 Austria Dog Days ......................85 In the Mirror of Maya Deren 177 Piano Teacher, T h e ............86 Belgium Les Enfants de I'amour.......86 Shopping ......................87 Brazil Inheritance, The ............. 87 Canada Devil in the Holy Water, Thel 73 Fast Runner, The ............. 89 Khaled...........................89 Last Wedding, T h e ............91 Mariages ....................... 91 Men With Brooms............ .93 Spooky H o u se ...............203 Turning Paige.................. 93 Chile Cab for Three, A ............. 94 Savage Soul, A ...............94

Croatia Skies Satellites

............... 97

Czech Republic Parallel Worlds ............... 98 Wild Bees, The ............... 98 Wild Flowers .................. 99 Denmark Kira's Reason - A Love Story 99 Minor Mishaps ............... 50 Song For Martin, A .........101 Zookeeper, The ..............101 Estonia Good Hands

................. 103

Finland On the Road to Emmaus . .103 France Girls Can't Swim . . . . . . . . 105 God Is Great, I'm Not ....... 47 Her Mother, The Whore ...105 In Praise of Love ............ 107 Merci Pour le Chocolat ... .107 Murderous M a id s............ 109 My Wife Is an Actress ... .109 Pinochet Case, The .........179 Read My Lips .................41 Self Made Hero, A ............41 Germany Bungalow...................... 113 Cabinet of Dr. Caligari, The 211 Das Experiment..............111 Mostly M arth a................. 50 No Regrets .................... 51 SASS ........................... 113

A ngelus....................... 133 Great Britain Hi, Tereska .................. 133 24 Hour Party People........ 25 Supplement.................. 135 David Hockney,............. 171 Emperor's New Clothes, Thel 16 Portugal Lawless Heart, The . . . . . . 11 5 I'm Going Home ............ 135 Me Without Y o u .................. 49 Russia Navigators, T h e ..............115 101 st Kilometre..............137 Lover, T h e .............

Greece One Day in August .........116 Risotto . ........................ 117

137

Serbia War Live ......................139

Hong Kong Beijing Rocks ............... 117 Brother ......................... 57 Map of Sex and Love ... .119 Orphan, The .................213 Running Out of Time 2 ... .63

Singapore Chicken Rice War

Hungary Abandoned ...................119 Temptations ................. 120 India Asoka ......................... 120 M a y a ...........................121 Indonesia Whispering Sands ............63 Iran ABC A frica.................... 165 Afghan Alphabet......... ..165 Secret Ballot .................. 53 Ireland Mapmaker, The ..............121 Israel Inner Tour, The ..............177 Yellow Asphalt ..............122 Italy Last Kiss, The ............... 122 My Voyage to Italy .........179 Way We Laughed, The ... .123 Japan Agitator ....................... 43 All About Lily Chou-Chou .123 Dark Water .................... 60 Firefly Dreams ..............125 Happiness of the Katakuris .43 Hush!..................... .125 Pistol O pera...................128 Princess B la d e ............... 127 Uzumaki ......................127 V e rsu s......................... 205 Kazakhstan La Route ...................... I l l My Brother Silk Road ... .128 Kurdistan Jiyan ............................ 47 Mexico Streeters ......................129 Written on the Body of the Night 129 Netherlands Minoes ..................... ..201 Nynke ......................... 131 New Zealand Her M ajesty.................. 201 Norway E llin g...........................131

.......... 139

Slovenia Ljubljana..............

49 Sweet Dreams Are Made of This 140 South Africa Malunde ......................140 South Korea Camel(s) ....................... 59 Hi! Dharma! ....................60 Joint Security Area .......... 45 Sympathy for Mr. Vengeance 45 Take Care of My Cat ....... 141 Teenage Hooker Became Killing Machine in Daehakroh ... .205 Spain Cuban Game, The .......... 169 Mad Love .................... 143 No News From God ....... 141 Red Squirrel, The ............42 Sex and Lucia .................42 Sweden G o ssip ......................... 143 Reunion, The ............... 145 Tokyo Noise.................. 182 Taiwan Blue Gate Crossing .......... 57 Millennium Mambo .........145 Rule of the Game, The ... .61 Thailand Killer Tattoo .................204 Mon-rak Transistor............61 Tunisia Satin R o u ge .................... 53 Turkey Hejar - Big Man, Small Love 146 USA 13 Conversations About One Thingl 46 13 Moons .................... 147 American G u n .......... 29,147 Anarchist Cookbook, The .. .65 Bang Bang You're Dead .. . .65 Biggie and T upac............ 188 Black Picket Fence.......... 167 Bring Me the Head of ... .217 Britney Baby, One More Time! .

163 Catching O u t .................. 79 Cherish ....................... 149 Chinatown.................... 215 Cinemania.................... 167 Cockettes, T h e............... 169 CQ ...............................160 Daddy and Papa..............171

217

149 Days of H e a v e n .............. 216 Door To D o o r ..................151 Dream in Hanoi, A .......... 173 Family Fundam entals....... 175 Female Trouble ............... 31 Flats, T h e ........................ 66 Gigantic (A Tale of Two Johns) .

188 Good War and Those Who Refused to Fight It, The .....................175 Green Dragon ............... 161 Grey Zone, The ............... 66 Hired Hand, The ............ 217 Hope Along the Wind . . . .176 I Will Not Be Sad in This World .

176 Igby Goes Down ..............21 Into the F ire ................... 178 Just a Kiss ..................... 151 Kennewick Man: An Epic Drama 79 La T ro pica l..................... 190 Last Call ........................ 67 Last D a n c e ..................... 178 Liberty Stands S t ill........... 153 Love In the Time of Money 1 53 Lovely & A m a z in g ........... 154 M a y ....... ...................... 204 McCabe and Mrs. Miller ...2 1 5 Missing P e rso n s....... . .1 54 .67 Monkey L o v e ...........

Our America ..................155 Outpatient ..................... .81 Parallax View, T h e ...........216 Passionada.......................23 P ic n ic..............................33 Pipe Dream ................... 155 Pleasure and P a in .............189 Prisoner of Zenda, T h e .......33 Private Life of Sherlock Holmes, The 213 Pumpkin .................. ...1 5 7 P u rs u e d .......................... 35 R a in .............................. 163 Ruthie & Connie: Every Room in the House ..................... 180 Safety of Objects, The . . . .1 57 Shag Carpet S u n s e t ...........81 Sherpa - Unsung Heroes . .180 S k i n s ............................ 158 Smith Family, The ........... 181 Soft for D ig g in g .............. 158 Strange F r u i t ..................181 Sunshine S t a t e ................. 69 Sweet Smell of Success .. . .35 Swimming U p s tre a m ....... 182 T a d p o le .........................159 Tekn olu st....................... 159 Trip, The ....................... 160 Two Towns of J a s p e r ....... 183 Virginia's R u n ..................203 What About G o d ? .............183 Who The Hell Is Bobby Roos?69 Winning Girls Through Psychic Mind Control ..................70

C O U N T R Y INDEX

China Butterfly Sm ile................. 59 Happy Times .................95 Lan Y u ...........................97 Orphan of Anyang .......... 51 Quitting ....................... 95

Dangerous Lives of Altar Boys .

Poland

Super 8 Stories ..............189

.

Argentina Herencia ....................... 84 Smokers Only ................. 55

D IR E C T O R S INDEX

D IR E C T O R S INDEX

Abrams, Tony .............. 157 Achnas, Nan Triveni ....... 63 Alexandrowicz, Ra'anan .177 Altman, Robert 195, 199, 200 Amari, Raja ..................53 Amelio, Gianni .............123 Aranda, Vicente ........... 143 Ashby, Hal .................. 200 Attal, Yvan ..................109 Audiard, Jacques ...........41 Audiard, Jacques ...........41 August, Bille ................ 101 Ayres, Tony ................. 85 Bailly, Pascale ................47 Bajic, Darko ................ 139 Bal, Vincent ................ 191 Balass, Joe ..................173 Bank, M ir r a ..................178 Birot, Anne-Sophie ....... 105 Boeken, Ludi ............... 163 Boon, Philippe................87 Brabec, F.A. .................. 99 Brandenbourger, Laurent .87 Broder, Adam Larson . . . .1 57 Bromell, Henry .............. 67 Brown, Barry Alexander .. .70 Care, Peter ..................149 Carlin, Alec ................. 81 Carver, K y le ............. .79 Chabrol, Claude ...........107 Chan, Evans ......... . .119 Cheah, Chee-Kong C'CheeK") 139 Chen, Veronica .............. 55 Cheung, Mabel . . . . . . . . 1 1 7 Chih-yen, Yi ..................57 Ching, C. Ip ............. .161 Ching, C. Ip .................. 27 Christlieb, A n g e la .........167 Coppola, Roman . . . . . . .160 Cromwell, J o h n .............. 33 Cuenca, Manuel Martin ..169 Cuffley, Robert .............. 93 Denis, Jean-Pierre ......... 109 Diaz-Yanes, Agustin ....141 Dickerson, Ernest ......... 155 Dickson, D e b o ra h .........180 Dong, Arthur .............. 175 Dow, Whitney .............. 183 Ehrlich, J u d ith .............. 175 Enthoven, G eoffrey.........86 Epperlein, Karina ......... 176 Espar, David .............. 183 Eyre, Chris ..................158 Filho, Daniel ..........

.87

Fonda, Peter ................. 197 Freedman, Jennifer ........182 George, S a r a h ................ 79 Giannaris, Constantine ..116 Glinski, Robert ............. 133 Godard, Jean-Luc ......... 107 Goes, Sergio ................ 167 Gogan, Johnny ............. 121 Goldbacher, Sandra ....... 49 Gordon, Mark J............... 191 Gross, Paul ....................93 Guzman, Patricio ......... 179 Haneke, Michael ............. 86 Hashiguchi, Ryosuke . . .125 He, JianJun .................. 59 Heilman, Monte ........... 198 Hermosillo, Jaime Humberto 129 Hernández, Paula ...........84 Herngren, M á n s .............145 Hershman-Leeson, Lynn .159 Hideo, Nakata .............. 60 Higunchinsky ...............127 Hirschbiegel, Oliver . . . .111 Ho, Ping ....................... 61 Holm, Hannes ............. 145 Holofcener, Nicole . . . . .1 54 Hou, Hsiao-hsien ......... 145 Hunsinger, Tom ............. 115 Hunter, Neil ................ 115 Huston, John ...............199 Ipekg, Handan .............146 Ireland, Dan ..................23 Iwai, Shunji ................ 123 Jacobs, Alan ...........29,147 Jacobs, Steve ................ 84 Jeong, Jae-Eun ............. 141 Kamondi, Zoltán ........... 120 Katz, Joel ....................181 Kiarostami, Abbas ........165 Kijak, Stephen...............167 Köhler, Ulrich ...............113 Kudlacek, Martina ........177 Kunuk, Zacharias ...........89 Kwan, Stanley .............. 97 Law, Wing-cheong ......... 63 Lee, Sun-fung ...............193 Lindberg, Katherine . . . . 163 Linh Bui, Timothy ......... 161 Loach, Ken .................. 115 Logan,Joshua ................ 33 Liibbert, Orlando ...........94 Mackendrick, Alexander . .35 Madsen, Ole Christian . . .99

......... 133 Majewski, Lech Mak, Yan Yan .................57 Makhmalbaf, Mohsen ...165 Malea, Olga ................ 117 Malick, Terrence . . . . . . .196 Malick, Terrence ........... 200 Markle, Peter................ 193 Martin, Catherine ........... 91 Maryagin, Leonid........... 137 Massombagi, Asghar . . . .89 Mattei, Peter . . * ........... 153 McAllister, Andrew ......... 81 McKee, Lucky ...............194 Medem, Julio ................ 42 Muccino, Gabriele ........122 Naess, Peter ................ 131 Nam, Gee-Woong ......... 195 Nelson, Tim Blake ......... 66 Nettelbeck, Sandra ........ .50 Newman, Julia ............. 178 Nola, Lukas .................. 97 Nutley, Colin ...............143 O'Donnell, Dan ........ . . .154 O'Donnell, Matt ........... 154 Oldham, Tasha . ............181 Olesen, Annette K. . . . . . .50 Oliveira, Manoel ........... 135 Omirbaev, Darezhan . . . .111 Pakula, Alan J......... 196, 199 Park, Chan-wook ...........45 Park, Cheol-kwan ........... 60 Park, Ki-yong .................59 Payami, Babak . . . . . . . . .53 Peckinpah, Sam ........... 197 Petri, Kristian ...............182 Petty, JT ......................158 Podgorsek, Saso ........... 140 Polanski, Roman ........... 195 Pölönen, Markku ......... 103 Purcell, Ryan ................ 79 Quabeck, Barry Alexander .51 Rafelson, Bob . . . . . . . . .198 Ratanaruang, Pen-Ek . . . . .61 Requa, Kelly . .................66 Requa, Tyler .................. 66 Rockwell, Alexandre . . . . 147 Roed, J a n ......................182 Rola, Carlo . ................. 113 Rosebiani, Jano . .'......... 47 Roiian, Brigitte ............. 105 Ruiz, Raoul . . . ............... 94 Ryuhei, Kitamura ......... 195 Sachs, W illia m ...............193 Sarulu, Marat ...............128

218

Schachter, Steven ......... 151 ......... 179 Scorsese, Martin Scorsese, Martin ........... 198 Seidl, Ulrich .................. 85 Shinsuke, Sato ............. 127 Simm, Peeter ...............103 Singh, Digvijay ............. 121 Sippapak, Yuthlert ........194 Sivan, Santosh ............. 120 Skogland, Kari ............. 153 Slade, Eric .................. 176 Slama, Bohdan .............. 98 Soderberg, Johan ......... 182 Sopsits, Arpad ............. 119 Sprecher, Jill ................ 146 Steers, B u r r ....................21 Sterk, Igor ....................49 Stevens, Fisher ............. 151 Stratton, Mark .............. 67 Susman, Jordan .............65 Suzuki, Seijun ............. 128 Swain, Miles ................ 160 Sweeney, Bruce .............91 Sycholt, Stefanie ........... 140 Symons, Johnny ........... 171 Takashi, Miike .............. 43 Taylor, Alan ................ 116 Taylor, Finn ................ 149 To, Johnnie ....................63 Todorovsky, Valery ........137 Tort, Gerardo ...............129 Troche, Rose ...............157 Vaclav, Petr .................. 98 Verete, Dan ................ 122 Verhoeff, Pieter ........... 131 Walsh, John ................ 155 Walsh, Raoul .................. 35 Wang, Chao ............ .51 Waters, John .................. 31 Weber, Bill .................... 169 Weidlinger, Tom ........... 173 Weissman, David ......... 169 Whittaker, Win ............. 180 Wiene, R o b e r t...............191 Wilder, Billy ................ 193 Williams, John ............. 125 Williams, Marco ........... 183 Winick, Gary ................ 159 Winterbottom, Michael . . .25 Wright, Randall ............. 171 Zanussi, Krzysztof ........135 Zhang, Yang .................. 95 Zhang, Yimou ................ 95 Ziman, Ralph ...............101

j F IL M T I T L E I N D E X

101 st Kilometre................................. 137 13 Conversations About One Thing 146 13 M oons............................................ 147 24 Hour Party P e o p le......................25 '70s Tim ecap su le........................... 220 Abandoned..........................................119 ABC Africa............................................ 165 Afghan Alphabet.............................. 165 A g ita to r..................................................43 All About Lily Chou-Chou . . . . 123 American G u n ......................... 29, 147 Anarchist Cookbook, T h e ........... 65 Angelus........... ...................................... 133 A so k a .....................................................120

Cab for Three, A .................................94 Cabinet of Dr. Caligari, The . . 2 1 1 California S p lit .................................219 C am el(s)..................................................59 Catching Out......................................... 79 C herish..................................................149 Chicken Rice W a r ............................139 Chinatown............................................ 195 Cinemania.............. ..............................167 Cockettes, T h e ................................. 169 CQ............................................................. 160 Cuban Game, T h e ............................169 Daddy and P a p a ...............................171 Dangerous Lives of Altar Boys. 149 Dark W a te r............................................ 60 Das Experiment................................. I l l David Hockney, ...............................171 Days of Heaven................................. 196 Devil in the Holy Water, The . . 1 7 3 Dog D a y s ...............................................85 Door To D o o r.................................... 151 Dream in Hanoi, A ............................173 Elling. ..................................................... 131 Emperor's New Clothes, The . . 1 1 6

Family Fundamentals......................175 Fast Runner, The ..............................89 Fat City ............................................... 199 Female Trouble....................................31 Firefly Dreams ................................. 125 Five Easy Pieces . . . ...................... 198 Flats, T h e ...............................................66 Gigantic (A Tale of Two Johns). 188 Girls Can't S w im .............................. 105 God Is Great, I'm N o t ......................47 Good H a n d s.......................................103 Good War and Those Who Refused to Fight It, T h e .......................................175 Gossip.....................................................143 Green Dragon....................................161 Grey Zone, T h e ....................................66 Happiness of the Katakuris . . . 4 3 Happy Times ...................................... 95 Hejar - Big Man, Small Love . . 146 Her Majesty......................................... 201 Her Mother, The W hore.............. 105 H erencia................................................. 84 Hi! Dharma! ......................................... 60 Hi, T e re sk a ......................................... 133 Hired Hand, T h e .............................. 199 Hope Along the W in d ................... 176 Hush!....................................................... 125 I Will Not Be Sad in This World. 176 Igby Goes D o w n ...............................21 I'm Going H o m e .............................. 135 In Praise of Love ............................107 In the Mirror of Maya Deren . . 1 7 7 Inheritance, T h e .................................87 Inner Tour, T h e ................................. 177 Into the F ir e .......................................178 J iy a n ..........................................................47 Joint Security A r e a ........................... 45 Just a K is s ............................................ 151 Kennewick Man: An Epic Drama 79 Khaled.......................................

89 Killer T a tto o ...................................... 204 Kira's Reason - A Love Story . . . 99 Klute .................................

199 La Route............................................... I l l La Spagnola............................................84 La Tropical............................................ 190

219

Lan Yu .......................................................97 Last C a ll................................................. 67 Last D a n c e ......................................... 178 Last Kiss, T h e ....................................122 Last Wedding, The..............................91 Lawless Heart, T h e .........................115 Liberty Stands S t i l l .........................153 Ljubljana................................................. 49 Love In the Time of Money . . . 153 Lovely & Am azing............................154 Lover, T h e ............................................ 137 M*A*S*H...............................................200 Mad Love . ..........................................143 M alunde...............................................140 Map of Sex and Love ................... 119 Mapmaker, T h e ................................. 121 Mariages . . ............................................ 91 May..........................................................204 Maya....................................................... 121 McCabe and Mrs. Miller.............. 195 Me Without You................................... 49 Mean Streets ................

198 Men With Brooms .............................. 93 Merci Pour le C h o co lat.............. 107 Millennium Mambo....................... 145 M inoes................................................. 201 Minor M ish a p s....................................50 Missing P e rso n s.............................. 154 Monkey Love.........................................67 Mon-rak T ran sisto r........................... 61 Mostly Martha ....................................50 Murderous Maids.............................. 109 My Brother Silk Road ................... 128 My Voyage to I t a ly ................

179 My Wife Is an A c tre s s ................... 109 Navigators, The.................................115 No News From God ......................141 No R eg rets............................................51 Nynke.................................................... 131 On the Road to Em m aus..............103 One Day in A u g u st.........................116 One Thing............................................ 146 Orphan of Anyang ........................... 51 Orphan, T h e .......................................193 Our A m erica.......................................155 Outpatient...............................................81 Parallax View, The ............................196 Parallel Worlds .............................. . 98 Passionada............................................23 Piano Teacher, T h e ........................... 86

F IL M T I T L E I N D E X

Badlands ............................................ 220 Bang Bang You're D ead ...................65 Beijing Rocks ....................................117 Biggie and Tupac.............................. 188 Black Picket Fence............................167 Blue Gate C ro ssin g ............................57 Bring Me the Head of Alfredo Garcia 197 Britney Baby, One More Time! . 163 Brother.....................................................57 Bungalow ............................................ 113 Butterfly Smile.......................................59

Enfants de I'am o u r........................... 86

F IL M T I T L E I N D E X - C O N T I N U E D

Picnic . . . ..............................

33 Pinochet Case, The . . . . . . . . . 179 Pipe Dream ........................

155 Pistol O p e ra ...........................

128 Pleasure and P a in ........................... 189 Ploys of Sex, T h e ...........................206 Princess B la d e ................................. 127 Prisoner of Zenda, T h e ...................33 Private Life of Sherlock Holmes, The 193 Pumpkin.............................................. 157 Pursued..................................................3 5

F IL M T I T L E I N D E X

Quitting ................................................. 95 Rain......................................................... 163 Read My Lips ......................................41 Red Squirrel, The ............................. 42 Reunion, The ................................... 145 R iso tto .................................................117 Rule of the Game, T h e ...................61 Running Out of Time 2 ...................63 Ruthie & Connie: Every Room in the House....................................................180 Safety of Objects, T h e................... 157 SASS...................................................... 113 Satin Rouge........................................... 53 Savage Soul, A ...................................94 Secret B a llo t.........................................53 171 Secret Knowledge...................

See You Off to the Edge of Town 27, 161

Self Made Hero, A . . . ......................41 Sensation-al Anim ation................ 207 Sex and L u c ia .............. V . . . . . . . 42 Shag Carpet Sunset........................... 81 Shampoo ............................................ 200 Sherlock Holm es.............................. 213 Sherpa - Unsung H ero es..............180 Shopping . ............................................ 87 Shorts S to rie s....................................208 Skies S a te llite s....................................97 Skins........................................................158 Smith Family, T h e ............................181 Smokers O n ly ........... ...........................55 Soft for D ig g in g ...............................158 Song For Martin, A .........................101 Spagnola, L a ...........................

84 Spiral into H o rro r............................127 Spooky House................................. 203 Strange Fru it....................................... 181 Streeters.........................

129 Sunshine State...................................... 69 Super 8 S to ries................................. 189 Supplement............................ ..

135 Sweet Dreams Are Made of This 140 Sweet Smell of Success................... 35 Swimming Upstream . . . . . . . . 182 Sympathy for Mr. Vengeance . . 45

Machine in Daehakroh................... 205 T ekn o lu st.............................................159 Tem ptations.......................................120 Tokyo N o is e ......................

182 Trip, T h e ............................................... 160 Tropical, L a ..........................................190 Turning P a ig e ...................................... 93 Two Lane B la ck to p .........................198 Two Towns of Jasp er. ....................183 U zum aki............................................... 127 Versus.....................................................205 Virginia's R u n ....................................203 Walking on Water.................................85 War L iv e ............................................... 139 Way We Laughed, The .................123 What About God?...............................183 Whispering S a n d s.............................. 63 Who The Hell Is Bobby Roos? . . 69 Wild Bees, The ....................................98 Wild Flowers ..........................................99 Winning Girls Through Psychic Mind C ontrol.....................................................70 Written on the Body of the Night 129 Yellow A s p h a lt................................. 122

Tadpole.................................

159 Take Care of My C a t ...................... 141 Teenage Hooker Became Killing

220

Zookeeper, T h e ................................. 101

1 DAILY S C H ED U LE

T h u r sd a y 2 3 -M a y

PARAMOUNT 7:30 PM

IGBY GOES DOWN

4:30 PM

KIRA'S REASON: A LOVE STORY ABC AFRICA

BUNGALOW

SAVACE SOUL

7:00 PM

READ MY LIPS

SOFT FOR DIGGING

9:30 PM

TEKNOLUST

MISSING PERSONS

SWEET DREAMS ARE MADE OF THIS CQ

CHERISH

EGYPTIAN Friday 2 4 -M a y

BPH

HARVARD EXIT

PACIFIC PLACE LAST CALL

M IDNIGHT TEENAGE HOOKER BECAME KILLING MACHINE IN DAEHAKR 3H Sa tu rd a y 2 5 -M a y

11:30 AM SWEET DREAMS ARE MADE OF THIS 1:45 PM SELF MADE HERO

DAVID HOCKNEY, SECRET KNOWLEDGE SOFT FOR DIGGING

CQ

VIRGINIA'S RUN

PRISONER OF ZENDA

ON THE ROAD TO EMMAUS

4:00 PM

READ MY LIPS

SHORTS - THE PLOYS OF SEX

IN THE MIRROR OF MAYA DEREI CHERISH

6:30 PM

LOVELY AND AMAZING

KHALED

LAST WEDDING

9:30 PM

THE TRIP

DOOR TO DOOR

ONE DAY IN AUGUST

DAS EXPERIMENT 13 C O N V E R S A T IO N S A B O U T O N E T H IN G

M IDNIGHT VERSUS

Sunday 2 6 -M a y

T u e sd a y 2 8 -M a y

W e d n e sd a y 2 9 -M a y

T h u rsd a y 3 0 -M a y

F riday 3 1 -M ay

SPAWNED IN SEATTLE - SHORTS ONE DAY IN AUGUST ABC AFRICA SMALL FRY KENNEWICK MAN BRITNEY BABY ONE MORE TIME DAS EXPERIMENT

1:45 PM

LOVELY AND AMAZING

4:00 PM

CHINATOWN

CATCHING OUT

TRIP, THE

6:30 PM

HAPPY TIMES

SHAG CARPET SUNSET

KIRA'S REASON: A LOVE STORY TAKE CARE OF MY CAT

9:30 PM

OUTPATIENT

LA TROPICAL

MAYA

11:30 AM

MY VOYAGE TO ITALY

PINOCHET CASE

MAYA

PARALLEL WORLDS

DOOR TO DOOR

KHALED

TAKE CARE OF MY CAT

1:45 PM

YELLOW ASPHALT

SAVAGE SOUL

4:00 PM

HAPPY TIMES

STRANGE FRUIT

CAB FOR THREE

LAST WEDDING

6:30 PM

LA SPAGNOLA

TWO TOWNS OF JASPER

FIREFLY DREAMS

ON THE ROAD TO EMMAUS

9:30 PM

WRITTEN ON THE BODY OF THE NIGHT

IN THE MIRROR OF MAYA DEREN

BUNGALOW

LOVE IN THE TIME OF MONEY

4:30 PM

LA SPAGNOLA

LA TROPICAL

FIREFLY DREAMS

LOVE IN THE TIME OF MONEY YELLOW ASPHALT

7:00 PM

MAD LOVE

PINOCHET CASE

TURNING PAIGE

9:30 PM

PRINCESS BLADE

KENNEWICK MAN

BRITNEY BABY ONE MORE TIME PARALLEL WORLDS

4:30 PM

CATCHING OUT

GOD IS GREAT, I'M NOT

^

7:00 PM

WRITTEN ON THE BODY OF THE NIGHT CHICKEN RICE WAR

9:30 PM

COCKETTES

4:30 PM

MAD LOVE

7:00 PM

MAP OF SEX AND LOVE

9:30 PM

4:30 PM

DAILY S C H E D U LE

M onday 2 7 -M a y M em orial

11:30 AM SECRET FESTIVAL

1 3 C O N V E R S A T IO N S A B O U T O N E T H IN G

MY VOYAGE TO ITALY

SKIES SATELLITES

QUITTING

CAB FOR THREE

SKINS

CINEMANIA

PUMPKIN

SKINS

BLACK PICKET FENCE

FAMILY FUNDAMENTALS

MALUNDE y S

ASOKA THE GREAT

STRANGE FRUIT

DOC DAYS

WAY WE LAUGHED

DAYS OF HEAVEN

BLACK PICKET FENCE

TURNING PAIGE

7:00 PM

EMPEROR'S NEW CLOTHES

DAVID HOCKNEY, SECRET KNOWLEDGE CINEMANIA

NAVIGATORS

INHERITANCE

9:30 PM

24 HOUR PARTY PEOPLE

GIRLS CAN'T SWIM

COCKETTES

SEX AND LUCIA

FAMILY FUNDAMENTALS

SKIES SATELLITES

M IDNIGHT PRINCESS BLADE

Sa tu rd a y 1 -Jun

1 1:30 AM CHICKEN RICE WAR 1:45 PM

WAY WE LAUGHED

MINOES

4:00 PM

EMPEROR'S NEW CLOTHES

SHORTS - BOYS & BOYS AND PURSUED GIRLS & GIRLS 1WILL NOT BE SAD IN THIS WOI MALUNDE

RED SQUIRREL

6:30 PM

SUNSHINE STATE

TWO TOWNS OF JASPER

ABANDONED

WILD BEES

9:30 PM

SAFETY OF OBJECTS

101 ST KILOMETRE

NYNKE

GOSSIP

QUITTING

M IDNIGHT UZUMAKI

jÉ

D AILY S C H E D U LE

EGYPTIAN Sunday 2-Jun

M ond a y 3-Jun

T u e sd a y 4-Jun

DAILY S C H ED U LE

W ednesday 5-Jun

T h u rsd a y 6-Jun

11:30 AM SECRET FESTIVAL

BPH

HARVARD EXIT

PACIFIC PLACE

1:45 PM

MCCABE AND MRS. MILLER

TALKING PICTURES - PANEL ADULT MOVIES LAST DANCE

4:00 PM

SUNSHINE STATE

INNER TOUR

MAP OF SEX AND LOVE

BIGGIE AND TUPAC

6:30 PM

AFGHAN ALPHABET

LAWLESS HEART

GREEN DRAGON

9:30 PM

SUPER 8 STORIES BY EMIR KUSTURICA PUMPKIN

ABANDONED

STREETERS

DANGEROUS LIVES OF ALTAR BOYS

4:30 PM

NO NEWS FROM COD

101 ST KILOMETRE

STREETERS

GOSSIP

7:00 PM

MERCI POUR LE CHOCOLAT

9:30 PM

UZUMAKI

RUTHIE & CONNIE/ HERENCIA SWIMMING UPSTREAM SHORTS - AROUND THE WORLD MILLENNIUM MAMBO 80 MINUTES

DOG DAYS

INHERITANCE

GIRLS C A N T SWIM

WILD BEES

ME WITHOUT YOU SAFETY OF OBJECTS ^

4:30 PM

MERCI POUR LE CHOCOLAT

7:00 PM

TADPOLE

1WILL NOT BE SAD IN THIS WOF SUPER 8 STORIES BY EMIR KUSTURICA LAST DANCE GOOD HANDS

9:30 PM

BIGGIE AND TUPAC

INNER TOUR

ME WITHOUT YOU

DANGEROUS LIVES OF ALTAR BOYS

4:30 PM

LAWLESS HEART

AFGHAN ALPHABET

HERENCIA

SONG FOR MARTIN

GREEN DRAGON SONG FOR MARTIN

7:00 PM

NO NEWS FROM COD

MAPMAKER

WILD FLOWERS

MILLENNIUM MAMBO

9:30 PM

LIBERTY STANDS STILL

RUTHIE & CONNIE/ SWIMMING UPSTREAM

NAVICATORS

WAR LIVE

4:30 PM

TADPOLE

SHORTS - HEAD CASES

WILD FLOWERS

WAR LIVE

7:00 PM

ELLINC

9:30 PM

FAST RUNNER

DADDY AND PAPA / BROTHER HOPE ALONG THE WIND GIGANTIC: A TALE OF TWO JOH TEMPTATIONS

MY WIFE IS AN ACTRESS ALL ABOUT LILY CHOU CHOU

f Friday 7-Jun

12:00 PM 2:30 PM 4:30 PM

PARALLAX VIEW

7:00 PM

13 MOONS

WHAT ABOUT COD EDUCATION TWO TOWNS OF JASPER EDUCATION BANG BANG YOU'RE DEAD EDUCATION OUR AMERICA

9:30 PM

FEMALE TROUBLE: A DISCUSSIO HER MOTHER THE WHORE WITH MIDNIGHT JOHN WATERS

Sa turday 8-Jun

1 1:30 AM

NYNKE

1:45 PM

MY WIFE IS AN ACTRESS

4:00 PM

ORPHAN

6:30 PM 9:30 PM

11:30 AM

IN PRAISE OF LOVE

/

|i

MEN WITH BROOMS V , < f \

LAST KISS

&

MAPMAKER

AGITATOR

SPOOKY HOUSE

SEX AND LUCIA

GOOD WAR & THOSE WHO REFl TEMPTATIONS INTO THE FIRE SHORTS SENSATION-AL PICNIC ANIMATION DADDY AND PAPA / SECRET BALLOT HOPE ALONG THE WIND HEJAR: BIG MAN, SMALL LOVE HUSH!

PIANO TEACHER

MISSING PERSONS

HAPPINESS OF THE KATIKURIS

RAIN

MIDNIGHT MAY

Su n d a y 9-Jun

■ ■ mm

BROTHER

SECRET FESTIVAL

LAST KISS LIBERTY STANDS STILL MOSTLY MARTHA

TALKING PICTURES - PANEL - 7C RAIN

MURDEROUS MAIDS

OUR AMERICA

ZOOKEEPER

1:45 PM

ANCELUS

4:00 PM

PRIVATE LIFE OF SHERLOCK HO SHORTS - 9/11 A CODA

HUSH!

AGITATOR

6:30 PM

HIRED HAND

DEVIL IN THE HOLY WATER

SECRET BALLOT

W IN N IN G C IR L S T H R O U G H P S Y C H IC

9:30 PM

LAN YU

DREAM IN HANOI

SMOKERS ONLY

ELLING

M IN D C O N T R O L

PISTOL OPERA

BPH

EGYPTIAN M onday

HARVARD EXIT |

PACIFIC PLACE

1 :0 0 PM

CINERAMA FAST RUNNER

1 0 -J u n 4 : 3 0 PM

13 MOONS

HEJAR: BIG M A N , SM ALL LOVE

HER MAIESTY

M OSTLY M A R TH A

7 :0 0 PM

CABINET OF DR. CALIGARI

TO K Y O NOISE

MARIAGES

I'M GOING HOME

IN PRAISE OF LOVE

9 : 3 0 PM

BEIJING ROCKS

CUBAN GAME

HI, TERESKA

LA ROUTE

PIANO TEACHER

4 : 3 0 PM

LAN YU

W HO THE HELL IS BOBBY ROOS MEN W ITH BROOMS

LA ROUTE

TO K Y O NOISE

7 :0 0 PM

ANGELUS

G O O D W AR & THOSE W HO REFl RISOTTO

ORPHAN OF A N YAN G

TEKNOLUST

9 :3 0 PM

ZOOKEEPER

SHORTS - SHORTS STORIES

G O D IS GREAT, I'M N O T

MURDEROUS MAIDS

HAPPINESS O F THE KATIKURIS

Tuesday

1 :0 0 PM

^

ASO KA T H E GREAT

1 1 -J u n

IN TO THE FIRE

W ednesday

HI TERESKA

1 :0 0 PM

1 2 -J u n

T h u rs d a y

'

'

: 1

A L L A B O U T LILY C H O U CHOU

4 : 3 0 PM

PISTOL OPERA

CAMEL(S)

RISOTTO

- " ORPHAN OF A N YAN G

7 :0 0 PM

JUST A KISS

ENFANTS DE L'A M O UR

SUPPLEMENT

BEUINC ROCKS

MONKEY LOVE

9 :3 0 PM

REUNION

W HO TH E HELL IS BOBBY ROOS' W ALKIN C O N WATER

PIPE DREAM

HI, D H AR M A

1 :0 0 PM

2 :0 0 FILMMAKERS FORUM

1 3 -J u n

WHISPERING SANDS

OUTPATIEN T

BEN H U R /I LOVE LUCY 4 : 3 0 PM

ORPHAN

TA LK IN G PICTURES - PANEL

A DREAM IN HANO I

SUPPLEMENT

SHERPA - UNSUNG HEROES

7 :0 0 PM

M INO R MISHAPS

G O O D HANDS

JIYAN

RUNNING O U T OF T IM E 2

TH E FLATS

9 :3 0 PM

GREY ZONE

SASS

BUTTERFLY SMILE

WHISPERING SANDS

AM ERICAN GUN

M OVIES/CHANGE?

1 2 :0 0 PM

FILMMAKER'S FORUM

2 :3 0 PM

SM ITH FAM ILY

1 4 -J u n

PLEASURE A N D PAIN

LIFE OF HYPHENATE FILMMAKERS FORUM - D IG IT A L D IG ITA L DELIVERY 4 :3 0 PM

BRING ME THE HEAD OF ALFREI DEVIL IN THE HOLY WATER

RULE OF TH E GAM E

PIPE DREAM

SHAG CARPET SUNSET

GARCIA 7 :0 0 PM

M O N R AK TRANSISTOR

N O REGRETS

BLUE GATE CROSSING

A N AR C H IST CO O KBO O K

SEE YOU OFF T O TH E EDGE

9 :3 0 PM

DARK WATER

HER M OTHER TH E WHORE

M Y BROTHER SILK ROAD

LJUBLJANA

SYM PATHY FOR MR VENGEANCE

M ID N IG H T

KILLER T A T T O O

1 1 :3 0 A M

REUNION

FILMMAKER’S FORUM

S A S ^^

HER MAJESTY

JIYAN

1 :4 5 PM

SWEET SMELL OF SUCCESS

BUTTERFLY SMILE

W IN N IN G GIRLS THRO UG H PSY( AM ERICA N GUN

4 : 0 0 PM

JUST A KISS

CUBAN GAME

JO IN T SECURITY AREA

LJUBLJANA

RUNNING O U T OF T IM E 2

6 : 3 0 PM

2 4 HOUR PARTY PEOPLE

CAMEL(S)

SHOPPING

SATIN ROUGE

BANG BANG YOU'RE DEAD

9 : 3 0 PM

SNEAK PREVIEW

PLEASURE A N D PAIN

RULE OF TH E GAME

TH E LOVER

TBA

M ID N IG H T

DARK WATER

OF TO W N

S a tu rd a y 1 5 -J u n

BEHIND THE CURTAIN FILMMAKER'S FORUM TH E WORKSHOP

Sunday

1 1 :3 0 A M

SECRET FESTIVAL

M IN D CONTRO L

mm SHERPA - UNSUNG HEROES

BLUE C ATE CROSSING

SATIN ROUGE

1 :4 5 PM

GREY ZONE

SM ITH FAM ILY

A N AR C H IST COOKBOOK

SYM PATHY FOR MR VENGEANCI SEE YOU OFF T O TH E EDGE

4 :0 0 PM

M INOR MISHAPS

ENFANTS DE L'A M O UR

N O REGRETS

MARIAGES

BANG BANC YOU'RE DEAD

6 :3 0 PM

M O N R AK TRANSISTOR

MONKEY LOVE

MY BROTHER SILK ROAD

TH E LOVER

CLOSING N IG HT-PASSIO NADA

9 :3 0 PM

SMOKERS ONLY

W ALKING O N WATER

SHOPPING

HI, D H A R M A

PASSIONADA

1 6 -J u n

THE FLATS

OF TO W N ;

DAILY SCHEDULE

F r id a y

NOTES

SEATTLE • MARS E S T A B L IS H E D 1973

1936 FIRST AVENUE

SEATTLE, WA 98101

(206) 448-4077

FIFTH & UNION

1407 FIFTH AVE. SEATTLE, W A 98101

206.447-9488 O R T O L L FREE 1.800.678.0120

w w w . tu r g e o n r a in e . c o m