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CORK FILNv FESTIVAL 34 1-8 October CORK OPERA HOUSE and Triskel Arts Centre

Information: Tobin Street, Cork, Ireland Tel. (353 21)271711 Fax. (353 21)273704

Grant Aided by: Art» Counci j

Cork Corporation Cork Enterprise Board RTE

FEILE SCANNAN CHORCAI

The people of Cork bring out the best in us I

Understanding the needs of our customers, and

responding to them, is what everybody at Allied Irish

Bank aims to achieve. We know we have some way to go before we can really understand and respond to all our customers needs. But we’re working every day to continuously

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CHRiSSIE AHERNE, LORD MAYOR

I am delighted once again to extend a warm welcome to everyone attending the 34th Cork Film Festival For thirty four years now, the Film Festival has been an integral part of the civic and cultural life of our city.

Our lives have been immeasurably enriched by those thousands of films from the four corners of the world which the Festival has brought to life in our midst, and I would hope that our many visitors over the years have taken away with them fond memories of the riches they have experienced here as our guests. One of the oldest film festivals in the world, Cork has long enjoyed a reputation for conviviality. This reputation has been earned not only by the Festival organisers, but by the people of Cork, a people with a proud tradition of hospitality. I trust that our many guests this year will enjoy the experience of being taken to our hearts.

34th CORK FILM FESTIVAL PRESIDENT The Lord Mayor of Cork, CLLR. Chrissie Aherne.

CHAIRMAN Charles Hennessy EXECUTIVE COMMITTEE Michael Gleeson Liam Kinsella Tiernan McBride Michael O'Connell A.J.F. O'Reilly Robin O'Sullivan Aidan Stanley R. Declan Scott

DIRECTORS Theo Dorgan Michael Hannigan ADMINISTRATOR Fran Bergin

PRINT TRANSPORT Helen Farrell John Halpin

RECEPTION Anne Kennedy

ACCOMMODATION Helen Guerin PROJECTIONISTS Declan Lynch Eddie Noonan Ray Wynman

TRANSPORT Donal O’Sullivan PRESS Kieran Cronin Robert McDonald

DRIVERS Tony Connolly Jonjo Murphy Paddy Murray Jim Sorenson

RADIO COMMUNICATION EQUIPMENT Southern Electronics

THE TRISKEL TEAM Vai Bogan Mary Buckley John McDonald Robert McDonald Ger O'Riordan Anne O'Sullivan Tony Sheehan Pat Kearney Kieran Walsh Mark Hathaway Mary McCarthy

COVER DESIGN AND POSTER Graphiconies FREIGHT AGENTS Dellar Freight

ACKNOWLEDGEMENTS The assistance of FAS is gratefully acknowledged AUDITORS Arthur Young and Company

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For thirty four years now the Film Festival has been a vital part of the cultural life of our city and country. We would like to think that the continued growth of interest in, and appreciation of, cinema in Ireland has been in some way forwarded by the energy and commitment of all who have worked on the Festival since its inception. In recent years we have deliberately sought to encourage as best we could the young film-makers on whom the future of the Irish film industry must depend. We have been rewarded with some memorable screenings, and more so by the enthusiastic participation in the Festival of so many talented young people. With this perspective in mind, I must particularly pay tribute to Warner Home Video and TV 3 who have come forward with funding for awards to Irish film-makers. Their generosity, and their principled commitment to indigenous talent, is warmly appreciated. As our Directors have elsewhere noted, it has been a particularly good year for film internationally. We are proud to present festival audiences with the strongest line-up of films for many years, and happy to welcome to Cork the directors, producers, distributors and actors associated with many of our presentations.

PATRONS Individuals and Companies who contribute to our Patron Scheme play a significant part in keeping the festival's finances healthy. In return for a donation of £100, Patrons receive a pair of Season Tickets and invitations to the Festival receptions.lt has proved a popular way of showing support for the Festival and the backing of our Patrons is greatly appreciated. If you would like to become a Patron of the Festival please contact our office. The following list is complete at time of going to print.

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Individuals Clayton Love Jnr. Mr. Peter Barry TD Garry Nixon Gene Fitzgerald, M.E.P. Dermot Gleeson Joan Costello Peter Fleming Rosemary Manning Mrs. Vera Owens Joe Shinkwin Conal Creedon Companies AIB Corporate & Int. Division Allied Irish Banks Ballyclough Cooperative Creamery Ltd Bank of Ireland Biocon Biochemicals Ltd C.A.B. Motor Co. Ltd. Coras Trachtala Cork & Limerick Savings Bank E.G.Pettit & Co. Ferrero Ireland Ltd. Fitzgerald & O'Leary, Solicitors G.J.Moloney & Co. Guy & Co. Ltd

Horizon Computers Irish Civil Service Building Society Irish Fher Laboratories Ltd Irish Steel J.W.O'Donovan & Co. Ltd Kelly Barry & Associates M. J. Horgan & Son Murray O'Laoire Architect Murphy Brewery Ire. Ltd Nat Ross New Ireland Assurance Co. O’Flynn Exham & Partners O'Keeffe Buttimer Martin J. Brendan O’Herlihy, Solicitors P.W. Keane & Co. Ltd Project Management Quigley Company of Europe R&H Hall Pic Smurfit Corrugated Cases Ltd St. Patricks Woollen Mills Ltd Touche Ross United DominionsTrust

GRANT AID The Festival is grant-aided by the following: The Arts Council, Cork Corporation, Cork Enterprise Board, San Francisco Sister City Committee, European Commission, The British Council, Co-operation North SPONSORS Dr. A.J.F.O’Rellly Allied Irish Banks pic Henry Ford and Sop Ltd Warner Home Video TV 3

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Best Wishes to CORK FILM FESTIVAL ’89 from CITY TRAVEL The agency for the discerning traveller

WHY NOT VISIT THE LOCATIONS OF YOUR FAVOURITE FILMS? "ROOM WITH A VIEW" OUT OF AFRICA" ...."Dr. ZHIVAGO"...

WHEREVER YOU GO - CITY TRAVEL promises best service and competitive fares.

Travel 34 OLIVER PLUNKETT STREET. CORK. IRELAND

Tel 021-273621 / 021-271339

Telex • 75537

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Port of Cork CORK HARBOUR COMMISSIONERS Custom House Street, Cork. Ireland Tel. (021) 273125. Telex ’5H-iH. Fax (021) 276h«4.

■ ERECTORS AND STAFF OF FESTIVAL

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LEFT TO RIGHT. FRAN BERGIN. THEO DORGAN. JOHN HALPIN, EDDIE NOONAN. KIERAN OCONNOR, MICK HANNIGAN

There are debts to be acknowledged as we launch this Festival, the 34th since its inception. The oldest of these is to the men and women who had the courage to start the whole mad business in the first place, and after that to all those who kept it alive. More proximately, we owe thanks to all those who have worked with us on this Festival, for their energy and cheerfulness and sheer, unremitting hard work. The Festival is the result of team-work, and it has been a pleasure to work with the team who put this together. It is a pleasure also to acknowledge with thanks all those who have contributed to the Festival’s financing, either by way of direct grant or sponsorship, or through the funding of the Festival's awards. It is particularly important to record the Arts Council’s support this year, not just because it is our major financial lifeline but also because it signifies recognition of what we have always argued, that film festivals are an essential and integral part of the cultural life of the nation. Insofar as funding a proper National Film Corporation goes, this perception has yet to gain ground with the government, and the talents and skills of our film artists and technicians continue to be shamefully under-used. The Arts Council, we recognise, is attempting to hold the line, but it would be absurd to expect them to shoulder the entire burden of supporting a native film industry. For that we need a properly constituted agency, and the sooner the better. We owe thanks also to the many hundreds of film-makers and distributors, national film agencies and producers who have made their films available to us. In the end, though, our greatest debt is to those who have gifted us with the products of their imaginations, the film-makers themselves. Long after the final credits have rolled in the Opera House and Triskel, what will remain, we hope, will be those magic moments of cinema that make it all worthwhile.

THEO DORGAN

There is, by now a certain shape to the Cork Film Festival, a particular style. In programming the festival we deliberately cover a wide range of film culture. While the core of the festival is a strong programme of feature films from throughout the world, we are committed to providing a platform for other expressions of film art. Cork’s is one of the few international festivals to champion the art of the short film. This would not be possible without the continuing support of the European Commission which this year enables us to offer a prize of 10,000 ECU's. The quality of this year’s Short Film Programme is exceptionally high and, to encourage greater attendances, screenings are free to those holding Festival Membership Cards. The documentary form enables film makers to engage with a wide range of political, social and artistic issues. Some excellent examples of the documentarists’ can be seen throughout the festival at the Triskel Arts Centre. Having in the past, introduced particular film makers' work to an Irish audience, it is a source of satisfaction to us to be able to present their latest films. In ‘86 the festival’s closing film was Deny Arcand’s THE DECLINE OF THE AMERICAN EMPIRE, this year we open with his magnificent JESUS OF MONTREAL. In ‘86 also, we screened Jane Campion’s work. We are pleased to include her first feature film SWEETIE in ‘89. Having premiered Ronan O’Leary’s RIDERS TO THE SEA in ‘87, we now present the first public screening of the compelling, FRAGMENTS OF ISABELLA. Last year’s winner of CFF's European Short Film Competition was Mike Leigh. This year we include his wonderful satire HIGH HOPES. Another previous prizewinner Hartmut Jahn is again in competition with THE DESTRUCTION OF EUROPE. We welcome the many film makers who have travelled to Cork from the US, Canada, the USSR, Germany, France, the Netherlands, Scotland, England.Wales and from throughout Ireland. 7o Belfast film maker John T Davis, the first Irish subject of our ‘Focus' section we offer a special welcome back.

MICHEL HANNIGAN 5

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BOOKING INFORMATION MEMBERSHIP

Festival-goers are obliged to become members of the 34th Cork Film Festival Association in order to purchase tickets for admission to screenings. The membership fee is £1. Membership is open to those over 18 years of age. Membership is non-transferable and card must be produced when buying tickets for screenings. Members may also be asked to produce card, together with ticket, when entering the cinemas. Members may purchase admission for one guest for each screening. Members are advised that seats must be occupied ten minutes before a programme begins, otherwise we cannot guarantee that seats will be held.

TICKET PRICES Season Tickets: £35 and £30 (concession), valid for all screenings at Opera House and Triskel. Membership is included in the cost of a Season Ticket.

TRISKEL FILM CLUB

Dark

FESTIVAL FILMS 'ALL YEAR ROUND

Eyes

4-. Salaam

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Bombay!

Individual Screenings: Opera House: £3.50 and £3 (concession) Triskel Arts Centre: £2 and £1.50 (concession)

* Special Season Ticket for Couples - £60 pair ‘ Special Opera House Only - Individual screenings 2pm and 4pm Monday 2nd October - Friday 6th October £2 only * Weekend Tickets - Valid Friday 6th through Sunday 8th for all Films - £20

ADVANCE BOOKING Tickets for all screenings in the Opera House may be booked in advance. Box Office hours for advanced booking: 10.30am to 7.30pm. Telephone bookings with credit card: Tell. (021) 270022

Tickets for all screenings in Triskel Arts Centre will be available at the door with the exception of season ticket holders who may book in advance. i

CONCESSION RATES are available to those with appropriate ID - unemployment card, pension book, student card. Apply to Information Desks in Opera House or Triskel for details.

Shorts Programmes in Triskel are free to Festival Membership Card holders. SMOKING IS NOT ALLOWED IN THE CINEMAS

All inquiries to Information Desks in Opera House foyer or to Triskel Arts Centre. Telephone inquiries to (021) 272022.

I Distant

Voices,

THURSDAYS, FRIDAYS, SATURDAYS AND SUNDAYS 8pm

On the Black Hill

ADMISSION £2.50 £2.00 (cone) Club membership £1 per annum

Au Revoir Les Enfants

TRISKEL ARTS CENTRE Tobin Street,off South Mam St.

CRAWFORD GALLERY CAFE!

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Lunches served 12-2.30 p.m.

Available at CORK:

106 Oliver Plunkett St. (opp. G.P.O.)

DUBLIN:

For Coffee, Tea and Homemade Cakes.

Royal Hibernian Way and 30 Mary St.

Bollymoloe

Pre-Theatre Dinner from 6.30 p.m. on Wed., Thurs., Fri with live classical music. We are situated next to the Opera House.

(next to Marks & Spencer)

TELEPHONE 274415 for reservations

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Lee Press Ltd (C16 na Laoi Teo.)

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CORK OPERA HOUSE

OFFICIAL OPENING

SUNDAY 1ST OCTOBER, 1989 8.30 p.m.

JESUS OF MONTREAL 1989

J6sus de Montreal Denys Arcand Canada Colour 118 minutes

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. a Producer

Leading Players Johanne-Marie Script Photography Editing Music Production Company

Print Source

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Roger Frappier, Pierre Gendron Lothaire Bluteau, Catherine Wilkening, Tremblay, Remy Girard Denys Arcand Guy Dufaux Isabelle Dedieu Yves Lafferriere Max Films Productions inc., Telefilm Canada

Taken with the idea of staging The Passion According to St. Mark, the most famous story in the world, and playing the part of Jesus, Daniel sets off in search of actors who are willing to drop everything and follow him. He finds Constance, Martin, Mireille and Rene and has no trouble taking them away from a hostile working environment. While researching his subject, Daniel makes startling discoveries on the life of Christ, discoveries that hold a powerful fascination for him. The show takes place on a hot and muggy summer night. Grandiose, provocative and disturbing, it proves upsetting to its audience, questioning their deepest beliefs and naive faith. Who,then,was Jesus? Every night, an increasingly unorthodox audience makes its way to the entrance to the sanctuary on the hill. Mingling with the faithful are artists, esoteric disciples, young people in search of a powerful experience and hard-nosed reporters convinced that they have discovered the “show" of the summer. Some perceive Daniel as the prophet of a New Age or of the Apocalypse, some as a rising star on the Montreal entertainment horizon, while others see him as a lucid young man waging a desperate struggle against the system. " We ask ourselves, and we will continue to ask for a long time, the same old questions: who are we, where do we come from, where are we going...Therefore, we are trying, as does Jesus/Daniel, to find a kind of code of ethics, a moral doctrine, in the midst of endless contradictions..." Denys Arcand

JESUS OF MONTREAL will be preceded by the screening of THAT’S ALL RIGHT, Director Billy McCannon (4m) and SUNDAY, Director John Lawlor (10m) 9

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CORK OPERA HOUSE

OFFICIAL CLOSING

SUNDAY 8th OCTOBER, 1989 8.30 p.m.

EAT A BOWL OF TEA 1989

Executive Producer Producer Leading Players

Script Photography Editing Music Production Company Print Source

Lindsay Law, John K. Chan Tom Sternberg Victor Wong, Lee Sau Kee Yuen Yat Fai, Lau Siu Ming Judith Rascoe, based on the novel by Louis Chu Amir Mokri Richard Candib Mark Adler American Playhouse Artificial Eye Ltd

Wayne Wang USA 102 minutes

Colour

From the 1880's until after the Second World War, The United States operated an immigration policy designed to exclude Asian immigrants and reduce the extant Asian-American population. No Chinese immigrant could become an American citizen, and from 1924 no Chinese woman could enter the country even if her husband or father was a US citizen. Thus, the male-female ratio in the Chinese-American community nationwide was about 25:1. This created what was in effect a bachelor society, wherein most of the Chinese men had no idea what it was like to be married.

Described as ‘a comedy about sex, marriage and grandchildren’.'Eat A Bowl Of Tea' deals with what happened when these laws were repealed after the War. Ben Loy (Russell Wong) brings a bride. Mei Oi( Cora Miao) back from China. The couple anticipate a life of wedded bliss together but nothing in their experience has prepared them for what lies ahead: everyone’s watching and waiting for children, while Ben Loy tries to hold down a big job and please his wife and his father at the same time. It all proves too much for Ben Loy, and he becomes impotent. The marriage begins to fall apart. Mei Oi takes a secret lover and becomes pregnant. Everybody celebrates until the rumour gets out that Ben Loy was not the father. . . after much scandal, fighting and separations, however,the couple are reunited and leave New York to begin a new life in San Francisco.

EAT A BOWL OF TEA will be preceded by the presentation of Awards and the screening of the Award-Winning Film from the EUROPEAN SHORT FILM COMPETITION

Opera House Saturday, Oct 7th 14.00

Opera House Sunday Oct 8th 13.c

ARIEL

CAMP THIAROYE

Aki Kaurismaki

Ousmane Sembfcne, Thierno Faty Sow

Finland/1989/ 35mm/ 73 minutes/ Colour/ Subtitles

Senegal/1988/ 35mm/152 minutes/ Colour/ Subtitlos

Producer Leading Players

Producer Leading Players Script

Script Photography Editing Production Company Pont Source

Aki Kaurismaki Turoja Pajala, Susanna Haavisto, Man Pellonpaa Aki Kaurismaki Timo Salminen Raija Talvio Villealfa Filmproductions Oy The Finnish Film Foundation

Photography Editing Music Production Company

Print Source

When the mine where his father has worked all his life closes down, Taisto (Turoja Pajala) drives south through a winter landscape to Helsinki, looking for work and a future. But life in the capital is uncertain with the constant threat of violence and the insecurity of employment on the docks. When he parks his car in a restricted area one day, Taisto meets Irmeli (Susanna Haavisto) for whom life as a traffic warden is only one form of employment in an unending struggle to make ends meet as a single parent. Taisto and Irmeli take an instant liking to each other and he gets on well with her ten year old son: but life is even less of a joke if you are trying to establish a family, and a single, justifiable mistake puts Taisto on the wrong side of the law.

In prison he finds himself sharing a cell with Mikonnen (Matti Pellonpaa), an old lag whose gruff, uncommunicative exterior conceals a vast capacity for friendship and trust. It is the beginning of an unpredictable series of events as Taisto takes to a semi-incompetent life of crime from which he seeks a possible avenue of escape for himself and Irmeli. “A darkly humorous, unclassifiable film... that begins like a Wenders road movie and develops into a terse, laconic thriller with an unexpected but satisfying ending." Cambridge Film Festival Catalogue

Mamadou Mbenge Ibrahima Sane, Sigiri Bakara Ousmane Semb^ne, Thierno Faty Sow Ismail Lakhdar Hamina Kahena Attia- Riveill Ismaila Lo SNPC (Dakar), ENAPROC (Algiers). SATPEC (Tunis) Metro Pictures

Camp Thiaroye was a transit camp in West Africa where ’trailleirs', or colonial African troops who had fought for France in the War were sent before repatriation to their native villages. In the camp, the food is foul and the conditions worse. The racist and perfunctory treatment of the trailleurs by the white officers, and the appalling conditions of the camp (little better than the concentration camps that some of the trailleurs had just left), rankles with the inmates of the camp, whose five years in the European Theatre have heightened their political awareness. The last straw is the attempt by the French military to cheat the trailleurs out of their back-pay. In desperation, they kidnap the General and hold him hostage. The French appear to capitulate, but tragedy strikes...

Ope:

^>day Oct 5th 20.30

Triskel, Wednesday Oct 4th 16.00 •>

CEl

CHARLOTTE’S DIARY

Ann Turner

Puck Goosen

Australia/ 1988/ 35mm/ 103 minutes/ Colour

Netherlands/1988/ 16mm/ 40 Minutes/ Colour

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Executive Producer Leading Players

Producer Script Photography Editing Music Production Company Print Source

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Bryce Menzies Rebecca Smart. Nicholas Eadie, Maryanne Fahey, Victoria Longley Timothy White Ann Turner Geoffrey Simpson Ken Sallows Chris Neal Seon Films Kim Lewis Marketing

It’s the start of the summer holidays and Celia Carmichael turns nine years old. Her world is made up of best friends and arch-enemies, story-book monsters and oaths of everlasting loyalty. Her closest friends are her Granny and her pet rabbit, Murgatroyd. Then, one day, Granny dies. In the deep of the night the monstrous Hobyahs, frightening demons, start climbing in the window. In the day, Celia’s father pays the next-door neighbour Alice an unusual amount of attention. Life is beginning to change. Celia's familiar world of backyards, blood-brothers and blissful innocence is about to end. Set in Melbourne, Australia, in the 1950's, the mood echoes with personal observation, and director Anne Turner works with subtle, understated eloquence to reveal Celia’s heart and a world seen through the frighteningly clear windows of a child's eyes. When Celia’s next-door neighbours are hounded out of town for their political beliefs and her beloved rabbit is taken by the Government in a State-wide muster, her world is threatened and Celia learns that she must either give in or fight back. She fights. In a chilling climax, she draws on the strength of her fantasies to strike out against the forces of bigotry and repression which threaten all that she holds dear. Her innocence surrendered, Celia is corrupted into adulthood.

"By any measure Celia is a remarkable film. It is also a striking debut for Ann Turner..."

SCREEN INTERNATIONAL

Producer Scrip Photography Editing Print Source

Roy Dames tPuck Goosen Stef Tijdink, Jules van de Steenhoven Teun Pfeil MusicChopin Roy Dames Film-en Videoproducties

Charlotte is a 53-year old metalworker. In 1985 she began the hormone treatments and psychological counselling that are the preludes to the operation that would complete her transformation into a woman. Three years later that operation took place.

The film follows Charlotte as she goes about her business both before and after the operation. The camera captures her daily life as she struggles to cope with her new identity. One striking image, that of Charlotte ( who is still working in heavy industry ) removing her gloves and protective overalls and changing into women's clothing, exposes the extent to which we have been conditioned to regard certain occupations as being the preserve of one sex or other.

Her diaries, which provide the basis for this rivetting documentary, reveal the anguish and self-doubt faced by someone who ’stands between men and women’, feeling comfortable with both but belonging to neither.

Triskel, Thursday Oct 5th 16.00

Triskel, Tuesday Oct 3rd 16.00

CHINA DIARY

COMRADES AND FRIENDS

Jinhua Yang

Nick Godwin, Suri Krishnamma

China/USA/1989/ 16mm/ 51 minutes/Colour

Britain/ 1989/ 16mm/ 54 minutes/ Colour

A, >

Producer Script Photography Editing Music Print Source

Jinhua Yang Jmhua Yang Zhang Xuku Jinhua Yang Li Feng. Tony Cummings Jinhua Yang

A film that would be fascinating even without the topicality that recent events have thrust upon it, ‘China Diary’ is a journal of the return to China of Jinhua Yang, after five years of studying in the US. Her astonishment at the changes that have been wrought in her absence echoes throughout the film. She reels from an individually-owned beauty parlour to a radiator factory and a rural hotel now owned by The peasants". She encounters the richest peasant entrepreneur of a small town living in a house with catalogue-ordered Louis XIV furniture, all with its plastic slipcovers intact. Even more suspect in Yang’s eyes is a swimsuitjudged beauty contest - once unthinkable - into which she is press-ganged as a judge due to her status as visiting celebrity, “is this real beauty ?” she worries. No, but it’s real capitalism. “If you want to . . .understand some of the ferment behind the tragedy we’ve all been watching on television, try “China Diary". It"s riveting."

Executive Producer Producer Photography Editing Print Source

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National Film and Television School Nick Godwin Nick Godwin Ewa J. Lind N.F.T.S.Beaconsfield Studios

In early 1988 Tony Benn announced that he was challenging Neil Kinnock for the leadership of the British Labour Party, with Eric Heffer standing as his deputy. The party leadership was, furious, claiming that once again, Benn was damaging Labour’s hopes for recovery. Benn had almost no chance of winning but he argued that the campaign would regenerate the socialist debate and challenge the rightwards drift of the party, which had now been in opposition for nine years.

‘Comrades and Friends’ follows Benn’s campaign and explores his radical arguments for democratic socialism. With almost unlimited access, the filmmakers were able to observe a side of political life usually ignored by journalists and commentators. The film also becomes a portrait of one of the great veterans of the British Labour movement, a man variously seen as the paradigmatic “loony leftie", and one of the most gifted politicians and orators of our time.

Opera

/iday Oct 6th 18.00

Triskel, Saturday Oct 7th 16.00

CONQUEST OF THE SOUTH POLE

DEREK JARMAN - YOU KNOW WHAT I MEAN

Gillies MacKinnon

Laurens C. Postma

Scotland/ 1989/ 16mm/ 90 minutes/ Colour

1988/ Britain/ 16mm/ 52 minutes/ Colour

a Executive Producer Producer Leading Players

Script

Photography Editing Music Production Company Print Source

John Kelleher Gareth Wardell Steven Rimkus, Laura Girling, Leonard O’Malley, Gordon Cameron Gareth Wardell, based on a play by Manfred Karge Sean Van Hales Steven Singleton Guy Wolfenden Jam Jar Films Liberty Films

This fast-paced and energetic film concerns five young men in their early 20’s facing the soul destroying tedium of permanent unemployment who, finding their existence aimless and boring, decide to re-create Roald Amundsen's heroic expedition to the South Pole. Their route out of the misery and boredom of their lives will be through the gate of the imagination. Through a series of humorous and comical escapades, they gradually acquire all the paraphernalia, including ski equipment, huskies and penguins, needed for their epic journey. The only problem is that their adventure is confined to their home town, Leith, the Port of Edinburgh. The group act out their roles as Norwegian explorers among the docks, ships, warehouses, cranes and ice-stores of their own backyard.

Producer Script Photography Editing Music Print Source

Philip Bartlett Laurens C. Postma Nick Beek- Saunders, Diviio Ringressi Hussein Younis Andre Shapps. Simon Turner YO-YO Films

This film celebrates the life and work of one of Britains most gifted and controversial film-makers. From his first film, ‘Sebastiane’, with its acres of naked flesh and a script in Latin, Jarman has been outstandingly successful in raising the hackles of the Whitehouse Brigade. His films, ‘Jubilee’ and ‘The Last Of England' caused endless patriotic outrage in England when they appeared, and his recent ‘Caravaggio’ elicited a strongly homophobic reaction, as does most of what he makes, writes, and says. Combining the body of Jarman's work with originallyshot material, Laurens C. Postma has created a startling poetic image of an extraordinary filmmaker’s life. ‘Directed with brilliant agitation'

The Guardian

Gradually, what started out as a bit of fun begins to take on real meaning for them until, after a series of confrontations, they walk the 175 kilometres to their Pole.

Based on Manfred Karge's stage play, the film opens out into a determinedly cinematic, humorous and unsentimental view of wasted lives and the resilient human spirit.

15. I Vi

Triskel, Wednesday Oct 4th 16.00

Triskel, Sunday Oct 1st 13.30

EAT THE KIMONO

AN EMPTY BED

20th Century Vixen

Mark Gasper

England/1989/16mm/ 60 minutes/ Colour

USA/1988/ 16mm/ 56 minutes/ Colour

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Producer Featuring Script, Photography & Editing Music Print Source

20th Century Vixen Hanayagi Genshu 20th Century Vixen, Traditional Japanese Music, HanayagiGenshu 20lh Century Vixen

Hanayagi Genshu is no ordinary dancer. She has shocked the traditional elements of Japanese society with her avant-garde performances and her radical politics. When, in 1980. she stabbed the leader of Japan's most renowned dance school as a protest against the corrupt hierarchies which operate in Japan’s cultural world, she achieved instant notoriety and served eight months in prison.

‘Eat the Kimono’ shows the strength of a woman prepared to flout all the conventions of her culture. In denouncing Emperor Hirohito while he was still alive, she made herself the target of right-wing death threats, but this has not deterred her from her campaign against the legacies of the Imperial System. From the makers of the controversial 'Fireraiser’ which was shown at last year’s festival.

Executive Producer Producer Leading Players

Script Photography Editing Music Print Source Awards

Edward B. Via Mark Gasper, Victoria Larimore John Wylie, Mark Clifford Smith,Thomas Hill Mark Gasper Oren Rudavsky Gloria Whittemore Glen Roven The Yankee-Oriole Company Houston Film Festival: Bronze Plaque Atlanta Film and Video Festival: Honourable Mention

A day in the life of Bill Frayne, a gay man in his sixties, living alone in Greenwich Village. During the course of this typical day, Bill encounters objects, people and places which stir and revive ghosts from the past. Unfolding non-sequentially, the film mirrors Bill Frayne's memory processes by connecting random thoughts and events into a full picture of his life. The dialogue is sparse and pointed, allowing the story to be told through an expressive collage of images.A sensual and evocative work, “An Empty Bed" deals honestly with aging and being gay in contemporary society. In a world where youth is put on a pedestal, ‘An Empty Bed’ is unique because of its full, well-rounded portrayal of people retired from the workplace and left to fend forthemselves. Rarely for films dealing with gay life, ‘An Empty Bed’ does not focus on promiscuity, cruising, pederasts or AIDS. By treating Bill Frayne as a human being who happens, as an aspect of his personality, to be gay, the film exposes the unconscious reaction to gay people (even by people who support gay rights) as somehow ‘other’. What comes across most strongly from the film is how normal Bill is. His position, his life, could be that of anyone in contemporary society.

Open.

■ . ?.y

Oct 16.00

FRAGMENTS OF ISABELLA

Opera House, Saturday Oct 7th 23.30

HEATHERS

Ronan O’Leary

Michael Lehman

Ireland/1989/ 35mm/ 77 minutes/ Colour

USA/ 1989/ 35mm/102 minutes/ Colour

PW v

4 Executive Producer Producer Leading Players Script

Photography Editing Music Print Source

Noel McKeown Ronan O'Leary, Michael Scott Gabrielle Reidy Ronan O'Leary,Gabrielle Reidy, Michael Scott From the book by Isabella Leitner Walter Lassally Gerald Hambling Carl Davis Vattington Ltd

Isabella Leitner, a young Hungarian girl (played with extraordinary quality and sensitivity by young Irish actress Gabrielle Reidy ), was the first survivor of the Holocaust to reach the safety of the United States in 1945. She had witnessed the death of her mother and youngest sister at the hands of the Nazis, the break-up of her family, and the persecution of the Jewish race in Europe.

Her horrific experiences in Auschwitz during the last year of the war shaped her life forever.

Thirty years later, in 'Fragments of Isabella’, she introduced the rest of the world to her personal loss, with all the poetry and feeling of a great writer. Her story, nominated for a Pulitzer Prize, is a testament to the will of the human spirit to survive and endure. In a performance which calls to mind irresistibly that of Falconetti in Dreyer's 'The Passion of Joan of Arc', Gabrielle Reidy searingly captures the agony, indomitable strength of will, which was Isabella Leitner's personal experience of the Holocaust.

OFF is proud to present the World Premiere of this Irish

film.

Executive Producer Leading Players

Script Photography Editing Music Print Source

Christopher Webster Winona Ryder, Christian Slater,Shannen Doherty, Lisanne Falk Daniel Waters Francis Kenney Norman Hollyn David Newman New World Pictures

School is an arena fraught with vengeful competition, a peer-pressure cooker wherein getting ahead is more important than geting along. Looks, money, a great wardrobe, and an insatiable hunger for power, are what it takes to climb to the top. At the apex of this seething morass of greed and envy are the 'Heathers’, an elite quartet, three of whom are called Heather. The fourth member, Veronica, is extremely popular and much envied. But she is also profoundly unhappy about her situation. Founder and queen bitch of the group is Heather No.1, who has a devastating comeback for every occasion.

This super-smart black comedy about high school politics and teenage angst leaps into life when Veronica decides, in the best interests of all concerned, to murder Heather No. 1 and make it look like suicide. "Daniel Waters' enormously clever screenplay blazes a trail of originality through the dead wood of the teen comedy genre...brilliantly insolent and irreverent insights into school-age caste systems, power structures and social rituals..." VARIETY "The best surprise from America was 'Heathers’... a teen movie to end all teen movies...one-third black comedy, onethird ironic parody and one-third thriller, [Heathers]. . bites at the conventions of its genre until real blood flows along with the tears of laughter." Derek Malcolm THE GUARDIAN

“No amount of production sheen or acting skills seems excuse enough for the film’s scabrous morality or its unprincipled viciousness." LOS ANGELES TIMES

Opera House, Tuesday Oct 3rd 18.00

Triskel, Tuesday Oct 3rd 13.30

HIGH HOPES

IN FADING LIGHT

Mike Leigh

Amber Films

England/1988/ 35mm/112 minutes/ Colour

England/ 1989/ 35mm/104 minutes/ Colour

Executive Producer Producer

Produced and executed by Leading Players

Leading Players

Script Photography Editing Music Production Company Print Source

Tom Donald Simon Channing-Williams, Victor Glynn Philip Davis. Ruth Sheen Edna Dore, Philip Jackson Mike Leigh Roger Pratt Jon Gregory Andrew Dixon Portman Productions lor Film Four International Palace Pictures.

Dispatch rider Cyril Bender (Philip Davis)lives in a tiny London flat with park gardener Shirley (Ruth Sheen) and her splendid collection of cacti (including one nicknamed 'Mrs. Thatcher’ because it pricks one in the backside as one goes out the door). Normally loving and good-humoured, the couple is going through something of a mid-life crisis: should they have a child? Shirley wants to, but Cyril reckons that until his minimum demands of a world where everyone has enough to eat, a job and a decent place to live, are met, then he can't regard the world as a fit place to bring up children. Added to this are Cyril’s mixed feelings about his responsibility to his aged mother. When Cyril's neurotic sister, Valerie, and her womanising husband throw a surprise 70th-birthday party for Mrs. Bender.it ends in dismal, squabbling failure but things appear to turn out for the best as, with Mrs. Bender asleep in their bed, Cyril and Shirley make love in the spare room - and this time, for once, not for recreational purposes...

“The [New York Film] festival’s only memorable discovery" New York Times

Script Music Print Source

Amber Films Joe Caffrey. Maureen Harold Dave Hill, Brian Hogg Tom Hadaway Alasdair Robertson, Ray Stubbs The Waterboys Amber Films

Eighteen year old Karen Olsen comes to North Shields looking for her father, Alfie, a Grimsby fishing boat skipper who Idft his wife and daughter six years previously. She finds him in somewhat straitened circumstances, with the owner of the boat threatening to sell him out and the generally moribund state of the fishing industry a constant source of worry to him. Karen’s arrival and subsequent joining of father and crew on a fishing trip engenders hostility and suspicion both on board and on shore. She is faced with accusations of sexual misconduct and ancient maritime superstitions about women on ships. Eventually she comes to realise that her father doesn’t match up to her expectations, that she is alone and has to take control of her own destiny.

'In Fading Light’ tells a tale of epic proportions: high seas, the struggle for survival, and emotional conflict - told with an almost documentary realism that rejects melodrama in favour of acute observation and quirky humour. Amber's experience in the integration of actors with ’real life’, combined with 20 years of documenting working lives in the North-East of England, lends this film a unique authenticity. These qualities, in tandem with stunning visuals and the closely-observed tragic/comic dialogue, come together in a film that not only tells a deeply moving story but gives us a profound experience of another way of life.

Triskc

•H 15.00

IRISH WAYS Arthur MacCalg France/ 1989/ 16mm/ 53 minutes/ Colour

Opera House, Thursday Oct 5th 18.00

THE LEGEND OF THE HOLY DRINKER Ermanno Olmi Italy/ 1988/ 35mm/125 minutes/ Colour

Producer Photography Editing Sound Production

Arthur Mac Caig Jean-Marc Pillas Dominique Greussay Frederic Gremeaux CompanyTeleconcept/F. Productions

Producer Leading Players

Continental media present the conflict in the North very differently to the style in which Irish and British television, operating under severe legal constraints, can function. Including interviews with members and former members of the IRA, and footage of an IRA unit on patrol in a housing estate, this documentary will have an edge of unfamiliarity for Southern audiences. The producers describe the film as 'a voyage into a European War' -- a perspective which has led to charges of glamourisation and romanticisation.

'Irish Ways' shows the armed conflict as so many hundreds of millions have seen it on the continent, and indeed around the world. Audiences have the opportunity to interrogate this version, and to match it against our own, received domestic images.

" ’Irish Ways' is a voyage into a European war: the conflict in the North of Ireland which has opposed Irish nationalists and the British army for the past twenty years nbw. It is a war seen from the interior, through the eyes and the emotions of various protagonists, men and women, directly implicated in the Irish troubles. Here for the first time, members of the I.R.A., past and present, and unmasked, talk of their experiences." From the Production Notes.

Script Photography Editing Music Print Source Awards

Roberto Cicutto, Vincenzo de Leo Rutger Hauer, Anthony Quayle Sandrine Dumas. Dominique Pinon Ermanno Olmi, Tullio Kezich from the novel by Joseph Roth Dante Spinotti Ermanno Olmi Stravinsky Artificial Eye Golden Lion, Venice 1988 Silver Ribbons 1989 - Best Italian Film. Best Screenplay Italian ‘Oscars' 1989 ■ Best Film, Best Director

Based on a novel by the Austro-Jewish writer, Joseph Roth, ‘Legend of the Holy Drinker' is set in Paris in an indeterminate era, neither 1930’s nor the present (photographed with a superb, dream-like aura by Dante Spinotti). Rutger Hauer plays Andreas, an ex-miner who has served a prison term for murder and now lives down and out on the city streets. A mysterious stranger (Anthony Quayle) gives him 200 Francs on condition that he repay it the following Sunday at a church containing the statue of St Therese of Lisieux. A series of chance encounters with old acquaintances threaten to prevent Andreas from fulfilling his promise, but each time the money is spent, he wakes up after sleeping rough by the Seine to find that the banknotes have miraculously returned to his wallet. People he knew in his former days reappear, mysteriously transformed: the woman whose husband he killed is now wealthy and sophisticated; a fellow miner is now a world famous boxer and he treats Andreas to a stay in an expensive hotel where he meets a beautiful dancer from a bizarre theatrical troupe. These interludes, through which Andreas strays bemusedly, are alternated with scenes in his usual drinking place, a decrepit and crumbling bar. 'Convincing, moving and beautiful' Sight and Sound

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Opera House, Friday Oct 6th 23.30

Opera House, Thursday Oct 5th

LENNY LIVE AND UNLEASHED

LET’S GET LOST

Bruce Weber USA/1989/ 35mm/119 minutes/ Black and White

Andy Harries England/1989/ 35mm/ 94 minutes/ Colour

Producer Leading Players Script Photography Editing Music Production Company Print Source

Martin Auty, Andy Harries Lenny Henry, Robbie Coltrane, Jeff Beck Kim Fuller, Lenny Henry Peter Sinclair Gerry Hambling Steve Nieve Palace Pictures/, Sleeping Partners Palace Pictures

The British comic Lenny Henry is best-known to Irish audiences from his television appearances, but television is a notoriously sanitised medium. This film provides a rare opportunity to catch the kind of material that would be banned from BBC 1, although the vulgarity is never gratuitous or in bad taste. Mind you, Richard Pryor, a Henry hero brilliantly caricatured here, might not be too taken with Lenny's “That time I set fire to myself I got enough material for six shows", while macho Eddie Murphy, caught in an hilarious spoof, would certainly not be amused at Henry's deadly-accurate guying of his foul-mouthed, crotch grabbing mannerisms.

When Henry finally takes the stage as himself, clad in baggy trousers and large yellow jacket, he has exorcised the presence of the people with whom he is most likely to be compared, and from then on the show is entirely his inimitable own.

1 I

The movie features all of his best-known creations: Theophilus P. Wildebeeste, soul singer extraordinaire, Dental Virtue the evangelist preacher, and Low Down Finger-Lickin’ Hound Dog Smith (in a blues duet with Jeff Beck), among others. He combines sketches with an extended monologue containing - among other things - a wild Prince impersonation, and a remarkable impression of Steve Martin. What comes over best of all is the endless, reckless prodigality of talent and invention that have made Lenny Henry the best-loved British comic of our time.

Executive Producer Producer Leading Players Photography Editing Music Production Company Print Source

Nan Bush Bruce Weber Chet Baker, Carol Baker, Vera Baker Jeff Preiss Angelo Corrao Chet Baker Little Bear Films Zeitgeist Films

A portrait of the great jazz trumpeter Chet Baker, 'Let's Get Lost' visually shimmers with dark chiaroscuro shadows, the filmic equivalents of his music. Baker died at the age of 57 in May 1988 and director Bruce Weber (better known as a fashion photographer) does not shirk from showing us the often squalid circumstances - high living, drugs, association with gangsters (who, among other things, knocked his front teeth in) - that made his tragically early demise inevitable. Weber films his subject and edits his shots like the blues. He cuts in archival footage, where Baker appears in the triumphant bloom of his youth, adored by his fans. He then cuts to images from a recent interview where the man appears terribly aged, wrinkled, worn out.

"Weber is able to bring to life a man who looks as if he's been dead for many years.. . the highs and lows of Baker’s career are charted, leaving numerous images etched on the memory long after the plaintive soundtrack of the interviews with friends and lovers have been forgotten" Dylan Jones The Face

Triskel,

■nd i3.30

LIGHTING OVER BRADDOCK: A RUSTBOWL FANTASY

Opera House , Friday Oct 6th 16.00

MALPRACTICE Bill Bennett Australia/ 1989/ 16mm/ 90 minutes/ Colour

Tony Buba USA/1988 /16mm/80 mlnutos/Colour

Producer Leading Players

Script Photography Editing Music Sound Production Company Print Source

Tony Buba Sal Caru, Sieve Pellegrin .J.Roy, Nr ilk Voslakov, Ernie Spisak, Tony Buba Tony Buba Brady Lewis Tony Buba Steven Pellegrino Susan Howard, John Blick Tony Buba Productions Zeitgeist Films

Executive Producers

Producer Leading Players

Script Photography Music Production Company Print Source

Tnstram Mi all, Aviva Ziegler, Bruce Moir Tristram Maili Ca2 Lederman, Bob Baines, Ian Gilmour, Pat Thomson Jenny Amge Steve Arnold Michael Atkinson Film Australia Film Australia Pty Ltd

Called "the Faulkner of Allegheny County, the Flaherty of the frozen blast furnaces", Tony Buba has spent fifteen years documenting through film various aspects of his home town, Braddock, Pennsylvania; once a thriving steelmill town, now moribund with the recession in the world steel industry. 'Lightning Over Braddock’ marks Buba's feature debut and his first departure from documentary form.

It’s Saturday morning in a city maternity hospital and a young registrar, Frank Harrison, is the only doctor on duty with full obstetrics training . Coral Davis goes into labour with her third child. The baby is slow in coming and the fcetal heart monitor shows signs of distress. When Harrison is called away to an emergency, Margaret Beatty, the experienced midwife, knows exactly what ought to happen; but when Harrison returns, he has other ideas...

Buba himself is the central character in this ambitious leap into surrealism, mixing fact with fantasy (and incorporating sequences from his own earlier films into the scripted narrative). A very funny, foul-mouthed street hustler named Sal (from Buba's earlier film, Sweet Sal) competes with striking steelworkers and the filmmaker himself for star billing, against the backdrop of a decaying steeltown , accompanied by such musical treats as "Braddock City of Dreams" and "Death of the Iron Age Cafe".

'Malpractice' is an emotional portrayal of a family’s efforts to come to terms with the result of medical malpractice; and a mother’s need to find out the truth.

"When Tony Buba gets to the Pearly Gates, if St. Peter isn’t there to pass judgement, Saccho and Vanzetti will let him in for sure." KAY ARMATAGE

With an impending medical tribunal hearing, Frank Harrison realises that he too must face the truth and the judgment of the law.

Most of the characters in this dramatised documentary are portrayed by actors, but some of the hospital staff play themselves, and the members of the legal profession in the film are all portrayed by practicing solicitors and barristers. The findings of the tribunal are not scripted , but are determined by the presentation of the case.

Opera House, Tuesday Oct 3rd 16.00

MANIKA-MANIKA

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THE GIRL WHO LIVED TWICE France/1989/ 35mm/ Colour

1g caOairhc c) 1779 28/29 souch imp surccc. coi?h. ceL (021)277949

Producer Leading PLayers

Script Photography Music Print Source

Raoul Katz Julian Sands, StGphane Audran Ayesha Dharker, Jean-Philippe Ecolley Francois Villiers, Brian Phelan Alam Levant Naresh Sohal Labrador Films S.A.

In a small coastal village, on the edge of the Indian Ocean, ten-year old Manika announces that she has had a previous existence, that her husband was a rich Brahmin, and that she died giving birth. Her teacher, Father Daniel, is an Irish Jesuit priest who has only recently been appointed to his post and whose new ideas have already earned him the disapproval of his superiors. He tries to reconcile Manika to a more immediate reality.

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The child, seeking her own form of truth runs away and makes the dangerous journey to Nepal in the hope of finding the husband from her former life. Father Daniel is sent to find her, but their mutual curiosity persuades him to help her reach her destination.

In Nepal, she recognises a number of places from her former existence, and confides in Father Daniel her husband’s name. This, combined with her very adult reasoning, disconcerts Father Daniel, who cannot reconcile the compelling evidence for reincarntion that Manika represents with his own religious faith. When they finally meet the husband, who belives that reincarnation is not only possible but entirely natural. Father Daniel experiences a terrible crisis of faith. He retreats to a hermitage in the Himalayan foothills, run by Sister Ananda, where he tries to resolve his internal conflicts.

Will he be able to return to his mission and take up his duties? Will Manika stay with the man she believes is her husband? Will she ever return to the fishing village where her parents anxiously await her? Which path will they choose? j.,

Lil 22

___

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Tel. 021 317660

RESTAURANT LUNCHES & EVENING MEALS + Teas, Coffee & Snacks • Wine Licence

BOOKSHOP New & Secondhand Books, Magazines, etc.

NATURAL FOOD STORE Whole Foods, Fresh Fruit & Organic Vegetables. Local Dairy Produce, etc.

RESTAURANT: 10 - 9 Monday - Saturday SHOP: 10 -6 Monday - Saturday, Late opening to 8 p.m. Thursday & Friday. UNWAGED DISCOUNT — A WORKERS' CO OP

Ope: ■

■ 32, Monday Oct 2nd 16.00

MELANCHOLIA Andi Engel England/Wost Germany/ 1989/35mm/ 87 minutes/ Colour

Triskel, Friday Oct 6th 16.00

MY NAME IS BERTOLT BRECHT - EXILE IN USA Norbert Bunge, Christine Flscher-Devoy West Germany/1989/ 16mm/ 95 minutes/ Colour

Producer Leading Players Script Photography Editing Music Production Company

Colin McCabe Jeroen Krabbe, Susannah York Ulrich Wildgruber, Jane Curnelt Andi Engel Denis Crossan Christopher Roth Simon Fisher Turner British Film Institute, in association with Lichtblick Filmproduktion GmbH

In this gripping thriller, David Keller, a German veteran of the civil unrest of 1968, is now in his forties, living in London, working as an art critic and drinking more than he should. He is utterly dissatisfied with his life, his work, and the world in general. After the events of '68 were followed by the violence of the '70’s and the resurgence of the Right in the '80’s, he feels that the battle is lost and the only choice available is between orderly and disorderly retreat. Then, one Friday afternoon, he receives a call from Manfred, a friend from Keller's student-radical days. Manfred asks him for once in his life to live up to his political ideals of 20 years ago and to assassinate a Chilean military doctor, a known torturer, who is on his way to London for a conference. But that murder leads him onto a second and then a third killing. . .

'Melancholia' is a film about exile: physical, political and emotional. The London in which the central character lives is a foreigner's London: Hyde Park, Tower Bridge, Victoria Station. Disillusionment has exiled him from the ideals of his past, and the acts of violence exile him from civil society. "At the end of the film", says director Andi Engel,"the guy is really dead, though in strictly clinical terms, he is holed up in a farm in Tuscany."

"As a cry against today’s complacency, it’s more than just a thriller, though it works well on that level too. In all, a very promising debut."

Producer Photography Editing Music Production Company Print Source

Norbert Bunge Norbert Bunge Ron Orders. Arpad Bondy Hanns Eisler ,Song by Sylvia Anders Norbert Bunge Film production Ex Picturis Filmdistribution

This film deals with a relatively unknown chapter in the life of Bertolt Brecht: his years of exile in the USA between 1941 and 1947 as a refugee from the Nazis. Arriving in Los Angeles in 1941, he tried to find work in Hollywood as a script writer. He also wrote several poems and plays, some of which appeared in English, such as 'Galileo Galilei', which was written in collaboration with Charles Laughton. Despite this productivity,however, Brecht's years of American exile were a time of misfortune and resignation. The myth of ‘America’, which many German writers of his generation had cultivated, was destroyed by his experience of American reality. The final straw was provided by the hearings of the House Unamerican Activities Committee (HUAC), to which Brecht was summoned in 1947 together with the directors and screenwriters of the 'Hollywood Ten’. Brecht left America the following day.

'My Name is Bertolt Brecht. . .’ uses only first-hand source material: Brecht’s diary, his poems, as well as some interviews with close friends and colleagues from the period in question. The film also includes archive material of the 'Galileo' production with Charles Laughton and of the HUAC hearings. "Confirmed Brechtians will be enthralled..

Variety

David Stratton Variety

23 'Ti

Opera House, Wednesday Oct 4th 20.30

Triskel, Sunday Oct 8th 16.00

MYSTERY TRAIN

1996

Jim Jarmusch

Karl Francis

USA/1989/ 35mm/113 minutes/ Colour

England/ 1989/ 35mm/ Colour

Executive Producer Producer Leading Players

Script Photography Editing Music Production Company Print Source

Kunjiro Hirata, Hideaki Suda Jim Stark YoukiKudoh, Masatoshi Nagase Cinque Lee, Screamin' Jay Hawkins Nicoletta Braschi, Elizabeth Bracco, Joe Strommer, Rick Aviles, Steve Buscemi Jim Jarmusch Robby Muller Melody London John Lurie JVC, Mystery Train Inc. Palace Pictures

The three episodes of MYSTERY TRAIN - linked by their setting in the same seedy hotel where the great comedy duo of Screamin' Jay Hawkins and Cinque Lee is on duty in the lobby - playfully observe strangers in the lost paradise of Memphis, haunted by the ghost of Elvis. A chattering Japanese couple explore the mysteries of a place whose language they do not understand; an Italian widow is conned, sees the local ghost and meets a Jarmusch lady; a wandering Brit (Joe Strummer) holds up a liquor store. The film is more or less the final part of a trilogy formed with 'Stranger Than Paradise' and 'Down By Law'. "’Mystery Train' is in fact itself a trilogy which includes three separate but conected stories, like those Japanese films made up of several ghost stories, or the Italian ones consisting of several romantic comedies...Although the characters never really meet...the episodic form is really just a disguise, and the three stories just separate cars pulled by the same train,a modern, minimalist version of 'The Canterbury Tales.’" Jim Jarmusch " ’Mystery Train’ rides a network of tracks that intersect at a puzzle switch, and it changes routes, passing from one life to another. It's a little bit about the legend of the King, and a bit about the romances and ghost stories and slapstick farces that are occurring to people while you sleep.lt’s about night in the South, refracted through the meditative lens of Robby Muller and echoed through John Lurie's blues-tinged score.’’ Luc Sante

Script Leading Players

G.F. Newman Keith Barron, Alun Armstrong Gillian Eaton. Dudley Sutton

BritainJn the mid 1990’s has become an even more divided and violent nation, with crime, civil disorder and urban terrorism on the increase. Law and order can only be maintained by means of a permanently armed police force, organised into large regional units, and backed up by harsh legislation which gives them wide-ranging powers of arrest and detention.

Commander Jack Bentham, is one of the most respected senior detectives in the Metropolitan Province, and it is no surprise when he is brought in to head an internal investigation into the shooting of three radical nurses by the police during a violent demonstration.

Bentham is subsequently instructed to take on a second investigation into another series of shootings in the Welsh Province. Gradually he uncovers evidence of a complex web of corruption, sexual scandal and deceit which appears to involve the highest levels in the Establishment. As he doggedly pursues his line of enquiry, key witnesses are murdered and he finds his own life at risk. Strongly reminiscent of events surrounding the Stalker affair, this hard-hitting thriller examines with pace and flair the possible implications of the erosion of civil liberties and the increasing militarisation of the police force in contemporary British society.

Opera

•;l 2nd 18.00

PAIhii cl? FACES

THE PHILOSOPHER

Qi Xiao Fu Alex Law

Der Philosoph Rudolph Thome

Hong Kong/ 1988/ 35mm/118 minutes/ Colour/ Subtitles

West Germany/1988/ 35mm/ 84 minutes/ Colour

Producer Leading Players Script Photography Editing Production Company Print Source

Mabel Cheung, Alex Law Samo Hung, Cheng Pei-pei, Lam Ching-ying, Kam-bo Yeung-ting David Chung Kwong Chi Leung, Timothy Yu Golden Harvest/ Shaw Brothers Golden Communications Ltd

Jackie Chan, Sarno Hung and Yuen Biao are three of Hong Kong's most popular movie stars. Their now-legendary climb to stardom began when they were children, indentured to a Peking Opera Academy in the early '60s. ‘Painted Faces' is a lyrical retelling of the ten years that these three spent under the iron thumb of Master Yu, their fierce and dedicated situ at the Academy.

Relentlessly drilled in the traditional acrobatics, martial arts and songs of the Peking Opera, all the boys want is to listen to the Beatles, wear bell-bottoms and learn to dance with girls. In spite of their infatuation with Western culture, and their constant disobedience, the three are hammered into fabulous and disciplined artists by the merciless but devoted Master Yu.

Opera House, Wednesday Oct 4 18.00

'Painted Faces’ is photographed in stunning, sorribre tones and features a remarkable young cast, including some perfect look-alikes for the future superstars. Director Alex Law has created not only a fond look back at a crucial period of Hong Kong cinema history, but also an elegiac tribute to the dying art-form of the Peking Opera and the beloved Master Yu.

Producer Leading Players

Script Photography Editing Music Production Company Print Source

Rudolf Thome Johannes Herschmann, Adnana Altaras, Friederike Tiefenbacher Rudolf Thome Reinhold Vorschneider Done Volz-Mammarella Hanno Rinne Moana-Film, Berlin Mainline Pictures

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The naive and virginal young philosopher enters a clothes shop, only wanting to buy a new suit; but the three graces who work in the shop decide to take him up, body and soul. Claiming to be “time agents” who have been searching for him, they seduce him into a four-in-a-bed menage, caring for his every need, nursing him when he is sick,recapturing him when he flees, and finally reconciling him to this cosy arrangement.

On the surface, just another male wish-fulfillment fantasy, 'The Philosopher” has intentions that go somewhat beyond this: "I am playing and also I am extremely serious" says director Rudolf Thome. "I know that implies a contradiction. And yet it is the truth. In the film there are also contradictions difficult to solve. If reality is contradictory, we must change our ways of thinking. And if we change our ways of thinking, the meeting with the three goddesses is no longer something as absurd as it first seemed to our Cartesian mind." “[The Director] handles it all with a brisk sense of humour. The actors enter into the spirit of the fun, disrobing regularly for the numerous bed scenes." David Stratton Variety

Opera House, Saturday Oct 7th 16.00

Opera House , Wednesday Oct

PLAY ME SOMETHING

A PRIVATE LIFE

Timothy Neat

Francis Gerard

Scotland/1988/35mm/ 80 minutes/ Colour

South Afrlca/England/ 1989/ 35mm/ 95 minutes/ Colour

Executive Producer Producer Leading Players

Executive Producer

Script Photography Editing Music Production Company

Pnnt Source

16.00

Colin McCabe Kate Swan John Berger, Hamish Henderson Margaret Bennett, Tilda Swinton John Berger Chris Cox, Timothy Neat Jean Mohr Russell Fenton Jim Sutherland British Film Institute/ Channel Four/ Scottish Film Production Board British Film Institute

'Play Me Something’ is set in the waiting room of the world’s only tidal airport, in Barra in the Outer Hebrides. Planes land here, on the cockleshell beach, to a timetable dictated by the rising and falling of the tides. A group of travellers are waiting for a delayed flight to Glasgow. The island electrician (Hamish Henderson) arrives by horse and cart to mend the waiting room television. He is a singer and has a 'conspiratorial' relationship with a stranger (John Berger, the distinguished art historian and author, in his first acting role), who arrives in from the beach, sits down with the assembled group and recounts the tale that lies at the heart of this film: a love story, set in Venice .that tells of the meeting of Bruno and Marietta, who meet at a festival organised by the Communist daily newspaper 'L’Unita' on the island of Giudecca. The development of their relationship is presented in a series of black and white photographs, reflecting Berger’s and Neat’s commitment to making a film faithful to the formal distancing from reality you get in the narrative of a storyteller. The result is a blend of documentary realism with a love story told through folk tales, poetry and song which was a deserving winner of this year's best film prize at Barcelona.

....

Producer Leading Players

Script Photography Editing Music Production Company Print Source

Francis Gerard, Roland Robinson Francis Gerard Bill Flynn, Jana Cilliers Kevin Smith, Ian Roberts Andrew Davies Nat Crosby Robin Sales Trevor Jones B.B.C. Enterprises Hobo Film Enterprises

'A Private Life’ documents the true story of Jack and Stella Dupont in their efforts to live an ordinary, private life across the horrific colour bar of Apartheid. They are not political activists - just ordinary people who want to do the decent thing by marrying and raising a family - a right the rest of us take for granted.

But Jack is 'white’ and Stella is ’coloured’ and in 1950 the laws of Apartheid stated that for people of different races it was now a crime to marry, live together, or have sexual contact. Jack and Stella’s relationship is against the law and their life together is almost destroyed. The Dupont’s thirty-year fight against this monstrous injustice is echoed in director/producer Francis Gerard's fight to get the film made the way he felt that it needed to be - using a South African cast and filming in South Africa. Finally, with governmental permission to re-enter South Africa and the approval of the African National Congress, , the cameras finally started rolling, granting us this unique opportunity to see what life is really like under Apartheid.

Triske

PRC

ro KEEP

Opera House, Saturday Oct 7th 20.30

ROSALIE GOES SHOPPING

Ginny Durrin

Percy Adlon

USA/ 1988/ 16mm/ 57 mir.utos/ Colour

West Germany/ 1989/ 35mm/ 94 minutes/ Colour

Producer Leading Players Script Photography Editing Music Production Company

,6.00

Ginny Durrin Marrin Sheen (Narrator). Mitch Snyder Aviva Kempner (Narration) Giny Durrin Reuben Aaronson Marian Hunter The Richard Smallwood Singers Durrin Films

Producer Leading Players

Script

Photography Editing Music Production Company Print Source

Percy Adlon. Eleanor Adlon Marianne Sagebrecht, Brad Davis, Judge Reinhold Erika Blumberger Percy Adlon. Eleanor Adlon Christopher Doherty Bernd Heinl Jean-Claude Piroue Bob Telson Pelemele Film Mainline Films

The promise is an undertaking by the US government to turn a rundown building into a shelter for the homeless. When it becomes clear that no funds are forthcoming for the project, Mitch Snyder and 11 others decide to go on a hunger strike. From his deathbed 51 days later, Mitch succeeds in his mission.

'Rosalie Goes Shopping' features Marianne Sagebrecht, heroine of 'Bagdad Cafe’, as a lady who looks and speaks and smiles like a large soft-centred confection topped with whipped cream, but comports herself as a human computer programmed with implacable greed to stock up on worldly goods.

'Promises to Keep' the latest film from award-winning documentary film director Ginny Durrin combines revealing portraits of bureaucrats, activists and homeless people as they meet in controversial public hearings and confrontations. Narrated by Martin Sheen, it is a powerful indictment both of America's record of caring for its less fortunate citizens and of the insensitivity of bureaucrats everywhere.

With her seven children and innocently infatuated husband, a cropduster pilot afraid that he can no longer see well enough to retain his pilot's licence, she lives in Stuttgart, Arkansas, a land of open prairies and bright, childish primary colours. The main pastime of this family appears to be merrily chanting the refrains of TV commercials. Life offers a wealth of opportunities, and Rosalie's gift lies in never resisting temptation.

". . .Worthy of Frank Capra for the way it pits stubborn idealists against an aloof and even vindictive bureaucracy.” Washington Post

From a little light forgery and manipulation of credit cards, Rosalie moves swiftly on, hacking into the bank’s computer system, going corporate, threatening to go multinational. Everything, more or less, is confided in her priest (Judge Reinhold), who emerges from the confessional and takes to the financial pages.

'Adlon's latest. . . is not so much a satire on consumerism as a fantasy about a barracuda disguised as a cream bun.’ Penelope Houston Sight and Sound

Opera House, Monday Oct 2nd 20.30

Opera House, Tuesday Oct 3rc

SIGNS OF LIFE

SPLENDOR

John David Coles

Ettore Scola

USA/1988/ 35mm/ 91 minutes/ Colour

Italy/France/1988/ 35mm/ 99 minutes/ Colour/ Subtitles

p—7 Executive Producer Producer Leading Players Script Photography Editing Music Production Company Print Source

Cary Brokaw, Lindsay Law Marcus Viscidi, Andrew Reichsman Beau Bridges, Vincent Phillip D’Onofrio Arthur Kennedy Mark Malone Elliot Davis William A. Anderson, Angelo Corrao Howard Shore Avenue Pictures Virgin Vision

There’s a flicker of magic in the fishing town of Easthasset, Maine, and more than meets the eye among the lobster boats and warehouses of her sagging waterfront - love, loss, the insults of age, and the first cry of the newborn.

The juxtaposition of hope and hopelessness, beginnings and endings, and all the contradictory joys and sorrows that make up our experience of the ordinary - are the basis of this charmer of a picture. In one extraordinary 24 hours, the lives of Owen Coughlin and his small group of shipyard workers are turned upside down as the grip of progress (in the form of fibreglass boat construction) tightens around the tiny shipyard that has borne the Coughlin name for generations.

'Signs of life’ is the story of a group of people faced with the end of everything that they knew. But it is also much more. As one man loses his job, another walks side by side with the affable ghost of his father. While a woman seduces her wandering lover in the front seat of his '69 Chevy, a couple of miles away a boy thought dead starts back to life. Throughout Easthasset, the ordinary embraces the magical, amd suggests that there is an order and balance to even our most frenzied days. 'Signs of Life' speaks of the possibilities of hope and renewal.

“A heartwarming gem of a film, made in the same vein as ‘Local Hero” Variety . .gifted director John Coles, making his debut, and a superior cast handle (the film] with enthusiasm, skill and determination.. John Griffin

Producer Leading Players

Script Photography Editing Music Production Company Print Source

Mario Cecchi Gori Marcello Mastroianni, Massimo Troisi, Marina Vlady, Paolo Panelli Ettore Scola Luciano Tovoli Francesco Malvestito Armando Trovaioli Cecchi Gori Group, WarnefeBrothers

In the small town of Arpino, in Italy, the Splendor cinema is being dismantled, pending redevelopment, watched sadly by its owner, Jordan (Marcello Mastroianni) and usherette Chantal (Marina Vlady). With his father,who ran a mobile cinema, Jordan had travelled about the country providing the musical accompaniment to films like 'Metropolis’. The Splendor was inaugurated in 1937 with a screening of 'Scipione L’Africano' and the enthusiastic endorsement of the Fascist government. Jordan went on to spend two years in the Italian army and two years with the Yugoslav partisans. The Splendor went through many good years after the War, aided in part by the ample figure of Chantal, who had many admirers in the audience, drawing warnings of hellfire and damnation from the priest. With the advent of television, though, attendances began to fall (cheap horror films and the projectionist’s idea of a Soviet season didn’t help). Two staunch regulars remained, however: Cocomero, local film critic, and Signor Paolo, who was in love with Chantal. Even their support could not prevent the Splendor's eventual demise as financial problems mounted and a local industrialist forced Jordan to sell out. He takes ten million Lira off the selling price for the satisfaction of slapping the industrialist’s face. He remembers coming home from the War to find the entire population of Arpino enthralled by the uplifting ending of Frank Capra’s 'It’s A Wonderful Life.’ As he watches his cinema being taken apart, he is startled to see (or imagine) all the townsfolk flocking inside, sitting on seats before they can be removed, singing Auld Lang Syne (in Italian), and recreating the happy ending of 'It’s A Wonderful Life’, a community momentarily united by the rapture of the screen. “An affectionate valentine. . . There is a delicious mood to its nostalgia” International Herald Tribune

Opera Ho

Oct 7th 18.00

SWEl Jane Campion Australia/ 1989/ 35mm/ 97 minutes/ Colour

Opera House, Friday Oct 6th 20.30

TRAGEDY IN THE ROCK STYLE Savva Kulish U.S.S.R./ 1989/ 35mm/150 minutes/ Colour/ Subtitles

Producer Leading Players

Script Photography Editing Music Production Company Print Source

John Maynard, William MacKinnon Genevieve Lemon, Karen Colston, Tom Lycos Jon Darling Gerard Lee Sally Bongers Veronika Haussler Martin Armiger Arena Film Pty. Ltd. Australian Film Commission

Leading Players Script Photography

Music Production Company Print Source

Kay is frightened of the future and of the present, of life and of death, of loneliness and of love; she’s frightened of trees that wither and die, frightened of shadow and of light, frightened of giving herself up to her dreams and her memories.

When a clairvoyant describes minutely the man in her life, Kay, suddenly strong and decisive, sets up home with Louis, the ex-boyfriend of a colleague. After a year of apparent happiness, however, her fears gradually reemerge; she turns away from Louis and begins to withdraw inexorably into herself. That's when her older sister, Sweetie, appears. Sweetie is fat, whining, retarded, given to appalling tantrums. She loses no time in turning Kay’s world upside down with her capricious demands, her voracious sensuality, her enormous appetites and terrifying rages.

Kay struggles gamely with this whirlwind, and with her useless parents, but she cannot escape from Sweetie’s overpowering influence, her thirst for love, her terrifyingly inexhaustible energy. When in the end Sweetie disappears, Kay, now calmer, rediscovers the pleasures of life and of love...

Yuri Lazarev. Alexei Shkatov Albert Filozov Savva Kulish Vladimir Klimov, Vladimir Fastenko Oleg Karavaichuk Sergei Kuryokhin Moslilm Studio (U.S.S.R.), Cosmos (France) So vex portfilm

On the cutting edge of Glasnost, 'Tragedy in the Rock Style’ has shocked Soviet audiences with its frank sexual content and its (hitherto unheard of) revelations of the use of drugs by Soviet youth. "Before Gorbachev, I just couldn't have done anything like this. . . “ says director Savva Kulish. “ When I first proposed the idea seven years ago they all told me ‘Savva, You’re mad’. Times have changed." The film tells of a teenager, Vitja Bodrov, whose world is torn apart when his father is arrested for corruption. Formerly a student of some promise, Vitja becomes manicdepressive and falls under the influence of a sinister, charismatic, shaven-headed mystic called Kumir. Kumir leads Vitja into a twilight world of drug-addiction, wild orgies and organised crime. In scenes unprecedented in Soviet cinema, the audience is shown in graphic detail intravenous drug use and an orgy which culminates in the on-screen rape of Vitja's step-sister by his 'spiritual master'. Vitja’s tragedy is complete when, following a spectacular car chase, he crashes his father’s car head-on into a bridge in a vain attempt to avenge himself on his tormentor. "(The film] is made according to the laws of a classic tragedy, the characters of which die. So in genre it is a tragedy and rock is a musical essence of our time. ...narcoticism is not the main thing. The film tells of spiritual addiction, the victim of which is a boy, betrayed by his own father...” Sawa Kulish

"The scenes of [Vitja’s] degeneration are notable for the extraordinary camera-work, taking on Dali-esque visions." International Herald Tribune

29 ■

Trlskel, Saturday Oct 7th 16.00

Opera House, Sunday Oct Sth

TWILIGHT CITY

VENUS PETER

Reece Augulste

Ian Sellar

England/1989 / 16mm/ 52 minute*/ Colour

Scotland/1989/ 35mm/ 94 minutes/ Colour

. 0

Producer Script Photography Editing . Music Print Source

Avril Johnson Edward George Jonathan Collinson Brand Thumin Trevor Mathinson Black Audio Film Collective

After thirty-five years of living in London, Olivia’s mother, Eugenia, returns to Dominica, vowing never to return. Ten years later, a letter from her breaks the silence. Eugenia wants to come back. Olivia is a journalist, researching ‘The New London and the Creation of Wealth’. The ‘New London’ ,a fading world of being and unbelonging - Clause 28, 'Invisible Communities’, the homeless and displaced, and voracious 'redevelopment' - has all but annihilated the London of Olivia’s youth. She wonders what she is going to tell her mother. Using a combination of fictional biography, archive footage, and narration, "Twilight City” shifts between being a documentary meditation on the increasingly dystopian effects of untrammelled redevelopment, and a journey through landscapes of disenchantment.

Executive Producer Producer Leading Players

Script Photography Editing Music Print Source

Colin McCabe Christopher Young Ray McAnally David Hayman Sinead Cusack Gordon R. Strachan Ian Sellar, Christopher Rush Gabriel Beristain David Spiers Jonathan Dove Recorded Releasing Ltd.

A christening in seawater gives young Peter (9 year old Gordon R. Strachan in a brilliant, touching first performance) an unusual start in life and an insatiable passion for the sea and his grandfather’s fishing boat, the Venus Peter. He imagines his mysteriously absent father to be a ship’s captain, dreaming of his return in a ship so large it will fill the whole harbour; but he finds himself closest to his grandfather (Ray McAnally in one of his last screen roles). Grandfather’s gift of a telescope opens up new worlds to him, and the world of Peter’s imagination merges with the real world of the eccentric inhabitants of the little Scottish fishing town

Peter's life is full of events: he almost drowns; a whale is beached on the shore, and Peter tries unsuccessfully to kill it with his grandfather’s harpoon; the tyrannical village teacher suddenly dies, and her young successor stirs Peter’s dormant interest in poetry. He falls in love with her but falls out of love again when he witnesses her, through his telescope, making love with a stranger on Halloween night. Peter’s world is further eroded by the return of his father, who, much to his disappointment, is not a seacaptain but an ordinary businessman, and by the sale of the Venus Peter due to the depletion of the fish stocks. The film ends on an optimistic note as the Venus Peter is driven out of town on a lorry and Peter returns to the sea the carved model of the ship under which he was baptised. "...one of the outstanding debuts of the year, both for its control and its lack of easy sentimentality.” Derek Malcolm The Guardian

(6.00

Triskel, S

VOIC

)M THE ATTIC . ;Oi..

Debbie Goodstein USA/ 1988/ 16mm' 57 minutes/ Colour

Trlskel, Monday Oct 2nd 16.00

WHERE THE HEART ROAMS George Csicsery USA/1987/16mm/81 minutes/Colour

I ... Producer Script Photography Editing Music Print Source Awards

Debbie Goodstein Debbie Goodstein, Jim Butler Oren Rudavsky Toby Shimin Ken Masur, Russ Landau, The Penguin Cafe Orchestra Siren Pictures Corp. Golden Gate Award, San Francisco

'Voices from the Attic' is a moving personal document of Holocaust remembrance from a second-generation American perspective. Filmmaker Debbie Goodstein and five of her cousins travelled to Poland with their aunt to see for themselves the peasants' attic where their parents and relatives hid during the war. This two year long hell of starvation, claustrophobia, sweltering summers and freezing winters had bled into the collective psyche of the survivors’ children. The young people had all experienced a fascination with attics and experienced a deep subconscious terror when in a small room or subway. The viewer witnesses a partial exorcism of this fear through visiting the places and the people that shaped this traumatic family history.

(

Producer Leading Players

Script Photography Print Source

George Csicsery Barbara Cartland. Janet Dailey, Chelley &Ted Kitzmiller George Csicsery John Knoop New Yorker Films

'Where The Heart Roams’ follows the journey of Chelley Kitzmiller, a Californian housewife - who credits an historical romance novel, 'Sweet Savage Love' with changing her life. The book inspired in her to a consuming passion for the romantic genre that eventually led to 'The Love Train’ - a 3082 mile rail trip organised by Kitzmiller to transport a contingent of romantic novel-addicts from Los Angales to the Romantic Novel Booklovers Convention in New York in 1982, which the 'Queen Of Romance’ and world’s best selling novelist, Barbara Cartland (370 novels written, over 400 million copies sold of such heart -throbbers as ‘Velvet Ecstasy) was gracing with her presence. On board the Love Train, apart from the hordes of fans, were several best selling romance authors,and a cynical 'Playgirl' reporter.

Along the route, the Train stops to meet the fans, who treat them like rockstars, and provide the viewer with an insight into a bizarre publishing phenomenon that counts some 20 million American women among its devotees. While observing all that is about him with a cool and nonjudgmental eye, Csicsery focusses at the same time on some additional elements."...The industry....created another forum for all kinds of societal issues to be debated: questions of sex, feminism, types to male heroes, different behaviours” Highlight of the film is the rendition, by Miss Cartland of “A Nightingale Sang in Leicester Square", her hesitant,86-year-old soprano making flesh the void of loneliness and quiet despair in the hearts of so many women that is filled only by such slush as "Soar and Surrender" or "Passion's Proud Promise"."A fascinating look at an American subculture" Variety

34th CORK FILM FESTIVAL - FULL PROGE

TRISKEL ARTS CENTRE

CORK OPERA HOUSE SUNDAY

Oct 1

SUNDAY

Oct 1

20.30

OFFICIAL OPENING THAT’S ALL RIGHT B. McCannon IRL (4m) SUNDAY John Lawlor IRL (10m) JESUS OF MONTREAL Denys Arcand CAN (118m)

11.00 13.30

Shorts Programme US and Canada 1 OUT OF THE RAIN P. Beere Briggs US (21m) AN EMPTY BED M. Gasper US (56m) VOICES FROM THE ATTIC D. Goodstein US (59m) PROMISES TO KEEP G.Durrin US (57m)

MONDAY

Oct 2

MONDAY

Oct 2

14.00

Hommage Section CITIZEN KANE Orson Welles US (119m) THE KITCHEN CHILD Joy Perino England (11m) MELANCHOLIA Andi Engels England ( 87m) ONE MAN’S MEAT Lai Ngan Walsh England (11m) PAINTED FACES Alex Law Hong Kong(118m) ANIMATED SELF PORTRAITS (8m) DARK SLIDE OF A TROMBONE H. Toint BEL(14m) SIGNS OF LIFE J. D. Coles US (91m)

11.00

Shorts Programme Europe 1 LIGHTING OVER BRADDOCK T.Buba US (80m) WHERE THE HEART ROAMS G.P.Csicery US (81m)

16.00

18.00

20.30

16.00

13.30 16.00

TUESDAY

Oct 3

TUESDAY

Oct 3

14.00

Hommage Section HIGH NOON, S. Kramer US (85m) GEH KINDE GEH Crispen Reece England (11m) MANIKA MANIKA (THE GIRL WHO LIVED TWICE) F.Villiers France THE HANGOVER Giblets England (11m)HIGH HOPES Mike Leigh England (110m) THE BURDEN G. Breaud France (13m) SPLENDOR Ettore Scola Italy (125m)

11.00

Shorts Programme US and Canada 2 IN FADING LIGHT Amber Films England (104m) COMRADES AND FRIENDS N. Godwin/S. Krishnamma, England, (54m) THE WORLD IS WATCHING P.Raymont CAN (59m)

16.00

18.00 20.30

13.30 16.00

WEDNESDAY Oct 4

14.00

11.00

16.00 i■

18.00

20.30

Hommage Section THRONE OF BLOOD A. Kurosawa Japan (105m) DARK ROOM J.Bernard France(14m) A PRIVATE LIFE F. Gerard South Africa (95m) THE ABDUCTION OF EUROPE Hartmut Jahn F(13m) THE PHILOSOPHER Rudolf Thome FDR (84m) YOUR OPINION PLEASE H. Honigmann NL (12m) MYSTERY TRAIN J. Jarmusch US (113m)

13.30

16.00

Shorts programme Ireland 1 Focus Section SHELLSHOCK ROCK (50m) SELFCONSCIOUS OVER YOU (40m) EAT THE KIMONO 20th Century Vixen England (60m) CHARLOTTE’S DIARY P.Goossen NL (40m)

>PERA HOUSE

TRISKEL ARTS CENTRE

HURSDAYC. .

THURSDAY Oct 5

14.00

Hommage Section MANHATTAN Woody Allen US (96m) LET'S GET LOST Bruce Webber US (119m) LALALA HUMAN SEX DUO NO. 1 B. Herbert CAN (8m) THE LEGEND OF THE HOLY DRINKER E. Olmi Italy (125m) PAS A DEUX M. Renault/ G. van Dijk NL (6m) EXTERIOR DAY FOREST M. Salmon FR. (5m) CELIA Ann Turner AUS (103m)

11.00

FRIDAY

Oct 6

FRIDAY

Oct 6

14.00

Hommage Section WINGS OF DESIRE Wim Venders FDR (128m) MAIDER Arantxa Lazkano Spain (13m) MALPRACTICE B. Bennett AUS (90m) BEYOND REACH D. McArdle IRL (17m) CONQUEST OF THE SOUTH POLE Gillies MacKinnon Scotland (90m ) HINDU KUSH B. Trautmann FDR (11m) TRAGEDY IN THE ROCK STYLE S. Koulish USSR (152m) WORK EXPERIENCE J. Hendrie England (11m) LENNY LIVE AND UNLEASHED A. Harries England (94m)

11.00

Shorts Programme US and Canada 3 Focus Section POWER IN THE BLOOD MY NAME IS BERTOLT BRECHT N.Bunge/C.Fisher-Defoy FDR (95m)

16.00 18.00

20.30

16.00

18.00

20.30

23.30

SATURDAY Oct 7

13.30 16.00

Shorts Programme Europe 2 Focus Section ROUTE 66 (120m) CHINA DIARY J.Yang US (57m) IRISH WAYS A.MacCaig FR (53m)

SATURDAY Oct 7

THE HILL FARM Mark Baker England (18m) ARIEL A. Kourismaki FIN (74m) BLACKWATER SUMMER L. O’Connor England (29m) PLAY ME SOMETHING T. Neat Scotland ’ (80m) KITCHEN SINK A. Maclean NZ (14m) SWEETIE Jane Campion AUS (97m) 6/4/33 H. Hess IRL (9m) TOUR D’AMOUR V. El-Mer FDR (9m) ROSALIE GOES SHOPPING P. Adlon FDR (94m) DICK J. Mennell US (15m) HEATHERS M. Lehmann US (102m)

11.00

SUNDAY

Oct 8

SUNDAY

Oct 8

13.30

CAMP THIAROYE O. Sembene/T. Faty Sow Senegal (150m) NIVIS S. Goulet CAN (10m) FRAGMENTS OF ISABELLA R. O’Leary IRL (77m) THE LOUNGE BAR D. McGIashan/H. Sinclair NZ(12m) VENUS PETER I. Sellar Scotland (92m) OFFICIAL CLOSING Awards Ceremony, followed by screening of the prize-winning Short Film.

11.00

NORTHERN LIGHTS Programme 1 NORTHERN LIGHTS Programme 2 1996 K. Francis Wales

14.00 16.00

18.00 20.30

23.30

16.00

18.00

20.30

13.30 16.00

Shorts Programme Ireland 2 Focus Section DUST ON THE BIBLE TWILIGHT CITY R.Auguiste England (52m) DEREK JARMAN - You Know What I Mean L.Postma England (52m)

NOTE: All films will be screened in the above order.

For details on the Shorts Programmes see separate page. ♦

EAT A BOWL OF TEA W. Wang US (104m)

*r it r

■ w \

Trlskel, Tuesday Oct 3rd 16.00

THE WORLD IS WATCHING Peter Raymont Canada/1988/ 16mm/ 60 minutes/ Colour

ft;

dcLacv Jtcnisc 74 OLIVER PLUNKETT STREET CORK, IRELAND Telephone (021)270074

CORKS LEADING ENTERTAINMENT VENUE Producer Script Photography Editing Music Production Company Print Source

Harold Crooks, Jim Monro. Peter Raymont Harold Crooks. Peter Raymont Dan Holmbereg, Martin Duckworth, Frank Pineda John Kramer Doug Wilde Investigative Productions Inc. Telefilm Canada

Who decides what is news? How do they decide? How much of what we see and read is true, or even factual? And what of the men and women in the field; are foreign correspondents allowed to tell all that they see, or are they just mouthpieces for an invisible editorial line? ‘The World is Watching’ examines these issues - the key moral questions of the electronic age - by focussing on several journalists working in Nicaragua during the negotiations surrounding the Arias Peace Plan in November 1987. The filmmakers won unprecedented access to film inside ABC TV News - following a crew on the ground in Nicaragua, while simultaneously documenting the editorial process in the ABC newsroom in New York. Through them, and other journalists on the spot, they examine how the news business works - revealing the inevitable distortions that become part of the process. Journalists criticise their profession from the inside. They question the enormous pressures they face: the deadlines, the demand for sensationalism, and editorial decisions that are made far from the action. "We have to acknowledge that the notion of journalistic objectivity is nonsense," says director Peter Raymont. 'Every time you turn on a camera, you’re expressing a point of view." "A brilliant piece of work, documentary-making of the highest order.’ The Nation “Nothing could illustrate more clearly the extent of news management than ‘The World is Watching’. The Independent

Wishes the 34th Cork Film Festival the best of luck and continued success.

de-Lacy House > a luxurious Lounge Bar With Meals Served Daily plus The Best of Live Acts

Why not drop by for a visit

40, Paul Street, Cork and Douglas Village, Co. Cork.

RESTAURANT WINE BAR TRADITIONAL PIZZAS FRESH HAND-MADE PASTAS GRILLS - FISH - OMELETTES FULL WINE LIST

OPEN: 12 noon - 11.30 p.m. Sunday 5 p.m. - 11 p.m.

Luxury by the, Lee ‘for [uTQiry, friendliness and efficiency the Metropole s bars and restaurant can't be beaten.

‘Printers Printers and Stationers

41 Paul Street, Cork

Tel: (021) 277707 Continued success to the Cork Film Festival

COUNTRY CLUB HOTEL

I McDonalds Me Donal | TM

4/5 Winthrop Street, Cork

Montenotte, Cork City

Grade ‘A’ Bedrooms Excellent Restaurant Luxury Lounge Bars For further details

Telephone (021) 502922

Tel: (021) 272175 Fax: 272116

Congratulates The Cork Film Festival 1989 OPENING HOURS: Sunday: 10 a.m. to 11 p.m. Mon/Tues/Weds: 11 a.m. to 12 p.rp. Thurs/Fri/ Sat: 10 a.m. to 12 p.m;

SHORT FILM PROGRAMME AND EUROPEAN SHORT I COMPETITION Europe 1 Cork Film Festival has, since its inception championed the art of the short film and remains one of the few international festivals to include a Short Film Programme.This year we have had an unprecedented number of entries. Of the films selected for screening, some will be shown accompanying features in the Opera House. Others have been grouped into the short film programmes below and will be screened in Triskel Arts centre.

The Festival is proud to have the support of the European Commission for its European Shorts Film Competition. This year we are enabled to award a prize of 10,000 ecus to the winning film, which must be 30 minutes or less and originate in a member stae of the Council of Europe. The festival’s wish is that the prize money be devoted to having the winning film subtitled or dubbed into Community languages, thus aiding the film in achieving the maximum possible audience. We are grateful to Mr. Terry Stewart, Director of the EC Dublin Office for his continued support of the competition. The Gus Healy trophy and a cheque for £1,000 will be awarded to the director of the best Irish short in competition. We are grateful to Warner Home Video (Ireland) for their sponsorship of this prize. Admission to the Triskel Shorts Programmes is free to those holding Festival Membership Cards.

GRAND NATIONAL. Sue Loughlin. GB. 8m KRAUSE .. . , Christoph Doering, FDR, 12m SAHARA, Francois Loubeau, Fr, 4m THE UNKINDEST CUT, Jim Shields, GB. 10m WATER'S EDGE, Suri Krishnamma, GB, 35m

Europe 2 THE WASTED CALL, Tim Rolt, GB, 10m REMORSE, Simon Howard, GB, 13m A PLACE AWAY, Ellie O'Sullivan, 10m GRAN DE CIEL, Manual Sanchez, Fr, 12m LA CHAMBRE, Joelle Bourvier, Regis Obadia, Fr, 9m L'ETREINTE, Joellle Bourvier, Regis Obadia, Fr, 5m THE SOULFUL SHACK, John Roberts, BG, 12m

Ireland 1 A COWBOY ON JUPITER. Stephen Kane, 11 m COGITO ERGO PHUQ, Tony Kenny. 10m POOCHERS, Denis McArdle, 17m LEMON, Tony Fitzpatrick, 16m END OF PART 3, lain Keeney, 13m BIG SWINGER, Declan Recks, 15m

Ireland 2 THE METAL MAN, Brendan McCarthy, Geraldine Creed, 12m OICHE ST, Steve Woods, 6m SPLICE OF LIFE, Martin Duffy, 15m SUSPICIOUS MIND, Hugh Farley, 18m LONDON SUITE, Vivienne Dick 28m

SEMINAR SHORTS PROGRAMME US and Canada 1

THE AFTERLIFE OF GRANDPA, P.J. Pesce, US 24m AMERICAN EXIT Egidio coccimiglio, Canada 10m A CONSTANT STATE OF DEPARTURE, Lidia zajko, US 11m A LIGHT AND EVERYTHING, T.W. Oliphant Jnr., US 14m OUTRAGEOUS TAXI STORIES, JOE BERLINGER, US

25m =1

US and CANADA 2 TRACKS, Rupert A. Nadeau, US 22m PARIS X 2, Jay Rosenblatt, US 26m ONE DAY AT A TIME Richard Morasci US 11m SWINGIN' IN THE PAINTER'S ROOM, Greg Mottola, US 14m HIRAEZH, Christine Leahy, US 20m

US and Canada 3 MULTIPLY CHOICE, Debbie McGee, Canada, 23m JUST A CARTOON, Jon Minnis, Canada, 6m THUNDER AND LIGHTING, Jonathan Nordlict, US 13m A SHRINE ON THE ROAD, Liam Lockhart, US KYRIE ELEISON, Assad Fouladkar, 25m ■

LOCAL FILM MAKING - CULTURE & COMMERCE

The seminar will explore the current state of film funding in Ireland, Scotland, Wales and England and through the MEDIA 92 Programme, and its implications for the nature of the productions which secure funding.

Among those participating will be: Penny Thomson, Director of the Scotish Film Production Fund which invested in the three Scottish features showing at the festival, PLAY ME SOMETHING, VENUS PETER and CONQUEST OF THE SOUTH POLE; Cathal McLaughlan, founder member of Belfast Independent Video, director of MOVING MYTHS, screening in the 'Northern Lights" section and currently working as co ordinator of the Network of Workshops.

Alan Gilsenan, founder member of Yellow Asylum Films, director of 'Eh Joe' and 'The Road To God Knows Where', and Chairperson of the Action Committee for a Single State Agency for Film. The seminar will take place in the lecture theatre of the Crawford Municipal Art Gallery on Friday October 6th at 11.00 am.

Admission is free.

TE /-■ URO

iON OF

AMERICAN EXIT Egldlo Coccimiglio Canada/1988/ 16mm/10 minutes/ Black and White

-ie Entfuhrung Europas Hartmut Jahn West Germany-’ 1988/ 35mm/ 13 Minutes/ Colour

Producer and Script Photography Editing Music Print Source

Hartmut Jahn Carlos Bustamante Inge Schneider Ulrich Bubu Bauer Hartmut Jahn

Producer Script, Photography & Editing Music Print Source

Christopher Porter Egidio Coccimiglio Frank Sinatra. Mahalia Jackson, The Falcons Egidio Coccimiglio

A contemporary reflection on the old European mythology of the abduction of Europe. An experimental mix of film and video, brought to us by the makers of ‘Berlin Blue’, one of the hits of the 1987 festival.

A ten-minute poetic documentary that takes the viewer on a nostalgic trip through the ’sixties - a decade full of promise but riddled with contradiction.

THE AFTERLIFE OF GRANDPA

ANIMATED SELF-PORTRAITS

P.J. Pesce USA/ 1988/ 16mm/ 24 Minutes/ Colour

Producer Leading Players Script Photography Editing Music Print Source Awards

P.J. Pesce Matteo Canmzaro, Frank Vincent Heather Juergensen, P.J. Pesce P.J. Pesce Paul Gibson P.J Pesce Greg Ribot Gobbadosta Productions. 1989 Houston Int. Film Festival Special Gold Jury Prize - Top Student Film

A dramatic comedy about the ghost of an old Italian grandfather who, returns to try to seduce his grandson’s girlfriend.

International Animators USA/ 1989/ 35mm/ 8 Minutes/ Colour/ Animation

Producer Animators from

Print Source

David Ehrlich USA, Yugoslavia, Estonia, Czechslovakia. Japan International Animators

Nineteen animators from five countries join together for a series of animated impressions of themselves

Dll DELLAR FREIGHT LTD. INTERNATIONAL FREIGHT FORWARDERS

Unit 4, Ballycureen Industrial Estate Airport Road, Cork. Tel: (021) 311427. Fax: 314107

DOUGLAS INSURANCES

GENERAL BROKERS LIMITED Morris House, Douglas West, Cork, Ireland. Telephone (021) 362697/362124 i

Ii> Contact

Peter Kirwin Phone: (021) 362697,362291 or 362309 Fax: (021) 362124

,-s^i

Insuring the continued success of the CORK FILM FESTIVAL

EYC

\CH

BLACKWATER SUMMER

'ills McArdle

Chris Dudman

l.ind/1989/ 35nm;/ 17 minutes/ Colour

Britain/ 1989/ 35mm/ 29 mlnutas/ Colour

Executive Producer Leading Players Script Photography Editing Music Print Source

Denis McArdle Dave Carey, Mai Whyte, Ger Ryan Denis McArdle Jack Conroy Oliver Fallen Jim Lockhart Denis McArdle

Robert, a lonely artist, is haunted by the image of a mysterious woman. He becomes obsessed with capturing this image in order to prove his sanity. Photographed by Jack Conroy, whose credits include work on 'My Left Foot.'

BIG SWINGER

Producer Leading Players Script Photography Editing Music Print Source Awards

Penny Lane, Lance O'Connor Ray Brooks, Sharon Duce, Maya Spiers Chris Dudman Josh Goodswen Giles LLewellyn-Thomas Teresa Flisek Royal College of Art 2nd Academy Oscar, Golden Square Films Award

The endless summers of memory, and of childhood. A perfect place on an island in the Blackwater estuary. Suddenly this paradise of the innocent is shattered by tragedy.

THE BURDEN

Declan Recks

Le Fardeau Guillaume Breaud

Ireland/ 1989/ 16mm/15 minutes/ Colour

France/1988/ 35mm/13mlnutes/ Colour/ Subtitles

Producer Leading PLayers Script Photography Editing Music Print Source

Declan Recks, Cathy Davis Tom Hickey, Kevin Reynolds Charlie Roberts, Donncha Crowley Declan Recks Liam O'Neill Anne O'Leary, Declan Recks John Rabbitte Declan Recks/Cathy Davis

Jimmy is an ex-showband drummer who runs a pirate radio station in a small Midlands town. When the signals from Jimmy’s transmitter start interfering with passing aeroplanes, the authorities send in the heavies to close down the station, but Jimmy isn’t going to give in without a fight...

Producer Leading Players Script Photography Editing Music Print Source

Dantd Desarthe Malcom Scrannage. David Nataf, Louise Boisvert. Pauline Dairou Nathalie Duong Minh Tam N Guyen Krishna Levy Baobab Production, Dant6 Desarthe

Two children try to dispose of their dead mother's body, but problems emerge...

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Coming Soon: The Irish R.M. and Simply Painting - with E A. Clarke. 40

TER than Tammu E

in/ 1989/35mm/11 !.

•uiss/ Colour

A CONSTANT STATE OF DEPARTURE Lidia Szajko USA/1989/ 16mm/11 minutes/ Black and White

ft <WanTA"’ „ OF r I < Producer Leading Players Script Photography Editing Music Production Company

Print Source

Deborah Carter Alun Armstrong, Lindsay Duncan Lucy Rivers Lib Stephen Jason Lehel Terry Rawlings Julian Nott Film Four International in Association with British Screen Film Four International

Eight-year old Betty is sent to stay with her aunt on a remote Welsh farm while her mother has a baby. Her stepfather tells her that Uncle Stefano is accustomed to eating little girls who misbehave.

COGITO ERGO PHUQ

Producer, Script, Editing And Photography Leading Players Narrator Print Source

Lidia Szalko Peter Chan, Lezlie Vincent Claire Chafee Lidia Szajko Productions

A chronicle of the process of coming to terms with the inevitable loss of a relationship between dear friends, one of whom is dying of AIDS. The story is told through interior monologue and illustrated by the unfolding of a series of symbolic images.

Tony Kenny .

A COWBOY ON JUPITER

Ireland/1989/ 16mm/10 minutes/ Colour/ Animation

Stephen Kane lreland/1989/ l6mm/11mlnutes/Colour

Producer, Animation, Script, & Editing Photography Print Source

Tony Kenny Tony Fitzpatrick Tony Kenny

Producer Script Leading Players Photography Editing Music Print Source

A one-part animated soap-opera about the history of the world, starring Elvis Presley as God.

Ben Yeates, Stephen Kane Jacqueline Mulvey, Michael O'Reilly Jr., Joe Hanley, John Kane Joe Tanham, lain Keeney Anne O'Leary. Amanda Sutton, Stephen Kane Barry Nolan Stephen Kane

Jessica, a Leaving Cert student,attempts to psycho analyse Christie, whose odd ambitions range from being an astronaut to being a cowboy on theArizona Plains.

GRAND PARADE HOTEL

an sRoiOBbaaiLe ‘THE VILLAGE’ IMAGINE AN OPEN TURF FIRE TRADITIONAL MUSIC AND SET DANCING IN AN AUTHENTIC OLD IRISH VILLAGE

OPEN EVERY NIGHT COME ALONG AND ENJOY YOURSELF

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For late people, a late bookshop.

■

V; 69, Patrick Street, Cork. Tel: (021) 276522,276002 Open: Mon. - Fri. 9 am. 9 p.m. Sat. 9 a.m. - 7 p.m.. Sun. 12 noon - 7 p.m.

RK E

DICK

|._ ;hambre Noir Bv lard Jourdain

Jo Menell USA/1989/15 minutes/ Black and White

Franco/ 1988/ 35mm/ 14 minutes/ Colour/ Subtitles

Leading Players

Script Photography Editing Music Print Source

Berangere Bonvoisin, Jean O’Cotrell, Dems Lavant Nathalie Loubeyre Michel Pasquier Anmck Baly Jean-Christophe Desnoux Austral Film

A man. A woman. A fortuitous encounter on the side of the road. Two solitary people who decide to share the night. A journey, a long journey. The search for a place lost since childhood. Words of love, of terror. . . the cry of a man lost in 'the marsh’.

THE DARK SLIDE OF A TROMBONE TROMBONE EN COULISSES Hubert Toint

Producer Leading Players Photography Editing Music Print Source

Jo Menell 1000 men, represented by their penises Jo Menell B. Moel John Cale Jo Menell, Bobo Movies

This eye-opening parade of a thousand penises in fifteen minutes, accompanied by comments by one hundred women, is guaranteed to be a revelation to all. "The organs are more various than the creatures on Noah’s ark, and the movie is funny, revealing, wholly unprurient and oddly liberating" Philip French The Observer

END OF PART 3 lain Keeney Ireland, 1989,16mm, 12 minutes, Colour

Belgium/ 1989/ 35mm/14 minutes/ Colour/ Subtitles

Producer Leading Players Script Photography Music Print Source Awards

Genevieve Robillard Daniel J&gou. Adrian Brine Victor Gurnicky Walter Vanden Enden Denis Levaillant Atelier Jeunes Cindastes Best Film - Belgium

A beautifully-made, surreal fable of the use of tradition - and trombones - as a means of social control.

Producer Photography Script & Editing Leading Players Print Source

Rachel Galligan Declan Recks lain Keeney Mai White, Jane Snow Arranmore House

A story of love and romance; a dinner party shared by two people who once loved each other; a dinner of fine wines, fine foods...and doggie chunks. 43

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GRAIN DECIEL Manuel Sanchez

£xterleur Join Salmon

France/ 1988/ 35mm/ 12 minutes/ Colour

:o/ 1988/ 35mm/ 5 minutes, Colour/ Subtitles

j Lv

■ -J r

J Producer Leading Players

Script Photography Editing Music Print Source

Marc Salmon Audr6 Obadia, Jean Clement. Vincent Chateau Marc Salmon Ghislam Vidal Pierre Didier Jean-Yves Peter Medium 5

Producer Leading Players Script Photography Editing Music Print Source

Helene Viard Paul Bisiglia, Christophe Waiss Manuel Sanchez Miguel Sanchez Helene Viard Etienne Perruchon Orlando Films

Two explorers and a porter are lost in the jungle, Three times, Tarzan the ape-man comes to their aid.

An angel falls in a French village.

GEH KIND GEH

GRAND NATIONAL

Crispin Reece

Sue Loughlin

England/ 1989/ 35mm/11 minutes/ Colour

Britain/ 1989/ 35mm/ 8 minutss/Colour/ Animation

Producer Leading Players

Script Photography Editing Music Production Company

Print Source

Tina Jamieson Mana Charles, Bernard Spear Elizabeth Counsel, Peter Birell Julie Wassmer Michael Coulter Ian Weil Graham Presket Film Four International in association with British Screen. A Knowledge Production Film Four International

After the death of Mendel Baruch, his son Lionel decides to invite some old family friends from New York for a funeral to remember.

Producer & Animator Music Print Source Awards

Sue Loughlin Peter Bridgman N.F.T.S. Beaconsfield Studios, Annecy 1989: Press Critics’ Prize

The build-up to the climax of the Grand National horse race

THE HANGOVER

HINDU KUSH

Giblets

Hindu Kusch Benno Trautmann

England/1989/ 35mm/11 minutes/ Colour

West Germany/ 1988/ 35mm/11 minutes/ Colour Subtitles

Producer Leading Players Script & Editing Photography Animation Music Production Company

Prim Source

lain Brown Kevin McNally Giblets Denis Crossan Miki Sumpter Mark Bedford. Terry Edwards Film Four International in association with British Screen Film Four International

After a riotous party in his flat, Colin wakes to find that he has the world’s worst hangover . . .

THE HILL FARM Mark Baker England/1988/ 35mm/18 minutes/ Colour/ Animation

Producer Leading Players Script Photography Editing Music

Print Source

Harun Farocki Peter Fitz Benno Trautmann Igor Luthor Benno Trautmann George Winston, Gene Krupa, Erroll Garner Harun Farocki Filmproduktion

Two friends, a book-keeper and a chemist, are working in a nuclear power plant. One night, one drags the other to a bar and makes a bizarre confession : one that involves 56 kilos of plutonium!

HIRAEZH Christine Leahy USA/1987/89/ 16mm/ 20 minutes/ Colour

X /

s i

Script Editing Music Awards

Print Source

Mark Baker Annie Kocur Julian Nott BAFTA Animation Award 1989 Annecy: Grand Prix 1989 Munich Student Festival: Most Entertaining Film 1988 N.F.T.S, Beaconsfield

A hardworking farming family is visited by country-lovers.

I I

Producer, Editing & Photography Leading Players Music Print Source

Christine Leahy Alan Stiveil Robert Gitzen Christine Leahy

For director Christine Leahy, Alan Stivell, one of the world’s leading Celtic harp players .and a musician at the vanguard of Celtic folk music scene, embodies this complex and quintessentially Celtic emotion, ’Hiraezh’,

N Lh< ' EVER\

THE KITCHEN CHILD Joy Perino England/1989/ 35mm/11 minutes/ Colour

T.W. Oliphant Jr. USA/ 1989/ 16mm/ 15 minutos/ Colour

Producer Leading Players Producer Leading Players

Script Photography Music Print Source

T.W. Oliphant Jr. Lauren Unbekant, Charles Staropoli.Geri Ann Rosenberg, Alain Rosenberg T.W. Oliphant jr. Jeffrey Makesovas, T.W. Oliphant Jr. T.W. Oliphant Jr.

A tale of intense desire and yearning to be someone or

somewhere else.

JUST A CARTOON Jon Minnis Canada/ 1988/ 16mm/ 6 minutes/ Colour/ Animation

Producer. Animation & Editing Music Print Source

Jon Minnis Bowser and Blue Jon Minnis

'She was for real, She could vote, she could feel She could buy things on credit, and think She had elbows and veins and two lungs and a brain And he was just pencil and ink'

Script

Editing Music Production Company

Print Source

Peter Jacques Garry Halliday, Annene Badland, Paul Brooke Susan Campbell. Photography David Tattersail Justin Krish Justin Adams, Sheridan Tongue Film Four International in association with British Screen. A Techniques of Persuasion Production Film Four International

There is great excitement in the Kitchen at the imminent arrival of a gourmet French Due and his valet. Instead of preparing endless sandwiches, the fat cook can at last practice her culinary art, but she is distracted by a pair of intrusive hands. . .

KITCHEN SINK Alison Maclean New Zealand/ 1989/ 35mm/ 14 minutes/ Colour

Producer Leading Players Script Photography Editing Music Production Company Print Source

Bridget Ikin Theresa Healy Alison Maclean Stuart Drysburgh David Coulson The Headless Chickens Hibiscus Films New Zealand Film Commission

A woman re-fashions a monster from the kitchen sink into a man, and finds herself falling for her creation. A dark fable about fear and desire. 47

KRAUSE,

or trying to describe a film is like telling a

story about a lunch KRAUSE oder eln beschrlebener Film 1st halt wie ein erzahltes Mittaqessen

LA CHAMBRE Joelle Bouvier, R6gls Obadia France/ 1988/ 16mm/ 5 minutes/ Black and White

Christoph Doering West Germany/1988/ 16mm/12 minutes/ Colour

Producer Leading Players Script Photography Editing Music

Print Source Awards

Christoph Doenng Luaa Stefanel, Michael Krause Doering/Aschalfenburg S. Schweitert, C. Schweinheim C. Damm Gasi Twist, Ralf Buron Haibach Filmproduktion Audience Prize. 10th Bonn Kurzfilmfestival 1988 1st Prize, 10th International Young Filmmakers' Festival, Montreal

A visually compelling drama that juxtaposes experimental and more conventional film genres to startling effect.

KYRIE ELEISON - GOD HAVE MERCY ASSAD FOULADKAR USA/ Lebanon/ 1989/ 16mm/ 25 minutes/ Colour

Producer Script Photography Editing Music Print Source

Marie Descourtieux Laurence Leopold Jacques Bouquin Jo£lle Bouvier, R&gis Obadia Levaillant, Frize L'Esquisse

In a room, a woman speaks of fatigue, waiting and the price of desire.

LALALA HUMAN SEX DUO NO.1 Bernar Hebert Canada/ 1988/ 35mm/ 8 Minutes/ Black and White

i i 9

I =I i

Producer Leading Players Script Photography Editing Music Pnnt Source

Assad Fouladkar Samar Zein, Soleyman El- Basha Assad Fouladkar Hassan Nimani Assad Fouladkar Ziad Rahbani. Gillermo GaJlindo Assad Fouladkar

A building in Beirut collapses after a bombardment. Its tenants get trapped in the basement. Lacking in food, water, and oxygen, and fearful of gunmen, the tension mounts... 48

Producer Leading Players Script Photography Editing Music Print Source

Michelle Ouellette Marc Beland, Louise Lecavalier Edouard Lock Daniel Jobin Gaetan Huot David Van Tieghem Agent Orange c/o

An underwater shot reveals the remnants of a ballroom. A man and a woman are standing at one end of the room. The dance begins. . .

LONDON SUITE

Ton

Patrick

Irelan

39/ 16mm/ 16 min

(getting sucked in)

Vivienne Dick UK/1989/16mm/ ccolour/-28 minutes

Producer Leading Players Script Photography Editing Music Print Source

Tony Fitzpatrick Mick Lally Tony Fitzpatrick Tony Kenny Anne O’Leary Barry Nolan Tony Fitzpatrick

Lonely by choice, a man attempts to repair and return a found model of a church while befriending a snail found in the model.

L’ETREINTE Joelle Bouvier, R6gis Obadia France/ 1988/ 16mm/ 5 minutes/ Black and White

Producer Leading Players Photography Editing Music Print Source

Vivienne Dick Ray Hogan, Tadhg MacSweeney Helen Rutherford G. Woods. M. Duffield, V. Dick V. Dick, C Clear M. Wheeler Mayday Productions

London’s cultural diversity unfolds as expatriate Irish filmmaker, Vivienne Dick portrays her friends, their lifestyles, what they talk about and how they talk. In this kaleidoscopic arrangement of encounters and re enactments, equal weight is given to the passionate and the banal.

THE LOUNGE BAR The Front Lawn ( Harry Sinclair, Don McGIashan) New Zealand/1988/ 35mm/13 minutes/ Colour

Producer Script Pnotography Editing Music Print Source

Marie Descourtieux Laurence Leopold Jacques Bouquin Joelle Bouvier, R6gis Obadia Frize. Vivaldi L’Esquisse

A man and a woman on the edge of dreaming. . .

Producer Leading Players

Script Photography Editing Music Production Company Print Source

Grant Campbell Harry Sindair, Lucy Sheehan Don McGIashan The Front Lawn Leon Narby John Gilbert The Front Lawn Grant Campbell New Zealand Film Commission

Sheltering from a rainy night, a man and a woman meet for the -u.z first time. Or 2. is it? What bizarre web of fate links them to the singer, his song, and his sideburns?

KS &

B-S OUT

Cork Film Festival and Radio South FM have a lot in common.

the best in Film, the best broadcasting, can dynamic and positive.

We both believe in a distinctive Cork identity and we believe it sits comfortably with a sense of excellence.

The differences? Well. Cork Film Festival is in its 34th year — Radio South FM is just three months old.

The power of the media is a force which should never be underestimated — and, like

We just seem like old friends!

BROADCASTING ON 96.4 F.M. Horizon Computer Services

AppleCentre Z At N Specialist suppliers of all Apple Computer equipment including the new range of Macintosh Ilex computers.

We would like to congratulate the Cork Film Festival for organising an excellent festival of film.

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N E

Arai

azkano

Spain

35mm/13 mini''

MULTIPLE CHOICE Debbie McGee • ;.iour

Canada/ 1989/ 16mm/ 23 minutes/ Colour

IW ... Si •£Producer Leading Players Photography Editing Music Print Source

Arantxa Lazkano Coro Pereira. Kandido Uranga Gonzalo f. Berndi Julia Juaniz Malevaje and Astor Piazzola Arantxa Lazkano

Producer Leading Players Script Photography Editing Music Production Company Print Source

Debbie McGee Lois Brown. Rick Boland.Andy Jones Debbie McGee Michael Jones Petra Valier. Debbie McGee Paul Steffler New And Improved Films Atlantic Independent Media

An erotic love game played out by a man and a woman who have been married for several years.

Meg Harris, a researcher, is coming to grips with the reality, of poverty . She tries, as usual, to sort out her internal conflicts through compulsive shopping. . .

THE METAL MAN

NIVIS Simon Goulet

Brendan McCarthy Ireland/ 1989/ 16mm/ 12minutes/ Colour

Producer Leading Players Script Photography Editing Music Print Source

Brendan McCarthy Thom McGinty Brendan McCarthy. Geraldine Creed Brendan Galvin Geraldine Creed Michael Makes Blue Light Productions

A magical journey through a boy’s imagination, revolving around a metal figure erected on a cliff in the 1820's in commemoration of a great sea disaster.

Canada/ 1988/ 35mm/10 minutes/ Colour

Producer Photography Editing Music Print Source Awards

Simon Goulet Simon Goulet Simon Goulet Robert M. Lepage Productions Amomak Best Documentary, (Montreal) Best Technique. (Montreal)

A lyrical film about snow and snow removal. Contains beautiful close-up, slow-motion footage of snow falling, to a sound-track of diesel engines and snow-blowers.

OfCHE SI

ONE MAN’S ME

Steve Woods tire/1988/ 16mm/ 7 ndimdld/ Dalle/ Cartun

Lai Ngan Walsh England/ 1989/ 35mm/ 11 minutes/ Colour

Producer. Script, Photography, & Editing Music Print Source

Steve Woods Ronan Browne Steve Woods

Eachtra do bheirt leanai nach dtig leo dul a’chodladh. Beireann cat draoichta go ghleann na real! iad

ONE DAY AT A TIME Richard Morasci USA/1989/ 16mm/11 minutes/ Colour

Executive Producer Producer Leading Players Script Photography Editing Music Production Company

Print Source

Stewart Richaros Alison Barnett Sebastian Chee Lai Ngan Walsh Dems Crossan Alan Knight Frank Meagher Film Four International in association with British Screen. A Panda Pictures Production. Film Four International

Tung, a young Chinese boy brought up in London, develops a fascination for Western Junk food.

OUT OF THE RAIN Pamela Beere Briggs

USA/ 1988/ 16mm/ 21 minutes/ Colour Producer Photography Editing Print Source

Richard Morasa Freyr Thormodsson, Richard Morasci Richard Morasd Richard Moraso

Producer. Script & Editing Leading Players Photography Music Print Source

A brief portrait of Paul Carey, a person with AIDS who lives in San Francisco. He discusses the following questions: who most influenced him in dealing with , how his relationship with his sister has changed since his diagnosis, what keeps him going, and what his legacy might be.

I I

Pamela Beere Briggs Denise Simone, Anna Deveare Smith William McDonald Anne Rasmussen Pamela Beere Briggs

In the middle of a rainstorm, two women find hope in a shared cup of tea.

O£

SI Joe E

TAXI

iAG' •JEES

PAS A DEUX Monique Renault, Gerrit Van Dijk Netherlands/1988/ 35mm/ 6 minutes/ Colour/ Animation

..nger

USA/ 19S'J I6mm/ 25 minutes' Colour

P iH

Producer Photography Still Photography Editing Music Print Source

Joe Berlinger Robert Richman Derek Berg, Susan Pollack Bruce Sinofsky Wendy Blackstone Creative Thinking International

Producer.Script & Animation Editing Music Print Source

Celia & Gernt Van Dijk Germ Van Dijk Skittle Productions, Wim Schroder Cilie Van Dijk

‘Outrageous Taxi Stories’ capitalises on the mystique that surrounds the New York Taxi Driver.The six tales, told by five cabbies and one passenger, range from the bizarre to the ridiculous to the sublime,and are punctuated by unusual photographic images(shot over a two-year period)which pay homage to the New York City Cab Driver.

Various stars and celebrities: The Pope, Liza Minelli, Superman, Joan of Arc, dance to the rhythms of our era in an animated waltz extravaganza.

PARIS x2

A PLACE AWAY Ellie O’Sullivan

Jay Rosenblatt USA/ 1988/ 16mm/ 26 minutes/ Colour

England/1989/ 16mm/10 minutes/ Colour

Producer Leading Players Script & Editing Photography Print Source

Jay Rosenblatt Hagit Farber. Kris Olsen Martien Lateur Jay Rosenblatt Jay Rosenblatt. Sylvie Carnot Jay Rosenblatt

An experimental re-telling of a love-affair through fragments and distortions of memory. The narratives and myths of romantic love are explored against a backdrop of Paris and Hollywood.

Producer, Script. Photography. Editing Leading Players Music Print Source

Ellie O'Sullivan Filmmaker's Own Family The Chieftans. Mana Scalai Ellie O'Sullivan

Eileen, the mother of two illegitimate children, is forced to flee Ireland because of the stigma attached to illegitimacy in this country. In England, Eileen is able to re-establish herself as a 'good ' woman but is unable to avoid the conflict between the role she wishes to play and the role that society expects of her. 53

SAHARA

POOCHERS Denis McArdle

Francois Loubeau

Ireland/1989/ 16mm/17 minutes/ Colour

France/1988/ 16mm/ 4 minutes/ Colour

Producer Script Photography Editing Music Print Source

Denis Me Ardle Dems McArdle Lawrence Manly Anne O'Leary, Denis McArdle “The Hell Fire Club” Denis McArdle

Arcem Film Loic Bougamvilliers. Groseille Hervd & Francois Loubeau Jean-Claude Riviere VJadimir Matusiak Arcem Film

A day in the lives of four 'Poochers’, or scrap merchants, purveyors of a maligned but essential service.

Almost at the point of no return, a lost desert travellerfinds refreshment. There's a slight problem, however. . .

REMORSE

A SHRINE ON THE ROAD Liam Lockhart

Simon Howard

Producer Leading Players Script Photography Music Print Source

England/ 1989/ 16mm/13 minutes/ Colour

USA/ 1988/ 16mm/ 21 milnutes/ Colour

Associate Producer Producer Leading Players Script Photography Editing Production Company Pnnt Source

Producer Leading Players

Michael Cowan Fiona Ross Daniel Massey.Sarah Swmgler Michael Howard Matthew Savison Adrian Golding Royal College ol Art Simon Howard

A man, cocooned in a conservatory, has as his only contact with the world a telephone answering machine. Here, he hears his estranged wife tell him of the disappearance of his child.

Pnotography Editing Music Production Company

Liam Lockhart Glenn Backes. Liam Lockhart, Heidi Metcalf Ara Madzouman Liam Lockhart Ara Madzouman. Mark Metcalf Hollyfox Films

A blend of the surreal, mythic and fantastic, involving a young junkie, haunted by the ghost of his dead buddy, who sets out on the road to Mexico to find the site where his friend died and exorcise his spirit.

SPLICE OF LIFE

6/4 Harry Italy/ In

Martin Duffy 39/ 35mm

Executive Producer Script Photography Editing Music Print Source

..olour/ Animation

Harry Hess Harry Hess Paul Gallagher Philip Cullen Dems Woods Sweetpea Films

Ireland/ 1988/ 16mm/19 minutes/ Colour

Producer Leading Players

Script Photography Editing Music Print Source

Emer Reynolds Paul Bennett. David Heap, Jim Bartley, Liz Bono Martin Duffy Breffm Byrne Martin Duffy Fran Dempsey Looking Glass Films

An animated delight set in a fantastic two-dimensional landscape.

A film editor, bored with his life, decides that it could do with some re-editing to his own liking.

THE SOULFUL SHACK

SUNDAY

John Roberts

John Lawlor

England/ 1988/ 16mm/12 minutes/ Colour

lreland/1988 / 35mm/10 minutes/ Colour

Producer Script Leading Players Photography Editing Music Print Source

Michele Camarda John Roberts Joanne Dukes, Ainsley Harriott Nigel Kinnings Carole Lyon Julian Wastall N.F.T.S. Beaconsfield Studios

A simple, touching, witty tribute to Marvin Gaye, in a Cinderella wrapping.

Producer Leading Players Script Editing Music Sound Production Company

John Lawlor Anne Brogan, Lisa O’Reilly, David Hood John Lawlor Oliver Fallon John Lawlor. Jacques Leroid Jacques Leroid John Lawlor

I I

An Irish family of seven are sitting down eating their Sunday dinner. During this traditional repast, on the seventh day, only seven words are spoken-by the seven-year old son.

SUSPICIOUS MIND

THAT’S ALL R

Hugh Farley

Billy McCannon

Ireland/USA/ 1989/ 16mm/ Colour/18 minutes

Ireland/ l989/35mm/ 4 minutos/Colour

Producer & Script Leading Players

Producer

Photography Editing Music Production Company

Print Source

Hugh Farley Charles Barker, Ken Fischer Caroline Magee, John Daniels Tricia Govoni Yogi Cohen John Walsh, Peter Keegan, Flo New York University Film Department Hugh Farley.

New York, July 1945. The first G.I.’s are returning from the European theatre after the capitulation of the Nazis. Among their number is Frank Burgess. Within a week of his return full of hope for a quiet life, Frank suddenly finds himself accused of a murder he didn’t commit, and at the centre of a sinister conspiracy. . .

SWINGIN’ IN THE PAINTER’S ROOM

Leading Players Script Photography Editing Music Print Source

-JT

Billy McCannon. Brendan Galvin Hugh Linehan M.ck Lally. Selina Gunnery Billy McCannon, Brendan Galvin Brendan Galvin Susan Gill Elvis Presley Billy McCannon

A couple relive old memories on the rainy night that Elvis dies.

THUNDER AND LIGHTNING Jonathan Nordlicht USA/ 1989/ 16mm/ 13 minutes/ Animation/ Colour

Greg Mottola USA/ 1988/ 16mm/14 minutes/ Black and White

Producer Leading Players Script Photography Print Source

Greg Mottola Andy Brown, Agnes Boucher, Greg Mottola John Inwood Greg Mottola,

A comedy about a smug young New York artist who is throwing a party for himself to celebrate the fact that he has just secured his first gallery show. 56

Producer. Pnoiography & Editing Script Print Source Awards

Jonathan Nordlicht Lillian Nordlicht Jonathan Nordlicht. Director's Choice award. Nashville Tennessee Sinking Creek International Film Festival. Honourable Mention Rochester International Film Festiva

The Hopi Indian Creation Myth describes four worlds. ■Thunder and Lightning' recounts the travels of Kowitoma through these worlds. The symbolic animal characters that he meets appear repeatedly in Hopi Legend; Legend: especially the figure of Coyote, the Trickster.

TOU

THE UNKINDEST CUT

AP.

Jim Shields

Veit El-M West Gorm

i89/35mm'9 i ! . -

England/ 1988/ 16mm/17 minutes/ Colour

. Colour/Subtitles

pf------

« A

Producer Leading Players Script Photography Editing Music Print Source

Gunter Fenner Dominique Horowitz. Beate Jensen Veil El Mer Janucz Reichenbach Rolf Wolkenstein Junj Panfilowitsch Lustspiellilmproduction

Shy Anton is obsessed with a stranger: Babette, an unusual way of making contact with her. . .

Producer Leading Players

Script Photography Editing Print Source

He finds

Gary Smyor Peter Gluckstein, David Miller, Ann Firbank Gary Smyor Christine Lloyd-Fitt Ann Kocur N.F.T.S. Beaconsfield Studios

A Jewish Comedy.

TRACKS

THE WASTED CALL

Rupert A. Nadeau

Tim Rolt

USA/ 1988/ 16mm/ 22 minutes/ Colour

England/ 1989/ 16mm/ 10 minutes/ Colour

* 1

i Producer Leaoing Players

Script Photography

Editing Music Print Source

Rupert A Nadeau Carlo Michael Mancini. Victoria Veiiux. Rupert A Naaeau Mark Gerard Kevin Tent Jon Huck Charging Rhmo Productions

A Tale of Love, Death, and Vacuum Cleaners. A vacuum cleaner salesman kills his wife and her lover, and with their bodies in tow. makes tracks across the country, keeping up a running monologue with his silent companions as he travels.

Producer Leading Players Script Photography Eamng Music Print Source

Tim Roll Nick Herren. Nella Mann Phyllis King David Scott Revel Fox Ivor Culler Rapid Eye Movies

Why is Elsie driven to eating flies? Why won’t the sausage fit into Ronnie’s mouth? And why will the 6:30 down train interrupt the sago pudding? A tantalising vignette of a couple you need to know more about! 57

WATER’S EDGE

YOUR OPINION

Suri Krlshnamma

UW MENING GRAAG Heddy Honigmann

England/1988/16mm/ 35 minutes/ Colour

Netherlands/ 1988/ 35 mm/ 12 minutes/ Colour' Subtitles

Producer Leading Players Script Photography Editing Music Pnnt Source Awards

Amanda Partridge Dudley Sutton, Leza Webb, David Knight Ashley Pharoah David Kerr Carole Lyon Julian Nott N.F.T.S. Beaconsfield Studios Bilbao 1988: Gold Mikeldi for Fiction Anger 1988:

At the bottom of the village pond a World War II Spitfire pilot lies in peace. This is Lucy’s secret until Sarah discovers it and is forced to reveal all to the Vicar.

WORK EXPERIENCE James Hendrie England/1989/ 35mm/11 minutes/ Colour

Executive Producer Producer Leading Players

Script Photography Editing Production Company

Print Source

Ann Wingate Mary Bell Lenny Henry, Kathy Burke, Neil Pearson, Shelagh Fraser James Hendrie Robin Vidgeon Annabel Ware Film Four International in associationwith British Screen. A North Inch Production. Film Four International

Terence Weller cannot get a job because he has no work experience. Can you get work experience without a job?

Producer Leading Players Script Photography Editing Music Print Source

Rolf Onhel Anneke Blok, Titus Tiel Groenestege Heddy Honigmann Goert Giltay Frans van de Staak Wouter van Bemmel De Nieuwe Ume, Rolf Orthel

A young woman called Bonni takes a critical look at her sex-appeal.

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FOCL

N T. DAVIS

Our FOCUS section in 1989 looks at the work of one of Ireland’s most gifted filmmakers John T Davis. Davis shot to notoriety in 1979, when his first film 'Shellshock Rock' was banned at the last minute by the then organisers of the Cork Film Festival. The publicity subsequently generated by the actions of the Festival selection committee led to widespread exposure of the film, culminating in its receiving the Silver Award at the New York TV and Film Festival. Shellshock Rock' was followed by ’Protex Hurrah', and 'Self Conscious Over You', forming a trilogy documenting the innocent beginnings of New Wave music in Ireland. Shortly thereafter, Davis embarked on the 2-hour epic documentary, 'Route 66', which achieved, in England, the highest ratings for a TV documentary shown in 1985.

Various pop videos (notably Van Morrison's 'Have I Told You Lately That I Love You') and TV documentaries have served to consolidate Davis' reputation. 'Power in the Blood', made last year for the BBC's flagship arts programme 'Arena', has been described by one commentator as possibly the best documentary ever made in Northern Ireland.

SELF CONSCIOUS OVER YOU The second of Davis' dynamic documentaries on the Punk music scene in Belfast, 'Self Conscious Over You’ is the record of The Outcast's amazing benefit concert for Terri Hooley's ailing record shop.

Much more than just another concert film, however, 'Self Conscious Over You' introduces and comments on the main concert footage with searing images of the social reality of life in modem Belfast; the throb of the music underlining the more painful throb of a society under siege. Placed in this context, the Outcasts' songs assume a power and a relevance that transcends mere pop sensibility, just as Davis' film transcends the conventions of the concert movie genre.

The Festival will also be showing some of John T. Davis' acclaimed rock videos, for bands that include Van Mornson and In Tua Nua

CFF is proud to have the opportunity of screening the World Premidre of John T. Davis' latest film 'Dust on the Bible'. Its innovative blending of documentary realism and poetic expression, elaborated with his customary visual panache, firmly establishes him as one of Ireland's most talented filmmake

SHELLSHOCK ROCK

ROUTE 66

Northern Ireland/ 1979/ 16mm/ 50 minutes/ Colour

AN ALTERNATIVE BLASTEROM BELTAST

Produced, Written Photography Editor Music

Print Source

John T. Davis John T. Davis, Alwyn James Tommy McConville John T. Davis, Ross Graham The Undertones, The Outcasts Stiff Little Fingers Protex, Rudi, The Idiots, Rhesus Negative DBA Television Ltd

The film that initially caused all the stir at the 1979 Film Festival, 'Shellshock Rock' is a dazzling collage of music, interviews and images of the once vibrant Punk scene in Belfast. The guru of Belfast Punk, Terri Hoolcy owner of Good Vibrations Records, and mentor to such luminaries as The Undertones and Stiff Little Fingers, was instrumental in creating a scene in Belfast that was notable for its raw energy, the creativity of its musical approach and, above all, the complete absence of sectarian divisions among its adherents. ". . . kids didn't know anything but bombing, shooting and violence and suddenly here they were doing this." Davis said. "I had to document it.”

John T. Davis takes us on an epic musical journey in a cherry-red '68 Chevy Impala along Route 66,thc once great artery,that curved across America from Lake Michigan to the Pacific shores. More than just the quickest way from A to B, Route 66 has entered the popular consciousness as a symbol of the American Dream: "Get your kicks on Route 66". And like the American Dream, it has become tarnished with the stain of disillusionment. Overtaken by the transcontinental superhighways, the inhabitants of route 66 have been bypassed; left in a vast, deteriorated cultural museum, with little left but memories. We get to meet some of the people whose lives have been irrevocably linked with the road: the Greyhound Bus driver of 20 years who said "Ha?mhorroids and ex-wives are the first things you gel on this job," the born-again Reaganite pawnbroker, the prematurely-aged drifter, and of course, the fundamentalists and hot-gospellers whose majority here is much more than a moral one. Much more than a documentary, 'Route 66' is an elegy on the demise of an American myth and an intimate portrait of a depleted hinterland and its people. "I felt transported and educated by the experience"

Daily Telegraph

"hypnotic and unforgettable.

TTtz Guardian

POWER IN THE BLOOD

DUST ON TH

- / .

J"**

4.- ’

Produced, Written Photography Editing

John T. Davis David Barker Sc Merry

Vernon Oxford is an ex-Nashville country singer turned fundamentalist preacher. He offers a full service preaching, speaking in tongues, healing over the telephone, and receiving sinners into Jesus. His mission, to go into the heart of the Loyalist enclaves of Northern Ireland and preach the word of the Lord, is the subject of this film. The inspiration for the film was, as Davis says, that "Really, there is no difference between Tulsa, Oklahoma and Northern Ireland", and its catalyst was the burgeoning friendship between the preacher and Wilfie Cummings, a Loyalist prisoner serving life in the Maze prison. I he film follows Oxford into shebeens, mission halls,a pirate radio station m Monaghan, and into the Pnson Officers' Soaal Club in the Maze Prison.He speaks to the experience of many people here, particularly the Protestant working class faithful; a group much maligned and much under-represented by the media 'Power in the Blood' is above all a film about them and their worldview. Observed with candour and sympathy, they are revealed in their true colours: a much richer palette than the standard one of red, white, and blue.

BIB

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WORLD

PREMIERE

On street corners, in tabernacles, at cattle marts, and in large convention centres, the people of Ulster are reminded in ringing tones of the Day of Judgment - The Apocalypse Only God's chosen people will be spared the anguish of the final conflict. Hellfire and Brimstone in vast quantities will descend upon those not saved, who shall perish in unimaginable agony. Or so the story goes.

'Dust on The Bible' is a film about the people who deliver this message - the laltcrday prophets, burning with Old Testament zeal, whose Ives are devoted to receiving sinners into Jesus before it is too late.

At the heart of the film is a collection of testimonials from a range of preachers, bearing witness to their beliefs. As a counterpoint to this stands a semi-fictional everyman character who floats, Candide-like, through the film, and a still, quiet voice reading extracts from the Book of Revelations. All of this set in a landscape which seems to echo the moods of the preachers, creating from what appears to be a set of disparate ideas a coherent, visually striking and highly personal statement.

IL ft i

JOHN T. DAVIS: FILMOGRAPHY SHELLSHOCK ROCK 1979 SELF CONSCIOUS OVER YOU 1979 PROTEX HURRAH 1979 ROUTE 66 1985 POWER IN THE BLOOD 1989 DUST ON THE BIBLE 1989

An exhibition of black and white photographs from the above films are on display at the Triskel Arts Centre. 60

John T. Davis

vIMA

BLACK &WHITE CINEMATOGRAPHY

. MATTER OF LIFE AND DEATH, the Marius Goring character, having descended to In ■ ell & Press-: r . ear: - from a monochic::. heaven, playfully remarks “we’re starved for technicolour up there" That was in 1946. In 1989 I sometimes fee: then we now have rather too much colour which cannnot match the brilliance and beauty of black and white. One of the perks of programming the festival is the opportunity to indulge an enthusiam for black and white movies. I nope this enthusiasm is shared by our audience. M. Hannigan

Woody Allen’s MANHATTAN Movies shot in black & white have a particular style and beauty, a particular aesthetic. The fact that a movie is shot in monochrome can impart a mood , an ambience more effectivly than dialogue or narrative.. In this hommage we look at just a few examples of that art. The selection is necessarily limited and there are many titles we would have liked to include but could not. ‘Citizen Kane’ is one of cinema’s acknowleged masterpieces, regularly topping critics’ polls as the greatest film of all time. Not the least of Orson Welles’ achievements is his collaboration with cinematographer Gregg Toland in combining deep focus photography - made possible by developments in studio lighting and light sensitive lenses with masterful mise en scene to create a stylistically complex and innovative work of art.

Technicolor has existed since 1935 yet many film makers, for aesthetic reasons choose to shoot in black & white. Stanley Kramer has been vociferous in his opposition to moves to tamper with his classic ‘High Noon’ by ‘colourizing’ it. Much has been written of the film’s social message and the quality of the editing but the wonderful look of the film on screen is central to its impact. 'Throne Of Blood’, Akira Kurosawa’s 1957 version of ‘Macbeth’, is a treat to look at. The new print which has recently been struck by the British Film Institute restores its splendour. Scorsese in 'Raging Bull’, Copolla in ‘Rumble Fish’, Jarmusch, in 'Down By law’ Spike Lee in ‘She's Gotta Have It’, have all demonstrated the virtues of working with black & white. Woody Allen has repeatedly worked in the medium with his regular photographer Gordon Willis. We take the opportunity of screening ‘Manhattan’, filmed on technicolor and printed on black & white. New York is its star, serenaded by Gershwin and glorious in monochrome.

For what is perhaps the most luminous film in recent year’s, ‘Wings Of Desire’, Wim Wenders sought the assistance of one of cinema’s greatest artists, the cinematographer Henri Alakan. In ‘Wings’, Alekan, gives us the experience of the silver screen. We regret that we were unable to secure a good print of Cocteau’s “lunar bright “ ‘La Belle Et La Bete’shot by Alekan in 1946.

Five titles can give but a taste of the wealth of black & white material available. This is a seam Cork Film Festival will continue to mine. Also, the 1990 festival will have a special section devoted to contemporary films shot in black & white.

In the meantime this year’s programme includes a number of recent black & white films; Bruce Weber's documentary on Chet Baker, ‘Let’s Get Lost’ (those who saw ‘Broken Noses' in ‘88 will not be disappointed); Alison Maclean’s impressive short film ‘Kitchen Sink’, and a number of dance related shorts, ‘La Chambre’, L’Etreinte and ‘LaLaLa Human Sex Duo’. NO 1

NORTHERN LIGHTS -Video Work From Bella. & L

The North of Ireland has become over the past 15 years one of the most photographed, most documented places in the world. For the most part this media coverage is sensationalist, superficial, interventionist and censored. Both Belfast Independent Video and Derry Film & Video Workshop were formed by local people to make an indigenous contribution to media representation of their lives. Both groups are Channel 4 Workshops franchised under the A.C.T.T. Workshop Declaration. The following two programmes, representing a large portion of the groups’ production to date, will be screened in the Triskel Arts Centre. Representatives of Belfast Independent Video and Derry Film & Video Workshop will be present to introduce the screenings.

Programme 1, October 8th, 11.00 Belfast Independent Video OUR WORDS JUMP TO LIFE 1989, 52 minutes Usually, when television probes youth issues: unemployment, schools, emigration, it wheels in the experts: politicians, schoolteachers, priests, and perhaps even the token few young people...

i * ■

'Our Words Jump To Life’ represents a chance for young people to speak out for themselves about how these issues affect them. The programme unfolds as we follow a young street poet who gobs incisive witty comments at our sacred cows ... ten year olds sing their own song of nothing to do, seven days a week ... a young boy sings of lost innocence in a nursery rhyme with more sinister connotations ... a young graphic artist becomes a character in his own cartoons as he takes to the road to London and relates his experiences of emigrating ... we are taken on a photographic tour of Belfast by a young unemployed photographer who captures images relevant to him, we see him photographing a graveyard where he spent a year of his life on a youth training scheme writing down inscriptions from the gravestones ... four teenagers talk from the street corner where they were brutally gunned down ... and of course there is the obligatory Protestant and Catholic reconciliation wekend ... but with a difference.

Programme 2, October 8th, 13.30. Derry Film & Video Workshop STRIP SEARCHING, SECURITY OR SUBJUGATION 1984, 44 minutes

The systematic strip-searching of women prisoners in Armagh Gaol was introduced in 1982, allegedly as a security measure. The practice is directed in particular at remand prisoners, unconvicted of any offence, and at Irish women political prisoners . This documentary contains interviews with ex-prisoners, relatives of prisoners, Church, legal and trade union representativbes, and a leading Irish psychiatrist, all of whom express concern at this process.

PLANNING 1985, 23 minutes 'Planning* concerns the redevelopment of the Brandywell and Bogside areas in Derry in the past ten years. It explores the extent to which local people have been involved in planning decisions and in particular at the implications of British Army strategy in local planning.

MOTHER IRELAND 1988, 52 minutes Mother Ireland explores the development and use of images and music which personify Ireland as a woman in Irish culture and nationalism. These images and music influence the idealised model of womanhood in Irish society e.g. the archetype of the Irish Colleen or the endlessly devoted Irish mother. It uses this exploration to address the more general question of the perception of women in Irish culture and society, past and present. It approaches the history of Irish nationalism from a unique and enlightening perspective. that of the women’s movement in Ireland since the 1920’s This film was the first to have been banned under the Britishn Government’s recently introduced restrictions on broadcasting reportage on the North of Ireland.

MOVING MYTHS 1989, 52 minutes

A critical look at at the Protestant and Catholic institutions in Ireland, revealing the experiences of who have been brought up in those traditions but who now regard themselves a athiest. From the Derry priest who left the Church because he disagreed with its teachings on contraception to the Sligo youth worker who was sacked because she tried to empower the young people she worked with, this film listens to the voices of people who have repudiated the dogmas of the various churches. The above videos are available from:

Belfast Independent Video 9 Winetavern Street Belfast BT1 1JQ N. Ireland Tel: 0232 245495

Derry Film & Video 1 Westend Park Derry BT48 9JF N. Ireland Tel: 0504 260326

Bernadette McAlliskey who appears in Mother Ireland

acknov

edgl

ENTS

We would like to express our appreciation and thanks to the following people and organisations, without whose help and support - in proving films and services - the festival would not be possible. Harold Johnston, Chairman, and the staff of the Cork Opera House Peter Murray, Curator and the staff of Crawford Municipal Art Gallery

Prof. G.T. Wrixon, Chairman and the staff of Triskel Arts Centre Mr. John T. Stewart, European Commission, Dublin Office Mary Dwyer, Marilyn Crichton, Deirdre Roberts of the Royal National Lifeboat Institution, Helen Guerin, Anne O’Sullivan, Aylene Kelleher, Dave O’Donoghue , Nora and Mary of J. W.O’Donovan & Company, Robin O’Sullivan and staff, O’Sullivan P.R. Tim Pearson & Brendan Coughlan, Beamish & Crawford pic; Paddy Gaggin, Cork Film Services; Gay Cox, Jim Hickey, Filmhouse Edinburgh; Joe Wall & Marian Mooney, Irish Rail; Jim Davis, Jim Davis & Co. Ltd.; Murray O’Laoire Architects, Peter Fitzgerald, Dan Joe Coleman, Barry Humphries, Flavien Kiely. Gary Hamilton,AFC, London; Victoria Treole, Mary-Anne Scully, Australian Film Commission; Marilyn Hyndmen, Belfast Independent Video , Roger Shannon, Birmingham Film & Television Festival, Gill Henderson, British Council; Richard Calkins, CINE; Michael Dwyer, Dublin Film Festival; Roisin Hogan, Dun Laoghaire School of Art and Design; Simone Kerkhof, Dutch Ministry of Culture; Bob Hawk, Film Arts Foundation, San Francisco; Helen Thwaites, Film Australia; Finnish Film Foundation; Lindsey Shelton, Rhys Dyson, New Zealand Film Commission; Cathal McLoughlan, Network of Workshops; Penny Thomson,Scottish Film Development Fund; Yevgeni Begenin, Sovexport Film, London; Jean Lefebvre, Pauline Kijek,Telefilm Canada; Christine Gendre, Emile Mantica, Unifrance International Film; Joe Johnson, Rory Forde,US Embassy, Dublin.

Pat McCarthy,Amber Films; Robert Beeson, Andy Engels,Artificial Eye Film Co. Gay Robertson, BBC; Kate Mellor, Sue Bruce-Smith,BFI Production; Fiona Keane, John T. Davis, DBA Television, Margo Harkin, Derry Film & Video; Liz Wren, Electric Pictures; Bridget Pedgrift, Film Four International; Finnish Film Foundation; David Shepperd, Golden Communications; Alasdair Nicolson, John Hogart, Hobo Film Enterprises LimitedjKim Lewis Marketing; Raoul Katz, Labrador Films, S SA; John Kelleher, Liberty Film Sales Ltd.; Tony Bloom, Mainline Pictures; Bridie Thomson, Tony Kirkop, Metro Films; Martin Goldthorpe, New World International; Daniel Battsek, Emma Chapman, Palace Pictures; Stan Harte, Premier Releasing; Pamela Hare-Dukes, Recorded Releasing; Noel McKeown, Vattington Ltd.; Mike Southworth,Virgin Vision; Mike Boyce, Warner Bros. Distribution; Nancy Gerstman, Zeitgeist Films.

We would also like to thank our advertisers for their valuable support.

30 YEARS OF CUBAN CINEMA AN EXHIBITION OF CUBAN FILM POSTERS

This exhibition of Cuban Film Posters has been organised, inconjunction with the Edinburgh and Leeds film festival’s to mark the thirtieth, anniversary of the Cuban Revolution and the formation of ICAIC, the organisation responsible for film production and distribution in Cuba. Each poster in the exhibition is an original screenprint made to promote a films release in Cuba. Many of the posters are brilliantly coloured and have established an international reputation for their creators. A limited number of some of these posters have been secured and there will be a unique opportunity to purchase them at the Triskel Arts Centre. The exhibition can be seen at the Triskel Arts Centre from October 1st to 8th

’1

INDEX

Page

ABDUCTION OF EUROPE. THE AFTERLIFE OF GRANDPA. THE AMERICAN EXIT ANIMATED SELF-PORTRAITS ARIEL BEYOND REACH BIG SWINGER BLACKWATER SUMMER BURDEN. THE CAMP THIAROYE CELIA CHARLOTTE’S DIARY CHILD EATER, THE CHINA DIARY CITIZEN KANE COGITOERGO PHUQ COMRADESAND FRIENDS CONQUEST OF THE SOUTH POLE CONSTANT STATE OF DEPARTURE. A COWBOY ON JUPITER. A DARK ROOM DARK SLIDE OF THE TROMBONE.THE DEREK JARMAN - YOU KNOW WHAT I MEAN DICK DUST ON THE BIBLE EAT A BOWL OF TEA EAT THE KIMONO EMPTY BED. AN END OF PART 3 EXTERIOR DAY FOREST FRAGMENTS OF ISABELLA GEH KIND GEH GRAIN DE CIEL GRAND NATIONAL HANGOVER. THE HEATHERS HIGH HOPES HIGH NOON HILL FARM HINDU KUSH HIRAEZH IN FADING LIGHT IN LIGHT AND EVERYTHING IRISH WAYS JESUS OF MONTREAL JUST A CARTOON KITCHEN CHILD. THE KITCHEN SINK KRAUSE KYRIE ELEISON L’ETREINTE LA CHAMBRE LALALA HUMAN SEX DUO NO. 1 LEGEND OF THE HOLY DRINKER LEMON LENNY LIVE AND UNLEASHED

LETS GET LOST LIGHTNING OVER BRADDOCK : A RUSTBOWL FANTASY LONDON SUITE LOUNGE BAR. THE MAIDER MALPRACTICE

MANHATTAN

37 37 37 37 12 39 39 39 39 12 13 13 41 14 61 41 14 15 41 41 43 43 15 43 60 11 16 16 43 45 17 45 45 45 46 17 18 61 46 46 46 18 47 19 9 47 47 47 48 48 49 48 48 19 49 20 20

MANIKA - MANIKA. THE GIRL WHO LiX ) TWICE MELANCHOLIA METAL MAN, THE MOTHER IRELAND MOVING MYTHS MULTIPLE CHOICE MY NAME IS BERTOLT BRECHT- EXILE IN U.S.A.

WINGS OF DESIRE WORK EXPERIENCE WORLD IS WATCHING. THE YOUR OPINION PLEASE

49 51 21

MYSTERY TRAIN 1996 NIVIS OlCHESf ONE DAY AT A TIME ONE MAN'S MEAT OUR WORDS JUMP TO LIFE OUT OF THE RAIN OUTRAGEOUS TAXI STORIES

PAINTED FACES PARIS * 2 PAS A DEUX PHILOSOPHER. THE PLACE AWAY. A PLANNING PLAY ME SOMETHING POOCHERS POWER IN THE BLOOD PRIVATE LIFE, A PROMISES TO KEEP REMORSE ROSALIE GOES SHOPPING ROUTE 66 SAHARA SELFCONSCIOUS OVER YOU SHELLSHOCK ROCK SHRINE ON THE ROAD. A SIGNS OF LIFE 6/4/33 SOULFUL SHACK. THE SPLENDOR SPLICE OF LIFE STRIPSEARCHING. SECURITY OR SUBJUGATION SUNDAY SUSPICIOUS MIND SWEETIE SWINGIN' IN THE PAINTER'S ROOM THAT’S ALL RIGHT THRONE OF BLOOD THUNDER & LIGHTNING TOUR D'AMOUR TRACKS

TRAGEDY IN THE ROCK STYLE TWILIGHT CITY UNKINDEST CUT. THE

VENUS PETER VOICES FROM THE ATTIC WASTED CALL. THE

WATER’S EDGE WHERE THE HEART ROAMS

61 22 23 51 62 62 51 23 24 24 51 52 52 52 62 52 53 25 53 53 25 53 62 26 54 60 26 27 54 27 59 54 59 59 54 28 55 55 28 55 62 55 56 29 56 56 61 56 57 57 29 30 57 30 31 57 58 31 61 58 34 58

Si 26 Washington St., Cork

tel. 02*1 ~ 27 *19 69

LIVE MUSIC THURSDAY TO SUNDAY BAR EXTENSION

Doors Open 9.30 Thurs & Fri. 1.30

Sat 12.00

Sun 1.00

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It’s called a mouth organ or / harmonica. j To those in the know it’s a harp. I It started life as a humble tuning 1 instrument. But came into its own with the birth of the blues. Those wailing notes were perfect for plaintive songs of love lost WE and found. And its swirling sweeps Kq reached dizzy heights for jazzy rhythms.

It’s part of country and rock, blues and folk. Weaving intricate harmonies and simple melody lines. Distinctive and emotive. It has always been favoured by individuals. Billy the Kid played a W mean harp. And Wyatt Earp died with ? his harp in his breast pocket. It isn’t for everyone. But then, | neither is Murphy’s.

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IT’S A DIFFERENT STORY.