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SEPTEMBER 8 - 19

OKLAHOMA by Rodgers and Hammerstein Irish Operatic Repertory Company

28-3

DIXIE by Sean McCarthy Storytellers Theatre Company

OCTOBER

JUST THE TICKET

4-11

CORK FILM FESTIVAL

12 - 17

DANNY LA RUE

Sun. 1 8

TOM PAXTON in Concert

19-21

PHILIPPE GENTY COMPANY from Dublin Theatre Festival

23 - 25

GUINNESS JAZZ FESTIVAL in association with RTE

27-31

G.U.B.U. 2 by Tony Doherty

NOVEMBER 2-7

DANCING AT LUGHNASA by Brian Friel Abbey Theatre

8- 14

CHRISTY MOORE

16-21

GISELLE Cork Ballet Company

Sun. 22

TUTTI FRUITI Rock n' Roll Show

MESSAGE BY THE RIGHT HONOURABLE THE LORD MAYOR

ALDERMAN MICHAEL MARTIN, T.D., Is mor an onoir dom mar Uachtaran na Feile failte Uf Cheallaigh a chuir roimh na hafonna agus cuairteoin go leir go Corcaigh i mbliana. Ta suit agam go mbainfidh sibh taitneamh as an tseachtain agus go dtiocfaidh sibh arais ans sa todhchai'. It is a great privilege and honour for me to act as President of the 37th Cork Film Festival. In that capacity I wish all our guests and visitors an enjoyable and fruitful week. The Film Festival is a major annual event in Cork's Festival Calendar. It is a quality Festival and because of this has built up a loyal audience locally, nationally and internationally. Its success to date, along with the Jazz, Folk and Choral Festivals has been instrumental in helping the city to develop into a Festival City of renown. The film industry in Ireland is underdeveloped. I believe it can become a powerful resource for the country, and should receive greater state funding. The Cork Film Festival has helped to keep the industry on the public policy agenda and we in Cork Corporation are delighted to have been of assistance in the past and will continue to do so in the years ahead.

Finally I wish to thank the hardworking Festival Committee and the voluntary personnel who have displayed outstanding organisational skills in putting this comprehensive programme together.

37TH CORK FILM FESTIVAL: CREDITS PRINT TRANSPORT Helen Farrell Ben Reilly

CHAIRMAN Charles Hennessy

PRODUCTION MANAGER Joe Chalmers

EXECUTIVE COMMITTEE Michael Gleeson Liam Kinsella Tiernan MacBride Dr. Rosmarie Manning Michael O'Connell Dr. A.J.F.O'Reilly David Puttnam R. Declan Scott

RECEPTION Margaret Dorgan Una Feely

JURY LIAISON Tony Devenyi

DIRECTORS Fran Bergin Administration Donal Sheehan Programming

FRONT OF HOUSE Tim Crowley Angela Dorgan

OFFICE Kieran O'Connor Colette Sheridan

SCHOOLS PROGRAMME Fiona Cunningham

ACKNOWLEDGEMENTS The assistance of FAS and the Triskel Arts Centre is gratefully acknowledged.

EXHIBITION Tony Devenyi

PRINTED BY Lee Press Ltd

PRESS OFFICER Ruth Riddick

PROGRAMME PRODUCTION & GRAPHIC DESIGN Kieran O'Connor

CARS Henry Ford & Son RADIO COMMUNICATION EQUIPMENT Southern Electronics Ltd

ACCOMMODATION Helen Guerin

FESTIVAL TROPHIES Kevin Holland FREIGHT AGENTS Diamond Freight Services

LESBIAN & GAY FESTIVAL Maura O'Keeffe

PROJECTIONISTS Declan Lynch Eddie Noonan

Ben Reilly I

TRANSPORT MANAGER Donal O'Sullivan

PRESIDENT The Lord Mayor of Cork, Aid. Michael Martin T.D.

AUDITORS D.J. Coleman & Co

AIB

It’s not just A STAGE we’re GOING THROUGH. For several years now AIB

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has been

participating in the Arts in Ireland. We have had many happy associations with productions both here and abroad.

Through our 'Better Ireland Awards’ project we recognise groups and organisations making significant contributions towards enriching the quality of cultural life in Ireland. And we have a wide-ranging cultural programme planned for well into the future, ensuring that we play our part in the continued success of the Arts.

A lot goes on behind the scenes in AIB.

AIB You bring out the best in us 2

For 37 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. The continued support of both the Arts Council and Cork Corporation have ensured the growth of this international Festival and we are very grateful for this. We are delighted to renew our association with Murphy’s Irish Stout as our main sponsor and would also like to thank Telecom Eireann and Hollywood Video for their sponsorship. We are deeply indebted to our patrons and advertisers for their support; quite simply we could not have brought you this Festival without them. I am particularly pleased that our relationship with our Sister City of San Francisco continues to grow and flourish, and I am happy to welcome to the Festival some of our keenest supporters from that city. We are also indebted to the marvellous corps of voluntary workers who continue to give of their time and talent unselfishly to the art of film and to the advancement of this city.

I know that no effort has been spared in assembling a programme of films that will delight, entertain and intellectually challenge our audiences. We are proud to welcome to Cork the directors, producers, distributors and actors associated with many of our presentations and, on behalf of my hardworking Executive Committee and our Directors, I extend to you our audience, a hearty welcome.

Charles Hennessy Chairman

A Message from Michael Foley, Managing Director, Murphy Brewery Ireland Ltd. The Cork Film Festival has reached its 37th year due to the vision and tenacity of its organisers since its inception. The Festival has achieved an international reputation as a premier cultural event due to the commitment of Charles Hennessy and his executive committee and especially the tireless Directors and staff.

On behalf of Murphy Brewery Ireland Ltd. I am delighted to renew our association with the Cork Film Festival as its major sponsor. Murphy’s Irish Stout is a noted sponsor of the Arts including the Abbey Theatre, the Firkin Crane and recently the Shaun Davey Granuaile Suite at Cork Gty Hall.

Of all the Arts, film has become the dominant medium of the twentieth century. It is an indication of the vitality of the Cork Film Festival that this year's programme is the most exciting ever.

GRANT-AIDED BY

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----------------Grant-aided by the ■ Arts Council

We would like to express our sincere appreciation of the following organisations, companies and individuals whose generous support of the Cork Film Festival has enabled us to organise this year's event.

The Arts Council

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The European Commission

RTE

San Francisco Sister City Committee •oo•oo• o•o•o•o o o•••oo

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British Council

D. O.C. Optical Co Ltd Deloitte & Touche Design Workshop D.F.Doyle & Co Ltd Eagle Oil Fitzgerald & O'Leary General Semiconductor Ireland Grainger Sawmills Ltd Guy & Co. Ltd P.J. Hegarty & Sons M.J. Horgan & Sons IDA Ireland Irish Distillers Ltd Irish Fher Laboratories Irish National Insurance Company Irish Steel Ltd Irish Trade Board Janssen Pharmaceutical Ltd Jardine Insurance Brokers Ireland Ltd Johnson & Perrott Ltd Jurys Hotel Cork Logitech Mac's Meats Kieran McCarthy & Co G. J. Moloney & Co Frank Murphy & Partners Musgrave Ltd New Ireland Assurance No 1 Launderette Kieran O'Callaghan & Co Ltd

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O'Donovan Cuddy & MacCarthy J.W O'Donovan & Co Ltd O'Flynn, Exhams & Partners Edward O'Mahony & Co O'Sullivan Public Relations Organon La bora tories/Axzo Ove Arup & Partners Ireland Parke-Davis Research Laboratories Penn Chemicals B.V. Pepsi-Cola Manufacturing (IRE) Ltd Pfizer Pharmaceuticals Project Management Ltd Quigley Company of Europe Ltd John Roche & Co Roche Pharmaceuticals Ronan Daly Jermyn Solicitors Sedgwick Dineen Group Ltd Signrite Smurfit Corrugated Cases Southern Fruit Distribution Co Statistical Softwear Ltd Stokes Kennedy Crowley True-Temper Ltd Trustee Savings Bank Turners Cross Motors University College Cork Weir & Ml Young Interiors Billy Wilson Associates Wyeth Laboratories

Individuals Thomas Creed Kevin & Allison Cross Don Crewe Gene Fitzgerald, MEP Eamonn & Jane Fleming Harvey Kenny, BL Noel Locke Denis Lyons, T.D. Dr. Gillian McSweeney Dr. Rosemarie Manning Barry & Joan Murphy James O'Drsicoll Liam S. O'Raghallaigh Marie O'Meara Joe Shinkwin Mr and Mrs G. B. Nixon"

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Call Diversion is a helpful new service which allows you to divert calls to another phone when you're not at home.It is available to customers who are connected to digital exchanges. For more information Freefone 1800 500 500. TELECOM EIREANN

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/o D U C T I O N IRISH SECTION The Festival aims to act as a show case for Irish film. Once again we have the privilege of screening the world premiere of a film by Ronan O'Leary, HELLO STRANGER. There is also a fine crop of new Irish shorts in the Triskel programme, including an exciting selection from the film schools in Dun Laoghaire and Rathmines.

FOCUS

For many years the Festival has considered devoting a focus section to the work of Michael Apted, one of the most distinguished British film makers of his generation. He has created a notable range of films both for cinema and for television. His work as a documentary film maker, as director for major Hollywood projects and as a producer are all remarkable. The fact that we are screening two of his latest films in the Opera House made this year an ideal opportunity to present a focus on his work. LESBIAN AND GAY FILM FESTIVAL

A section of our audience from bygone days!

We were delighted with the success of the First Irish Lesbian and Gay Film Festival in 1991. We are very happy to continue our close involvement with and support for an event that has, we feel, a bright future.

VISITORS The festival is more than just a series of screenings. The core of the festival lies rather in the creative exchange of ideas nurtured by the open, convivial and relaxed atmosphere for which the city and the festival are widely known. This year we are delighted to welcome a record number of film makers and delegates from all over the world.

PROGRAMME We have a strong and diverse programme of features this year and are particularly delighted to present the Irish Premiere of The CRYING GAME, the latest film by one of Ireland's most distinguished film makers, Neil Jordan. This year's record number of over 700 entries for short film and documentaries is testimony to the festival's growing international reputation. It is regrettable that we are only able to screen a fraction of the fine films that we are offered. We hope that you enjoy those we have selected.

THANK YOU

Michael Hannigan's recent departure from the director's chair marked a major transition in our organization. Michael played a key role in re-vitalizing the festival. He brought a new identity and sense of direction to a long established event at a crucial time in its history. Under his direction the festival has been re-established as Ireland's premier film festival. His commitment to building a professional team and assembling the resources needed to run a major cultural event should bear fruit for many year's to come. We wish him and the Irish Film Centre all the success they so much deserve

COMPETITIONS

The EUROPEAN SHORT FILM COMPETITION, with a prize of 10,000 ECU's funded by the European Commission, is the main competitive element in the Cork Film Festival. It is the richest prize for short film in Europe. The Festival is very grateful to the European Commission for their continued support of the competition. We are committed to the short film both as an art form in itself and as the seeding ground for new film making talent.

The festival could not take place without the generous support of the film-makers, film-distributors and film organisations who each year entrust their prints to us. Without this support much of the festival's programme would never be seen by Irish audiences.

Cork's BLACK AND WHITE COMPETITION is the only such event in the world and continues to attract world-wide entries from film makers working in glorious monochrome. The festival also provides the GUS HEALY AWARD and prize of £1,000 for the Best Irish Short Film.

The unstinting work of the Festival's staff - the furiously paddling legs that keep the whole event gliding serenely forward - must be remembered. The pressure, the deadlines, the attention to detail that is essential in managing such a complex event all demand a level of commitment far beyond the financial rewards the festival can offer.

EXHIBITION

This year's Exhibition has a special importance for the festival. Over recent years we have worked to collect and preserve archive material relating to the Festival. The idea for an exhibition on the history of the festival arose naturally from this. We are particularly glad to assemble this tribute to the work, the ideals and the achievements of the people who initiated and developed the Festival.

. Finally we must thank the people of Cork who form the bulk of our loyal audiences and in particular the generous financial support from Cork business people without which the festival could not happen.

SEMINARS

We aim to develop the seminar section as an integral part of the festival programme. This year we will deal with current issues in documentary filmmaking and with the perennial topic of low budget films. We are very pleased that the Copenhagen - based Project for the Creative Documentary has chosen to make tneir Irish presentation in Cork as part of the Documentary Seminar.

Donal Sheehan Fran Bergin

Programming Director Administrative Director

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MEMBERSHIP [_

Festival-goers are obliged to become members of the 37th 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 Membership Card must be produced when buying tickets for screenings. Members may also be asked to produce Membership 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.

IJ h The most talked about new

TICKET PRICES INDIVIDUAL SCREENINGS: Opera House: 8.30pm & 11.30pm, £3.50 & £3 (concession) 2.00pm, 4.00pm & 6.00pm, £2 2.00pm & 4.00pm screenings free for Old Age Pensioners

RESTAURANT IN CORK.

Triskel Arts Centre: £2 & £1.50 (concession) Triskel Arts Centre Shorts Programmes: £1 Weekend Tickets: Valid for all screenings Friday 9th - Sunday 11 th: £20 Season Tickets: Valid for all screenings: £35 & £30 (concession) Special Season Ticket for Couples: £60 pair Patron Tickets Companies: £125 per pair Individuals: £100 per pair Lesbian & Gay Screenings: Crawford Gallery: £2.50 & £2 (concession) Triskel Arts Centre: £3 & £2.50 (concession)

Check it out

ADVANCE BOOKING Tickets for all screenings in the Opera House may be booked in advance. Box Office hours for advance booking: 10.15am - 7pm. Telephone bookings with credit card: Tel: (021)270022. Those booking by telephone must take out Membership before collecting tickets. Tickets for Triskel Arts Centre screenings available at door. CONCESSION RATES Available to those with appropriate ID: unemployment card, pension book, student card. Apply to Information Desks in Opera House or Triskel for details.

ISAACS RESTAURANT Me CURTAIN ST. CORK, IRELAND TEL: 021 JOJ 805

All Inquiries to Information Desks In Opera House and Triskel Arts Centre. Telephone enquiries to: (021) 271711.

Your membership card for the Cork Film Festival entitles you to FREE MEMBERSHIP and 2 FREE VIDEO RENTALS at any branch of Hollywood Video Branches at: 20, Pouladuff Rd., 33, Barrack St., 16, Anglesea St., Southern Rd., Me Curtain St., Old Youghal Rd., East End, Ballincollig, Main St., Ballincollig, Grangevale, SC Grange, Main Street, Carrigaline, Douglas Rd., Harbour View Rd., Hollyhill

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THE CRYING GAME NEIL JORDAN England/1992/35mm/112 minutes/Colour Executive Producer: Nik Powell. Producer. Stephen Woolley. Leading Players: forest Whitaker, Miranda Richardson, Stephen Rea, Adrian Dunbar. Script: Neil jordan. Photography. Ian Wilson. Editing: Kant Pan. Music: Anne Dudley. Production Company. Palace Pictures, Channel Four Films in association with Eurotrustees and Nippon Film Development and Finance inc. With the partnership of British Screen. Print Source: Mayfair Entertainment, 9 St. Martin's Court, London WC2N 4A), England. Tel: 071 89S 0328, Fax: 071 895 0329.

THE CRYING GAME is a tale of love, loyalty, murder and seduction. Jody, a British soldier held hostage in a glasshouse in South Armagh by Fergus and his fellow conspirators, reminisces about his love for the beautiful woman whose photograph he carries in his wallet. In this tense, though intimate atmosphere, Fergus and Jody develop an unlikely rapport that can only have dangerous repercussions.

Soon, on the run from his confederates, Fergus is also on a mission to carry out Jody's dying wishes to find Dil the woman in the photograph. Dil has long purple hair and irresistable allure. Hairdresser by day, singer in a bar by night, Dil is innocent of Fergus' past and, as they sip margaritas together, they gradually grow closer. Then there is Dave, Dil's ex from Essex, who's asking for trouble; Jude, a blonde in a brown wig who wants Fergus; and Maguire who wants revenge.

Neil jordan draws together his collection of dreamers in a bizarre yet vibrant underworld - moving from the tension and conflict of Northern Ireland to the seedy twilight zone of London. THE CRYING GAME is tough and troubling, yet also filled with warmth, wit, magic and music. THE CRYING GAME will be preceded by JAZZ IN THE BOX, directed by Milan Grozdanic

-AlFESTIVAL OPENING SPONSORED BY LWsWvJ

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THUNDERHEART MICHAEL APTED USA/1992/35mm/118 minutes/Colour Producer Robert De Niro. Leading Players: Vai Kilmer, Graham Greene, Sam Shepard, Sheila Tousey. Script: /ohn Fusco. Photography: Roger Deakins. Editing: Ian Crafford. Music: James Horner. Production Company: TriBeCa/ Waterhorse. Print Source: Columbia Tri-Star Films (Ireland), Merchants Court, Merchants Quay, Dublin 8, Ireland. Tel: 01 6798234 Fax: 01 6798237.

THUNDERHEART deals with the position of the Native American in US society. It depicts events surrounding the investigation of a murder in the Badlands of South Dakota. Vai Kilmer stars as Raymond Levoi, Eastern urbanite and FBI agent, sent to investigate the murder of an Oglala Sioux. There he finds Sam Shepard's cynical FBI agent "Cooch" Coutelle conniving by default with local whites, and Levoi quickly realises that the situation is far more complex than the FBI bosses are willing to allow. Graham Greene plays tribal police officer, Walter Crow Horse who, with Grandpa Sam Reaches (73 year-old Chief Ted Thin Elk making his screen debut), are the instruments through which Kilmer comes to question his commitment to government and state - and to his own Sioux ancestry. His gradual shift from the perspective of Government employee to Native American supporter is a subtle and affecting performance, and the strong team who play the Reservations residents, are wholly convincing as the indomitable group fighting to keep alive their culture in a society that cares little for their customs and values.

THUNDERHEART will be preceded by the winner of the European Short Film Competition.

FESTIVAL CLOSING SPONSORED BY

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TRISKEL ARTS CENTRE, SUNDAY 11TH, 16.00

OPERA HOUSE, THURSDAY 8TI

AS HAPPY AS LARRY

THE BEST INTENTIONS

Riju Ramrakha

DEN GODA VILJAN Bille August

Australia/1991 /16mm/61 minutes/Colour

Sweden/1991/35mm/180 minutes/Colour/Subtitles

Producer. Riju Ramrakha, Patricia Lhuede. Leading Players: Max Cullen, Tony Harvey, Helen Mutkins. Script: Riju Ramrakha. Photography: Reynold Carlsen. Editing: Fiona Strain. Music: Robert Moss. Print Source: Far Sighted Films, 77, Elliott St., Balmain, NSW 2041, Sydney, Australia. Tel: 61 2 319 6178, Fax: 61 2 555 1937.

Producer: Lars Bjalkeskog. Leading Players: Samuel Froler, Pernilia August, Max Von Sydow, Chita Norby. Script: Ingmar Bergman. Photography: jorgen Persson. Stills: Bengt Wanselius. Editing: Janus Billeskov Janson. Music: The Swedish Radio Symphony Orchestra. Production Company: Artificial Eye Film Company. Print Source: Artificial Eye Film Company, 211 Camden High Street, London NW1 7B,T, England. Tel: 071 267 6036.

Larry and Bert live in a rundown terraced house in a decaying suburb of Sydney. Bert, a boozer and a gambler, is laid off from his boring job and plans to fulfil his dream of buying a greyhound and winning his fortune on the track. Larry, a schizophrenic, has an intense inner life and a sometimes tenuous grasp on reality. He hears voices, is convinced that he has telepathic powers and has occasional flashes of insight into the nature of God and time. He does admit, though, that occasionally, his mind does play tricks on him. While other people reckon that Larry is away with the fairies, Bert takes him at face value. They share a love of old movies on television and are both convinced that a big win on the Lotto is imminent

This is the story of a family and a bygone era played out against the backdrop of a Sweden stifled by a rigid class system and in the throes of a general strike. Henrik, a poverty-stricken young theology student meets a beautiful and vivacious upper-class girl, Anna, who is adored by all, especially her father johan (Max Von Sydow). The pair fall in love, despite the opposition of the real head of the family, Anna's mother. THE BEST INTENTIONS traces the course of their love over a turbulent decade in Swedish history.

While directed by Bille August (who won an Oscar in 1989 for his PELLE THE CONQUEROR),THE BEST INTENTIONS has the inimitable stamp of Ingmar Bergman on it. He wrote the script, based on the lives of his parents up to the time of his own birth, and many of the cast and crew were Bergman regulars. In the course of many months of pre-production on what turned out to be the most expensive Swedish film ever made, Bergman and August grew towards a shared vision of the film. What we are left with is a beautiful, epic film, a straightforward but deep tale of the vissicissitudes of love and the vulnerability of the human spirit.

Bert buys his greyhound, who becomes like a second son to him. The dog is surprisingly successful at racing and while Larry finds the whole thing incomprehensible, he goes along with Bert just to humour him.

Larry develops a crush on jenny, a girl who attends his daily group therapy sessions. She's brain damaged, but you can't have everything. Anyway, she's much less sexually threatening than some of the other people in the group. Unfortunately, Larry learnt all of his ideas about romance from discussions with Bert and from watching old TV movies, and things don't work out as planned. It's enough to put anyone in the nut house - and it does.

"...so gripping that at the Cannes screening that I attended, a good number of the spectators remained in their seats after the film ended, as if they wished the threehour film had been longer...Bille August's direction is sure and subtle...Ultimately, THE BEST INTENTIONS is a risky and successful journey led by a master storyteller into the labyrinth of the human heart." Marcelle Clements Premiere

"A fine script and some well-judged performances make this a hugely watchable film." Melbourne Fringe Festival Winner 1992 Golden Gate Award for Fiction, San Francisco Film Festival.

please note earlier starting time of this film

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CHAIN OF DESIRE

Joe Berlinger, Bruce Sinofsky

Temistocles Lopes

USA/1992/16mm/117 minutes/Colour

USA/1992/35mm/IO5 minutes/Colour

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Producer: Lindsay Law, foe Bedinger. Photography & Editing: Douglas Cooper. Music: Jay Ungar, Molly Mason. Print Source: Jane Balfour Films, Burghley House, 35, Fortress Road, London NWS 1AD, England. Tel: 071 267 5392, Fax: 071 267 4241.

Executive Producer: Anant Singh. Producer: Brian Cox. Leading Players: Malcolm McDowell, Seymour Cassel, Linda Fiorentino, Grace Zabriskie. Script: Temistocles Lopes. Photography: Nancy Schreiber. Editing: Suzanne Fenn. Music: Nathan Nimbaum. Print Source: Distant Horizon, 52, Crescent Ave., St. George, Station Island, New York 10301, USA. Tel: 718 816 6732, Fax: 718 273 2766.

A year in the life of murder defendant, Delbert Ward, an impoverished dairy farmer accused of suffocating his brother to death, is the focus of this non-narrated cinema verite feature film. Although devoid of scripts, actors and any re-creation whatsoever, the film unfolds like a dramatic fiction feature film.

"Who slept with the person who slept with the last person you slept with?" This is the question posed in this comedy of sexual manners, a contemporary reworking of Max Ophuls' legendary LA RONDE. When Alma d'Angeli (Linda Fiorentino), a hot nightclub singer, sleeps with jesus, a married, Hispanic working-class man, they start a chain of erotic entanglements that cross many social and psychological boundaries.

The film revolves around Delbert, Bill, Lyman and Roscoe Ward, four elderly dairy farming brothers. These nearlyilliterate bachelor brothers have never left their family farm in Central New York State. Occupying the same dilapidated two-room shack all of their lives, they have led a life that rural farmers might have led 200 years ago.

Among those caught in this web of attractions are a renowned television commentator (Malcolm McDowell), his wife, a jaded millionaire, a famous painter, his jealous spouse and many others. The chain comes full circle when at the end, through coincidence and chance encounters, the story brings us back to Alma and the club in which she performs.

One night, however, their quiet life was shattered when Delbert's bed-mate, Bill, 64, died in his sleep. The next day, Delbert, 59, was arrested and by late evening, he had confessed to suffocating Bill. Claiming he was innocent, the townspeople rallied behind Delbert asserting that he was coerced into signing a document he could neither read nor understand. They organised bail for him and retained a private investigator and a high profile lawyer to handle his defence. At the end of the three week trial held in March, 1991, Delbert was acquitted but the case raised many questions some of which remain unanswered today. This real-life story is revealed as it unfolded before the filmmakers' cameras.

Instant attractions, convoluted strategies of seduction, jealousy, deceit, blackmail and romance are all part of this steamy chronicle of sexual politics in the '90's.

’ A stylish production with a dream cast of cult actors...packs an emotional charge that puts the likes of BASIC INSTINCT to shame." Edinburgh Film Festival

’Alluringly sexy...boasts a strong cast of talented names and promising newcomers.’ Variety

"A poignant, riveting piece of Americana." Kenneth Turan, Los Angeles Times

Winner, 1992 Sundance Film Festival Audience Award. Winner, 1992 Golden Gate Award, San Francisco Film Festival.

’...funny, intelligent, resonant and skilfully structured...’ Le Journal de Montreal

TRISKEL ARTS CENTRE, THURSDAY 8TH, 1330

OPERA HOUSE, MONDAY 5TH,

CHANGING OUR MINDS

CHILDREN OF NATURE

Richard Kurt Schmiechen

Fridrik Thor Fridriksson

USA/1991/16mm/75 minutes/Colour

lceland/1991/35mm /85 minutes/Colour/Subtitles

■

Executive Producer: Intrepid Productions. Narrated by Patrick Stewart. Photography: /. Churchill, T. Adair, B. Megalos, C Zheutlin. Editing: Richard Kurt Schmiechen, Cail Yasunaga. Music: Absolute Music. Print Source: Intrepid Productions, 8265, Sunset Blvd, 4204, Los Angeles, CA 90046, USA. Tel: 213 656 5472, Fax: 213 654 6569.

Producer: Fridrik Thor Fridriksson, Wolfgang Pfeiffer, Skule Erikson. Leading Players: Bruno Ganz, Gisli Halldorsson, Sigridur Hagaiin,. Script: Einar Mar Gudmundsson, Fridrik Thor Fridriksson. Photography: Ari Kristinsson. Editing: Skule Erikson. Music: Hilmar Orn Hilmarsson. Print Source: Ex Picturis Distribution, Fididnstr. 40, 1000 Berlin 61, Germany. Tel: 30 691 60 08/9, Fax: 30 692 9575 94.

In CHANCING OUR MINDS, the Oscar - winning producer of THE TIMES OF HARVEY MILK presents to the world another memorable champion of gay rights, Dr. Evelyn Hooker. Dr. Hooker is the trailblazing psychologist who helped free gay people from the stigma of mental illness.

The first Icelandic film to receive an Oscar nomination, CHILDREN OF NATURE tells the tale of an elderly farmer from northern Iceland who decides to go and stay with relatives in the capital. But things don't work out as planned; his young relatives are from a different world and the farmer finds himself in a retirement home.

In the 1950's gay love was still illegal and such diverse events as the McCarthy hearings and the publication of the Kinsey report justified the persecution of homosexuals as perverted and sick. For decades, the medical community had been trying to 'cure' homosexuality using appalling methods: lobotomies, electric shock therapy, castration. What Dr. Hooker established was that homosexuality was in no way an illness; her research showed that psychiatric experts could not tell the difference between 'gay' and 'straight' psychological profiles.

It is there that he meets his first love, a woman who has now grown old like himself. Together, they decide to revisit the remote Hornstrandir, in the West Fjords, where they both spent their childhood years before their families moved away and they lost touch. They escape from the retirement home and steal a jeep. Finding that their village has been uninhabited for some time, the elderly pair submerge themselves in the idyllic landscape of the region. Nature's beauty is intertwined with childhood memories. The return to their former home leads to a respect for one another and acknowledgement of the coming departure from life.

Dr. Hooker's findings sent shockwaves through the American medical community, which culminated in a landmark victory for gay rights: in 1974, the American Medical Association removed homosexuality from its list of mental disorders.

"...a quixotic Bonnie and Clyde in a journey of love...stunning photography..." Screen International

Now 84, Dr. Hooker recalls her past in vivid detail; how, as child in Colorado she was brought up far from the world of drag clubs and vice raids; how, while teaching at UCLA she was introduced by a friend to the then gay underworld and was implored to study them. How she became a pioneer in the world of psychology and a charismatic champion of human rights. ■

iRA HOU:

TRISKEL ARTS CENTRE, MONDAY STH, 1330

CRUSH

DREAMS AND SILENCE

Alison McClean

AHLAM Fl FARAGH Omar Al Qattan

New Zealand/1992/35mm/97 minutes/Colour

Belgium/Palestine/1991/16mm/52 minutes/ Colour/Subtitles

Producer: Bridget Ikin. Leading Players: Marcia Gay Harden, William Zappa, Donogh Rees, Caitlin Boosley. Script: Alison MacLean, Anne Kennedy. Photography: Dion Beebe. Editing: /ohn Gilbert. Production Company: Hibiscus Film Ltd. Print Source: Metro Pictures, 79, Wardour St., London W1V 3TH, England. Tel: 071 734 8S08/9, Fax: 071 287 2112.

Executive Producer: Centre de L'Audio-Visuel a Bruxelles. Script: Omar Al Qattan. Photography: Raymond Fromont. Editing: Greg Harris. Music Riccardo Castro. Print Source: Centre de L'Audio-Visuel a Bruxelles a.s.b.l. Rue Joseph 11, 18,8-1040, Brussels, Belgium. Tel: 02 218 40 80. Fax: 02 217 91 97.

"I want a film to have the resonance and the pull of a deep, dark dream, with unsettling shifts of tone from tension and foreboding to ironic humour. CRUSH is a passionate story that deals with strong and often conflicting emotions: love, hatred and guilt."

DREAMS AND SILENCE juxtaposes the daily life of a Palestinian woman, a refugee, with the polemics of an Islamic fundamentalist senator. While the military and political conflicts continue between the West and the Arab-Muslim world, and while Arab political movements are renewing their ideological arguments following the Gulf war, the film tries to replace these conflicts and arguments within their more natural framework - that of everyday reality, in order to avoid any sterile abstraction. Thus it confronts the political and social thought of the senator with the problems this woman faces; poverty, limited education, broken dreams of national liberation, limitations on her personal and social freedom as a woman.

So speaks Alison McClean of her debut feature; one of the few to occasion impassioned debate at the Cannes Film Festival. CRUSH centres on a teenage girl's developing awareness of her own sexuality and power but is grounded in a powerfully enigmatic performance by Marcia Cay Harden as Lane, a malevolent American femme fatale with a powerful sexual presence, visiting New Zealand. Driving through a desolate volcanic landscape, Lane causes an horrific crash and leaves her journalist friend Christine for dead. While Christine languishes in the hospital, Lane turns her attentions on Colin, the writer to whom Christine was travelling to interview, and his troubled teenage daughter Angela.

While distancing itself from the ideals of Islamic fundamentalism, and from the violence of the conflicts between the West and Islam, DREAMS AND SILENCE tries to put forth a more human point of view that casts the problems of the Middle East in a new light.

Lane takes Angela out for a night on the town, forging a relationship with her that comes under stress when Lane initiates an affair with her father. Discovering Christine's existence in the hospital, Angela becomes her confidante and starts helping her through her painful recovery. As Angela starts to turn against Lane, she becomes devious and manipulative, using Christine to prove Lane's cruelty to her father. The film culminates in a welter of mixed emotions, double dealing and death.

Awards: joris Ivens Award, Amsterdam International Documentary Film Festival, 1991. Official Selection, Festival of Human Rights, Strasbourg, France, 1992.

TRISKEL ARTS CENTRE, SUNDAY 4TH, 1330

OPERA HOUSE, WEDNESDAY^Z' ■

FIT: EPISODES IN THE HISTORY OF THE BODY

CAS FOOD LODGmtG

Laurie Block

Allison Anders

USA/1991/16mm/74 mlns/Black & White

USA/1991/35mm/102 minutes/Colour

Producer: Laurie Block. Narration: Linda Hunt. Script: Laurie Block, John Crowley. Editing: Howard Sharp. Music: Paul Ascenzo. Print Source: Straight Ahead Pictures, Box 395 Conway, MA 01341, USA. Tel: 413 369 4372, Fax: 413 369 4783.

Producers: Daniel Hassid, Seth Willenson, William Ewart. Leading Players: Brooke Adams, lone Skye, Fairuza Balk, James Brolin. Script: Allison Anders. Photography: Dean Lent. Editing: Tracy S. Granger. Music: J. Masds, Barry Adamson. Production Company: Cineville and Seth M. Willenson Inc. Print Source: Mainline Pictures, Museum St., London WC1A 1LP, England. Tel: 071 242 5523, Fax: 071 430 0170.

Our bodies are a realm that most of us consider to be absolutely personal and shaped by our own experiences; not something to be treated historically. This sharp and entertaining documentary turns this assumption inside out, demonstrating that our ideals of physical perfection are determined by political and cultural considerations rather than by any more objective standards. Each generation so takes for granted its own experience of the body that the memory of how the body was once experienced is lost.

This is the story of a family of three women and the men whose lives they touch. The central character is the youngest daughter, Shade, who is poised between the innocence of childhood and the longing of adolescence. Shade maintains her optimism amidst the arid landscape of Laramie, New Mexico, by finding romance in the safety of the local Spanish cinema. Her beautiful but cynical older sister, Trudi (lone Skye), tries the family's patience with her anger and attitude. She buries her sexual secrets behind a tough-girl, promiscuous image. Their mother, Nora (Brook Adams), is a pretty waitress at the Pull-Off Plaza Truck Shop. Frustrated with raising two teenage daughters on her own, she worries they will end up just like her.

Historically, it was believed that the human body was the repository of a certain amount of "vital energy". This force was limited and was dissipated by excessive exercise, breast-feeding, fornication and masturbation. In the 1890's, however, a movement promoting physical exercise sprang up in America to counter this notion. A generation of physical education teachers spread the gospel of exercise across America. Reinforced by Nickleodeon images of body builders, working out and the celebration of the body became part of America's psychic furniture.

A!)

As the family starts to fall apart, Shade takes on a mission: to find a new man for her mother, and track down her long-absent father. Meanwhile she pursues her crush on Darius, a schoolmate who is more infatuated with Olivia Newton John and platform shoes than he is with Shade. Trudi falls for a nice-guy geologist, who reveals a magical realm of glowing rock beneath the desert floor before disappearing, leaving her pregnant, with some difficult choices to make.

Along the way, the movement was appropriated by, among others, the Eugenics movement, a proto-fascist pseudo-science that advocated 'proper" breeding practices for the white race and mass sterilisation of all people deemed to be inferior.

With the world closing in on f them, things begin to change: Nora takes up with the comical Hamlet Humphrey, Shade finds her dad, finds love with javier, the Latino boy, and makes a magical discovery that brings the power of love back into all of their lives.

Utilising a wealth of fascinating archival footage and narrated by actress Linda Hunt, FIT is a vivid, entertaining and very impressive chronicle of America's changing attitude towards the body.

TELECOM EIREANN

SCREENING SPONSORED BY TELECOM EIREANN 18

OPERA HOUSE, MONDAY STH, 16.00

HELLO S i! i.

THE HOURS AND TIMES

Ronan O'Leary

Christopher Munch

lreland/1992/16mm/61 minutes/Colour

USA/1991/35mm/60 minutes/Black & White

Executive Producer: Liam Miller. Leading Players: Tim McDonnell, Daniel /. Travanti. O.Z. Whitehead, /an Widger. Script: Truman Capote. Photography: Cedric Culliton. Editing: Patrick Mulvey. Music: Frank McNamara. Production Company: RTE Films. Print Source: RTE Films, Donnybrook, Dublin 4, Ireland. Tel: 01 643111.

Producer, Script, Photography and Editing: Christopher Munch. Leading Players: David Angus, Ian Hart, Stephanie Pack, Robin McDonald. Music: Narvaez, J.S. Bach. Print Source:ICA, The Mall, London SW1Y 5AH, England. Tel: 071 930 049.

Two men, T.C. and George Claxton, both aged 47, have known each other since prep-school days. They meet once a year for a ritual lunch. T.C. dreads this obligatory meeting as George, a stockbroker, is dull, conservative and predictable, and seems to cling to T.C.'s friendship.

The friendship of Brian Epstein and John Lennon has long been the subject of speculation and myth. THE HOURS AND TIMES looks at a memorable holiday which Lennon and Epstein spent in Barcelona in the spring of 1963. More than a holiday, it marked a crucial juncture in both men's lives. While six months had yet to elapse before Beatlemania would fully engulf England (nine months before America), Lennon's first child had just been born and his marriage was beginning to stand the test of burgeoning stardom.

But this year, T.C. is shocked to see George's condition; he is wearing dark glasses, looks drawn and gaunt, has lost weight and has become a heavy drinker. Gradually, over a sombre lunch, George tells an indifferent T.C. his tale of woe.

At the same time, Epstein, whose affection for Spain was to last up until his premature death in 1967, was poised before the immense dizzying potential that lay just ahead his personal life a whirlwind of exultation and despondency. Within this tense historical context, the story unfolds.

It centres around a 12 year old girl whose message-in-abottle he finds one day while out swimming. A secret correspondence develops between the unlikely pair. The girl may or may not be as innocent as she makes out to be. But the girl's parents find the letters and bring in the police to investigate.

The film was shot entirely on location in Barcelona amidst landmarks of the great Catalan architect, Antoni Caudi. Much of the action occurs in the Avenida Palace, one of Europe's most majestic hotels. Additional photography took place in Liverpool.

George's wife, Gertrude, is reminded of an incident seven years earlier when George was accused of indecent exposure to a young girl. At the time, George's declaration of innocence was believed by his wife and the police. But now, Gertrude believes that George was lying. From that moment on, Gertrude has lived as a stranger in George's house. The question posed concerns George's guilt or innocence. The viewer must decide for himself.

Awards: Winner of The Wolfgang Staudte Prize - Berlin Film Festival 1992. Winner of the Special Jury Prize for Artistic Excellence - Sundance Film Festival 1992.

Director Ronan O'Leary will be present to introduce the screening.

WORLD PREMIERE

OPERA HOUSE, SATURDAY 10TH, 2030

OPERA HOUSE, TUESDAY 6TH

W I

HOW TO BE A WOMAN AND NOT DIE IN THE ATTEMPT

INCIDENT AT OGLA

Michael Apted

COMO SER MUJER NO MORIR EN EL INTIENTO Ana Belen

USA/1992/35 mm/89 minutes/Colour

Spaln/1991 /35mm/90 minutes/Colour/Subtitles

Producer. Andres Vincente Gomez. Leading Players: Carmen Maura, Antonio Resines, juanjo Puigcorve, Carmen Conesa. Script: Carmen Rico-Coddy. Photography: Juan Amaros. Print Source: Overseas Film Croup, 8800 Sunset Blvd, Los Angeles, CA 90069, USA. Tel: 310 855 1199, Fax: 310 855 0719.

Executive Producer: Robert Redford. Leading Players: Phyllis Diller, Whoopi Goldberg, Sandra Shamas, /enny Lecoot. Script? Photography: Maryse Albert. Editing: Suzanne Rostock. Production Company Seven Arts. Print Source: Guild Film Distribution, Kent House, 14-17, Market Place, Gt. Tichfield St., London W1N8AR. Tel: 071 323 5151, Fax: 071 631 3568.

Carmen is a respected journalist in her 40s - professional, high powered and denied the promotion which is due to her. She gets the rough end of the stick in both her marriage and her career. While Antonio, husband number 3, concentrates his energies on beating the competition in the record business, Carmen stocks the fridge, shampoos the carpet, deals with the laundry and the kids' problems as well as maintaining the home as an oasis of comfort and calm. Like so many other women today, she works like a man but is still saddled with the duties traditionally ascribed to women.

Late on the morning of June 16, 1975, FBI special agents, Jack Coler and Ron Williams, allegedly following a red pick up truck, illegally drove onto the Pine Ridge Reservation. A shoot out occurred in which both agents and a Native American were killed. The death of the agents led to the biggest manhunt in FBI history.

INCIDENT AT OGLALA is a chilling account of the events of that morning and the subsequent relentless pursuit of suspect Leonard Peltier, uniquely told by the people who lived through them. Narrated by Robert Redford, INCIDENT AT OGLALA is about two standards of justice and the continued struggle of the Native American people to exist with dignity and sovereignty on their own land.

Months and seasons pass, marked by a busy round of mishap, jealousy, argument and making up. Feeling overwhelmed by the build-up of problems and duties pulling at her, Carmen contemplates another divorce but does not want to sacrifice her respect and dignity. She works hard to juggle the many roles she is caught in, while trying not to abandon her personal goals. Just when the pressure begins to mount and Carmen feels that she must make a break, she turns to look for the love and support of her husband - in his subtle and indirect ways in hopes that she will find enough strength in him to continue her challenging life.

Michael Apted's gripping documentary follows the recent focus on Native American culture and history. Like Errol Morris's THE THIN BLUE LINE (screened at the 34th Cork Film Festival), INCIDENT AT OGLALA is a campaigning film. Its obsessive re-investigation of the evidence and accounts of out-of-court confessions point strongly to the innocence of Peltier, who is still languishing in prison. The hope is that the film will lay the groundwork for a new judicial investigation of the case so that justice, finally, can be done.

Michael Apted is the subject of this year's 'Focus'section

...

OPERA HOUSE, WEDNESDAY 7TH, 16.00

.....J

HIM THE S@'OL

JUICE

Alexandre Rockwell

Ernest R. Dickerson

USA/1991/35mm/93 minutes/Black & White

USA/1992/35mm/92 mlnutes/Colour

Producers: /im Stark Hank Blumenthal, in association with Alliance Co. Ltd., lapan, Pandora Film, Germany, Why Not Productions & Odessa Films, France, Alta Films,Spain, Mikado Film, Italy. Leading Players: Seymour Cassel, Steve Buscemi, /ennifer Beals, Will Patton. Script: Alexandre Rockwell. Photography: Phil Parmet. Stills: D. Yeandle. Editing: Dana Congdon. Music Mader. Print Source: /im Stark, 366, Broadway H2A New-York, NY 10013, USA. Tel: 212 964 7521, Fax: 212 964 7521.

Producers: David Heyman, Neal M. Moritz, Peter Frankfurt. Leading Players: Omar Epps, Khalil Kain, fermaine Hopkins, Tupac Shakur. Photography: Larry Banks. Editing: Sam Pollard, Brunilda Torres. Music Hank Shocklee, The Bomb Squad. Production Company: Moritz/Heyman in Association with Island World. Print Source: Electric Pictures, 22, Carol St., London NW1 OHU, England. Tel: 071 267 8418, Fax: 071 636 1675.

IN THE SOUP is loosely based on the director's own experiences as a struggling film-maker in New York. Desperate to make a movie but unable to scrape together enough money to stave off his rapacious Lower East Side landlords, would-be director, Adolpho Rollo reluctantly takes out an ad pitching his 500-page screen opus to the highest bidder. The taker is Joe, a small time crook, who makes Adolpho an offer he cannot refuse even though his motives have very little to do with producing movies. Totally naive, Adolpho finds himself sucked into a world where he makes a perfect accomplice to carry out Joe's various little crimes.

JUICE is the first film by Ernest R. Dickerson, Spike Lee's award winning cinematographer. The film opens with Q, Raheem, Steel and Bishop rolling out of their beds heading for school. As usual, they never get there. They spend their days roaming the neighbourhood, shoplifting records and trading insults with rival gangs. All resonably innocent until one day Bishop cracks. Desperate to prove that he has some power and status - juice - he decides to test the limits by holding up a local grocery store. The others go along with him though Q, the aspiring disc jockey, questions his friend's actions and is fearful of the consequences. The incident ends in violence which in turn leads to further violence as Bishop gets more and more out of control, spiralling into a world of paranoia and ultimately using his friends as scapegoats.

Gradually, this unlikely pair of opposites are drawn together in a relationship based on mutual admiration. Adolpho thrills to the excitement of joe's petty scams and is magnetised by the zest with which joe lives life. The tough joe takes a shine to Adolpho's charming innocence and even helps him strike up a romance with his next door neighbour.

The rap/R&B/hip hop soundtrack is used to explosive effect. Written and compiled by Hank Shocklee (producer of Public Enemy and Ice Cube) and the Bomb Squad, it includes tracks by Eric B. & Rakim, Salt N' Pepa, Naughty by Nature and Big Daddy Kane, to name only a few.

The two partners in crime stumble from one caper to another in a joyride that teaches Adolpho a thing or two about life and marks his coming of age as a film maker.

With a strong cast of newcomers, and a list of supporting roles that reads like a Who's Who of the rap world, JUICE has been hailed both as an electrifying debut, and as one of cinema's most profound portrayals of Harlem ghetto life to date.

Award: Grand jury Prize for Drama, Sundance Film Festival. Producer Jim Stark will be in attendance to introduce the screening.

TRISKEL ARTS CENTRE, WEDNESDAY 7TH, 1330

OPERA HOUSE, WEDN]

LAST YEAR IN GERMANY

THE LIVING Eh O

LETZTES JAHR IN DEUTSCHLAND Dagmar Benke, Jurgen Seidler, Lars Barthel, Beate Schonfeldt

Gregg Araki USA/1991/16mm/90 minutes/Colour

Germany/1991/16mm/100 mlnutes/Colour/Subtitles

Executive Producer: Aufbruch Production. Photography: Lars Barthel. Editing: Eva Will. Music: Peter Unsicker. Print Source: Aufbruch Production, c/o D. Benke, /. Seidler, Courbierestrasse 6, 1000 30, Berlin, Germany. Tel 030 218 65 25, Fax: 030 262 86 23.

Producers: Marcus Hu, ]on Gerrans. Leading Players: Mike Dytri, Craig Gilmore, Paul Bartel. Script, Photography, Editing: Gregg Araki. Stills: Michael Matson. Music Cole Coonce. Print Source: Desperate Pictures, 740 S. Detroit, N4, Los Angeles, CA 90036, USA. Tel: 213 857 5963, Fax: 213 937 4500.

LAST YEAR IN GERMANY is a long-term observational documentary made by a mixed German team. Between November 1989 and December 1990, the filmmakers document the rapid and radical political changes in Germany and its effect on the daily lives of ordinary people. The film is constructed according to the various political events: from the peaceful revolution to the opening of the wall of 9th November, 1989; the first free elections in the GDR in March 1990, the monetary union in June, the reunification in October and the pan-Cerman elections in December.

The first image of THE LIVING END, the sentence "Fuck the World" sprayed onto a wall covered in graffiti, is a fairly accurate description of the frame of mind of Jon and Luke, two HIV positive men. Luke is sexy and lets himself drift. Jon is a confused writer. Both of them are stuck in Los Angeles. The city seems cold and unfriendly, full of serial killers.

Jon and Luke meet by chance and begin a stormy love affair. When Luke accidentally shoots a policeman, both find themselves on the run. In San Francisco, somebody they thought was their friend slams the door in their faces. The two men take off on an aimless odyssey, full of sexual excesses, across America. Their only contact with the "real" world are Jon's regular phonecalls to his friend, Darcy, who is more worried about the couple's difficult situation than they are.

Against this background of "monumental political upheaval*, the film traces the stories, throughout the same year, of several people from the ex-GDR. These are friends, acquaintances and relatives of the filmmakers; they come from different regions all over the GDR and represent different social classes and age groups. The filmmakers' personal relationships to their protagonists have made possible a close examination of the lives of people whose attitudes have been deeply affected by the historical turmoil. These portraits are also influenced by the various personal stances of the filmmakers.

The tension mounts and when a frustrated Luke fires at a cash point which refuses to give him any money, Jon decides he's had enough. He doesn't want to live out a romantic fantasy anymore. When he tells Luke that he has decided to go home, Luke holds his revolver at Jon's chest. During an intense emotional sexual struggle for superiority, things come to their unavoidable end.

In addition, the film documents chance observations and encounters with people on a filmic journey right across Germany - both East and West.

"Black humour doesn't get much darker than THE LIVING END ...Miraculously, it also has a buoyant, mischievous spirit that transcends any hint of gloom." Janet Maslin, The New York rimes

HOUSE,

OPERA HOUSE, FRIDAY 9TH, 18.00

...

LOSER

MAN BITES DOG

Erik Burke

C'EST ARRIVE PRES DE CHEZ VOUS Remy Belvaux, Andre Bonzel, Benoit Poelvoorde Belgium/1992/95 minutes/35mm/ Blacks Whlte/Subtltles

USA/1991/35mm/83 minutes/Colour

Producer: Steven Deshler. Leading Players: Brendan Kelly, John Salemmo, Bernice DeLeo, Nadine Mirai. Script & Editing: Erik Burke. Photography: John Sheppird. Music: Joey Harrow, Matthew Fritz. Production Company: L.T.M. Inc. Print Source: Steven Deshler, Guerilla Films, 131 W. 82nd. St, Suite 1 New York, NY 10024, USA. Tel: 212 496 7032. Fax: 212 724 1436.

Producers, Script: Remy Belvaux, Andrt Bonzel, Benoit Poelvoorde. Leading Players: Remy Belvaux, Andrt Bonzel, Benoit Poelvoorde, Jean-Marc Chenut. Photography: Andre Bonzel. Editing: Eric Dardill, Remy Belvaux. Music: JeanMarc Chenut. Production Company: Les Artistes Anonymes. Print Source: Metro Pictures: 79, Wardour St. London W1V 3777. Tel: 071 734 8508

This punchy, low-rent New York comedy turns the yuppie nightmare genre on its head by taking a lunkheaded nohoper and dropping him into Manhattan glitzery. Hank is at the bottom of the heap - out of work, money and love. Then he wins $200 million in the lottery and everyone wants to know him. Crammed with larger than life stereotypes - hopheads, hustlers and hipsters, LOSER is on the cutting edge, setting a new trend in 'guerilla' filmmaking today.

Ben, a smalltime Belgian hit-man who makes his living bumping off little old ladies for their life savings, as well as any others who incur his displeasure, agrees to be filmed by a documentary film crew as he goes about his grisly trade. His one condition is that the film may only be shown after his death. The film crew are first repulsed by what they see, but as Ben explains the nuts and bolts of his trade - the weight ratio of ballast to corpse when submerging a victim, or how to save on the cost of a bullet - they are gradually drawn into their subject's way of life. When not killing people, Ben reveals himself as a confident, complex person with an appreciation of the finer things in life: of poetry, music and gastronomy; willing to divulge his innermost thoughts and reflect on his way of life. Such is his charm and persuasiveness that it is only a matter of time before the documentary crew end up helping him out as he goes about his gory crimes...

LOSER treads a narrow line between crackerbarrel humanism and gleeful misanthropy, but mainly it exudes delight at its own cheerful sense of fun." Jonathan Romney, TimeOut

Steven Deschler and Brendan Kelly will be in attendance to introduce the screening.

By showing the documentary process as it happens on screen, this trio of Belgian filmmakers really force the audience to question where the line ought to be drawn between enjoyment and condemnation of scenes of gang rape or dismemberment. Disturbing and blackly comic in equal measure, MAN BITES DOG is one of the most intelligent and unique oddities to come from the continent in many years. "Reality programming meets HENRY: PORTRAIT OF A SERIAL KILLER...MAN BITES DOG provides clever patter with its splatter. Not for the righteous or the squeamish' Variety

OPERA HOUSE, SATURDAY 10TH, 23.30

OPERA HOUSE, MONDAY STH, 20.30

MARQUIS

MY NEW GUN

Henri Xhonneux

Stacy Cochran

France/1989/35mm/83 minutes/Colour/Subtitles

USA/1992/35mm/100 minutes/Colour

Producer: Eric Van Beuren. Leading Players: Phillipe Bizot, Bien de Moor, Gabrielle Van Damme, Olivier Dechaveau. Script: Roland Topor. Photography: Etienne Fauduet. Editing: Chantal Hymans. Music: Reinhardt Wagner. Print Source: ICA Projects, The Mall, London SW1 5AH, England. Tel: 071 930 0493.

Leading Players: Diane Lane, james Le Gros, Stephen Collins, Tess Harper. Script: Stacy Cochran. Photography: Ed Lachman. Editing: Camilia Toniolo. Music: Pat Irwin. Production Company: New Gun Inc., Print Source: IRS Media International, 3939 Lankershim Blvd, Universal City, C 91604, USA. Tel: 818 505 0555, Fax: 818 505 1318.

MARQUIS is a bizarre and original film, a jokey dramatisation of the "divine" Marquis de Sade's final days in the Bastille - shortly before revolutionary violence destroyed the fortress prison. Inspired by his erotic writings, some of which are illustrated in cartoon form, MARQUIS features a cast of actors masked as animals. The prison governor is a philandering cockerel; the chaplain a camel; the warder a lascivious bisexual rat. De Sade himself is an amiable dreamy-eyed spaniel who engages in extended dialogues - on matters of philosophy and action, art and desire - with his erect and talkative penis.

Debbie, a thirty-year old housewife, is married to Gerald, a radiologist in New jersey. During a dinner in their suburban home, Gerald's associate, Irwin and his girlfriend, Myra, announce that they will soon be getting married. By way of a present, Irwin offers his fiancee a diamond solitaire and a revolver. Although Gerald does not find this surprising, Debbie is horrified.

A few days later, Gerald comes home from work and offers his own wife a revolver. Debbie is entirely opposed to the idea of this gift but gradually becomes obsessed by it. One evening, Skippy, their young, unreliable and mysterious neighbour appears at the kitchen window and asks Debbie to lend him her gun...

"Occasionally surreal, occasionally cartoonish, Topor and Xhonneux’s conception is never less than brilliant, bringing together the virtues of the costume picture lavish detail, rich colour - and the sly wit of masquerade to create a film which is funny, obscene, discursive and wholly unique." Cinema Fantastique, Derby

This new black comedy illustrates America's ambivalent fascination with weapons and how the right to bear arms as enshrined in the US Constitution has led to the creation of a society for which the prospect of violent death, even in one's own home, is never too far away.

I I

SCREENING SPONSORED BY THE SAN FRANCISCO SISTER CITY COMMITTEE 24

l HOI

>AY 9TH, 23.30

OPERA HOUSE, MONDAY 5TH, 18.00

aGHT ON EARTH

OTHELLO

jim Jarmusch

Orson Welles

USA/1992/35mm/120 mlnutes/Colour

Morocco/1952/35mm/91 mlnutes/Black & White

Executive Producer: jim Stark. Producer, jim Jarmusch. Co-Producer: Demtra /. MacBrlde. Leading Players: Winona Ryder, Gena Rowlands, Armin Mueller Stahl, Beatrice Dalle, Roberto Benigni. Script: jlm jarmusch. Photography: Frederick Elmes. Editing: jay Rabinowitz. Music: Tom Waits. Production Company: Locas Solus, Victor Company, Victor Musical Industries, Pyramide, Canal Plus, PAndora Film, Channel Four. Print Source:Electric Pictures, 22, Carol St., London NW1 OHU. Tel: 071 267 8418

Producer: Orson Welles. Leading Players: Orson Welles, Michedl Mac Uammoir, Suzanne Cloutier, Robert Coote. Script: William Shakespeare, adapted by Orson Welles. Photography: George Fanto. Editing: John Shepridge, jean Sacha, Renzo Lucidi, William Morton. Music: Francesco Lavagnini, Alberto Barberis. Print Source: Mayfair Entertainment UK Ltd, 9, St. Martin's Ct. London WC2N 4Al, England. Tel: 071 895 0328, Fax: 071 895 0329.

Along with CITIZEN KANE and THE MAGNIFICENT AMBERSONS, OTHELLO is regarded as Welles' greatest film. Very much a labour of love, it is also his most personal. Welles financed it himself, largely on the proceeds of acting jobs, and the production was shot over four years in Morocco, Rome and various other locations across Europe, in a process entertainingly detailed by Micheal MacLiammoir (who played Iago) in his autobiography. The film won the Palme d'Or at Cannes in 1952, but only achieved a limited release in the US, vanishing for years and long presumed lost. The original negatives were found in 1989 and a long process of restoration, including a complete re-recording of the soundtrack commenced. The new print, crystal clear, with sparkling Black & White images is a rare treat, and the Cork Film Festival is proud to be able to screen this new version of a 'lost' masterpiece.

NIGHT ON EARTH is a comedy in five sections, each focusing on the brief relationship between a taxi driver and his/her passenger(s) as they drive through the nijht, sharing the space of a car interior, suspended between fixed destinations.

The film begins in LA just as the sunset is being replaced by darkness, with the tomboyish Corky (Winona Ryder) driving hotshot Hollywood casting agent Victoria Snelling (Gena Rowlands) to the airport. Victoria tries to convince Corky to audition for a part that she is casting, but Corky determined to become a mechanic, demurs. The location then moves into the night of New York, where a streetwise passenger takes over the cab from his disorientated EastGerman driver, a former circus clown. Paris is next, where the blind passenger (Beatrice Dalle) proves to have a better sense of direction than her driver, then Rome, where Gino (Roberto Benigni) confesses his bizarre sexual antics to his passenger, a horrified - and moribund priest, and finally Helsinki where, as the last sequence ends, the sun again rises, and the winter night fades back into daylight. The five tales are unrelated; all they have in common is that they occur simultaneously, they all feature chance encounters between ill-matched types, and they are suffused with the quirky, deadpan humour that Jim jarmusch has established in MYSTERY TRAIN and DOWN BY LAW as his stock-in-trade.

is now in the City Centre

Mercier Bookshop Academy Street/ French Church Street

Cork

TRISKEL ARTS CENTRE, SUNDAY 4TH, 11.00

TRISKEL ARTS CENT]

PAINTING THE TOWN

A PLACE OF LcAGE

Andrew Behar

Pratibha Parmar

USA/1991/16mm/80 mlnutes/Colour

England/1992/16mm/52 minutes/ Colour/Black & White/Subtitles

Producer: Sara Sackner. Leading Players: Richard Osterweil. Script: Richard Osterweil. Photography: Hamid Shams. Editing: Sara Sackner, Andrew Behar. Music Peter Fish. Production Company: Padded Cell Pictures. Print Source: Padded Cell Pictures, 183, Fairview Rd., Ojai, CA 93023, USA Tel: 80S 640

Executive Producer: Debra Hauer. Producer: Pratibha Parmar. Photography: Nancy Schiesan. Editing: Anna Liebschner. Music: Prince, /anet Jackson, Mavis Staple Singers, Neville Brothers. Print Source: Pratibha Parmar, 78, Fonthill Rd., London N4 3HT, England. Tel: 071 281 1310, Fax: 071 281 3809.

8192.

A PLACE OF RACE celebrates the political struggles of radical black American women. It focusses on the lives of political activist Angela Davis and poet and activist June Jordan.

PAINTING THE TOWN introduces the delightfully eccentric Richard Osterweil, a downtown New York artist who leads a not-so-secret double life as an uptown New York socialite. Supporting himself as a cab driver and a coat checker, he has undertaken an obsessive and hilarious mission to crash parties of the rich and famous.

The film looks at the role of black women in the 1950's and '60's, the growth of the Black Power movement and the involvement of black women in radical politics since then. It features the personal views and histories of Davis and Jordan, including their reflections on the position of black people in the United States today.

Osterweil's ingenious infiltration of New York high society is recounted by himself with great amusement and elan. Talking direct to camera, he describes the $1000-a-plate dinners, benefits, galas, funerals and posh weddings he gets himself into, listing the celebrities in attendance, rating the hors d’oeuvres and the dips, and revealing the secrets of his gate-crashing success. He has hidden in broom cupboards, adopted false identities, donned elaborate disguises, (at one famous person's funeral he was mistaken for Creta Carbo), and has even had friends pose as paparazzi to surround him at whatever gate he was trying to crash.

Angela Davis came to international prominence in the 1970's when the FBI declared her the most wanted woman in the US. Her fugitive status and subsequent arrest and imprisonment made her an indelible symbol of black radicalism in the US and throughout the world. June Jordan is a poet, writer and activist whose work has been an inspiration to feminists worldwide. She is a key figure in the quest of African-American women for justice and an uncompromising advocate of international struggles for freedom and self-determination.

Director Andrew Behar and producer Sara Sackner, erstwhile neighbours of his, have filmed a funny, colourful, and eye-opening portait of a man who seems to embody the schizophrenic nature of New York’s, if not America's, celebrity-crazed and class-driven culture. Both sincere and irreverent, Osterweil adores the society life he sneaks into but would rather crash a party than receive a proper invitation to it.

A PLACE OF RACE is an intimate account of these two extraordinary women. "An outstanding film in which Parmar manages to turn the documentary genre on its ear long enough to catch and hold the audience's attention." The Guardian

A terrific new documentary...the film is lively, wellconstructed, finely edited, musically and visually evocative and it's very smart." Randy Turoff, San Francisco Bay Times

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--aiFRE, FRIDAY 9TH, 16.00

OPERA HOUSE, THURSDAY 8TH, 16.00

POST MO BULLS

PRAGUE

Clay Walker

Ian Sellar

USA/1992/16mm/57 minutess/Black & White

England/Scotland/France/Czechoslovakia/35mm/ 87 minutes/Colour

Producer: Clay Walker in association with the Independent Television Service. Photography fir Editing: Clay Walker. Co-Producer & Sound: Marianne Dissard. Print Source: Clay Walker, P.O. Box 34321, Los Angeles, CA 90034, USA. Tel: 310 8386273.

Producers: Christopher Young, Claudie Ossard. Leading Players: Alan Cumming, Sandrine Bonnaire, Bruno Canz, Raphael Meis. Script: Ian Sellar. Photography: Darius Khondji. Editing: lohn Bloom. Music Jonathan Dove. Print Source: The Sales Co., 62 Shaftesbury Avenue, London W1D 7AA, England. Tel: 071 434 9061, Fax: 494 3293.

Political heavy-weights populate this urgent and humorous documentary on the detonative mix of art and politics as embodied in the work of infamous guerilla poster artist Robbie (Zonal, whose images-as-posters have been splattered across the United States' urban streets. Featuring dramatic night-time footage of Conal's guerilla troops disseminating satirical portraits of national and local politicians in the patrolled streets of Los Angeles, San Francisco, New York and Washington D.C., POST NO BILLS documents the process of creating Conal's topical art.

Driven by an obsession, Alexander Novak travels to Prague, city of his grandparents, in search of a missing piece of film - newsreel footage of his family - a link to the vanished past. The city's magic immediately casts its spell on Alexander and from the moment of his arrival, nothing goes to plan: when he rushes to the aid of a stray dog, he almost drowns. At the film archive he meets Elena and is immediately beguiled by her open sensuality and unpredictability. After being introduced to one of her greatest passions - wrestling - an affair begins between them.

In the foreground is the tension between the artist's creative process and the lures of a desperate notoriety achieved through catering to the news media's craving for controversy.

Through Elena, he meets the director of the film archive, Josef (Bruno Ganz). Accepting an invitation to a weekend in the country, he discovers that Elena and Josef are lovers. Back in Prague things go from bad to worse when Elena dramatically announces that she is pregnant (with Alexander the father of the child) and simultaneously produces the lost film. Alexander thinks that his mission to Prague is nearing its conclusion but, unknown to him, it’s only just begun.

POST NO BILLS reaches no easy conclusion nor does it offer a final judgment on Conal's work and life. The film centres on a timely poster of L.A.P.D. Chief Daryl Gates in the aftermath of the beating of Rodney King, hinting at the dissociation to be made between Conal and his subject matter but ultimately celebrating the power of his work.

Wit, exoticism, complexity, sensuality; these qualities are possessed by Prague the city and PRAGUE the movie in equal measure. Setting out to create a film set in the physical and metaphorical heart of Europe, PRAGUE captures the beauty of its location while retaining a meaningful narrative at its core.

TRISKEL ARTS CENTRE, SUNDAY 4TH, 16.00

OPERA HOUSE, SATUR1<-

THE REINCARNATION OF KHENSUR RINPOCHE

SACRED SEX

Tenzing Sonam, Ritu Sarin

Cynthia Connop

England/1991/16mm/62 mlnutes/Colour/Subtltles

Australla/1991/16mm/92 minutes/Colour

Producers: Tenzing Sonam, Ritu Sarin. Narrated by Ian Holm. Photography: Andrew Carchrae. Editing: Paul Shepard. Music: The Tibetan Institute of Performing Arts, Dharamsala Chaksampa, Berkely, California. Print Source: White Crane Films, 330, Harrow Road, London W9 2HP, England. Tel: 071 266 4259/289 5443, Fax: 071 286 4739

Producer: Ron Tanner, Cynthia Connop. Photography: Tony Wilson. Editing: Suresh Ayyar. Music Nick Palmer. Print Source: Helen Thwaites, Film Australia, Eton Road, Lindfield NSW 2070, Australia. Tel: 02 413 8777, Fax: 02 416 5672.

Choenzey is a 47-year old monk living in exile in a monastery in Southern India. His spiritual master, Khensur Rinpoche, a revered high Lama, has been dead for four years. According to Tibetan belief, he will soon be reincarnated. It is Choenzey's responsibility, as his closest disciple, to find the reincarnation and look after him.

SACRED SEX grapples with the post-AIDS new-wave sexuality sweeping the western world. It gives an inside view of the people practising it with real-life stories of couples and individuals seeking greater fulfilment in their lovemaking. This documentary is based on the premise that sex is not just something for pleasure, physical release or procreation. It can move onto another sphere. In many ancient civilisations, sex was an integral part of religious practise. The tantric tradition in India and Nepal and Taoism in China both embraced sex as the direct pathway to spiritual enlightment. Pre-Christians in Europe had religions which also encouraged sex, nature and fertility.

The film begins in Southern India. News has arrived of a young boy in Tibet who displays unusual qualities. After consulting with the Dalai Lama, Choenzey travels to Tibet (in secret, so as not to arouse the suspicion of the Chinese) to bring the boy out. He turns out to be a charismatic and mischievous four-year old scamp who is unusually attached to Choenzey. Formally initiated as a monk by the Dalai Lama, he is recognised by all as the reincarnation of Khensur Rinpoche, yet he is also a child, full of life and good humour, liking nothing more than to play with his toys (illustrated in some delightful scenes of him playing with his Lego with a group of middle-aged monks). Choenzey formerly, he believes, his pupil, has now become his guardian.

Many of these ancient erotic mysteries are beginning to resurface. Sexuality research and experimentation is moving away from the functional orientation of Masters and Johnson into the ecstatic states of extended love making, semen retention and meditative sex. The film explores the fun, fantasy and spiritualism of love making. It entertains while at the same time raising questions about our deeply held assumptions about sex and love. Sometimes shocking in its frankness, SACRED SEX is an absorbing, educational, shamelessly entertaining and frequently hilarious exploration of a subject which is of abiding interest to us all, but which rarely gets this kind of refreshingly open treatment.

"What makes this film so compelling is that, as much as it's a poignant document of the Tibetan diaspora, it's also a portrait of fatherhood, working best when it allows the Lama's passion to guide the narrative." Village Voice

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’Touching...in seeking a lost father [Choenzey] becomes one himself." Washington Post

TRISKEL1

CHURSDAY 8TH, 16.00

OPERA HOUSE, TUESDAY 6TH, 18.00

THE SAME AS YOU

SLACKER

Alan James

Richard Linklater

England/1991 /16mm/65 minutes/Colour

USA/1990/35mm/97 minutes/Colour

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7 . Executive Producer. The National Film and Television School. Photography: Alan James. Editing: Ewa J. Lind. Production Company: National Film and Television School. Print Source: National Film and Television School, Beaconsfield Film Studio, Station Road, Beaconsfield, Bucks., HP9 1 LG, England. Tel: 0494 071234, Fax: 04 94 674 042.

Producer and Script: Richard Linklater. Leading Players: Richard Linklater, Mark James, Bob Boyd, Terence Kirk. Photography: Lee Daniels. Editing: Scott Rhodes. Print Source: The Feature Film Company. Fax: 071 494 0309

Someone walking beneath the roundabout adjacent to London's Waterloo Station might just catch a glimpse of a ragged group of people drinking cans of beer. If that person's curiosity allowed him/her the time to stop and talk to Cary, Jed, Susie or Nicky, he/she would be irresistibly drawn into this fringe society which lives in a dark but supportive world of its own.

An innovative film that builds on the mundane and the extraordinary from fragments of a day in the life of one hundred 'slackers', the new generation of beatniks identified in a recent New York Times report. Capturing some of the flavour of David Byrne's TRUE STORIES mixed with TWIN PEAKS, the film uses real people in fictional situations to create a storyline that is loosely spun from character to character. Instead of confining itself to the conventions of narrative film making, SLACKERS gives the impression of real time as it flows from school to street, street to nightclub, person to person and coincidence to conspiracy. The ultimate effect is somewhat akin to free-form jazz.

Alan James's documentary reveals the everyday world of London's homeless. This could be anyone's life if they were pushed to the margins of society. It challenges our stereotypes of the homeless and the grotesque images portrayed in the British popular press.

A 'seriously ironic' salute to individual liberty, SLACKER is also a testimony to the ingenuity and inventiveness of its film makers in creating such compelling snapshots of ordinary moments in private lives.

OPERA HOUSE, SUNDAY 11TH, 16.00

TRISKEL ARTSGjI;---

STRAIGHT OUT OF BROOKLYN

SUBMAKDE^E

1F16.00

Matty Rich

Mark Littlewood

USA/1991/35mm/83 minutes/Colour

Scotland/1990/16mm/53 minutes/Colour

Executive Producers: Lindsaw Law, Ira Deutschman. Producer: Matty Rich. Leading Players: George T Odom, Ann D. Sanders, Lawrence Gilliard Jr., Mark Malone. Script: Matty Rich. Photography: John Rosnell. Editing: Jack Haigis. Music: Harold Wheeler. Print Source: Artificial Eye, 211 Camden High St. London NW1 7BT, England. Tel: 071. 267 6036. Fax: 071 267 6499.

Producer Anita Oxburgh. Photography: Mark Littlewood. Editing: Jan Lemon. Music: Tom McKendrick, John Russell. Print Source: Barony Film & Television Productions, 4 Picardy Place, Edinburgh EH1 3JT, Scotland. Tel: 031 SS8 3275, Fax: 031 557 8498.

Ray, a black man trapped for years in a low-paying job, blames white people for the fact that he cannot provide his family with even the basic necessities. He takes out his anger and resentment on his long-suffering wife, Frankie. Despite the savage abuse that she takes, Frankie does her utmost to hold the family together.

In this richly textured film Mark Littlewood has captured the evolution of a childhood obsession into an exhibition. It tells the story of how artist and sculptor Tom McKendrick has become fascinated by submarines and how they have become a rich and ambiguous image in his work.

McKendrick explains his fascination for the submarine and how his background of working in the shipbuilding town of Clydebank has shaped his artistic vision.

Denis, Ray and Frankie's son, searches for a quick way out of this desperate situation and into the world of the American Dream which has been denied him for so long. He and his friends plot a high-risk robbery in the belief that this is their easy way "straight out of Brooklyn." The plan has a devastating effect on the Brown family.

Through Littlewood's vivid interpretation of Tom McKendrick's art, free from the clutter of artistic jargon, we gain an insight into how an artist works.

Matthew Satisfield Richardson wanted to be a filmmaker from the time he was ten years old. Now, at the age of 19, Matty Rich has completed his first film. STRAIGHT OUT OF BROOKLYN, a brutally frank drama based on Matty Rich's own life experiences, was inspired by the traumatic events involving a childhood friend and his aunt and uncle.

Tom lives in a world of shapes, colours, textures and sounds and through his and Mark's eyes we are able to see, for example, the shipyards of Clydebank in a fresh light. The layers of paint on a gate evoke the toil of generations and the toll of time, whilst the Kellogg's "baking soda submarine" amusingly evokes Tom's boyhood wonder. Tom's infectious personality means we identify with his enthusiasm and fascination.

OPERA

r 9TH, 20.30

OPERA HOUSE, FRIDAY 9TH, 14.00

SWEET EMMA, DEAR BOBE

SWOON

Istvan Szabo

Tom Kalin USA/1992/35mm/92 minutes/Black & White

Hungary/ 1992/35mm/90 minutes/Colour/Subtitles

-fl Producers: Lajos Ovari, Cabriella Cr6sz. Leading Players: Johanna Ter Steege, Eniko Borcsok, Ptter Andorai, £va Kerekes. Script: Istvan Szabo. Photography: Lajos, Koltai. Editing: Eszter Kovdcs. Production Company: Objektiv Filmstudio. Print Source: Hungarofilm. Bdthori UTCA 10, 11-1054 Budapest V, Hungary. Tel: 116 650. Screening Courtesy of Metro Pictures.

Producer: Christine Vachon, Tom Kalin. Leading Players: Daniel Schlachet, Craig Chester, Ron Vawter, Michael Kirby. Script: Tom Kalin, Hilton Als. Photography: Ellen Kuras. Editing: Tom Kalin. Music James Bennett. Production Company: Intolerance Productions. Print Source: Christine Vachon, S2S Broadway, rm. 701, New York, NY 10012, USA. Tel: 212 219 1990, Fax: 212 274 8187.

Emma and Bobe, two women from the country, have been working in a primary school in Budapest teaching Russian. However, after the social and political changes, Russian is no longer a compulsory subject in school. In order to keep their jobs as teachers, they attend evening classes in English and the next morning, they begin to teach their pupils what they have only begun to learn themselves.

Tom Kalin's brilliant debut feature presents history as you've always dreamt it might be: with the personal, social and political perspectives all refracted through each other, and with a burning sense of the need to know and understand more and better.

SWOON is based on the story of Richard Loeb and Nathan Leopold Jr., two wealthy, academically brilliant and utterly amoral 18-year olds from Chicago who became infamous in 1924 for their kidnapping and murder of a young boy named Bobby Franks. The crime was one of many planned by the two youths, the extreme outcome of a long and tangled relationship which revolved around an exchange of sex for criminal activity. The kidnapping was intended to be their 'perfect crime', a culmination of Nathan's obsessive love for Richard and Richard's lifelong fantasies of becoming a master criminal.

Since they cannot afford their own apartment and they don't even earn enough to rent a furnished room, the two women have been sharing a room in the teacher's hostel for years. In order to improve their financial situation, Emma cleans the houses of wealthy people while Bobe picks up foreigners in hotel bars whom she persuades to invite her for dinner. A struggle for personal survival, SWEET EMMA...is a touching, heartwarming film, dealing with universal themes that reflect the consequences of the current political changes in Europe.

The film reconstructs the murder, investigation, trial and the years that the pair spent in prison, drawing on the language of courtroom testimony, the gestures of melodrama, and the abundance of psychological and pseudo-psychological investigations that were made of the pair.

Nominated for a FELIX award for European Film of the Year

Shot in the hauntingly stylish manner of avant-garde advertising, this audacious debut is an unpredictable synthesis of the mannered and the real, an unsettling blend of Nietzschean arrogance and mad love.

OPERA HOUSE, SATURDAY 10TH, 14.00

OPERA HOUSE, SAT]

THIEF OF BAGDAD

THIS BOY'S STORY

Michael Powell et al

John Roberts

England/1940/35mm/102 minutes/Colour

England/1992/35 mm/50 minutes/Colour

Producer Alexander Korda. Leading Players: Conrad Veidt, Sabu, June Duprez, Rex Ingram, John Justin. Script: Lajos Biro. Dialogue: Miles Malleson. Photography: Georges Perinal. Editing: Charles Crichton. Music Miklos Rosza. Screening courtesy of Central Television Enterprise Ltd, Hesketh House, 43-4S Portman Square, London W1H 9FG, England. Tel: 071 486 6688/612 7323, Fax: 071 486 1707.

Producer Michele Camarda. Leading players: Steven and Kevin Arnold, Jennifer Calvert, Simon Adams, Daryl Fishwick, Carl Chase, Arturo Venegas. Script: John Roberts, Andrew Simister. Photography: Cavin Finney. Editing: David Freeman. Music Julian Wastall. Print Source: The National Film and Television School., Station Road, Beaconsfield, Bucks., HP9 1LC, England Tel: 0494 671234, Fax: 0494 674042.

The newly-restored print of THE THIEF OF BAGDAD reveals one of the most enduring classics of the cinema in its pristine glory. A hocus-pocus of colour, dashing adventure and special effects, it has been described as STAR WARS meets THE ARABIAN NIGHTS. The plot is pure hokum, centring around an all-seeing eye stolen from a Tibetan temple. The highlight has to be the genie (Rex Ingram) who escapes from the bottle and engages in witty repartee with elephant boy Sabu, whose position as the genie’s master is a precarious one to say the least.

Set in the late '60s, the film tells the tale of two young brothers from a broken home, who set out on a mythical journey to Liverpool in search of their football hero, the legendary George Best (who makes a guest appearance).

On their way they get lost and robbed, but their unswerving faith in 'Bestie' carries them through to a final, fateful, meeting.

Awards: Student Oscars, 1992 winners.

The film was made under the most difficult of circumstances. The elaborate special effects, the then-new technicolor process, and the hands of no fewer than six directors at its helm (not to mention World War II, which forced shooting to move from England to the US) meant that it was a wonder that it ever got made at all, let alone became such a spectacular success. It garnered three Oscars, made a star of the delightful Sabu and has endured where many films of more serious intent and elevated tone have not.

THE THIEF OF BAGDAD is a must for children of all ages. It is a pure pleasure to watch, hearkening back to the days when the Saturday matinee was a staple of every kid's weekend.

Visit Mary Rose Restaurants at the Savoy Centre and Queens Old Castle, for Morning Coffee, Lunch or Afternoon Tea, and enjoy the good food and service we provide.

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O4.00

TRISKEL ARTS CENTRE, TUESDAY 6TH, 13.30

TIME WILL TELL

TOGETHER ALONE

Declan Lowney

P.J. Castellaneta

England/1991/35mm/90 mlnutes/Colour

USA/1991/16mm/87 minutes/Black & White

Producer: Rocky Oldham. Print Source: Theatrical Experience, 56, Bishop's Mansions. Bishop's Park Rd., London SW6 6DZ, England. Tel: 071 371 9441, Fax: 071 371 7977.

Producer and Script: P.J. Castellaneta. Leading Players: Terry Curry, Todd Stites. Photography: David Dechant. Editing: Maria Lee. Music: Wayne Alabardo. Production Company: P.J. Party Productions. Print Source: Forefront Films Inc., 507 17 th Street, Brooklyn, New York 11215. Tel: 718 832 4951. Fax: 718 832 4951

TIME WILL TELL is a celebration of the life and music of reggae legend Bob Marley. Without commentary - the only narrative is taken from Marley's own words and music - the film represents the first comprehensive portrait of his multifarious talents. Tracing the evolution of Marley's music from Jamaica to the world's concert halls, the film also gives us a unique insight into Marley the man: his personality, his politics and his religious beliefs.

Bryan, a young gay man, feels insecure because of the AIDS epidemic. One evening, he happens to spend the night with a man, 'Bill'. Waking up from a vivid dream, Bryan talks to 'Bill'. Surprised, 'Bill' explains to him that his real name is Brian. This develops into the first of many disputes which continue throughout the night...

At the end of the night, when the barriers between the two men have finally broken, they have both made some surprising discoveries - each for himself and both together.

All the key moments of Marley's musical legacy are included in the film, with twenty two songs filmed over an eight-year period (1973-80). In addition to the Zimbabwe Independence ceremony material it includes Marley's historic performance at the One Love Peace Concert in Jamaica. The live footage is virtually faultless and the interviews informative and entertaining. "You can see it as a straight musical journey or as a political story, with Marley's growing musical sophistication mirroring his involvement in Third World politics. You can see it as documentary, of one man, or his country, trying to find a way forward untainted by Big Brother politics. You can see it as reggae music or an introduction to the religious and political beliefs of the Rastafari, rejecting Western society (Babylon) and drawn to a mystical past in Ethiopia. Whatever, just see it" Watch it!

Ifork House GUESTHOUSE

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YORK 0

Director Declan Lowney will be present to introduce the screening.

ST., 5 0

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CORK 5

BEST WISHES TO THE FESTIVAL!

OPERA HOUSE, TUESDAY 6TH, 16.00

TRISKEL ARTS CENTRE, SATURDAY

THE WATERDANCE

WE ONLY LIVE ONCE

Neal Jimenez, Michael Steinberg

ON NE VIT QU’UNE FOIS Miel Van Hoogenbemt

USA/1991/35mm/106 minutes/Colour

Belgium/1991/16mm/52 Minutes/Colour/Subtitles

Producers: Cale Anne Hurd, Marie Cantin. Leading Players: Eric Stolz, Wesley Snipes, William Forsythe, Helen Hunt. Script: Neal Jimenez. Photography: Mark Plummer. Editing: Jeff Freeman. Music: Michael Convertino. Print Source: The Samuel Goldwyn Company, St. George's House, 14-17, Wells St., London W1P 3FP, England. Tel: 071 436 5105, Fax: 071 580 6520.

Production Company: Centre de L'Audio-visuel a Bruxelles. Script: Miel Van Hoogenbemt. Photography: Louis Philippe Capelle. Editing: Olivier Van Maidergham. Music Nicolas Thys, Frederic Vercheval. Print Source: Centre de L'Audio-visuel a Bruxelles, (CBA) 18, rue Joseph II, 1040 Brussels, Belgium. Tel: 32 2 218 4080, Fax: 32 2 217 9197.

In one cruel twist of fate, novelist joel Garcia (Eric Stolz) finds his carefree existence instantly transformed when a hiking accident leaves him with a broken neck and permanent disability. Attempting to intellectualise the powerful sense of frustration and anger within him, he is wheeled into a physical rehabilitation centre where fellow patients include Bloss, a rough-and-tumble, racist biker bitterly pursuing a lawsuit against the man whom he considers responsible for his accident and a yarn-spinning ladies* man, Raymond (Wesley Snipes), whose brush with mortality came a little too late to save his marriage.

No one can avoid growing old, but everyone worries about it, anxious because old age is the harbinger of death and, in the meantime, so often betokens loneliness and dependence. Is there some other way of growing old, of maintaining to the last the quality of one's life?

1330

In this film we meet the old: the weathered couples; the solitary men and women whose relationships have worn down or broken apart; and others who have only found love in their twilight years. We are offered a glimpse of their happy moments and their other moments, all so precious because we only live once.

The men have nothing in common except their new found disability, but a shared understanding of what each is experiencing - expressed from wheelchair fist-fights to a sardonic sense of humour - eventually bonds them into a supportive 'family' unit.

THE WATERDANCE is a quasi-autobiographical film from writer and co-director, Neal jimenez. It has a compelling emotional honesty expressing the confusion, despair, sexuality and resolution of men facing a new and difficult life. Physically constrained, the characters in the film unleash a torrent of sharp, tense dialogue cutting into areas with no easy answers: the tensions amongst black, white and hispanic; the real basis of sex and love, and the human potential for redemption.

Claire D'Arcy ::

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BED & BREAKFAST

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7 Sydney Place, Wellington Road, Cork. Telephone 021-5045221504658

TRISKEL ARTS CENTRE, SUNDAY 11TH, 13.30

ESDAY 6TH, 20.30

WILD WHEELS

WHITE MEN CAN T JUMP Ron Shelton

Harrod Blank

USA/1992/35mm/115 minutes/Colour

USA/1992/16mm/64 minutes/Colour

Producers: Don Miller, David Lester. Leading Players: Wesley Snipes, Woody Harrelson, Rosie Perez, Tyra Ferrell. Script: Ron Shelton. Photography: Russell Boyd. Editing: Paul Seydor. Print Source: Twentieth Century Fox Film Co. Ltd., 5/7 Upper O'Connell St, Dublin 1, Ireland. Tel: 01 743 068, Fax: 01 743 069.

Producer: Harrod Blank. Leading Players: Larry Fuente, Dalton Stevens, Jackie Harris, Cene Pool. Script: David Silberberg. Photography: Paul Cope, Harrod Blank, Les Blank. Editing: Harrod Blank. Music: David Mayers. Print Source: Harrod Blank, 1034 1, San Pablo Avenue, El Cerrito California 94530, USA Tel: 510 525-0942, Fax: 510 525-1204.

WHITE MEN CAN'T JUMP is a comedy about two basketball hustlers who team up to run a smooth scam on Los Angeles' toughest courts. Directed by Ron Shelton, whose much-acclaimed debut, BULL DURHAM launched the careers of both Kevin Costner and Tim Robbins, the film is about relationships between the races and the sexes, the difficulties in communicating, and, of course basketball, the gritty ballet of the streets, which is as much an urban American ritual as the 4th of July fireworks.

A personal exploration into the world of Car Art by filmmaker, Harrod Blank who drives his decorated VW bug across the U.S. in search of other cars modified beyond recognition. He finds 45 of the most bizarre cars anyone has ever seen; a brass hippo on wheels, a car covered with grass and a car shaped like a spaceship, to name but a few.

Even more interesting are the people who drive these cars, and what motivates them. For example, one man attached 1400 toy horses onto his Buick to stop himself drinking. Another, suffering from extreme insomnia, covered his car, his suit, his guitar and practically everything else he owned with buttons. Yet another encrusted his Oldsmobile with water taps because Jesus told him to be clean.

Sidney Deane meets Billy Hoyle on a public basketball court, where the sport is played as a cross between ritual combat, street theatre and a floating con-game. At first, Sidney thinks the goofy-looking newcomer is an easy mark, until he finds out that Billy's droopy socks and baggy shorts are just part of the con. So he proposes a partnership and Billy accepts. And now they're set to clean out everyone in town, including each other.

For Sidney and Billy, the hustle never stops, off court and on. If only they could handle the women in their lives with as much finesse as they handle the ball.

Blank's own experiences in his 'Art car', including numerous appearances before uncomprehending Southern magistrates, make for as entertaining viewing as the sundry other eccentrics that populate this engaging and amusing film. Being one of them himself, Blank is never patronising in his attitude towards them, but seeks to make them heard on their own terms.

Although Shelton's story is about basketball as an arena where male egos lock horns, there are actually two smart women at its core. As the director once said on the set during production, "my movies are just a bunch of guys messing around while women get on with the real business of life."

These cars are not your average hot rods, mere phallic substitutes for emotional inadequacy; they are genuine works of art: extensions of their owners’ personalities, acts of creative expression that are, in a real sense, shrines to the potent myth of the automobile and celebrations of eccentricity and personal freedom

"WILD WHEELS is a lot of fun - an auspicious debut for Harrod Blank and a zany ode to offbeat, homegrown American art. In an age of institutionalised blandness, it’s soothing to spend time with Blank and his cheerfully noncomformist car-fetishist pals." San Frandsco Chronide

OPERA HOUSE, WEDNESDAY 7TH, 18.00

YOU, ME AND MARLEY

Say it witft

Richard Spence England/1992/35mm/85minutes/Colour

raline

The Famous Belgian Chocolates

Producer: Chris Parr. Leading Players: Marc O'Shea, Bronagh Gallagher, Michael Liebmann. Script: Graham Reid. Print Source: BBC Drama, Television Centre, Wood Lane, London W12 7RJ, England. Tel: 081 576 1890, Fax: 081 749 8755.

Cork: 106 Oliver Plunkett Street Dublin: Royal Hibernian Way and 30 Mary St.

It's Friday night on the streets of west Belfast and 16-yearold Sean O'Neill and his friends listen to Acid House and burn rubber. Joyriding has reached epidemic proportions and the local community wants action. The priests hold a public meeting which is gate-crashed by IRA hard men. The RUC lies in wait. The society that created Sean can do nothing as events spin out of control.

(Free gift cards available)

This powerful, controversial and hard-hitting drama, featuring Bronagh Gallagher (from THE COMMITMENTS) and written by Graham Reid, was extensively researched in the west Belfast community where it is set. This lends a commanding air of authenticity to the film, which underpins this sympathetic, sometimes humorous look at a disaffected and alienated group of teenagers and the repercussions of their behaviour on their families and society at large. The most relevant film of the year. Awards: Michael Powell award for best British feature film, Edinburgh, 1992, ’Scotland On Sunday' Critic's award. /V

40 Paul Street, Cork. 273555 and Douglas Village, Cork. 892415

RESTAURANT WINE BAR TRADITIONAL PIZZAS FRESH, HAND-MADE PASTAS CRILLS-FISH-OMELETTES FULL WINE LIST OPEN: 12, NOON - 11.30PM SUNDAYS: 5PM-11PM ECON RONAY RECOMMENDATION

(WN MICHAEL APTED with STARDUST (1975) produced by the young David Puttnam and starring David Essex.This was followed by THE SQUEEZE (1977) a thriller starring Stacy Keach, and another ambitious Puttnam production, AGATHA (1979) starring Vanessa Redgrave and Dustin Hoffman. The success of COAL MINERS'S DAUGHTER (1980) firmly established Apted's reputation in the USA, winning an Oscar for Sissy Spacek's moving portrayal of country and western singer Loretta Lynn. Since then he has directed internationally working on a series of large scale Hollywood films but also on smaller productions in Britain and on a wide range of documentary projects. He directed CONTINENTAL DIVIDE in 1981 and GORKY PARK (1983).

Also in 1983 he made the Channel 4 film P'TANG, YANG, KIPPERBANG for which he received another BAFTA award nomination. FIRST BORN (1984) was followed in 1985 by the Grammy Award winning music documentary BRING ON THE NIGHT which was screened at the Cork Film Festival that year.

CRITICAL CONDITION (1987) was followed by GORILLAS IN THE MIST (1988) where Sigourney Weaver's performance as the doomed conservationist earned an Academy Award. In 1989 Apted travelled to the Soviet Union to make a remarkable documentary on the rock star Boris Brebenshikov - Russia's answer to Bruce Springsteen. In 1990 he directed CLASS ACTION starring Gene Hackman and also worked on ABC's MY LIFE AND TIMES. Michael Apted's new feature THUNDERHEART will close this year's Cork Film Festival. We are also screening INCIDENT AT OGLALA, the documentary that provides the real-life backround and inspiration for THUNDERHEART.

No less than three Michael Apted films are being released in 1992 - INCIDENT AT OCUKLA, THUNDERHEART and 35 UP.

We have taken this opportunity to dedicate a section of this year's programme to the work of Michael Apted - a tribute the Cork Festival has planned to make for some time.

THE 7 UP SERIES The 7 UP series has been described as 'the most engrossing long-distance documentary project in the history of film'. Starting in 1963 Michael Apted has folllowed a group of 14 British schoolchildren through all the twists and turns of their lives. He revisits the same 14 every seven years to record how their plans and hopes have fared. The stories that emerge are utterly engrossing and extraordinary in the way only real-life can be. Watching the films also raises disturbing questions in the viewer. In speaking to the camera about their lives the participants position the viewer somewhere between a voyeur and a judge. It is hard not to feel that the we are being asked in some way to evaluate these lives.

Born in 1941, Michael Apted could be seen as the exemplar of a generation of British filmmakers who made their reputation in television in the 1960zs and moved on to major careers in cinema. He studied law and history at Cambridge before joining the young Granada Television as a researcher. He established a career as a television director and investigative reporter covering a remarkable diversity of work ranging from weekly documentary reports for WORLD IN ACTION to directing episodes of CORONATION STREET.

His best known work from 1960's television is the start of the 7 UP series, a unique, long-term documentary project which we are pleased to give our festival audience a rare opportunity to view.

Over time the series has become very famous. Apted is the executive producer for Russian and American versions of the same concept. 28 UP, the fourth in the series, won the BAFTA award, the International Emmy and the International Documentary Award in 1988. The series is made for Granada Television.

Over the years Apted has accumulated more than 60 separate television credits and two of his television series won BAFTA awards - THE LOVERS for Best Comedy series and FOLLY FOOT for Best Children's Series. Apted himself won Best Dramatic Director for ANOTHER SUNDAY AND SWEET F. A. and KISSES AT FIFTY.

7 UP 1963/42 minutes/Colour 7 PLUS 7 1970/55 minutes/Colour

In 1972 Apted made a very successful feature film debut with TRIPLE ECHO, an adaption of the H. E. Bates story starring Glenda Jackson and Oliver Reed. He followed this

21 UP 1977/105 minutes/Colour 35 UP 1991/Colour

e s t i v a I

CORK OPERA HOUSE

TRISKEL ARTS CENTRE SUNDAY OCTOBER 4TH

20.30

GALA OPENING

11.00

GARGANTUAN John Smith UK (1 m)

JAZZ IN THE BOX

WHITE BOYS CAN'T DANCE

Milan Grozdanic FRANCE (5m)

Liz Hinlein USA (11m)

PAINTING THE TOWN

THE CRYING CAME

Andrew Behar USA (80m)

Neil jordan UK (112m)

13.30

THE VACUUM Tim Roll UK (1 2 mins)

STAR CROSSED LOVERS Irene Werner Stage DENMARK (21 m)

FIT: EPISODES IN THE HISTORY OF THE BODY Laurie Block USA (74m)

16.00

THE DISCO YEARS Robert Lee King USA (30m)

THE REINCARNATION OF KHENSUR RINPOCHE Tenzing Sonam/Ritu Sarin UK (62m)

MONDAY OCTOBER 5TH 14.00

GOODNIGHT, ALDEN

Jeff Leighton USA (15m)

CHILDREN OF NATURE Fridrik Thor Fridriksson ICELAND (85m)

16.00

11.00

SHORTS PROGRAMME 1

1 3.30

CHASING THE GRAIL

WEEKENDER

Daniel Robin USA (22m)

NOW THAT IT’S MORNING

Tehmina Khan USA (20m)

Wiz UK (18m)

IN THE LAST PASSAGE

Neil Bartlett UK (1 Im)

DREAMSAND SILENCE

THE HOURS AND TIMES

Omar Al-Qattan BELGIUM/PALESTINE (52m)

Christopher Munch USA (60m)

18.00

ALL ABOARD!

Patrick Rufo FRANCE (7m)

16.00

MICHAEL APTED PROGRAMME 1 7 UP 7 PLUS 7

11.00

SHORTS PROGRAMME 2

13.30

LOVE, JEALOUSY AND REVENGE

OTHELLO Orson Welles MOROCCO (91m)

20.30

OMNIBUS

Sam Karmann FRANCE (9m)

MY NEW GUN Stacy Cochran USA (100m)

TUESDAY OCTOBER 6TH 14.00

INCIDENT AT OGLALA Michael Apted USA (89m)

16.00

SPIRIT OF PLACE Oliver Harrison UK (10m)

Michael Brynntrup GERMANY (7m)

THE WATERDANCE

TOGETHER ALONE P.]. Castellaneta USA (87m)

Neal jimenez/Michael Steinberg USA (106m)

18.00

MR. CHOCOLATE MEETS MISS MILK Thomas Meyer- Hermann GERMANY (6m)

16.00

MICHAEL APTED PROGRAMME 2 21 UP

11.00

SHORTS PROGRAMME 3

SLACKER Richard Linklater USA (97m)

20.30

WINK Olias Barco FRANCE (6m)

WHITE MEN CAN’T JUMP Ron Shelton USA (115m)

WEDNESDAY OCTOBER 7TH 14.00

IEAN-LUC GODARD, OVER & DONE Danos FRANCE (8m)

THE LIVING END

13.30

Greg Araki USA (90m)

16.00

MOUTHPIECE Gerard Betts CANADA (3m)

ASSASSINS

LAST YEAR IN GERMANY

Mathieu Kassovitz FRANCE (14m)

Benke/Seidler/Barthel/Schonfeldt GERMANY (100m)

JUICE Ernest R. Dickerson USA (92m)

18.00

16.00

BODY BEAUTIFUL Joanna Quin WALES (14m)

YOU, ME AND MARLEY Richard Spence UK (85m)

20.30

HEARTSONGS Sue Clayton UK (11 m)

CAS FOOD LODGING Allison Anders USA (102m)

MICHAEL APTED PROGRAMME 3 35 UP

TRISKEL ARTS CENTRE

CORK OPERA HOUSE THURSDAY OCTOBER 8TH 14.00

WHITE NIGHTMARE

11.00

SHORTS PROGRAMME 4

13.30

WHERE THE COWS GO

Mathieu Kassovitz FRANCE (1 1 m)

LOSER 16.00

Erik Burke USA (83m)

Maggie Ford UK (15m)

KADDISH

CHANGING OUR MINDS

Serge Zeitoun FRANCE (12m)

Richard Schmiechem USA (75m)

PRAGUE Ian Sellar UK/FR/CZ (87m)

18.00 20.00

16.00

ST. MULEKICKER Simeon Hutner USA (5m)

CRUSH Alison MacLean NEW ZEALAND (97m)

COLOURS 1939

THE BEST INTENTIONS

Alexander van Dulmen GERMANY (29m)

Bille August SWEDEN (180m) Please note earlier starting time

THE SAME AS YOU Alan James UK (65m)

FRIDAY OCTOBER 9TH 14.00

RESONANCE

S. Cummins/S. Hunt AUSTRALIA (1 2m)

11.00

SHORTS PROGRAMME 5

13.30

A PRAYER BEFORE BIRTH

SWOON

Tom Kahn USA (82m)

16.00

18.00

HOW MOVIES ARE MADE

Jacqui Duckworth UK (20m)

A.J. Hudson USA (4m)

IN THE SOUP

KHUSH

Alexander Rockwell USA (93m)

Pratibha Parmar UK (26m)

WITHIN GRASP

A PLACE OF RAGE

Veit Helmer GERMANY (7m)

Pratibha Parmar UK (52m)

MAN BITES DOG

Remy Belvaux/Andre Bonzel/Benoit Poelvoorde BELGIUM (95m)

20.30

16.00

SOHO SQUARE

SWEET EMMA. DEAR BOBE

POST NO BILLS

Istvan Szabo HUNGARY (90m)

23.30

SUBMARINE Mark Littlewood SCOTLAND (53m)

Mario Cavalli UK (1 Im)

Clay Walker USA (57m)

THE BEACH

Patrick Bokanowski FRANCE (14m)

NIGHT ON EARTH

Jim Jarmusch USA (120m)

SATURDAY OCTOBER 10TH 11.00

LIFE'S A GAS

11.00

Philip Davis UK (11m)

THIS BOY'S STORY

13.30

John Roberts UK (50m)

14.00

RELEASE ME Frances Lea UK (26m)

THIEF OF BAGDAD

STRANGER IN THE FAMILY

Michael Powell UK (106m)

16.00

SHORTS PROGRAMME 6

Ewa Cieszewska UK (26m)

RESURRECTION Ray Kilby UK (9m)

WE ONLY LIVE ONCE

SACRED SEX

Miel Van Hoogenbemt BELGIUM (52m)

Cynthia Cannop AUSTRALIA (96m)

18.00

SEMPER IDEM

16.00

Joachim Bode GERMANY (3m)

Anders Sorensen DENMARK (22m)

CHAIN OF DESIRE

BROTHER'S KEEPER

Tern is toe les Lopez USA (105m)

20.30

THE WONDERFUL TALE OF MUSIC joe Berlinger USA (117m)

BLACK WIDOW Jesus Delgado SPAIN (16m)

HOW TO BE A WOMAN AND NOT DIE IN THE ATTEMPT Ana Belen SPAIN (90m)

23.30

MARQUIS Henri Xhonneux FRANCE (80m)

SUNDAY OCTOBER 11TH 14.00

TIME WILL TELL

11.00

SHORTS PROGRAMME 7

Declan Lowney UK (90m)

16.00

13.30

THE KINGS OF SIAM

David Dobkin USA (35m)

STRAIGHT OUT OF BROOKLYN

WILD WHEELS

Matty Rich USA (83m)

18.00

Harrod Blank USA (64m)

IN UNCLE ROBERT'S FOOTSTEPS Myles Connell USA (24m)

20.30

57TH STREET SERENADE

Ged Haney UK (12m)

16.00

PUBLIC ENEMY/PRIVATE FRIENDS

HELLO STRANGER

Danny Thompson UK (18m)

Ronan O'Leary IRELAND (61 m)

AS HAPPY AS LARRY

OFFICIAL CLOSING Awards Ceremony and screening of European Short Film Competition winner THUNDERHEART Michael Apted USA (118m)

Riju Ramrakha AUSTRALIA (61m)

Note: Programme correct at time of going to press. Alterations may occur without notice.

PERSONALITY... CREDIBILITY QUALITY... STYLE

ill

FOR YOU ON THE RIGHT WAVELENGTH...

S3EE

OR 892 FM

FAI __________________

7/je l/e/ce ttf'&rk.

French

Alliance Francais

Language

New Wave Season, Rare Shorts, All Time Classics.

In Association with

Festival

Nov 6 - Nov 12 The Night is Young ToTo the Hero Delicatessen Au Revoir Les Enfants Nikita Le Cop 2 Cyrano de Bergerac & many more

1992

Memberships and Tickets available from Capital Cineplex Grand Parade, Cork, Ph : 272216

Film

IT FILI

■

GRAMMES AND EUROPEAN SHORT FILM COMPETITION

Cork Film Festival is committed to supporting the short film. We believe that it is a specific art form with its own traditions, disciplines and aesthetic possibilities. The short form also allows for experimentation and innovation, thereby enriching the medium as a whole. Also, for many directors, with limited technical and financial resources available, the short is an invaluable stepping stone to feature production. We are confident that in the programmes below our audience will discover exciting new talent. This is true of the Irish films as much as the international. We are delighted that so many short-film directors have decided to travel to Cork for the screenings of their films. We believe that the experience of young directors meeting with their peers from other countries, seeing each others work, and meeting with their audience can be a valuable process which will assist their development as film-makers.

Once again we must acknowledge the support of the European Commisssion in funding Cork's Short Film Award of 10,000 ECUs. This is a significant sum which has helped past winners reach a wider audience for their films and helped them advance in their film-making careers. The Cus Healy trophy, sponsored by Fianna Fail, and a cheque for £1,000 will be presented to the best Irish short-film in Competition.

PROGRAMME 1

PROGRAMME 5

SHE'S JUST GROWING UP, DEAR lulia Tell, USA, 16m EMPIRE OF THE MOON * J.Haptas/K. Samuelson, USA, 17m Ashley McKinney, USA, 28m ANTHONY'S KITCHEN Brian Cange, USA, 15m THE GENE POOL Loren (f Kerry Weeks, USA, 12m THE WATCHMAN Ron Hagell, GERMANY, 24m

FIRST COMES LOVE Su Friedrich, USA, 22m DEATH BY UNNATURAL CAUSES < K. Bellone/L. Rinzler, USA, 20m LITTLE SUCK-A-THUMB David Kaplan, USA, 15m ON HER BALDNESS Wendy Rowland, CANADA, 30m PROUSTS FAVOURITE FANTASY Richard Kwietniowski, UK, 2m SLUGS AND SNAILS Susan Brand, UK, 10m

PROGRAMME 2

PROGRAMME 6

CREATURE OF HABIT * Joan Grossman, CANADA, 1 Om * THE COST OF LOVE Richard Kwietniowski, UK, 2m TWIST OF FATE Douglas Kunin, USA, 13m OOZAT Darren Walsh, UK, 6m SHOOTING TO STARDOM Kieron Walsh, IRELAND, 11m THE CHANTER Jon Love, UK, 30m PARADISE FISH BAR Tamsen Carter, UK, 10m

THE DADASON RITES Garry Keane, IRELAND, 13m * THE LAST WORD Lee Rooney, IRELAND, 15m NOCTAVE Siochfradha Kelly, IRELAND, 10m MIND'S EYE Paul Giles, IRELAND, 14m BREATH OF LIFE Navin Thapar, UK, 28m GORILLA Kevin McMorrow, UK, 15m LOVE IS A VERY FICKLE THING * Mark Staunton, IRELAND, 3m PRO-CHOICE FILM Tony Kenny, IRELAND, 2m

ROUNDABOUT

PROGRAMME 3 CAT'S CRADLE ♦ Liz Hughes, AUSTRALIA, 12m DEATH IN THE ARENA M. Ingram/S. Oliveiro, AUSTRAUA 10m THE ILLUSTRATED AUSCHWITZ Jackie Parkas, AUSTRAUA, 13m EVERY LITTLE BREEZE... Maree Delofskl, AUSTRALIA, 24m A LARGER OR SMALLER ROOM Ann! Mokotow, AUSTRAUA, 17m WIRELESS NIGHTS Melissa Juhanson, AUSTRALIA, 12m

PROGRAMME 4 NIGHT WINDOW Gunter Heinzel, AUSTRIA, 32m DID YOU DO THE NAPKIN TOPSI? Usa Doyle, CANADA, 7m MONA'S.PETS John David Allen, USA, 32m ROAD TO ALICE Stavros A. Efthymlou, AUSTRAUA, 29m

PROGRAMME 7 THE BARBER SHOP Uam O'Neill, IRELAND, 23m BLIND ALLEY Paul Duane, IRELAND, 10m BOOTH Petra Conroy, IRELAND, 10m CHILDREN OF THE TIDE T. FLeming/N. Broderick, IRELAND, 1 Im INTO THE ABYSS Geraldine Creed, IRELAND, 13m TWO WASTERS Eoin McPolin, IRELAND, 21m CONNEELY'S CHOICE Barra de Bhaldraithe, IRELAND, 28m

•

ALL ABOARD!

ASSASSINS

EN VOITURE! Patrick Rufo

Christophe Rossignon France/1992/35mm/14 minutes/Colour/Subtitles

France/1991 /35mm/7 minutes/Colour/Subtitles

NOl FL

Executive Producer: Win Productions. Leading Players: Andre Badin, Inger Ekbom, Paul Pinceloup, Lorene Frejek. Script: Patrick Rufo. Photography: Dominique Pinto. Editing: Patrick Rufo. Music. Jean Pascal Gil. Print Source: Win Prockictions, 3, Rue de Duras, 75008 Paris, France. Tel: 43 65 37 70, Fax: 42 86 80 72.

Producer: Christophe Rossignon. Leading Players: Marc Berman, Robert Cendreux. Script: Mathieu Kassovitz. Editing: Nathalie Goepfert. Print Source: Lazennec Tout Court, 36 Rue Rene Boulanger, 75010 Paris, France. Tel: 42 03 73 34.

Ferrari, Jaguar, Mercedes, Rolls Royce...all the world dreams of such cars - especially the thievesl

As has always been the tradition in the family, the elders teach the youngest how to be hitmen. Tonight, the hit is Mr. Vidal and Wagner transmits his knowledge to his younger brother, with blackly humorous results.

ANTHONY'S KITCHEN

THE BARBER SHOP

Brian Cange

Liam O'Neill

USA/1992/16mm/15 minutes/Black & White

lreland/1992/16mm/23 minutes/Black & White

i Producer: Kevin Segalla. Leading Players: Joseph Ricca, Steve Roberts, David Eye, Dina Losita. Script: Brian D. Cange. Photography: Don Cornett. Editing: Bob Nichols. Music: Vincent De Selvo, Mark Reynolds. Print Source: Brian D. Cange, 70 Remsen Street, 1-h, Brooklyn, New York, 11201 USA.

Producer: Breda Walsh. Leading Players: David Kelly, Peadar Lamb. Script: Liam O'Neill from a story by Joe Pleass. Photography: Shane O'Neill. Editing: Gaye Lynch. Music John Walsh, Peter Keenan. Print Source: Paradox Pictures, 6, Belvedere Place, Dublin 1, Ireland. Tel: 01 366 868, Fax: 01 679 6717.

Tel: 718 596 2595.

Anthony, a cynical and outspoken non-conformist finds his world starting to crumble in the face of progress as his neighbours celebrate his 65th birthday. This tragic comedy focusses on the plight of the elderly, treated as superfluous, if not downright disposable in modern America.

The final hours of an old-fashioned barber-shop - a faded emporium of tonsorial opulence - are the location for this evocative and subtly- keyed drama of revenge and regret.

BLIND ALLEY

H BEAG ■■

LA PLAGE Patrick Bokanowski

Paul Duane lreland/1992/16mm/l0 minutes/Colour

France/1992/35mm/14 minutes/Colour/Subtitles

II' I

1 TH

| Producer: Kira BM Films. Photography: Patrick Bokanowski. Editing: Laure Budin, Dominique Greussy. Music: Michele Bokanowski. Print Source: Unifrance Film, 4, Villa Bosquet, 75007 Paris, France. Tel: 1 4 7 5 3 95 8 0, Fax: 1 47 05 96 55.

Producer: Brendan Geraghty, Fiona Keane. Leading Players: Barry McGovern, Niall Toner Jr. Script: Paul Duane. Photography: Shane O'Neill. Editing: St Merry Doyle. Music Niall O'Sullivan, Stephen Pennicks. Print Source: Blind Alley Productions, 75 The Coombe, Dublin 8, Ireland. Tel: 01 546201.

Combining live action, animation and special optical effects, THE BEACH creates an imaginary seaside world where ordinary holiday activities take on a surreal twist.

A surrealistic thriller about a man facing death-by-video. Barry McGovern plays Roach who in his final moments, becomes aware of the lurking presence of a sinister cameraman throughout the whole of his life.

BLACK WIDOW

BODY BEAUTIFUL

LA VIUDA NEGRA Jesus Delgado Spain/199T/35mm/16mm/Colour/Subtitles

Joanna Quinn Wales/1990/35mm/14 minutes/Colour/Animation

Producer. Jesus Delgado. Leading Players: Margarita Sanchez, Chema Adiva. Script: Jesus Delgado. Photography: Teo Delgado. Editing: Pablo Blanco. Music: Luis Mendo, Bernardo Faster. Print Source: Producciones Nictdlopes s.l. cjo Don Ramon de la Cruz, 115 2° Izda, 28006 Madrid, Spain. Tel: 1 402 6490.

Producer. Les Mills. Leading Players: Menna Trussler, Rob Brydon. Animation, Photography, Editing: Ioanna Quinn. Music: Paul Hornsby, Nory Omar. Print Source: S4C, Parc Ty Gias, Llanishen, Cardiff, South Wales CF4 5DU. Tel- 0222 747 444, Fax: 0222 75 4 444.

With a black widow spider on the loose, even safe sex is not without its dangers in this frankly hilarious comedy.

Beryl and her friends work in a Japanese-owned factory in Wales. Subjected to constant harrassment over h,er weight by Vince, her narcissistic and loutish supervisor, Bpr.yl plots her deliciously ironic revenge. > K- .

r BOOTH

CAT'S CRADLE

Petra Conroy

Liz Hughes

lreland/1992/16mm/10 minutes/Colour

Australla/1991/16mm/12 minutes/Black & White

I !. k

•- V

Producers: Susan Walsh, Lorraine Hayden. Leading Players: Brendan Cauldwell, Guy Carlton, Roisin De Freine, Ann Kent. Script: Damien O'Donnell. Photography: Dave Burrows. Print Source: Nora French, Communications Department, College of Commerce, Rath mines, Dublin 6, Ireland. Tel: 01 970 666

Executive Producers: Luigi Acquisto, Chris McGill. Producer: Jenny Sabine. Leading Players: Helen Rollinson, Ian Nash, Andrea Swifte, Imogen Gough, Paul Bajada. Script & Photography: Liz Hughes. Editing: Melissa Huhanson, Liz Hughes. Music: Paul Schutze. Print Source: Carol Gregory, V.C.A. Film & TV School, John Street, Hawthorn, VIC 3122, Australia. Tel: 61 3 8198328, Fax: 61 3 8198124.

Nine minutes in the life of your average local photo booth. Award: Best Irish short film - Galway Film Fleadh, July 1992.

A poor family cannot afford to pay for a funeral for their dead father. Trudging around the city with his stiffening corpse, they finally find a last resting place for him - in a cinema.

BREATH OF LIFE

THE CHANTER

Navin Thapar

Jon Love

England/l991 /16mm/28 minutes/Colour

England/1992/16mm/30 minutes/Colour

■

Producer: Navin Thapar. Leading Players: Moshe Ivgi, Amir Korangi, Tariq Yunus, Avi Nassa. Script: Kulvinder Ghir, Nasser Memarzia. Photography: Jon Felix. Editing: Navin Thapar. Music Nial Walsh, Kent Brainerd. Print Source: Navin Thapar, 212 Malvern Ave. Rayners Lane, Harrow, Middlesex HA2 9HE, England. Tel: 081 426 8832, Fax: 071 494 1187.

Producer: Kate Swan. Leading Players: Frazer Morrison, Stephen Craig, Stuart Peebles. Script: Jon Love, Dennis McKay. Photography: Mark Partridge. Editing: Brian Kelly, Jon Love. Music Martin Swan. Print Source: NETS, Beaconsfield Film Studios, Station Road, Beaconsfield, Bucks., HG9 ILG, England. Tel- 0494 671234, Fax: 0494 674042.

Set against the backdrop of continuing imprisonment and ill-treatment of political prisoners in the Middle East, BREATH OF LIFE is a harrowing depiction of the emotional bonds formed between six prisoners of conscience who find themselves sharing the same cell.

Good luck is not just a matter of being in the right place at the right time - it's knowing that you're there.

iiAsr

< GRAIL

niel Robin

COLOURS 1939 Alexander van Dulmen

SA/1992/16mnj/.l2 minutes/Colour

Germany/1992/16mm/29 minutes/Colour & Black & White

Producer, Script, Editing: Daniel Robin. Print Source: Daniel Robin, 1498 Guerrero, San Francisco, GA 94110, USA. Tel: 4 IS 821 4931

Producer & Script: Alexander Van Dulmen. Photography. Guido Frenzel, Hans Feierabend. Editing: Caroline Meier. Music: Georg Lob. Print Source: ARRI, Turtenstr. 91-93, 8000 Munich 40, Germany. Tel: 00 49 3809456.

Combining introspection with contemporary social issues, the filmmaker explores her identity as an American jew in the context of her relationship with Israel.

Cutting from modern Munich, filmed in grainy Black & White to the ominous pageantry of Nazism at its height in 1939 (from immaculately-preserved Technicolor footage), COLOURS 1939 explores our relationship with a past that is closer to us than we would sometimes care to admit.

CHILDREN OF THE TIDE

CONNEELY'S CHOICE

Tadgh Fleming, Nuala Broderick

Barra de Bhaldraithe

I reland /1992/16mm/l 0 minutes/Colour

lreland/1992/16mm/28 mlnutes/Colour/Irlsh Language

Executive Producer Galway Film Resource Centre. Leading Players: Eoghan Fleming, Francio O'Brien, David O'Gorman, Martin Folan. Script and Photography: Tadgh Fleming, Nuala Broderick. Editing: Paddy O'Connor. Print Source: Galway Film Resource Centre, High Street, Galway, Ireland. Tel: 091 66744.

Producer: Barra de Bhaldraithe. Leading Players: Brendan Gleeson, Treasa Ni Flatharta, Tomas 0 Ratharta. Script: Barra De Bhaldraithe. Photography. Cion de Buitlelr. Editing: St Merry Doyle. Musk: Donal Lunny. Print Source: Barra de Bhaldraithe, Scanndin Beal, c/o Loopline, 4, Beresford Place, Dublin 1, Ireland. Tel: 01 746303/4

Although the people have never owned the land, they have lived on it, worked on it and died on it - it should be their future. Award: 1st prize, Documentary section, Galway Film Fleadh, 1992.

The seal legends of the Atlantic coast are examined in a modern-day Irish-Language drama. A seal woman is robbed of her hoodskin as she basks on the rocks. Without it, she cannot return to sea.

THE COST OF LOVE

THE DADASO

Richard Kwietniowski

Garry Keane

England/1991/16mm/2 minutes/Black & White

lreland/1992/16mm/13 minutes/Colour, Black & White

SOUPS

SNACXS

RIT!

DAIY SPECIA1

SANDWICH! $

CHIDRP

BL ' ' *

Leading Players: Pendle, Rich Crafer, Jarther Taylor, Janet Jones. Script: Richard Kwietniowski. Photography: Frank Passingham. Stills: Tony Caney. Print Source: Alfalfa Entertainments, 225A Brecknock Road, London N195AA, England. Tel: 071 284 0551, Fax: 071 284 0617

Producer. Dun Laoghaire College of Art and Design. Leading Players: Cedi Bell, Padraic Murphy, Felicity Stewart, Jenny Glasgow. Script and Editing: Carry Keane. Photography: Maurice Sweeney. Music: Dee Armstrong. Print Source: Dun Laoghaire College of Art and Design, Kill Avenue, Carriglea Park, Dun Laoghaire, Co. Dublin, Ireland. Tel: 01 2801138.

A photo romance featuring a number of activities which may be made illegal in England by Clause 25 of the Criminal justice Bill.

A stylishly surreal drama dealing with sexual initiation. A father takes his young son on a dark journey to a brothel.

CREATURE OF HABIT

DEATH BY UNNATURAL CAUSES

Joan Grossman

Karen Bellone, Lisa Rinzler

Canada/1991/16mm/10 minutes/Black & White

USA/1991/16mm/20 minutes/Colour, Black & White

Producer Joan Crossman. Leading Players: Nick Misura, Josh Epstein, Jackson Cole, Michael Jocelyn. Script: Neil Williamson. Photography: Joel Pickford. Editing: Christine Brewer. Music: Ray Sicora. Print Source: Vancouver Film School, 400-1168 Hamilton St., Vancouver, BC, V6B 2S2, Canada. Fax: 604-685 5830.

Executive Producer: Firewater Filmworks. Leading Players: Kid Congo Powers, Sally Norvell. Script: Karen Bellone, Lisa Rinzler. Photography: Lisa Rinzler. Editing: Anne Stein. Music: Arto Lindsay, Peter Scherer. Print Source: Firewater Filmworks, 176 Broadway 12F, New York, 100 38, USA. Tel: 212 732 3123, Fax: 212 519 0403.

The decline of Mr. Gibbens, a staid middle-aged man who is driven crazy by his memories of being bullied as a schoolboy. A quirky story about power and humiliation.

A visually stunning but visceral homage to those living and passing under the shadow of AIDS in a world run amok. It is the story of a woman who, in mourning for her lover, symbolically becomes the mourner for all humankind. Awards: Silver Hugo - Best Experimental Short, Chicago.

I\ A;.

ATM [•

T1E ARENA

:ael Ingn alla/1992/K

Sebastian Oliveiro •i/IO minutes/Colour

THE DISCO YEARS Robert Lee King USA/1991/16mm/30 minutes/Colour

Producer: Michael Ingram, Sebastian Oliveiro. Leading Players: Pavane Olivlro, Sebastian Oliveiro, Nicola Cassimaty, Malaki Coles. Script & Editing: Michael Ingram, Sebastian Oliveiro. Photography: Michael Ingram. Music: Igor Stravinsky. Print Source: Michael Ingram, 42 Regent St., Paddington, NSW 2021, Australia. Tel: 612-3615984, Fax: 612-9083151.

Producer: Robert Lee King. Leading Players: Matt Nolan, Gwen Welles, Dennis Christopher. Script: Robert King. Photography: Greg Gardiner. Editing: Paul McCudden. Music Wendall & Yuponce. Print Source: Robert Lee King, J 7, 27th Avenue, Venice, CA 90291, USA Tel: 310 827 0291.

Mythological icons collide with reality through dream and ritual as flesh gives way to the mechanism of sacrifice.

Tom Peters, a gay teenager coming of age in the late '70's finds that the difficult process of coming out is helped by the disco-dancing lessons that his mother forces him to take. Awards: Cine Golden Eagle.

DID YOU DO THE NAPKIN TOPS! ?

EMPIRE OF THE MOON

Lisa Doyle

John Haptas, Kristine Samuelson

Canada/1991 /16mm/7 minutes/Colour

USA/1991/16mm/17 minutes/Black & White

Executive Producer: Simon Fraser University. Script, Photography, Editing and Music Lisa Doyle. Print Source: Lisa Doyle, 402 - 634 East Georgia Street, Vancouver BC, Canada V6A 2A1.

Producer and Editing: John Haptas, Kristine Samuelson. Photography: Ion Else. Print Source: John Haptas and Kristine Samuelson, 1028 Paradise Way, Palo Alto, California 94306 USA Tel: 4 IS 8S2 9291, Fax: 415 725 2472.

A quirky look at the lot of the waitress.

In oblique and humorous fashion, EMPIRE OF THE MOON considers the sacred and profane aspects of sightseeing and the yearning to possess the magic of a place.

Awards: First Prize, New York Short Film Expo Experimental, Montana Film Festival, Kino Prize, Melbourne Film Festival, Golden Sheaf Yarkton.

Awards: San Francisco International Film Festival (Special jury Prize), Charlotte Film Festival (Best Experimental documentary), American Film Festival. 47

THE METROPOlE THE IDEAL VENUE ‘With, a range of newly refurbished suites and private

function rooms to choose from, ^The Metropole Motet is

ALWAYS THE CENTRE OF FESTIVAL FUN The welcome you experience as soon as you step into our foyer is one of warmth and helpfulness. Everything you need to make the festival more enjoyable is available at the Metropole * \ By The River/ Ensuke, Direct Dial WlC

THE RIVERVIEW RESTAURANT BEDROOM ACCOMMODATION

THE MET TAVERN

and I.V. in all rooms

;

HOTELg

Mac Curtain St.,Cork.Tel: (021) 508122. Fax: (021) 506450.

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

IS) Contact

Peter Kirwin

I ■

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

Insuring the continued success of the CORK FILM FESTIVAL

LE BREEZE iree Deso’. / :stralia/199 i/; ..;.n/24 minutes/Colour

FIRST COMES LOVE Su Friedrich USA/1991/16mm/22 minutes/Black & White

Producer: Pat Lovell. Leading Players: Odile Le Clezio, Fiona Press, Moya O'Sullivan. Script: Maree Delofski. Photography Louis Irving. Editing: Sara Bennett. Music John Stuart. Print Source: Maree Delofski, 62 Cavendish Street, Stanmore, NSW 2048, Australia. Tel: 02 5192883.

Producer, Script, Photography and Editing: Su Friedrich. Music: Tina Turner, Janis Joplin, Marvin Gaye, Aretha Franklin. Print Source: Su Friedrich, 222 East Sth Street 6, New York, NY, 10003, USA. Tel: 212 475 7186.

Rose and Wanda haven't seen each other since school. Their chance meeting on a bus sets up the desire to find their third school friend, Louise. A gently quirky comedy.

A re-examination of the marriage ceremony through the eyes of an alternately hostile, infatuated and amused outsider. A film about rites and wrongs. "Elegant and uncluttered...a deceptively simple work [which]...recasts the personal as the political, makes the public curiously intimate." Manohla Dargis Village Voice

57th STREET SERENADE

GARGANTUAN

David Dobkin

John Smith

USA/1992/16mm/35 minutes/Colour

England/1992/16mm/1 minute/Colour

$ I-

Producer: Jonathan McCurdy. Leading Players: James DuMont, Brendan Burke, Christian McLaughlin. Script: David Dobkin. Photography: Jeff Venditti. Editing: David Dobkin. Print Source: David Dobkin, 1048 Grant Street, Santa Monica, CA 90405, USA. Tel: 310 450 7289, Fax: 310393 7608.

Executive Producer: Arts Coundl/BBC TV, The Late Show. Leading Player: John Smith. Script and Editing: John Smith. Photography: Patrick Duval. Print Source: John Smith, 28, Colville Road, London Ell 4 EH, England. Tel: 081 556 4363.

Despite the hardships of adolescence and the hostility of New York city, Billy, Poet and Marko manage to find a place to be together and happy...on a rooftop, far above the angry streets.

A one minute eulogy to amphibians of all sizes.

i ■■■

THE GENE POOL

GORILLA

Loren Weeks, Kerry Weeks

Kevin McMorrow

USA/1992/16mm/12 mlnutes/Colour

England/1991/16mm/15 minutes/Colour

Producer: 2 Weeks Productions. Leading Players: Libra Moore Cray, Paula Bolton, Steve Sutherland. Photography: Russel Fine. Print Source: 2Weeks Productions, 489, Stratford Rd., Brooklyn, NY 11218, USA Tel: 718 282 4293, Fax: 718 941 1942.

Executive Producer: L.C.P.D.T., Film & Video Division. Producer: Wayne Waterson. Script: Kevin McMorrow. Photography: Lynda Hall. Editing: Kevin McMorrow, Wayne Waterson. Print Source: L.C.P.D.T., Film Sr Video Division, 6 Bock Hill, Clerkenwell, London EC1R SEN, England. Tel: 071 278 7445, Fax: 071 833 8842.

A dry comedy of manners involving Southern hospitality, heredity and canine love.

When a gorilla in a boiler suit and running shoes carries out a series of local bank robberies, the Chief Inspector's suspicions fall on a young detective in his team. The getaway car definitely belongs to the detective, but it's his elderly mother who is spending the loot...

GOODNIGHT, ALDEN

HEARTSONGS

Jeff Leighton

Sue Clayton

USA/1991/35mm/15 minutes/Black & White

England/1992/35mm/1 1 minutes/Colour

Executive Producer: Kim Decoste. Leading Players: Tom Marriott, Mark Miller, Jeff Trussell. Script & Music Jeff Leighton. Photography: Cabot Dixon. Editing: Kim Decoste, Jeff Leighton. Print Source: Leighton Films, 90S West Lenoir Street, Raleigh, NC 27603, USA. Tel: 919 828 8883.

Producer: Caroline Hewitt. Leading Players: Tom McCamus, Lorraine Segato. Script: Sue Clayton, Richard Burrige. Photography: Doug Koch. Editing: Annabel Ware. Music: Claude Desjardins. Print Source: Film Four International, 60 Charlotte St., London W1P2AX, England. Tel: 071 6314444 Fax: 071 5802622.

Three soldiers during the American Civil War meet, as sentries, by the river. They trade defiant shots, then trade tobacco for coffee, as well as news of the war. Anger and bitterness flare between them. In the end, the burial of a fallen comrade serves as an acceptance, however brief, of their shared humanity.

Adrift in a cold and moody Ontario landscape, Snipe drives on, tired and lost, until he comes across a small community where the locals are dancing the night away to the music from a Cajun band. Captivated by the wild Cajun rhythms, fast fiddles and haunting accordion, and obsessed by the lead singer Nell, he follows her home...

.1} ■

I !

li H -

AN M

/ilES ARE MADE

IN THE LAST PASSAGE i

A. J. Hudson

Tehmina Khan

USA/1992/35mm/4 minutes/Colour/Anlmatlon

USA/1992/16mm/20 mlnutes/Colour

Executive Producer. A.J. Hudson. Script, Photography & Editing: A.). Hudson. Print Source: American Motion Pictures, 429 West 24th St., Suite 3B, New York, NY. 10011, USA. Tel/Fax: 212 989 5523

Producer: Tehmina Khan. Leading Players -.Emily Shihadeh, Tehmina Khan. Script: Mahmoud Darwish, Hanan Ashrawi. Photography and Editing: Tehmina Khan. Music Dawlah. Print Source: Tehmina Khan: 554, 62nd Street, Oakland, California 94609. USA. Tel: 510 420 5858.

This is a story of perception. It is the telling of a specific epic from a particular view point. However, the scope of its meaning can only remind us of our own desires to inflict upon any situation our own point of view.

A rich, complex collage expressing Palestinian identity. It weaves together humour and poetic expressions of pain, anger and pride. Archival footage, journalistic photographs and newspaper texts come together in an ironic exploration of human dignity and pain.

THE ILLUSTRATED AUSCHWITZ

INTO THE ABYSS

Jackie Parkas

Geraldine Creed

Australia/1992/16mm/13 minutes/Colour

lreland/1992/16mm/12 minutes/Colour

Producer: Jackie Parkas. Leading Player: Zsuzsi Weinstock. Script and Photography: Jackie Parkas. Editing: Kathy Drayton. Print Source: Australian Film Television & Radio School. Comer Balaclava & Epping Rds., North Ryde NSW 2113. Australia. Tel: 61 2805 6455, Fax: 61 2887 1030.

Producer: Brendan McCarthy. Leading Players: Michelle Bibbi, Brid Mhic Shearai, Eamonn Hunt, Joe Rooney, Una Minto. Script: Geraldine Creed. Photography: Brendan Galvin. Editing: Gaye Lynch. Print Source: Blue Light Productions, 76 Irishtown Road, Dublin 4, Ireland. Tel: 01-687 781.

The voice of a concentration camp survivor is scored with a collage of imaginings.

Inspired by the work of the American writer, Jack London, INTO THE ABYSS deals with the plight of displaced people in the poor houses and on the streets of London at the turn of this century.

JEAN LUC GOE AND DONE

IN UNCLE ROBERT'S FOOTSTEPS

POUR EN FINIR AVEC JEAN-LUC Danos

Myles Connell USA/1992/16mm/24 minutes/Black & White

J, €

ARD

France/1991 /16mm/8 minutes/Colour

Executive Producer: Nye Heron. Leading Players: Patrick Fitzgerald, Nye Heron. Script: Myles Connell, Frank Shouldicc. Photography: Tim Naylor. Editing: Myles Connell. Music: The Chanting House. Production Company: Irish Arts Centre. Print Source: Alpha Cine, 1001 Lenora, Seattle 98121, USA. Tel: 206 682 8230, Fax: 206 682 6649.

Producer: Shadows Film. Leading Players Aurele, Valerie,. Script: Danos Photography: Pat Marcel. Editing: Danos, Deseuze. Print Source: Shadows Film, 112 rue Courcelles, 75017 Paris, France. Tel: 33 1 43 80 36 06.

jack Lawlor, a 24 year-old Corkman, arrives in New York, full of optimism and confident that his uncle Robert, a ’businessman’, will give him a start. But Uncle Robert is not all that he is cracked up to be - a gritty, humorous look at the misadventures of a young immigrant in the Big Apple, featuring Cork actor Patrick Fitzgerald.

A quintessential!/ French look at life, love, philosophy and movies.

JAZZ IN THE BOX

KADDISH

Milan Grozdanic

Serge Zeitoun France/1991/35mm/12 minutes/Black & White

France/1991/35mm/5 minutes/Colour

ih ■

Producer: Patrick Villacampa. Leading Players: Cheik Doukourt, Jean Michel Martial, Rachel Genevin, Roger Le Mus. Script: Milan Grozdanic. Photography: Michel Rempenaux. Editing: Pascale Chrttien. Music: Nino Pimon. Print Source: Unifranee, 7 Villa Bosquet, 75007 Paris, France. Tel: 47 53 95 80, Fax: 47 05 96 55.

Producer. Serge Zeitoun. Leading Players: Richard Berry, Jean Benguigui, Marthe Villanlonga. Script: Serge Zeitoun, Eric Oyono. Photography: Pierre Aim. Editing: Vera Memmi. Print Source: Unifrance Film, 4 Villa Bosquet, 75007 Paris, France. Tel: 33 1 4753 95 80, Fax: 33 1 47 05 96 55

An atmospheric evocation of the flavour of jazz and the mind of an artist.

His father dead, a young man rreturns ‘ to the family home to join his mother in mourning. But the heart has secret seasons and refuses to unlock grief - until an unknown rabbi arrives in a new pair of shoes.

UJSEh

CRAWFORD GALLERY CAFE!

Pt bha Par Er: '□nd/1991/l6i.lm/26 minutes/Colour

Come and see us BEFORE OR AFTER THE

FILM, FOR TEA, COFFEE, HOMEMADE CAKES,

e<*>'rOoe

LUNCH OR DINNER.

Print source: Pratibha Parmar, 78, Fonthill Rd..London N4 3HT, England. Tel: 071 281 1310, Fax: 071 281 3809.

A fascinating collage of real and surreal images that highlight the experiences and explode some well-worn stereotypes of South African lesbians and gay men. Interspersed with interviews are Indian film footage, dance, stylised theatre, sculpture, music and disco scenes which are all used to make powerful symbolic statements.

Open 10.30 - 5, Mon. - Sat 6.30 - 9.30 Wed, Thurs, Fri Tel: 274415

THE KINGS OF SIAM Ged Haney England/1992/35mm/12 minutes/Colour/Animation

ifc Lgcy Mouse cork's ultimate entertainment venue 74, Oliver Plunkett St., Cork, Ireland. Tel: 021 270 074

Bar entertainment 7 Nites

Progressive Nightclub plus >1

The best in Live Music Executive Producer: Channel 4. Producer: Lee Stork. Script, Editing (t Music: Ged Haney. Photography: Ted Gerald. Print Source: S.F.V.L., 8-14 Meard Street, London W1V, England. Tel: 071 4370831.

every week at Gorby's

This is the story of a pair of Siamese twins. The action takes place almost entirely within the confines of the fairground in which they live and work. The only time we see beyond the confines of this little world are in the twins' dreams of breaking free; of the fairground and of one another.

group

concessions

Trust your basic instinct! & drop in 53

-2

J I

■

A LARGER OR SMALLER ROOM

LIFE'S A GAS

Anny Mokotow

Philip Davis

Australia/1991 /! 6mm/17 minutes/Colour

England/1992/35mm/11 minutes/Colour

Executive Producer: Peter Tammer. Leading Players: David Stanford, Bruce Kerr. Script: Anny Mokotow. Photography: Brent Crokett. Editing: Anny Mokotow. Print Source: Swinburne Film & TV School, 11, John St., Hawthorne, 3122 Victoria, Australia. Tel: 03 819 8328.

Producer. Waldo Roeg. Leading Players: Dave Atkins, Lee Ross. Photography. Steve Bernstein. Editing: Scott Thomas. Music Julian Liftman. Print Source: Film Four International, 60 Charlotte Street, London W1P 2AX, England. Tel: 071 6314444, Fax: 071 5802622.

A man, leaving an institution after many years, moves into an apartment building. There he finds a disturbing similarity between his new accommodation and his old.

Danny and Donald haven't left their caravan for weeks. They've turned their backs on the world but it still oozes in through the cracks. Donald decides enough's enough; they hitch up their trailer and set out with the intention of drinking, eating and smoking themselves into extinction.

THE LAST WORD

LITTLE SUCK-A-THUMB

Lee Rooney

David Kaplan

lreland/1992/16mm/15 minutes/Black & White

USA/1991/16mm/15 minutes/Colour

Producer. Martina Duroc, Lee Rooney. Leading Players: Brendan Conroy, Cina Moxley. Script and Editing: Lee Rooney. Photography: Mick Mahon. Music: Lance Hogan. Print Source: Dun Laoghaire College of Art and Design, Kill Avenue, Dun Laoghaire, Co. Dublin, Ireland. Tel: 01 2801138.

Producer David Kaplan. Leading Players: Cork Hubbert, Evelyn Solann, Jim Hilbert. Script and Editing: David Kaplan. Photography. Briggs Palmer. Music Schubert Moussorgsky. Print Source: David Kaplan, 95, Christopher Street 151, New York, NY 10014, USA. Tel: 212 242-5156.

Eoin, a hearing-impaired bell ringer, and Brid, a hardnosed snooker hall manager lead separate and isolated lives within the confines of a small town. After their chance meeting neither the snooker hall nor the belfry will ever be the same again.

A cautionary tale about a childlike man whose grotesque mother warns him not to suck his thumb...or else.

Awards: 3rd place, graduate Mobil awards, NYU Festival.

MIND'S EYE

VERY FICKLE ‘

liiW

r ark Staunton

Paul Giles

lreland/1992/16mm/3 minutes/Black & White

lreland/1992/16mm/14 minutes/Colour

Executive Producer: Dogtown Productions. Leading Players: Sylvie Flouttard, Conor Lambert. Script and Photography: Marie Staunton. Editing: Conor Kenny. Music: Charles Trenet. Print Source: Dogtown Productions, 16, Exchequer Street, Dublin 2, Ireland. Tel: 01 710 487.

Producer: Paul Godwin. Leading Players: Michael O'Reilly, Julie Hale, Gary Cooke. Script and Editing: Paul Giles. Photography: Lee Rooney, Maurice Sweeney. Print Source: Dun Laoghaire College of Art and Design, Carriglea Park, Kill Avenue, Dun Laoghaire, Co. Dublin, Ireland. Tel: 01 280 1138.

A brief Film Noir romance set in Dublin.

When three old friends come together for a dinner party, they have little idea that their idle conversation could lead them back to an incident that they would rather let lie.

MR. CHOCOLATE MEETS MISS MILK

LOVE, JEALOUSY AND REVENGE LIEBE, EIFERSUCHT UND RACHE Michael Brynntrup

Thomas Meyer-Hermann

Cermany/1991/16mm/7 minutes/Colour/Subtitles

Germany/1991/35mm/6 minutes/Black & White

Executive Producer: Michael Brynntrup. Leading Players: Bev Stroganov, Jurgen Baldiga, Michael Brynntrup. Script ft Editing: Michael Brynntrup. Photography: Michael Brynntrup, Ole Kurp. Music: Dirk Schaefer. Print Source: Michael Brynntrup, Hermannstrasse 64, D-1000 Berlin 44, Germany. Tel: 621 78 00.

Producer: Studio Film Bilder. Leading Players: Barbara Kraft, John Yamaha. Script & Animation: Thomas Meyer-Hermann. Musk: Udo Schobel. Print Source: Studio Film Bilder, Ostendstrasse 106, D-7000 Stuttgart 1, Germany. Tel: 0711 481 27, Fax: 0711 487 469.

The film depicts, for example, "work in a parcel post office. We see parcels being received at the counter, how they are sorted and forwarded. Naturally, we are amazed by the quantity of parcels..." Michael Brynntrup. Warning: this film contains shockingly gratuitous scenesl

A black and white painting, employing computer animation techniques, about strangeness between races and sexes.

NIGHT WINDO

MONA S PETS

NACHTFENSTER Gunter Heinzel

John David Allen USA/1991/16mm/32 mlnutes/Colour

Austria/1992/16mm/32 minutes/Colour/Subtitles

I • i j I Xi

‘

Producer. John David Allen. Leading Players: Mary Ann Hagan, Taylor St. Clair, Joel McGinnis, Michael Ogletree, William Hendry. Script: John David Allen. Photography: Doug Smith. Editing: Amy Carey, John David Allen. Music OMI Production Company. Print Source: John D. Allen, 66, Golf Circle, Atlanta, GA 30309 USA. Tel: 404 874 3369.

Producer: Gunter Heinzel. Leading Players: August Schmolzer, Sophie Von Kenel, Alexandra Sommerfeld. Script: Gunter Heinzel. Photography: Thomas Padousek. Editing: Frank Soirou. Music: Franco Tortora. Print Source: Gunter Heinzel, Westendstr. 272, D-W-8000, Munich 21, Germany. Tel: 089 570 5603.

Ramona, her life temporarily on hold, returns to the house of her long-suffering mother and brothers, where she inadvertently unleashes a plague of cockroaches.

After spending seven years in prison, Max Kulik returns to his house. Strange things start to happen there: bizarre flashbacks to his marriage and surrealistic horror fill his every day life. For a while, he becomes involved with his young neighbour, but events have arranged a nightmarish fate for them.

MOUTHPIECE

NOCTAVE

Gerard Betts Canada/1992/16mm/3 minutes/Colour

Siochfradha Kelly

Producer, Script, Photography and Editing: Gerard Betts. Music: Ted Koehler, Harold Arlen. Print Source: Sonolab 1900 4k Papineau, Montreal, Quebec, Canada H2K 4L9. Tel: 514 598 2947, Fax: 514 526 5346

Executive Producer: Siochfradha Kelly. Leading Players: Derek Reid, Cedi Bell, Marie Conmee, Sean Madden. Script and Editing: Siochfradha Kelly. Photography: Noel Donnellon. Music Miriam, Vivian Long. Print Source: Dun Laoghaire College of Art and Design, Carriglea Park, Kill Avenue, Dun Laoghaire, Co. Dublin, Ireland. Tel: 01 2801138, Fax: 01 2803345.

Based on the practice of lip-reading, this short animated film explores the visual code of verbal pronunciation by animating lips cut out from magazines.

A farcical comedy about a virtuoso who rises to world fame by discovering a ninth note in the octave.

lreland/1992/16mm/10 mlnutes/Colour

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11 56

ON HER BALDNESS

,'f GT'S

I-

"3RNL ,

Wendy Rowland

J Bartlett

Canada/1991/16mm/30 minutes/Colour

England/1992/35mm/11 minutes/Colour

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i Producer: Simon Mellor, Esta Charkham. Leading Players: Malcolm Sinclair, Nicholas Pickard. Script: Neil Bartlett. Photography: Nina Kellgrew. Editing: Alan Knight. Music Nicolas Bloomfield. Print Source: Film Four International, 60 Charlotte Street, London W1P 2AX, England. Tel: 071 631 4444, Fax: 071 580 2622.

Producer, Script & Editing: Wendy Rowland. Narration: Jackie Burroughs. Photography: Kim Derko. Music: John Gzowski. Print Source: Wendy Rowland, 304 E. Sth St., tlA, New York, NY 10003, USA. Tel: 212 995 0704, Fax: 212 979 1842.

Set in 1961, NOW THAT IT'S MORNING tells the story of Gerald, a 45 year old man, and his relationship with Ian, a 15 year old boy, during the course of Gerald's birthday celebrations.

The film focuses on six women whose baldness has forced them to confront issues of appearance, self image and sexuality. It challenges viewers to question and confront their own ingrained prejudices regarding the true nature of beauty and femininity.

OMNIBUS

OOZAT

Sam Karmann

Darren Walsh

France/1992/35mm/9 minutes/Colour/Subtitles

England/1992/16mm/6 minutes/Colour

■

.i Producer: Anne Bennet. Leading Players: Daniel Rialet, jacques Martial, Christian Rauth, Brigitte Auber. Script: Christian Roth, Sam Karmann. Photography: Daniel Diot. Editing: Robert Rongier. Music: jean Mallet. Print Source: Lazennec Tout Court, 36 Rue Rene Boulanger, 75010, Paris, France. Tel: 42 03 73 34.

Producer: Darren Walsh. Leading Players: Chris Scott, Stefan Marjoram, jaio Mindang, Cary Carpenter. Script, Photography, Editing and Music: Darren Walsh. Print Source: Darren Walsh, 2, Yew Tree Walk, Frimley, Camberley, Surrey GU16 5LG, England. Tel: 0276 25373.

jean-Louis has just discoverd that the train he has boarded for work no longer stops at his stop. Panic ensues: he'll be late for work, probably get fired, and his whole life will be drowned under a cascade of dramatic events. Errol, the train driver comes to his rescue. But the road to hell is paved with good intentions. Awards: Palme d'Or, Cannes Film Festival, 1992.

On a night out with the lads, one individual decides that there is more to socialising than mere face value.

PARADISE FISH BAR

PRO-CHOICE HL

Tamsen Carter

Tony Kenny lreland/1992/16mm/2 minutes/Black & White

England/1991/16mm/l 0 minutes/Colour

Producer: Mark Carter. Leading Player: Tania Lawton Johnston. Script: Tamsen Carter. Photography: Nigel Kinnings. Editing: Anna Negri. Music: Andy Lovegrove. Print Source:, Adrian Heath, c/o London College of Printing and Distributive Trades, Film &. Video Dept., 6, Back Hill, Clerkenwell, London ECI R SEN, England. Tel: 071 278 7445, Fax: 071 833 8842.

Producer, Photography, Editing, Music Tony Kenny. Print Source: Tony Kenny, 6 Mount Auburn, Killiney, Co. Dublin. Tel: 01 285 5272. Fax: 01 717 910.

Mary, aged 12, works in her father's fish & chip shop in London. She is imaginative and quirky; he is fat and oppressive. This film touches on some of the emotional and sexual complexity of a girl in transition between child and woman.

Through startling and original images, this film explores pertinent themes in contemporary Ireland.

A PRAYER BEFORE BIRTH

PROUST'S FAVOURITE FANTASY

Jacqui Duckworth

Richard Kwietniowski

England/1991 /16mm/20 minutes/Colour

England/1991/16mm/2 minutes/Black & White

Producer: CLA Film & Video. Leading Player: Adjoa Andoh. Script: Jacqui Duckworth. Photography: Clare Williams. Editing: Robyn Wright. Music: Cenene Edwards. Print Source: CLA Film & Video, cjo Lusia Films, 7 Earlham Street, London WC2H 9LL, England. Tel: 071 8365105, Fax 071 4970446.

Producer, Script, Editing: Richard Kwietniowski. Leading Players: Noel Cries, Rich Crafer. Photography: Oliver Curtis. Music: Startled Insects. Print Source: Richard Kwietniowski, Alfalfa Entertainments, 225a Brecknock Rd., London N19 5AA, England. Tel: 071 284 0551, Fax: 071 284 0617.

A drama based on the director's experience of coming to terms with multiple sclerosis; A PRAYER BEFORE BIRTH chronicles, with disturbing intensity, the physical and emotional traumas of a young woman's journey from able-bodied exuberance to the acceptance of disability.

Marcel Pr st, in a hotel room with a gendarme and a chicken...

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GABRIEL

Dai sny Thompson England/1992/16mm/18 minutes/Colour

HOUSE Summerhill, St. Lukes, Cork City. Tel: 021 500333 (4 lines) Fox: 021 500 178

All rooms en suite bath & shower, Direct dial 'phone, TV. From £15 p.p. sharing 7 Minutes walk from City Centre CITY CENTRE ACCOMMODATION

KINGS

Producer: Nadine Marsh-Edwards. Leading Players: Matthew Barrett, Peter Savizon, Paul Nathan. Script: Danny Thompson. Editing: Paul Hodgson. Music Danny Thompson. Print Source: Kate Mellor, BFI PRoductions, 29 Rathbone Street, London WIPIAC, England. Tel: 071 636 5587, Fax: 071 580 9456.

24, Princess St., Cork. Tel: 021 277 453, 500333

B/B from £10 per person sharing. Quality bar food served until 7pm

Matthew, Peter and Paul, "The Young Disciples," are on a mission - the search for a missing ticket to a Public Enemy gig in the Brixton Academy. Can brother Prince of the Hustle or Beefy, The Original Atomic Dog help them to find it? In the end, help comes from a rather higher source. God,it turns out, is a Public Enemy fan too.

From paperclips to laser printers ...

PUBLIC TOILET

OBRIEN

Stephen Rennicks Ireland/1992/35mm/35 minutes/Colour

OFFICE

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The Business Centre COAAPUTERS COPIERS FAX FURNITURE COMPUTER SUPPLIES SHREDDERS DICTATION SYSTEMS SEATING WORD PROCESSORS

THE BUSINESS CENTRE CLONTARF ST., CORK. TEL: 021 270666 FAX: 272 991

SCREENING CANCELLED DUE TO CIRCUMSTANCES BEYOND OUR CONTROL

RELEASE ME

RESURRECTION

Frances Lea

Ray Kilby

England/1991 /16mm/26 mlnutes/Colour

England/1992/35mm/9 minutes/Colour

Executive Producer: Nick Wright. Leading Players: Geoffrey Goodall, Lisa Stutts. Script: Frances Lea. Photography: David Hilton. Editing: Neil Bastian. Music: Heart ‘n’ Soul. Print Source: The Filmschool, Bournemouth and Poole College of Art and Design Wallisdown, Poole, Dorset, England. Tel: 0202 538204, Fax: 0202 537729.

Producer: Fiona O'Doherty. Leading Players: jenny Hill, Anita Wright. Script: Charles Burkitt, Ray Kilby, from a short story by Rhys Davies Photography: John Stewart. Editing: Ray Kilby. Music: Steve Kilbourne. Print Source: Royal College of Art, Kensington Core, London SW7 2EU. Tel: 071 584 5020, Fax: 071 225 1487.

Acted by and written about adults with learning difficulties, this extraordinary film shows the problems surrounding their intimate relationships and their struggle to make decisions for themselves. Awards: Angers Film Festival, 1992, Public Prize. Tel Aviv International Student Film Festival, 1992, Bilbao International Film Festival, 1991 Cold Mikeldi, Best Fiction.

Meg's preference for men and whiskey had always been an embarrassment to her older sisters, Bertha and Ellen. With Meg now dead and firmly in her coffin, they can relax and look forward to the funeral...But they haven't reckoned on her ability to resurrect herself.

RESONANCE

ROAD TO ALICE

Stephen Cummins Australia/1991/35mm/12 minutes/Black & White

Australia/1992/16mm/29 minutes/Colour

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Producer. Paul Fogo. Leading Players: Christopher Ryan, Andrea Aloise, Yves Stening Script: Simon Hunt, Stephen Cummins. Photography: Brendan Young. Editing: Annette Davey. Music: Simon Hunt. Print Source: Resonance Productions, P.O. Box A306 Sydney South, NSW 2000, Australia.

Producer: Frances McGrvern. Leading Players: Noah Taylor, Hugo Weaving, Helen Buday, Leone Carmen. Script: Stavros Andonis Efthymiou. Photography': Rohan Smith, Editing: David Hewitt. Music: Jim Bowman. Print Source: Australian Film, Television & Radio School, Corner Balaclava & Eppinq Rds North Ryde NSW 2113, Australia. Tel: 61 2805 6455, Fax: 61 2887 1030

Tel: 61 2 339 9537 Fax: 61 2 339 9506.

Beginning with a gay bashing in the backstreets of Sydney, the film uses gesture, dance and interior monologue to explore this act of violence. Awards: Best Short Film 1991 Sydney Film Festival. Best Short Film, 1992 Turin Lesbian and Cay Film Festival. Special Commendation, 1991, Melbourne International Film Festival.

On the road to Alice Springs - dead bodies, romance and an old black car. Jimmy owes Dimitri more money than he can spare. He decides that a holiday would be a better bet. On his travels, he meets Louis and things start to go wrong.

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ROUNDABOUT

ST. MULEKICGv

Ashley Me Kinney

Simeon Hutner

USA/1992/35mm/28 minutes/Colour

USA/1992/16mm/5 minutes/Black & White

Producer: Ashley McKinney. Leading Players: Tiffany Anders, Lisa Cavanaugh. Script and Editing: Ashley McKinney. Photography: Costas Kitsos, Ellen C Burr. Print Source: Ashley McKinney, 905, 1/2 North Fairfax Avenue, Los Angeles, CA 90046. USA. Tel: 213 656 8618.

Producer, Script: Simeon Hutner. Photography, Editing: Jennifer Kaufman. Print Source: Simeon Hutner, 931 N. Spaulding Ave., 7, West Hollywood, CA 90046. USA. Tel: 213 65 6 6847.

Feeling invisible, Allie runs away from home and shows up at her older sister's doorstep. Her sister reluctantly agrees to let her stay for one week. As the week draws to a close, ■ Allie becomes convinced that their father will come for her.

Ron Athey is a Los Angeles performance artist, who presents his powerful and disturbing work, (which relates to adornment and mutilation of the body) in underground clubs and alternative performance spaces. A complex and moving account of an individual contending with the extremes of the human experience

SHE'S JUST GROWING UP, DEAR

SEMPER IDEM Joachim Bode i

Julia Tell

Germany/1991/35 mm/3 minutes/Colour

USA/1992/16mm/16 minutes/Black & White

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I JI Producer: Joachim Bode. Script, Photography and Editing: Joachim Bode. Music Wolfe Ingo Romer. Print Source: New Urge Filmcoop, Glashuttenstrasse 27, D-2000 Hamburg 36. Tel: 040 430 20 55, Fax: 040 430 27 03.

Producer, Script, Photography, & Editing: Julia Tell. Print Source: Julia Tell, 5337 College Avenue, »S20, Oakland, California 94618, USA. Tel: 510 653 4423.

An experimental cartoon and an animated sketch book in parts - although some people see it as a true documentation of what happens in East Germany today.

This film concerns the emergence of personal memory of father/daughter incest. Through the constructed images of American family values, it voices the profound emotional ambiguity of incest and invites audience members to contemplate culturally-determined attitudes towards the feminine psyche.

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SOHO SQUARE

j TO STARDOM

Mario Cavalli

Kies on J. Waish lreland/1992/16mm/11 minutes/Colour

England/1991 /35mm/11 minutes/Colour

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i Producers: Elaine Morris, Simon Wright. Leading Players: Owen O'Neill, Kenneth Cranham. Script: Owen O'Neill. Photography: Seamus McGarvey. Editing: Kieron /. Walsh. Music: Cathal Coughlan (Fatima Mansions.) Print Source: 1, Cervantes Court, Ruston Mews, London W11 1UE, England.

Producer: Pam Dennis, Sue Paxton. Script: Mario Cavalli. Editing: Richard Harris. Music: Nick Franglen. Print Source: Pizazz Pictures, 30 Berwick Street, London WIV3RF, England. Tel: 071 434 3581, Fax: 071 439 2309.

Stand up comic, Dan Cimeo, shoots his way to stardom one night in front of a truly terrifying audience. This story is based on fact, portraying what happened to Irish stand up comic, Owen O'Neill, in the early days of his career.

An animated film which uses a painterly approach to colour and composition to evoke the atmosphere of Soho Square on a typical summer's day. All the scenes depicted in the film are based on real life characters.

SLUGS AND SNAILS

SPIRIT OF PLACE

Susan Brand

Oliver Harrison England/1992/35mm/10 minutes/Black & White

England/1991/16mm/10 minutes/Colour

Producer. Nadine Schoen. Photography: Nina Kellgren. Editing: Susan Brand. Music: Julian Wastall. Print Source: National Film and Television School, Beaconsfield Studios, Station Road, Beaconsfield, Bucks HP9 ILC, England. Tel: 0494 671234, Fax: 0494 674042.

Photography: Doug Foster. Music Oliver Harrison, Roger Bolton. Print Source: Cary Thomas, Arts Council, 14 Great Peter Street, London SWIP 3NQ. Tel: 071 333 0100, Fax: 071 973 6590.

ln the relaxed seclusion of a beauty salon, three women 9’ve us their view on men and masculinity. From Karen who removes body hair from her seven year old son, to eyah who prefers Italian lovers because they wash more often, they describe what delights and disgusts them.

Every room has a spirit which sleeps beneath the layers of peeling paint and wallpaper. SPIRIT OF PLACE observes the awakening of such a spirit, coerced into life by moonlight.

TWIST OF FATE

STAR CROSSED LOVERS Irene Werner Stage

Douglas Kunin

Denmark/1991/16mm/21 minutes/ Black & White

USA/1992/I6mm/12 minutes/Black & White

Producer: Statens Filmcentral. Leading Players: Arya Y. Syuman, Kenneth Kreutzmann, Stephen Brinkmann, jordi Puidefabregas, Gitte Moller, Camilla I. Stage. Script: Irene Werner Stage. Photography: Henning Bendtsen. Editing: Kasper Schyberg. Music: Scriabin, Gustav Holst. Print Source: Statens Filmcentral, Vestergode 27, DK-14S6 Copenhagen K. Tel: 331 32686. Fax: 331 30203.

Producer: Douglas Kunin. Leading Player: William Renquyst. Script: Douglas Kunin. Photography: Angus Wall. Editing: Patrick McCarthy. Music: Eric Mandel. Print Source: Douglas Kunin, 5919 Tuxedo Tee. Los Angeles CA 90068 USA. Tel: 213 464 4057, Fax: 310 659 1001.

A film about the androgyne; Male and female in one, the uniting of opposites, the symbol of supreme identity - the self.

William, a homeless man (playing himself) roams the streets of Tarzana, California. A chance encounter and the gift of a pearl bracelet allow him briefly to realise his dreams.

STRANGER IN THE FAMILY

TWO WASTERS

Ewa Cieszewska

Owen McPolin

England/1991 /I6mm/26Minutes/Colour

lreland/1992/16mm/21 minutes/Colour

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Producer: Ewa Geszewska. Photography: Mike Fox. Editing: Richard Cox. Print Source: Ewa Geszewska, 7, Mary Wharrie House, Fellows Rd, London NW3 3LX, England. Tel: 071 586 4327.

Producer Owen McPolin. Leading Players: Dermot Barrett, Chris Dalton. Script: Owen McPolin. Photography: Charles Ponniah. Editing: Owen McPolin. Music The 4 Of Us, Planxty. Production Company: Owen McPolin. Print Source: Ballyard Goss, Tralee, Co. Kerry. Tel: 066 22237.

Involved in a near fatal car crash, Neil Fitzwilliam suffered severe brain damage and is now an emotional blank, unable to work, barely recognising his family, and prone to Jekyl-and-Hyde like changes in mood. This moving film sympathetically documents the efforts of his wife, Adrienne, and family to cope with this sad state of affairs.

Hannah and Feeley, two Leaving Cert, students, are faced with difficult choices as they try to decide what they will do with the rest of their lives. Their frustration with life in a small town strains their relationship, as Hannah embarks on a plan to change things...

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Tihi Rolt England/1992/16mm/12 minutes/Colour

England/1992/35mm/18 minutes/Colour

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Executive Producer: Channel Four. Leading Players: Simon McBurney, Metin Marlow, Angela Clerkin, Nick Herrett. Script: Nick Herrett. Photography: David Scott. Editing: Justin Krish,. Print Source: Rapid Eye Movies, 113 Roman Road, London E2 OQN, England Tel: 081 981 6818, Fax: 081 983 4441.

Producer: Adam Dunlop. Leading Players: Lee Whitlock, Anna Haig. Script: Wiz. Photography: Tim Maurice /ones. Editing: Robert Wallace. Music Flowered Up. Print Source: Adam Dunlop, c/o Medialab, Chelsea Wharf, 15, Lots Rd., London SW10, England. Tel: 071 351 5814.

Colin's first vacuum cleaner experience changes his life. What starts out as a little necessary spring cleaning turns into a fantastic inner journey as he other residents at number 24, conspire to ensure that Colin will never be the same again in a comedy about the mysticism of household appliances.

SATURDAY NIGHT FEVER meets QUADROPHENIA for the ecstasy generation - young people who are born on Friday night and die come Monday morning.

WATCHMAN

WHERE THE COWS GO

Ron Hagell

Maggie Ford

Germany/1992/16mm/24 minutes/Colour

England/1992/16mm/15 minutes/Colour

ERE byTHE COWS GO Rosie Cullen

Producer. Ron Hagell. Leading Players: Ulllnca Schroeder, Martin Schurr, Trent Ci ray. Script: Ron Hagell. Editing: Rita Oakes. Music: Matthias Rave. Print Source: Tannus Film, GMBH, 6200 Wiesbaden. Germany. Tel: 49 611 531 0. fa: 49 611 522712.

Producer: Florence Ayisl. Leading Players: Darby Hawker, Barbara Hicks, Victoria Alcock, David Crellin. Script: Rosie Cullen. Photography: Lincoln Ascott. Editing: John Edmonds. Print Source: 1, Brookside, Bakewell, Derbyshire DE4 1DW. England. Tel: 0629 814084 or 071 485 0077 or N.S.F.T.V Production Department.

The story of a young man who sleeps and dreams while forking as a night watchman in a stage-theatre house. The man dreams of his childhood which was dominated by a tyrant father. He also dreams about his fantasy Wornan and is seduced by his desires.

Caught kissing a girl - result? 40 years in a psychiatric hospital! Lily remembers young Lily, her humour, her rage and above all her deep attachment to cows.

WHITE BOYS CAN T DANCE

WINK

Liz Hinlein

CLIN D’OEIL Olias Barco

USA/1991/16mm/11 mlnutes/Colour

France/1992/35mm/6 minutes/Black & White

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— TBSTIVB k. * Producer: Tracy McArdle. Leading players: Roy Wilson, Phillip Reese. Script: Liz Hinlein, Christina Pretto. Editing: Michelle Gorchow. Music: Public Enemy, MC Hammer, Harlem Tabernacle Church Choir. Print Source: Powerhouse Productions, 175 W. 72nd Street, New York, NY 10023, USA.

Producer: Olias Barco. Leading Players: Malidc Bowens, Yvan Carouel. Script: Olias Barco. Photography: Thiezzy Arbogast. Editing: Cilles Benefice, Olias Barco. Music: Steve Potts. Production Company: Riveria Production, 114 Rue Cardinet, 7SO 17 Paris. Tel: 42 23 44 21. Print Source: Riviera Productions, 114 rue Cardinet, 75017 Paris, France. Tel: 42 23 44 21.

A black comedy which focuses on Jeffrey, an affluent suburban Jewish boy who wants to be black. Billy is the first black male with whom Jeffrey comes into contact. Much to Jeffrey's surprise, he finds that being black is not all about rap, basketball and Air Jordans. Awards: Houston Film Festival - Cold Award.

A misunderstanding between two men at a railway station leads to a silent war of nerves over a packet of biscuits Silver Award, Houston

WHITE NIGHTMARE

WITHIN GRASP

CAUCHEMAR BLANC Mathieu Kassovitz

ZUM CREIFEN NAH Veit Helmer

France/1991/35mm/l 1 minutes/Black & White/ Subtitles

Cermany/1992/35mm/7 mins/Colour

Producer: Christophe Rossignon. Leading Players: Yvan Attal, Francois Toumarkine, Roger Souza, Jean-Pierre Darroussin. Script: Mathieu Kassovitz. Photography: Georges Diane. Editing: Nathalie Coepfert. Print Source: Lazennec Tout Court, 36, Rue Rene Boulanger, 75010 Paris, France. TeE 42 03 73 34.

Executive Producer: Roman Blum. Producer: Veit Helmer. Leading Players: AnneMarie Bubke, Wolfgang Bauer. Script: Veit Helmer. Photography: Janucz Reichenbach. Editing: Oliver Gieth. Print Source: Veit Helmer, Wormserstr. 4, 1000 Berlin 30, Germany. Tel: 30 2181414, Fax: 30 8821671.

In a Parisian suburb, like every Sunday night, four "Frenchmen* are waiting for the "darky* to appear within reach of their clubs. But this particular night, the expedition turns into a nightmare. Awards: Prize Perspectives Cannes, 1991. Prize of French Community, Namur, 1991.

Anton is a construction worker. He transports concrete by means of a crane to the top of a building site. Tatjana is a nightowl. When she awakens, she finds flowers mysteriously placed on the balcony of her top floor flat. Will Anton and Tatjana meet during the mere seven minutes of this film?

’ELL:..;

J8GHTS When You’ve Tried • Conventional Hotel Accommodation

M dissa Juhanson

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Australia/1991/16mm/12 minutes/Colour

You'll Find Our Suites More To Your Taste

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Luxury

A CCOMMODA TION

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I1_ , XI 3 Executive Producer: Swinburne Film & TV School. Script: Melissa /uhanson. Photography: Liz Hughes. Editing: Melissa Juhanson. Print Source: Australian Film Institute, 49, Eastern Road, South Melbourne, Australia, 3205. Tel: 03 696 1844, Fax: 03 696 7972. ’

EACH SUITE CONTAINS HALLWAY. SITTINGROOM. DINING AREA. LUXURY KITCHEN. BATHROOM AND A CHOICE OF ONE OR TWO BEDROOMS PLUS T.V.. TELEPHONE. FAX ETC.

A variety of characters listen to talkback radio from dusk to dawn. Following the announcer's voice through the night, this film introduces the viewer to the private arena of

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In The Heart Of Cork City, Particularly Ideal For The Business Person • Convenient Central Loca tion •Private Car Park • Full Accommoda tion •Bar & Restaurant /{nd All Giving You Better Value For Money £60 net Single £90 net Double

Morrisons Island Hotel Morrisons Island, Cork, Ireland. Tel: 021 275858 Fax: 021 275833

people who both ring and listen to talkback radio.

THE WONDERFUL TALE OF MUSIC Anders Sorensen Denmark/1991/16mm/22 minutes/Colour ■e?

Freshly Baked Traditional and Deep Dish Pizzas and best Pasta Dishes.

Opening Hours - 12pm to 1 am 7 Days a week Producer: Statens Filmcentral and Landscentralen for Undervisningsmidler. Script; Anders Koppel, Anders Sorensen, Per Tonnes Nielsen. Photography: Malene Vilstrvp. Editing: Anders Sorensen. Music Anders Koppel. Print Source: Statens Filmcentral and Landscentralen for Undervisningsmidler, Vestergade 27, DK-14S6 Copenhagen K DenmariuTel: 33132686, Fax: 33130203.

34 Patrick Street. Entrance off Cook Street.

Humorous animated cartoon without narration and dialogue. In music and drawings, the film illustrates how history has always influenced music and art. And vice versal

Tel. 272895 67

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DIAMOND FREIGHT .

^ei^± INTERNATIONAL FREIGHT FORWARDERS

CORK AIRPORT ■ CORK • IRELAND Tel. 353 21 311333

Fax 353 21 312601

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Pools programme

The Schools' Programme is presented by the Cork Film Festival in association with theTriskel Arts Centre. We aim to screen a range of Irish and International films suitable for younger audiences that will encourage school groups to take part in the festival. In many cases the Schools' Programme allows students the opportunity to meet and discuss films with filmmakers attending the festival. Admission is £1 per student, per show. Booking is through teachers and by application only. For further information contact Schools' Programme Co-ordinator, Fiona Cunningham atTriskel Arts Centre, Tel: 021 272 022.

Screenings take place at the Capitol Cineplex on Grand Parade at 11.00am from Monday the 5th through Thursday the 8th of October. The screening on Friday 9th starts at 10.00am. The organisers wish to thank Mr. Leo Ward of Abbey Films and the management and staff of the Capitol Cineplex for all their help in facilitating these screenings. IN UNCLE ROBERT S FOOTSTEPS Myles Connell USA/1992/16mm/24 minutes/Black fir White Jack, a young lad from Cork, arrives in New York where his Uncle Robert is supposed to have a job lined up for him. Sadly, all does not go too well in this cautionary tale of life in the Big Apple.

MONDAY 5TH______________________________ SHORT FILM PROGRAMME 1 Suitable for Pupils 12 years and older.

THE WONDERFUL TALE OF MUSIC Anders Sorensen Denmark/1991 /16mm/22minutes/Colour/Animation A very funny mini-history of music in cartoon form.

WEDNESDAY 7TH Suitable for pupils 12 years and older.

THE VACUUM Tim Rolt UK/1992/16mm/12minutes/Colour Surreal, off-beat comedy about a man being eaten by a vacuum cleaner and then re-born.

THE END OF THE GOLDEN WEATHER Ian Mune New Zealand/1991/35mm/95 minutes/Colour In New Zealand in the 1930s 12 -year old Geoff wants to be a writer. His friend, Firpo wants to win the Olympic Carnes. When Firpo accepts an impossible challenge to run a race on the beach, Geoff tries everything to help him win - bodybuilding, weights, diets ... even prayer. An exquisitely photographed film telling a poignant and funny tale of the loss of innocence.

SHOOTING TO STARDOM Kleron J. Walsh lreland/UK/1992/16mm/11 minutes/Colour A stand-up comic tries a last, desperate joke in front of a hostile audience but ends up in a nightmare of misunderstandings. PARADISE FISH BAR Tamsen Carter UK/1991/16mm/1 Ominutes/Colour Mary, aged 12, works in her father's fish and chip shop in London. She is imaginative and quirky, and caught between being a child and becoming a woman.

THURSDAY 8TH Suitable for Pupils 12 years and older

OTHELLO Orson Welles Morocco/1952/35mm/91 minutes/Black St White Orson Welles' classic version of Shakespeare's play won the Palme d'Or at Cannes in 1952 but no complete print was known to survive. Now, after years of research, a pristine print of the film as Welles intended it has been produced. Starring Micheal MacLiammoir, the film was acclaimed as a masterpiece when it was screened at this year's Cannes Film Festival.

WHITE BOYS CAN'T DANCE Liz Hinleln USA/1991/16mm/11 minutes/Colour The misadventures of an affluent New York, Jewish boy who wants to be black. To his surprise he discovers that being black is not all about rap, basketball and Air Jordans! CREATURE OF HABIT John Crossman Canada/1991 /16mm/10 minutes/Black fir White A middle-aged office worker is driven crazy by his memories of being bullied as a schoolboy. A gruesomely funny look at power and humiliation.

FRIDAY 9TH________________________________________ Suitable for pupils 16 years and older AKIRA Katsuhiro Otomo Japan/1988/35mm/l 24 minutes/Colour/Animation This cult animation classic, set in post-holocaust Tokyo in the year 2019, has a complex plot ranging from a feud between rival gangs of youths to military coups, mutating into urban terrorism, techno-mysticism and exploding universes.

TUESDAY 6TH____________________________ SHORT FILM PROGRAMME 2 Suitable for pupils 16 years and older

RELEASE ME Frances Lea UK/1991/16mm/26 minutes/Colour Prize winning film written and acted by young people with learning difficulties. A sensitive and entertaining film.

note: This programme starts at the earlier time of 10.00am and will be followed by a discussion chaired by the Education Officer of The Arts Council, Mr. Kieran Walsh.

57TH STREET SERENADE David Dobkin USA/1992/16mm/35 minutes/Colour Despite the hardships of adolescence three boys growing up in New York find a place to be together and happy - on a rooftop, far above the angry streets below.

2ND IRISH LESBIAN & CAY FIL In 1991 the First Irish Lesbian and Gay Film Festival was very successfully launched and the Cork Film Festival is very happy to continue our support for the Festival in 1992. The full programme for the Lesbian and Gay Film Festival will be available in a separate festival catalogue.

HIGHLIGHTS OPENING FILM

THE LIVING END Greg Araki/USA/1991

Just opened to great acclaim in New York, THE LIVING END has been aptly described as 'a homo THELMA AND LOUISE1. The film is a black comedy about two fatalistic L.A. boys (one's an impulsive, on-the-edge psycho cutie; the other listens to the Smiths a lot and likes Godard movies) who discover they are HIV positive and set off on a serio-comic spree of violence and abandon. 'A new landmark in unapologetic, spit-in-your-face gay filmmaking." Al Weiss NYQ

SWOON Tom Kalin/USA/1992 The story of the 1924 Chicago Leopold and Loeb murder case in which two wealthy law students kidnapped and murdered a young boy. SWOON is both an assault on the notion of 'positive images' and a study of how images of of queerness and homosexuality have actually been constructed. Previous films on the case including Hitchcock's ROPE and Richard Fleischer's COMPULSION sidestepped the sexual content - SWOON puts the homosexuality back into homicide.

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A still from ROSEBUD by Cheryl Farthing

A PLACE OF RAGE

MASSILLON William Jones/USA/1991

Pratibha Parmar/UK/1991 An uplifting celebration of the lives and political struggles of radical black American women that focuses on the political activist Angela Davis and poet and activist June Jordan.

If you can't go home, at least you can make a film about it. MASSILLON is a film about how identity and sexuality are constructed. There is no dramatic action in the conventional sense, with the visuals consisting largely of shots of his home town. The drama is in the narration, as Jones tells his stories. It is up to the spectator to imagine the action against the background of empty mid-western landscapes. 'The best gay documentary of the year' LA Weekly

'Terrific...musically and visually evocative and very smart' San Francisco Bay Times

FLESH HISTORIES

FLESH HISTORIES is a collection of short film and video assembled by Tom Kalin, director of SWOON. Spanning a range of subject matter and approach - including alternative public service announcements, safer sex enticements, revisionings of the erotic and the pornographic, and re-examinations of personal confessions as social and political critique - FLESH HISTORIES uses media as a mirror to reflect and refract the strategies of a media obsessed culture.

HOME STORIES/ COMEDY IN SIX UNNATURAL ACTS Jan Oxenburg/USA Jan Oxenburg has a unique place in lesbian film history. Two lesbian classics from the 1970's

MAYA DEREN PROGRAMME Four films by the leading American avant-garde film maker and theorist of the 40's and 50's who helped establish New York's underground film circuit.

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The number of film makers and delegates attending the Cork Film Festival has increased steadily over the past decade. The Festival works to create an atmosphere of friendliness, conviviality and informality for our guests, delegates and everyone taking part in the week. The creative interchange of ideas is the essence of a successful festival. The Seminar Programme is one formally structured part of this process.

CINEMA

TRISKEL

FESTIVAL FILMS ALL YEAR ROUND! HIGHLIGHTS INCLUDE MY OWN PRIVATE IDAHO LA BELLE NOISEUSE PROSPERO'S BOOKS DELICATESSEN FANTASIA

The Seminars are designed to open an agenda for discussion and stimulate debate on issues that are relevant to Filmmakers and delegates attending the festival. This year we have selected two topics - Low-Budget Film-making and Documentary Film-making.

DOCUMENTARY SEMINAR ’’REPRESENTATION OF ACTUALITY - The Nature and Financing of Documentary Today" Thursday 8th October, Crawford Gallery

The morning session of the Documentary seminar will deal with current trends and issues affecting documentary film makers. The afternoon session wHI deal with the perennial question of finance and marketing.

FOR FURTHER INFORMATION, SEE THE TRISKELODEON BROCHURE, AVAILABLE AT ALL GOOD ARTS CENTRES!

The afternoon session will centre on the information session for Ireland by the Project for the Creative Documentary, Copenhagen. Mr Thomas Stenderup, Secretary General of the Project will be present. The Project for the Creative Documentary provides development funding for documentary projects and promotion and packaging funding for existing films.

Lovitts Quo/ Cork Tel 272139

This Seminar is organized by The Media Desk in conjunction with the Cork Film Festival.

LOW BUDGET SEMINAR

BAXTERSJI

Friday 9th October, Crawford Gallery

One of the most successful films in Cannes this year (the Belgian film MAN BITES DOG, scheduled for screening during the festival) was made for $15,000. It grossed $80,000 on its first weekend in Brussels. Every time a low budet film succeeds people wonder why it does not happen more often. But of course there is always opposition within the industry to low budget projects. By some standards all film-making in Ireland is low-budget, yet it would be impossible to make a feature in Ireland for anything remotely like £8,000.

Known for the best home-cooked lunch in Cork

The Low Budget Seminar aims to allow film makers from Ireland, Britain, Europe and the States to share their very varied experiences of making successful low-budget films. Jim Jarmusch's producer, Jim Stark who has production credits on three films in Cork this year (IN THE SOUP, THE LIVING END and NIGHT ON EARTH) will lead the panel.

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Just around the corner from the Opera House

For further Information on the Seminar Programme contact the Festival office on 021-271711.

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LONG VALLEY BAR BEST DRINKS BEST SANDWICHES IN IRELAND BEST OF COMPANY like the

37th Cork Film Festival we bring you the best of everything BEST WISHES

FROM

Humphrey and Rita Moynihan 72

.. .

CORK FILM FESTIVAL RETROSPECTIVE EXHIBITION

This year's Exhibition is of special importance. Culled from our archives, it aims to present a portrait of the Festival's 37 year history. The founding and development of the Cork Film Festival was, by any standards, a remarkable achievement in the Ireland of the 1950's and 1960's. The exhibition is a tribute to the work, the ideals and the achievements of the people who initiated and developed the Festival.

It also documents a fascinating piece of social history. Over the years the Festival has generated its share of lore and legend. Much of what actually happened is as extraordinary as the legends. A sense of the Festival's past is recreated through a collection of press clippings and photographs from local and international journals. The exhibition emerges from on-going work on preserving and collating the historical material relating to the festival.

EXHIBITION SPONSORED BY

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THE CORK BUSINESS ASSOCIATION

ACKNOWLEDGEMENTS

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We would like to express our appreciation and thanks to the following people and organisations, without whose help and support - in providing films and services - the festival would not be possible.

3, AYutton Lane (off Patrick St.), Cork

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Mr. Michael Hannigan, Cinemas Director, Irish Film Centre.

Ms. Anne O'Sullivan and staff of Triskel Arts Centre. Mr. Gerry Barnes and staff of Cork Opera House. Mr. Peter Murray, Ms. Nuala Fenton and staff of Crawford Municipal Art Gallery. Mr. Derry Creedon, Henry Ford & Sons. Mr. Fred Hill and staff of the Capitol Cineplex. £amon Young, Brendan Murphy, FAS; Jim Davis & Co.; Brendan Cotter; Paddy McCarthy, Southern Electronics; Stephen Coughlan; Robin O'Sullivan; Veda Breen; Tom Curtin; Aylene Kelleher; Colette O'Sullivan; Joe MacNamee; Joe Finnerty; Joy Gerrard; Mr. & Mrs. Daly; Staff of Grand Parade Post Office; Tom Curtin, Design Workshop.

Famous for the quality of its drink and the excellence of its home—maide Irish food

When in the country, why not drop jn to. the . ... Angler’s Rest, Leemount, Carrigrohane,-

Robert Beeson, Ellie Pole, Artificial Eye Film Co.; Tony Bloom, Colin Birch, Mainline Pictures; Tony Kirkhope, Christine, Metro Films; Tim Highstead, ICA Projects; Paul Janssen, Distant Horizon; Peter Rommell, Ex Picturis; Liz Wren, Emma Davie, Jane Giles, Electric Pictures; Victoria Cantrell, Overseas Filmgroup; Cindy Sison, IRS Media; Robert Mitchell, Buena Vista; Elfyn Morris, Granada; Megan O’Neill, Forefront Films; Gerry Mulcahy, Columbia TriStar; Brendan McCaul, Twentieth Century Fox; Robert Mitchell, Buena Vista; Lyndy Saville, Theatrical Experience; Jim Stark, Jim Stark Productions; Greg Araki, Desperate Pictures; Joe Berlinger; Richard Schneider, Intrepid Productions; Su Friedrich; Stephen Deschler; Colin Hankins, Winstone; Ritu Sarin & Tenzing Sonam, White Crane Films; Simon Hunt.

Tel: 021 871 167

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Satwant Gill, Ken Churchill, The British Council; Martine Moreau, French Cultural Service; Gill Henderson, Birmingham Film & T.V. Festival; Sally Ann O'Reilly, Galway Film Fleadh; Roisin Hogan, Anne O'Leary, Dun Laoghaire College of Art & Design; Sinead Lemass, Rathmines College of Communications; Karin Farnworth, National Film & Television School Beaconsfield; Christine Gendre, Unifrance Film International; Christine Vachon, Apparatus; Carole Wood, CTE; Siobhan O'Donoghue, Media Desk; Pratibha Parmer; Michael Dwyer; Declan Hassett, & The Cork Examiner.

& Wholefool

We would also like to thank our advertisers for their support; our volunteers for their tremendous help; and in particular, all the film-makers represented in the Festival for allowing us to screen their work.

RESTAURANT OPEN 10am-1030pm Mon to Sat Wholefood Store open: 9.30am-6.30pm Mon-Sat 24 SULLIVANS QUAY Late Opening Thurs & Fri 021-317660

j'iiilJS IN COMPETITION

BLACK & WHITE SECTION In 1990, Cork Film Festival introduced a special section for those contemporary film-makers who choose to make films in black and white. Awards winners in 1991 were Yevgeny Tsymbal for DEFENSE COUNCIL SEDOV (Best B & W Feature), Dan Bootzin for SIX POINT NINE (Best B & W Short) and Chris Newby for RELAX (Best B & W Cinematography). We are pleased by the support of film-makers for this venture and continue the competition with another Fine selection of monochrome titles.

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^AtflRE OF THE MOON

KHUSH KINGS OF SIAM, THE LAST WORD, THE LIFE'S A GAS LOVE IS A VERY FICKLE THING LOVE, JEALOUSY AND REVENGE MIND'S EYE MR. CHOCOLATE MEETS MISS MILK NOCTAVE NOW THAT IT'S MORNING OMNIBUS

^SZ^°M¥/LOVE IN THE IIISTORl UF THE HUMAN BODYVGeODhllCI IT, ALDEN— \ vKgURS AND TIMES, TEttr \7N UNCLE ROBERT'S FOOTSTEPS ykADDFNt ? WORD, THE ?VE IS A VERY FICKLE THING Pan bites dog (r) -CHOCOLATE MEETS MISS MILK T NO BILLS -CHOICE FILM UST'S FAVOURITE FANTASY {RESONANCE vgfa^fJST GROWING UP, DEAR----- ‘ #TCIT OF PLACE vST. MULEKICKER \J I / y/OON ( •pt ETHER ALONT WIST OF FATE yHITE NIGHTMARE VINK 7

PARADISE FISH BAR PRAYER BEFORE BIRTH, A PRO-CHOICE FILM PROUST'S FAVOURITE FANTASY PUBLIC ENEMY/PRIVATE FRIENDS RELEASE ME RESURRECTION SEMPER IDEM SHOOTING TO STARDOM SLUGSAND SNAILS SOHO SQUARE SPIRIT OF PLACE f STRANGER IN THE FAMILY TWO WASTERS VACUUM, THE WATCHMAN, THE WEEKENDER WHERE THE COWS GO WHITE NIGHTMARE WINK WITHIN GRASP WONDERFUL TALE OF MUSIC, THE

IRISH SHORT FILMS IN COMPETITION

BARBER SHOP, THE BLIND ALLEY BOOTH CHILDREN OF THE TIDE CONNEELY’S CHOICE DADASON RITES, THE INTO THE ABYSS LAST WORD, THE LOVE IS AVERY FICKLE THING MIND'S EYE NOCTAVE PRO-CHOICE FILM SHOOTING TO STARDOM TWO WASTERS

EUROPEAN SHORT FILM COMPETITION

ALL ABOARD! ASSASSINS BARBER SHOP, THE BEACH, THE BLACK WIDOW BLIND ALLEY BODY BEAUTIFUL BOOTH BREATH OF LIFE CHANTER, THE CHILDREN OF THE TIDE COLOURS 1939 CONNEELY’S CHOICE COST OF LOVE, THE DADASON RITES, THE GARGANTUAN GORILLA HEARTSONGS INTO THE ABYSS JAZZ IN THE BOX JEAN LUC GODARD-OVER AND DONE KADDISH

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INDEX OF TITLE

TITLE

PACE NO.

AKIRA ALL ABOARD! ANTHONY'S KITCHEN AS HAPPY AS LARRY ASSASSINS BARBER SHOP, THE BEACH, THE BEST INTENTIONS, THE BLACK WIDOW BLIND ALLEY BODY BEAUTIFUL BOOTH BREATH OF LIFE BROTHER'S KEEPER CAT'S CRADLE CHAIN OF DESIRE CHANGING OUR MINDS CHANTER, THE CHASING THE GRAIL CHILDREN OF NATURE CHILDREN OF THE TIDE COLOURS 1939 CONNEELY'S CHOICE COST OF LOVE, THE CREATURE OF HABIT CRUSH CRYING GAME, THE DADASON RITES, THE DEATH BY UNNATURAL CAUSES DEATH IN THE ARENA DID YOU DO THE NAPKIN TOPS! DISCO YEARS, THE DREAMS AND SILENCE EMPIRE OF THE MOON END OF THE GOLDEN WEATHER, THE EVERY LITTLE BREEZE... 57th STREET SERENADE FIRST COMES LOVE FIT: EPISODES IN THE HISTORY OF THE BODY GARGANTUAN GAS, FOOD, LODGING GENE POOL, THE GOODNIGHT, ALDEN GORILLA HEARTSONGS HELLO STRANGER HOURS AND TIMES, THE HOW MOVIES ARE MADE HOW TO BE A WOMAN AND NOT DIE IN THE ATTEMPT ILLUSTRATED AUSCHWITZ, THE INCIDENT AT OGLALA IN THE LAST PASSAGE IN THE SOUP INTO THE ABYSS IN UNCLE ROBERT'S FOOTSTEPS JAZZ IN THE BOX JEAN LUC GODARD- OVER AND DONE JUICE KADDISH KHUSH KINGS OF SIAM, THE LARGER OR SMALLER ROOM, A LAST WORD, THE LAST YEAR IN GERMANY LIFE'S A GAS LITRE SUCK-A-THUMB LIVING END, THE LOSER LOVE IS A VERY FICKLE THING LOVE, JEALOUSY AND REVENGE MAN BITES DOG

MARQUIS MIND'S EYE MONA'S PETS MOUTHPIECE MR. CHOCOLATE MEETS MISS MILK MY NEW CUN NIGHT ON EARTH NIGHT WINDOW NOCTAVE NOW THAT IT'S MORNING OMNIBUS ON HER BALDNESS OOZAT OTHELLO PAINTING THE TOWN PARADISE FISH BAR PLACE OF RAGE, A POST NO BILLS PRAGUE PRAYER BEFORE BIRTH, A PRO-CHOICE FILM PROUST'S FAVOURITE FANTASY PUBLIC ENEMY/PRIVATE FRIENDS PUBLIC TOILET REINCARNATION OF KHENSUR RINPOCHE, THE RELEASE ME RESONANCE RESURRECTION ROAD TO ALICE ROUNDABOUT SACRED SEX SAME AS YOU, THE SEMPER IDEM 7 UP 7 PLUS 7 SHE'S JUST GROWING UP, DEAR SHOOTING TO STARDOM SLACKER SLUGS AND SNAILS SOHO SQUARE SPIRIT Of PLACE ST. MULEKICKER STAR CROSSED LOVERS STRAIGHT OUT OF BROOKLYN STRANGER IN THE FAMILY SUBMARINE SWEET EMMA, DEAR BOBE SWOON THIEF OF BAGDAD 35 UP THIS BOY'S STORY THUNDERHEART TIME WILL TELL TOGETHER ALONE 21 UP TWIST OF FATE TWO WASTERS VACUUM, THE WATCHMAN, WATERDANCE, THE WE ONLY LIVE ONCE WEEKENDER WHERE THE COWS GO WHITE BOYS CAN'T DANCE WHITE MEN CANT JUMP WHITE NIGHTMARE WILD WHEELS WINK WIRELESS NIGHTS WITHIN GRASP WONDERFUL TALE OF MUSIC, THE YOU, ME AND MARLEY

69 42 42 14 42 42 43 14 43 43 43 44 44 15 44 15 16 44 45 16 45 45 45 46 46 17 11 46 46 47 47 47 17 47 69 49 49 49 18 49 18 50 50 50 50 19 19 51 20 51 20 51 21 51 52 52 52 21 52 53 53 54 54 22 54 54 22 23 55 55 23

ACE NO.

24 55 56 56 55 24 25 56 56 57 57 57 57 25 26 58 26 27 27 58 58 58 59 59 28 60 60 60 60 62 28 29 62 37 37 62 63 29 63 63 63 62 64 30 64 30 31 31 32 37 32 13 33 33 37 64 64 65 65 34 34 65 65 66 35 66 35 66 67 66 67 36

It was a French idea, or so the 1 story goes. And for an overheated I US army fighting in France in 1917, it I was a lifesaver. ’ The T-Shirt joined the Army. But what was regulation for decades became rebellion when adopted by Brando. Oozing body heat and rampant, raw appeal. Sullen and sweaty In a Streetcar.

It survived the tie-dyed days of the '60’s. And being torn apart in V the 70’s. I Now wearing it is the only state’ ment worth making. Blue jeans and a plain white t-shirt. No fuss, no more, no less. Somehow, it says it all. It isn’t for everyone. But then neither Is Murphy’s.

ITS A DIFFERENT STORY.