21st Seattle International Film Festival (1995) by SIFF

May 18-June 11,1995

Seattle International Film Festival

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Table of Contents Algeria Argentina

The Day the Sun Turned Cold, 71 The Eagle Shooting Heroes, 71 Fist of Legend, 72

A Shadow You Soon Will Be, 47

Hungary

Australia

Kisses and Scratches, 72

Bab el-Oued City, 47

Dallas Doll, 48 Heartbreak Kid, 48 Lucky Break, 49 Mushrooms, 49 Only the Brave, 50 Spider and Rose, 50 That Eye, The Sky, 51

Through the Olive Trees, 74

Austria

Ireland

71 Fragments of a Chronology of Chance, 51 The Poet’s Princess, 52

Ailsa, 74 Korea, 38 Words upon the Windowpane, 75

Belgium

Israel

The Sexual Life of the Belgians, 39

The Flying Camel, 75 Song of the Siren, 41

Burkina Faso

Iceland Movie Days, 73

India Bandit Queen, 73 Hello Photo, 52

Iran

Afrique, Mon Afrique, 52

Italy

Cambodia

Like Two Crocodiles, 76 The Postman, 76 A Pure Formality, 77 Senza Pelle, 77

People of the Rice Paddles, 53

Canada Double Happiness, 37 Eclipse, 53 Highway of Heartache, 138 Louis 19, King of the Airwaves, 54 The Return of Tommy Trlcker, 33 Tokyo Cowboy, 42 Velazquez’s Little Museum, 54

China Back to Back, Face to Face, 55 Blush, 55 Ermo, 56

Japan The Most Terrible Time in My Life, 79 The Mystery of Rampo, 79 The Raccoon W a r, 80 The Seriously III, 80 Stairway to the Distant Past, 81 This Window Is Yours, 41

Lebanon Once upon a Time, Beirut, 81

Croatia

Mexico

Vukovar, 56

Denmark

Aventurera, 28 El Bulto, 82 The Garden of Eden, 82 Hasta Morir, 83 Two Crimes, 42

The Kingdom, 58 Two on a Couch, 58

1-900, 83

Czech Republic Accumulator 1, 57 Ride, 57

Netherlands

USA Apart from Hugh, 125 Ballot Measure 9, 96 Black Is...Black Ain’t, 96 Bleeding Hearts, 97 Blue in the Face, 97 Braveheart, 13 Brother Minister: The Assassination of Malcolm X, 98 The Brothers McMullen, 98 Chinatown, 28 Cold Blooded, 99 Complaints of a Dutiful Daughter, 99 Crumb, 101 Denise Calls Up, 101 The Doom Generation, 102 Down Came a Blackbird, 102 Ecological Design: Inventing the Future, 103 Faster Pussycat! Kill! Kill!, 138 Flesh Suitcase, 103 Frank and Ollie, 104 Headless Body in Topless Bar, 104 1Just Wasn’t Made for These Times, 105 The Incredibly True Adventures of Two Girls in Love, 105 Joe’s Rotten World, 106 Jupiter’s Wife, 106 Liberation, 107 Little Odessa, 107 Live Nude Girls, 108 Living in Oblivion, 108 Lotto Land, 109 The Low Life, 109 Magic in the Water, 33 More Social Guidance Classics, 25 The Movies Begin, 29 My Family, 110 Nadja, 110 Nothing Sacred, 29 Party Girl, 114 Pharaoh’s Army, 114 Picture Bride, 115 Postcards from America, 115 Rebel Without a Cause, 30 Safe, 116 The Searchers, 30 Seven Chances, 30 Smoke, 116 Stars Fell on Henrietta, 117 Sweet Nothing, 117 Swimming with Sharks, 118 Tarantella, 118 Theremin: An Electronic Odyssey, 119 Tie-Died: Rock ’n’ Roll's Most Deadicated Fans, 119 The Tin Soldier, 33 To Die For, 120 Unconditional Love, 95 Unzipped, 120 The Usual Suspects, 121 Wigstock: The Movie, 121 World and Time Enough, 122 The Year of My Japanese Cousin, 125

France

New Zealand

An Unforgettable Summer, 59 Belle de Jour, 28 Dust of Life, 59 Grosse Fatigue, 60 Half Spirit—Voice of the Spider, 38 L’Enter, 60 Pigalle, 61 Six Days, Six Nights, 61

War Stories Our Mothers Never Told Us, 84

Peru

Germany

No Mercy, 85

Deadly Maria, 36 Pretty Baby, 64 The Promise, 64

The Convert, 86 Squadron, 86

Great Britain

Portugal

All Men Are Mortal, 65 The Buddha of Suburbia, 65 A Business Affair, 66 Cold Comfort Farm, 15 Confession of a Pretty Lady, 66 Criminal, 67 Don’t Get Me Started, 67 Family, 68 Funny Bones, 68 Heaven’s a Drag, 69 Mute Witness, 39 Sister, My Sister, 40 Uncovered, 69 The Wonderful Worlds of Aardman, 25

Tres Irmaos, 87

Daughter of the Puma, 93 Just You and Me, 92 The Last Dance, 93 Linnea in Monet’s Garden, 33

Vietnam The Return, 122

Norway Beyond the Sky, 84 Cross My Heart and Hope to Die, 36 Second Sight, 85

Poland

Russia 1Am Cuba, 29 Burnt by the Sun, 87

South Korea The Life and Death of the Hollywood Kid, 88 The Taebaek Mountains, 88

Spain Alegre, ma non Troppo, 92

Sweden

Guatemala

Switzerland

The Silence of Neto, 40

False Pregnancy, 37

Guinea Bissau

Taiwan

Xime, 70

A Confucian Confusion, 94 Red Lotus Society, 94 The Wooden Man’s Bride, 95

Hong Kong Chinese Torture Chamber, 137 Chungking Express, 70

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G overnor’s and M ayor’s Addresses

May 1 9 9 5 As Governor, and on be h a lf o f th e s ta te o f W ashington, I take gre at pleasure in w elcom ing you to th e 2 1 s t annual S ea ttle International Film Festival. The S ea ttle International Film Festival serves as a show case fo r film s from all over th e world, and provides an op po rtu nity fo r a rtis tic inte ractio n and exchange. The arts are an e sse n tia l part o f th e hum an experience, and th e m edium o f film can provide an exce lle nt m ethod o f com m unication across and w ith in cultu res. The city o f S ea ttle and its citize ns are perfect ho sts fo r an event such as th is . The city ta ke s gre at pride in its art and culture and heartily w elcom es th e Film Festival yearly. If you are visitin g S ea ttle fo r th e firs t tim e , I urge you to enjoy th e profound beauty and ho sp ita lity o f th e region.

Governor’s and Mayor’s Addresses

Again, I w elcom e you to th e 2 1 s t annual S ea ttle International Film Festival. I extend my b e st w ishes fo r th e Festival and hope th a t you enjoy th e film s and e n te rta in m e n t offered.

Sincerely,

M ike Lowry

May 1 9 9 5 To th e S taff, V olunteers, and Audiences o f th e S eattle International Film Festival: As M ayor o f th e City o f S ea ttle, I am pleased and proud to con gra tu late all o f you as th e 2 1 s t S ea ttle International Film Festival begins a run o f m ovies which will display th e a b ilitie s of ta le n te d film m a ke rs from around th e globe. The rep utatio n o f th e S ea ttle International Film Festival has grown through th e years. Today th e Festival is regarded as a prem ier show case fo r film s which go on to critica l and fina ncial success. S ea ttle can be very proud o f its role in playing h o st to th is im p o rta n t cultural and e n te rta in m e n t event. On be h a lf o f th e citize ns o f S ea ttle, I send th a n ks and congratu la tion s to th o se who have worked so hard to m ake th e S ea ttle International Film Festival th e first-cla ss event th a t it is. Sincerely,

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S ta ff • D ire c to r’s M essage

Darryl Macdonald Festival Director

Director: Darryl Macdonald Co-Founders: Darryl Macdonald and Dan Ireland Festival Coordinator: Jim Gibbs Marketing Director: Nancy Kennedy PR and Marketing Coordinator: Carl Spence Financial Administrator: Deena Juras Publicist: Kathleen Mclnnis Los Angeles Publicist: Karen Fried Travel Coordinator: Sue Merllno Hospitality Coordinator: Vivian Norris Hospitality Assistant: Sarah Hansen Filmmakers’ Forum Coordinator: Cheryl Tombllnson Filmmakers’ Forum Assistant: Deena Juras Special Events Coordinator: Molly Brick Print Traffic Coordinator: Marco Miller Print Traffic Assistant: Sandy Gow Print Traffic Assistant: Jon Protas Administrative Assistant: Rose Custer Ticketing Manager: Lorri McGinnis Ticketing Consultant: Annie Wilson Volunteer Coordinator: Julie Mullaney Publicity Assistant: Gabriel Mendoza Publicity Intern: Athena Neff Lead Theater Manager: Gail Allman Theater Managers: William Bozarth, Christine Felton Box Office Staff: Caren Corley, Eric Batt, Elizabeth Catterall, Jody Hahn, Jeff Denbo, Marjie Cogian, Seth Whitman, Karen Thomas, Brad Grieb, Tracey Karr, Tif fany Westlund Staff Dog: Jane Doe Programming Committee: Sandy Gow Sarah Hansen Ruth Hayler Dan Ireland Darryl Macdonald Carl Spence Programming Advisory Committee: Po Chu Au Yeung, Alan Franey, Thomas F.R. Garvin, Martin Donovan, Catherine Verret, Michael Donaldson, Marcus Hu, Jeff Kurz, Steven Gaines, Janet Russo, Karen Fried, Deena Juras, Rose Custer Computer Consultants: David Krafchick, Dwight Gaut

PROGRAM: Executive Editor: Carl Spence Editor: Sarah Hansen Copyeditor: Barry Foy Editorial Assistants: Christine Felton, Gall Allman Advertising Sales: Georgia Migliuri Design: Art 0 Mat Design Mark Kaufman, Jacki McCarthy Production: K & H Printers, Stacey Coley Cover Art: Everard Williams Jr. Image and Design Consultants/Advertising Agency: Cole & Weber Jon Dietrich, Heidi Flora, Kevin Jones, Austin McGhie, Trish Murray, Wanda Nichols Film.com project team: Producer/Director: Lucy Mohl Associate Producer: Carl Spence Technical Director: Glenn Fleishman Production Design: Joseph McAllister Artistic Directors: Art 0 Mat Design Computer Wrangler: Christina Rideout Cinema Seattle Board of Directors: Harolynne Bobis Alison Harris Ruth Hayler Dan Ireland Donna James Darryl Macdonald Bert Manzari Scott Marshall Lucy Mohl \ Scott Rosenfelt Steve Shipped Robert S. Stevens Jane H. Suzick Jeffrey R. Watts Legal Counsel: Benjamin F. Stephens Riddell, Williams, Bullitt & Walkinshaw Accounting Firm: Dale Jarvis, CPA

Staff • Director’s Message

Left to Right: Molly Brick, Darryl Macdonald, Julie Mullaney, Nancy Kennedy, Marco Miller, Sue Merllno, Lorri McGinnis, Sandy Gow, Deena Juras, Gabriel Mendoza, Ruth Hayler, Gail Allman, Georgia Migliuri, Kathleen McGinnis, Carl Spence, Jim Gibbs, Sarah Hansen, Cheryl Tombllnson, Athena Neff, Jane Doe (dog) Not Pictured: Rose Custer, Vivian Norrls-Schwinn, Jon Protas, Annie Wilson, William Bozarth, Christine Felton

It’s a great year for cinema and a very special year for the Seattle International Film Festival. More than ever before, the Festival has expanded its efforts to honor and celebrate the past, present and future of cinema. Our showcase salute to 100 Years of Cin ema focuses on the wide range of genres, styles, and stories that a century of cinema has provided. The pristine prints on view in the series reflect the ongoing, intensified efforts of distributors and archival institutions to restore and preserve our filmic heritage. Contemporary international cinema is equally well represented in this year’s lineup: over 160 new features and 100 short films from 42 coun tries around the world will be presented at this year’s Festival, making SIFF the largest event of its kind in the country. As always, a large number of filmmakers will attend the Festival to present their work and participate in the various pro grams. We’ve added a new feature to this year’s Festival as well: The Filmmakers’ Forum, which will bring film industry professionals from around the world to Seattle to participate in a three-day program of seminars, panel discussions, and demonstrations focusing on the art and business of filmmaking. As for the future, it looks bright indeed: more than 60 new filmmakers will present their debut features at the 1995 Festival, as well as a plethora of up-and-coming directorial talent par ticipating in the short-film showcases. The future of film technology is represented by presenta tions from Silicon Graphics, Industrial Light and Magic, and Softimage in the Filmmakers' Forum. We’re particularly delighted to be participating in the expanding field of new film-related technolo gies by working together with leaders in the industry to present the first international broad cast of a feature film in cyberspace: Party Girl, which will be broadcast from the Festival overthe Internet. In addition, we’re spearheading efforts to provide worldwide film festival and general film news and views on the info highway with our Internet site, Film.com. All things considered, this 1995 edition of SIFF represents the most ambitious undertaking we’ve had the pleasure— and pain— of producing in our 21 years of endeavor. For that, we have the support of our sponsors, our Board of Directors, our staff, our cohorts, and our multitude of dedi cated volunteers to thank. At 21, the Festival has come of age, and has its own bright future to look forward to.

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SCREENING INFORMATION S eating is available at all perform ances on a first-com e, firstserved basis. No late seating. All program s are su b je ct to change w ith o u t notice. No refunds or exchanges can be given, except in th e case o f a program can cellatio n. All film s will be shown in th e ir original language w ith English su b title s . W ith th e exception o f the C hild ren’s Film Festival, children under six years old or babes in arm s w ill not be ad m itte d, and children six and over w ill be charged regular tic k e t prices.

INDIVIDUAL TICKET PRICES $ 7 .0 0 Evening screenings (except where noted) $ 6 .5 0 Evening screenings fo r SIFF m em bers when purchased in advance $ 5 .0 0 M atinees (film s before 6pm , except special events) $ 5 .0 0 M idnight film s $ 4 .0 0 Age 1 6 and under fo r th e C h ild ren’s Film Festival only FREE 1 0 0 Years o f Cinem a— Saturdays, 1 2 :3 0 p m a t the Flarvard Exit only No m em ber d isco u n t if tic k e ts are purchased a t th e door!

ADVANCE TICKET INFORMATION Tickets fo r all events are available in person at: The Broadway M arke t T icket O ffice 4 2 5 Broadway East, U pstairs M onday through Saturday, 11 am to 7pm Sunday, Noon to 6pm

DAY-OF-SHOW TICKET INFORMATION Day-of-show tic k e ts fo r all screenings are available only at individual th e a te rs 3 0 m in utes prior to show tim e. If a show is sold out in advance, a limited number of tic k e ts may be available 3 0 minutes prior to showtim e. TICKET AND PASS PRICES Full-Series Passes are $ 3 0 0 and include a d m issio n to all public screenings. Full-series pa sses are not valid fo r O pening Night, th e S ecret Festival, or th e F ilm m akers’ Forum. They are nontra n s fe ra b le and do n o t g u a ra n te e s e a tin g . F u ll-se rie s pa ssho lde rs are strongly encouraged to arrive 3 0 m in utes prior to show tim e. Cinem atic Six-Packs are $ 3 3 fo r SIFF m em bers and $ 3 6 fo r non-m em bers, and include ad m issio n to any six film s priced $7 or less, lim ited to a m axim um o f tw o tic k e ts per film . Films m u st be selected a t th e tim e o f purchase. A lim ited num ber o f tic k e ts are available fo r each film . C inem atic Six-Packs are available in person only, at th e Broadway M arke t T icket Office.

$25 $50 $100 $500 $ 2 ,0 0 0

Goodwill Friend B enefactor Patron Lifetim e

FILM M AKERS’ FORUM $150 Forum Pass $85 Day Pass (June 9 or June 1 0 & 11) $20 Individual Sem inar A dm ission SEATTLE FILM FESTIVAL/AT&T WIRELESS INFORMATION LINE (2 0 6 ) 3 2 5 -6 8 2 8 AT&T WIRELESS CUSTOMERS M AY CALL *F IL M SEATTLE INTERNATIONAL FILM FESTIVAL SOUVENIRS Fab T-shirts, 1 9 9 5 and past-year posters, and o th e r souvenir ite m s are available fo r purchase at th e Broadway M arke t T icket Office. THEATER LOCATIONS EGYPTIAN 8 0 1 East Pine S tree t 3 2 3 -4 9 7 8

SEVEN GABLES 9 1 1 NE 5 0 th S tree t ‘ 6 3 2 -8 8 2 0

HARVARD EXIT 8 0 7 East Roy S tree t 3 2 3 -8 9 8 6

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Screening and Ticket Information

CHARGE BY PHONE (2 0 6 ) 3 2 5 6 1 5 0 Only individual tic k e ts and Full-Series P asses m ay be purchased by phone w ith a Visa or M astercard during regular box office hours. S ecret Festival M em bership Passes, W eekly Passes, C inem atic Six-Packs, and d isco u n t tic k e ts m u st be purchased in person a t th e Broadway M arke t T icket O ffice. All phone orders are su b je ct to a $ 1 handling charge per order.

SEATTLE FILM FESTIVAL MEMBERSHIPS (Cinem a S ea ttle ) (see page 1 4 1 fo r additional de tails)

W eekly Passes are $ 1 0 0 and grant a d m issio n to all public screenings w ith th e exception o f O pening Night and th e Secret Festival. They are no ntran sfe rab le and do not guarantee sea t ing. W eekly passholders are encouraged to arrive 3 0 m inutes prior to show tim e. Secret Festival Mem bership Passes are $ 2 0 . M em bers are required to sign th e “ Oath o f S ilen ce” prom ising not to disclose any in fo rm atio n ab ou t th e film s shown in th e series. Limit tw o per person. S ecret Festival passes are available in person only, at th e Broadway M arket T icket Office.

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Opening Night G ala

BRAVEHEART U SA , 1 9 9 5 Director: Mel Gibson Producers: Mel Gibson, Alan Ladd Jr., Bruce Davey Screenwriter: Randall Wallace Cinematographer: John Toll Editor: Steven Rosenblum Music: James Horner Cast: Mel Gibson, Sophie Marceau, Patrick McGoohan, Catherine McCormack, Brendan Gleeson, James Cosmo, David O’ Hara, Angus McFadyen, Peter Hanly Print Source: Paramount Pictures 1 8 0 minutes

Selected Filmography: Man Without a Face, 1993

BRAVEHEART In the late 13th century, William Wallace (Mel Gibson) returns to Scotland after living away from his homeland for many years. The king of Scotland has died without an heir and the king of England, a ruthless pagan known as Edward the Longshanks, has seized the throne. Wallace becomes the leader of a ramshackle yet courageous army determined to vanquish the greater English forces ...So reads the textbook portrait of one of the greatest Scottish patriots that ever lived. Braveheart, the film, takes this epic story of passion beyond the facts and into the heart of one of the most remarkable men in history. An incredible tale of courage, loyalty, honor, and the brutality of war, Braveheart could stand alone as an examination of displacement, oppression, and honor. Yet the story of William Wallace and his transformation into a rebel and freedom fighter is also an inspiring love story. Indeed, it is his ill-fated romance with, and secret marriage to, Murron that results in the Scottish rebellion gaining a selfless and single-minded leader. The legends Wallace inspired after leading a band of desperate and outnumbered Scots to a glorious victory over the English at the battle of Stirling are mostly derived from 300 pages of rhyming verse attributed to a blind poet who could neither read nor write. The work is said to be taken from the diary of Wallace’s chaplain, who was always at his side. It is these very legends that have inspired millions for over 600 years. Special thanks to Dolby Labs for their generous assistance. Braveheart is presented with the kind support of British Airways.

Opening Night Gala

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Closing Night Gala

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Great Britain, 1995 US Premiere Director: John Schlesinger Producer: Alison Gilby Screenwriter: Malcolm Bradbury, adapted from the novel by Stella Gibbons Cinematographer: Chris Seager Editor: Mark Day Music: Robert Lockhart Cast: Kate Beckinsale, Eileen Atkins, Sheila Burrell, Stephen Fry, Freddie Jones, Joanna Lumley, Ian McKellen, Miriam Margolyes, Rufus Sewell Print Source: John Schlesinger International Sales: BBC Films 9 5 minutes

Selected Filmography: A Kind o f Loving (1962), Billy Liar (1963), Darling (1965), Far from the Madding Crowd (1967), Midnight Cowboy (1969), Sunday, Bloody Sunday (1971), Visions o f Eight (1973), The Day o f the Locust (1975), Marathon Man (1976), Yanks (1979), Honky Tonk Freeway (1981), An Englishman Abroad (1983), The Falcon and the Snowman (1985), The Believers (1987), Madame Sousatzka (1988), Pacific Heights (1990), A Question o f Attribution (1991), The Innocent (1993)

COLD COM FORT FARM

Based on Stella Gibbons’s classic comedic novel, which spoofed the soul-searing, rural-set stories of writers like D.H. Lawrence and Mary Webb, Cold Comfort Farm boasts a brilliant cast of British stars in a hilarious saga of rural life and eccentricity. The story unfolds as Flora Poste, a cool, clever, and very modern young woman, finds herself suddenly orphaned. Faced with the prospect of making ends meet on her tiny inheritance, she announces to her dear friend Mrs. Smiling (Joanna Lumley), a London socialite and ardent brassiere collector, that she intends to claim her “ rights” and seek refuge with her feudal relatives, the doom-laden Starkadders of Cold Comfort Farm. Once there, she sets about creating order out of chaos. The farm itself is a ramshackle, run down ghost of its former grand self, peopled by a motley assortment of eccentric relatives and presided over by Ada Doom, a looney matriarch who holds her family in an iron grip and claims to have seen, as a child, “something nasty in the woodshed.” For Flora, a young woman of “ higher common sense,” Cold Comfort Farm presents the ultimate challenge as she sets about the task of transforming and modernizing the fortunes of all who dwell there. Deliciously witty and wicked, Cold Comfort Farm is brilliantly directed by John Schlesinger, who seems to relish the opportunity to parody the kind of doom-and-gloom rural saga he mastered so well with Far from the Madding Crowd. This hysterically funny comedy of manners is among his very best films and a perfectly fitting closer to this year’s Festival. Cold Comfort Farm is presented with the kind support of Starbucks Coffee and Delta Air Lines.

Closing Night Gala

S u n d ay, June 1 1 ■ E g yptian, 6 : 3 0 p m S u n d ay, June 1 1 ■ E g yptian, 9 : 1 5 p m

^ D E IIA A IR L IN E S 15

years of the film festival • attendees in * 9 4 • films from 4 0 countries • 2 5 3 dedicated volunteers • 4 venues • 3 5 days • 1 / 3 5 0 / 0 0 0 + feet of feature film •

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| Congratulations to the Seattle International Film Festival fo r 21 years o f rave revieivs. J

Film m akers’ Forum Seattle

International

Film Festival

FILMMAKERS'

FORUM FRIDAY, JUNE 9 SATURDAY, JUNE 1 0 SUNDAY, JUNE 1 1

TH E BROADW AY P E R F O R M A N C E HALL SEATTLE C E N TR A L C O M M U N IT Y COLLEGE

Our highly successful Saturday Seminar series moves into a new era as the Seattle International Film Festival invites some of the hottest names in screenwriting, directing, production, financing, dis tribution, post-production, special effects, and film criticism to assemble in Seattle with North west filmmakers and film students for the inaugu ral FILMMAKERS’ FORUM. Taking place during the closing weekend of the Festival, the Filmmakers’ Forum is an opportunity to discuss the state of filmmaking in the Northwest and beyond with local, national, and international film industry professionals. The Forum offers 10 intensive panel discussions and presentations covering all as pects of the art and business of filmmaking.

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F ilm m akers’ Forum FRIDAY, JUNE 9 M oderated by Tom Garvin FR O M S C R IP T TO S C R E E N : TH E LONG, S TR A N G E T R IP ...

SATURDAY, JUNE 1 0 F IN D IN G TH E R IG H T FO R M A T: TH E S TO C K Q U ESTIO N 9 :0 0 a m to 1 0 :1 5 a m

9 :0 0 a m to 1 0 :1 5 a m You have a screenplay. Or an idea fo r a screenplay. Or you like som eone e ls e ’s idea. W hat happens next? S creenw riters Mark Handley {Nell), Steven Gaydos {All Men Are M ortal), and Tho mas Lee W right {E ight Tray Gangster) and lite rary agents Mary W e lln itz (R oger D avies P ro d u ctio n s) and Richard Green (P leshette, Green, Sanders) ta lk about the art o f the screenplay and th e jo urn ey it ta ke s on its way to realization on film .

TH E P E R IL S OF P R O D U C T IO N 1 0 :4 5 a m to 1 2 :0 0 n o o n

IN D E P E N D E N T D IR E C T IO N S : N E W A M E R IC A N IN D IE F IL M M A K E R S 1 2 :4 5 p m to 2:0 0 p m

TE C H N O TOOLS: 3-D A N IM A T IO N A N D S P E C IA L EFFECTS IN THE S EC O N D C E N TU R Y OF F IL M M A K IN G 1 0 :4 5 a m to 1:0 0pm Dave Carson, visual e ffe cts supervisor at Industrial Light and Magic, and Daniel Langlois o f M ic ro s o ft’ s Softim age in M ontreal w ill present the la te s t technology used in the m aking o f Casper, a film th a t com bines an im a tion w ith live action.

S IL IC O N S T U D IO 1 0 1 : TH E D IG ITA L P O S T-P R O D U C TIO N R EVO LU TIO N 2 :0 0 p m to 3 :3 0 p m

Gus Van Sant (M y Own Private Idaho), Tom DiCillo (Johnny Suede, Living in Oblivion), Todd Haynes (Poison, Safe), Carl Franklin (One False Move), and A llison Anders (Gas, Food, Lodging) are am ong th e hot indie film m a ke rs d iscu ssin g the sta te o f th e independent in Am erican film today.

CSI Videosystem s and S ilicon Graphics w ill present a S ilicon S tudio available fo rth e SGI platform . Focusing on the networked e n viro n m e n t, 2 D /3 D g ra p h ic s and a n im a tio n , p a in t and com p ositing and ed itin g tech nolog ies w ill be dem on stra te d.

F IL M F IN A N C IN G : C H A S IN G TH E GREEN

THE YEAR OF M Y JAPANESE COUSIN

2 :3 0 p m to 3:4 5 p m M ystifying, m addening money! Just how much and from where can you re a lis tic a lly beg and borrow to finance your film ? Listen to the pro fe ssio nals: lawyers, fin a n cie rs, and producers help you learn w hat you need to get w hat you want.

D IS T R IB U T O R S ’ R O U N D TABLE 4 :1 5 pm to 5 :3 0 pm The nuts and b o lts o f d istrib u tio n . The m arketing o f your fin ish e d film project is the to p ic o f discussio n w ith players from th e in d u stry’s h o tte s t independent d istrib u tio n com panies: M ike Barker (Sony C lassics), John Ferraro (Param ount), Helen Loveridge (F ortissim o Films), Marcia Kirkley (O ctober Films), M arcus Hu (Strand Releasing), Jeff Kurz (M iram ax), and David D inerstein (Fox S earchlight).

Filmmakers’ Forum

Hear the experiences o f well-known producers as they exam ine com m on p itfa lls and p ra c tic a litie s a sso cia te d w ith g e ttin g a film o ff the ground. P anelists scheduled to p a rticip ate: Chris Sievernich (The Dead; P aris, Texas) C hristine Vachon (Poison, Swoon), Sam K itt (form erly d ire cto r o f production at Universal), Jesse Beaton (One False M o v e ), Jonathan Sanger (Down Came a B lackbird, C hanticleer Films), and Ted Hope (The W edding Banquet, The B rothers M cM ullen).

Cathy M ain, p re sid ent o f Alpha Cine Laboratories, m oderates th is panel o f experts as they explain film sto ck choices (Super 8 , 16m m , Super 16, 35m m , 70m m ) and how your choice a ffe cts budget, sound and lighting, d is trib u tio n p o s s ib ilitie s , TV poten tia l, and more. Richard Bax of Eastman Kodak, d ire cto r/cin e m a tographer Lazslo Pal, and Bill S cott, d ire cto r o f production at Alpha Cine are scheduled to pa rticip ate.

LOCAL HERO ES: (A C A SE S T U D Y IN SEATTLE F IL M M A K IN G ) 4 :0 0 p m to 5 :1 5 p m A rocking d iscu ssio n w ith key crew m em bers o f M aria G argiulo’s to p ica l story se t in S e a ttle ’ s world-fam ous m usic scene (m aking its world prem iere at the S ea ttle Intern ation al Film Festival th is year). M oderated by Rick Stevenson (M agic in the Water).

SUNDAY, JUNE 1 1 C R IT IC A L P E R S P E C T IV E S 1 0 :0 0 a m to 1 1 :3 0 a m M oderated by Peter Rainer of The Los Angeles Times. Top critics from around th e country com e to S ea ttle to discu ss the s ta te o f Am erican film critic is m , the film industry, and th e im portance of film c ritic s in a rapidly changing tech nolog ical world. (Programs and pa n e lists su b je ct to change)

A m erican Independent Awards

This year the Festival will be cel ebrating the inventiveness and ingenuity of those American film makers whose work in the realm of low or no-budget moviemaking

ROBIN REIDY-OPPENHEIMER: Robin Reidy-Oppenheimer is a nationally recognized media arts administrator, producer, writer, and educator with 15 years’ experience. She was the executive director o f 91 1 Media Arts Center for five years, and executive director o f IMAGE Film/Video Center in Atlanta, where she also directed the Atlanta Film & Video Festival for four years. She has produced large-scale video projects in collaboration with internationally renowned video artists and written articles about video artists for American Film and Afterimage. Reidy-Oppenheimer works as a media arts and cyberculture consultant in the converging arenas of media art, education, public policy, and technology.

is exceptional. The American in dependent Award has been es tablished to applaud the work of these filmmakers, as well as to inspire their return to Seattle to

STEVE SHAVIRO: Steve Shaviro is a film and culture critic. He is an associate professor of English and comparative literature at the University of Washing ton, where he teaches courses in film theory and criticism . His book The Cinematic Body (1993) introduced new perspectives on film theory and discussed a wide range of film s from zombie flicks to Fassbinder. His newest book, Doom Patrols, will be published electronically on the World Wide Web sometime later this year.

film new projects. Nearly $4 0 ,0 0 0 in donated goods and services will be awarded to the winner of this juried competition, enabling both

Awards

the Seattle film community and a promising film m aker to benefit.

DARRYL PONICSAN: Darryl Ponicsan is a novelist and screenwriter. Two of his novels were rendered into film s, The Last Detail and Cinderella Liberty, the latter of which he adapted for the screen himself. Among his other screenwriting credits are Taps, Visionquest, The Boost, Nuts, and, m ost recently, School Ties. He was twice nominated for a Writers Guild o f America award, and received the NAACP Image award for Screenwriter of the Year in 1973. He and his wife, Cee Cee, have two grown children and live in Bainbridge Island and Pioneer Square.

The award is open to both debut and returning film m aker’s, and arose from the Festival’s appre ciation for the often difficult finan cial road tha t independent film makers are forced to travel.

JANICE FINDLEY: Janice Findley is a film m aker and film curator. Overthe last 15 years she has made a handful of “ experimental narrative” film s th a t have incorporated in-camera effects, exquisitely unusual set and costume de signs, and Pixillation. In 19 94 her film I Am the Night\Nas chosen as the Best Surrealist Film at the Humboldt Film Festival. Findley has also been very active in encouraging other filmmakers. She was co-founder and sole curator for five years of the critically acclaimed and popular NEW FILM/NEW CITY, a regular monthly short film showcase sponsored by the New City Theater and Art Center in Seattle.

DONORS AND DONATIONS: 9 1 1 Entertainment Emergencies: 24 hours worth of service and equipment, $1 0,00 0. Oppenheimer Camera, Inc.: Mixed package of rental equipment, $5,000. Sisu Wireless Consulting: Satellite equipment, setup, consultation, $3,000. Alpha Cine: Mixed package of negative processing, nonlinear editing, film-to-tape transfer, $2 ,500 . Eastman Kodak Company: Motion picture film , $2,500. Pinnacle Post: 10 hours of night telecine services, $2,500. American Production Services: Use of studio, Cameleon studio dolly, and power, $2 ,200 . High Sierra Productions: 3D graphic or animation services, $2,000. Jonas Jensen Production Services: 10 hours’ use of a Betacam SP AB roll online edit suite, $1 ,500 . Associates Production Services: Half price on 10 hours’ use of camera crane and jib, $1 ,250 . Pat Barber Editing: One m onth’s rental of a 16mm or 35mm editing table, $1 ,200 . Filmlites, Ltd: Rental equipment, $1,000. Pacific Grip & Lighting: Grip, lighting, and dolly rental equipment, $1 ,000 . 9 1 1 Media Arts Center: 4 0 hours in D-Vision edit suite or 100 hours in 16mm edit suite, $1 ,000 . Clatter & Din: 4 hours’ use of full Avid Audio-Vision studio, $800. Professional Insurance Group: Insurance consultation. The Keep: One year of film storage, $125. Prop & Costume: Free use of prop and costumes, $100.

Aw ards • S e c re t Festival • In te rn e t

S E C R E T FESTIVAL The 12th year of our festival-within-a-festival promises to be as controversial, mysterious, and rewarding as ever. The infamous, notorious Secret Festival is the only film event of its kind in the world. A Secret Festival membership provides a rare opportunity for passholders to see films they can’t see anywhere else. On the four Sundays of the Festival this top-secret event will present world premieres, long-lost treasures, works-in-progress, films tied up in legal battles, or special presentations off-limits to regular audiences. Many past years’ films have yet to be publicly screened anywhere else. Be forewarned: All Secret Festival passholders are required to sign a document promising not to disclose any Information about what they’ve seen, under threat of public humiliation and excommunication. A perennial sellout, the Secret Festival enjoys an audience that is truly the inner circle of adventuresome Festival devotees. Come...find out what goes on behind closed doors. Queue up with filmmakers, archivists, distin guished guests, and the select few who make the Secret Festival’s famed industry reputation what it is.

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IN TE R N E T GOLDEN SPA C E NEEDLE A W A R D S Last year’s winner of the Golden Space Needle Award for Best Picture, Priscilla, Queen o f the Desert, went on to win an Academy Award for best costume design and became a box-office smash, selling out houses ail over the country. This is ju s t one o f a plethora o f examples of the fine cinematic eye of Seattle moviegoers (perhaps due to raincrazed cabin fever or caffeine-heightened perceptions). Seattle audi ences are mature, well-educated cineasts, seekers of fine cinema whose opinions are heeded by other festivals and industry players. The Golden Space Needle Awards are voted on solely by Film Festival audiences, who will have the opportunity to cast their vote for Best Film, Best Director, Best Actor, Best Actress, Best Documentary, and Best Short in the Seattle International Film Festival's 2 1 s t competi tion. To vote, simply choose film s in each of the six categories tha t wowed you, made your socks roll up and down, changed your life, or caused you to experience a cinematic epiphany. Winners based on your choices will be announced at the Closing Night Gala.

The Seattle International Film Festival is excited to be involved with the first complete World Wide Web film forum. Film.com has been designed for (and by) film critics, professionals in the film industry, and all-around movie buffs. SIFF manages the Festival site within Film.com and provides hypertext links to all other Film festival sites on the Internet, as well as hosting sites within Film.com for other film festivals. The complete Seattle International Film Festival schedule and catalogue can be found on film .com as well as the Filmmakers’ Forum, an ongoing Festival guide, interviews, pre mieres, awards, and other interesting notes. SIFF Is also planning the first world broadcast of a film on the Internet in conjunction with First Look Releasing, Apple Computer, MIT, and Silicon Graphics. Check Film.com for complete details. The address for Film.com is: “ h ttp ://w w w .film .c o m /” . Queries about the site or requests for more information may be e-mailed to “film admin@ film.com” .

Best Actor: Terence Stamp, for Priscilla, Queen o f the Desert Best Actress: MimI Rogers, for Reflections on a Crime Best Documentary: The Wonderful, Horrible Life o f Leni Riefenstahl, director Ray Muller

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LAST YEAR’S WINNERS: Best Film: Priscilla, Queen o f the Desert, director Stephan Elliot Best Director: Rolf de Heer, for Bad Boy Bubby

•

WE SALUTE ALL THOSE WHOSE IDEA OF A GOOD TIME IS SITTING IN THE DARK SCARFING DOWN JUNK FOOD.

Best Short: The Wrong Trousers, director Nick Park

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On Sunday, June 4, 19 9 5 , film enthusiasts will converge for the ever-popular Movie Poster Exhibition and Auction. This is your prime opportunity to peruse— and perhaps take home— colorful and rare posters from all over the world. Throughout the year, Film Festival programmers attending other international film festivals search for exceptional, unique posters and prom otional m ateri als. These are beautiful collector’s item s, with inventive graphics rarely displayed in the mass-produced, commercialized posters th a t come out of Hollywood. Over 1 0 0 posters will be auctioned, ranging from sm all, elegant, lobby-style pieces to enormous, highquality, much sought-after banners from European and Asian printing presses. Highlights include Dutch, French, British, Italian, Spanish, and Cuban posters from some of the best film s of recent years’ world festivals. Auctioneer Gary Tucker will host th is don’tm iss event. Previews begin at 11am on the 4th floor of the Egyptian Theatre. A continental breakfast will be served. Bidding starts promptly at 2:30pm . Light refreshm ents will be offered.

Poster Auction

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m m Thursday, May 25 I Egyptian, 7:15pm Saturday, May 27 I Varsity, 3:30pm

M O R E S O C IA L G U ID A N C E C LA S S IC S Continuing Revelations from the Prelinger Archives USA, 1950-1962

Rick Prelinger has spent the last decade amassing an astonishing collection of 2 5 ,0 0 0 advertising, industrial, and educational film s. Mostly designed to socialize schoolchildren and workers during the 1940s and ’50s, they provide a uniquely revealing, evocative, and often rib-tickling look at the attitudes of our recent past. More Social Guidance Classics, a sequel to the overwhelmingly popular SIFF ’94 pre sen ta tion S ocial Guidance C lassics, com prises eight o f the funniest (and m ost frightening) film s you’re ever likely to see on dating, behavior, etiquette, and relationships. W hatto Do on a Date (1950) answers the eternal question, Which is sweller, weenie roasts or taffy pulls? The heartbreak of a high school girl whose classm ates call her “ Stinky” comes vividly to life in The Other Fellow’s Feelings (1951). And in Good Grooming for Girls (1956), a slumber party for two offers grooming news you can use. Similar helpful hints are to be gleaned from Beginning to Date (1953), Name Unknown (1951), The Drop Out (1962), Are You Ready for Marriage? (1950), and This Charming Couple (IQbO). Rick Prelinger will be on hand to introduce the film s and answer questions about his archives, promising to make this special program once again one of the year’s must-see Festival events! “These are our national home movies, the best and m ost vivid records of our public and private lives— how Americans have lived, worked, thought, and consumed. To see them now is to snap back immediately into the m indsets o f our recent forebears, to feel the lim its o f their behavior and of their world. More vividly than other types of historical documents, these film s recontextualize and provoke discussion about complex and highly charged issues like gender roles and sexualities, the decline of American industry, changing fam ilies, the deterioration of the environment, and the distribution of national wealth. And, o f course, they’re also frequently very funny.”— American Museum o f the Moving Image Quarterly

TH E W O N D E R F U L W O R LD S OF A A R D M A N : A R E TR O S P E C TIV E Great Britain, 1 9 7 8 -1 9 9 4 Co-Founders: Peter Lord, David Sproxton, Nick Park Print Source: Aardman Animations 1 0 4 minutes Since winning two Oscars in the past few years (Creature Comforts, 1991, and The Wrong Trousers, 1994), Aardman Animations has become internationally renowned. SIFF fans have seen excellent examples of Aardman’s work: Adam (SIFF ’92); Rex the Runt (SIFF ’92); and The Wrong Trousers—winner of our Best Short in SIFF ’94. Aardman has pursued an individual style, creating brightly colored clay worlds populated by goggle-eyed people, distorted animals, and household objects with a life of their own. The studio is often cited as one of the major influences behind the revitalized interest in British animation, and in recent years Aardman has provided a supportive base for new talents, producing work spanning the whole range of animation tech niques. We are delighted to welcome Aardman co-founder David Sproxton to Seattle to give us his view of the wonderful worlds of Aardman. Down and Out (Peter Lord, David Sproxton, 1978, 5 min.) A homeless man struggles through bureaucracy to get a meal in a Salvation Army hostel. Grand Morph’s Home Movies (Peter Lord, David Sproxton, 1981, 5 min.) The first of the 26-part Amazing Adventures of Morph. Early Bird (Peter Lord, David Sproxton, 1983, 5 min.) What really happens behind the scenes at an early morning radio show? On Probation (Peter Lord, David Sproxon, 1983, 5 min.) How to deal with today’s Youth Problem, or, Is there such a thing as an anti-social worker? Babylon (Peter Lord, David Sproxton, 1985,15 min.) A meeting of arms dealers is brought to a bloody conclusion, observed by a diffident waiter. My Baby Just Cares for Me (Peter Lord, 1987,3 min.) Made as the music video for Nina Simone’s classic song. Ident (Richard Goleszowski, 1989, 5 min.) A serious view of a strange, futuristic world, a city of mirrors, and mazes where no one has individual identity. Next (Barry Purves, 1989, 5 min.) From zero to Shakespeare in 300 seconds. A Grand Day Out (Nick Park, 1989,23 min.) Wallace, 62, and his dog, Gromit, build a rocket to the moon. War Story (Peter Lord, 1989,5 min.) A stirring comedy about one man’s memories of wartime. Creature Comforts (Nick Park, 1989, 5 min.) Meet the polar bears and pumas whose complaints and comments about their climate, diet, and accommodation seem uncannily human. One of the most popular animated shorts of our time. Sledgehammer (Stephen Johnson, 1990, 4 min.) A ground-breaking video that leaves you amazed even after many viewings. Not Without My Handbag (Boris Kossmehl, 1993, 13 min.) A whacky, B-movie pastiche about mother-kidnapping aliens. Pib and Pog (Peter Peake, 1994, 6 min.) Pib and Pog bring a whole new meaning to mischief.

Special Presentations

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1 0 0 YEA R S OF C IN E M A This year’s program to mark the 100-year history of cinema is an impressive and provocative one. Although much of our film history has been lost, many treasures have been preserved in film archives worldwide. Immeasurable hours of diligent labor and great effort have to be invested before a film can be shown in its original splendor.

Soren Anderson, The News Tribune

Michael Kilian, Chicago Tribune

John Hartl, The Seattle limes

Only in UMAX®. Only at Pacific Science Center.

Pa c i f i c

We begin our program celebrating the first 10 0 years of film with The Movies Begin, a myriad of short clips from the 18 90 s to the 1920s, authentically accompanied by live piano. W e’re also m ost pleased to bring you an evening presentation of Buster Keaton film s, including one hilarious feature and two equally enjoyable shorts, also accom panied by live piano. The recently restored Nothing Sacred, a classic 1930s comedy starring the “ Duse of daffy comedy,’’ Carole Lombard, is sure to knock your socks off. A true masterpiece included in our tribute and voted one of the best Mexican movies of all tim es, Aventurera, is a highly en tertain ing , campy Latino m usical extravaganza-melodrama from 1949, newly rediscovered and re stored— to our enormous pleasure. This year, 1995, is the 40-year anniversary of James Dean’s death, and in his honor we will present a stunning restoration print of Rebel Without a Cause. Also high lighted in the Centennial tribute is a 1 9 6 4 film , I Am Cuba— a Francis Ford Coppola and Martin Scorsese presentation never seen theatri cally until 19 9 5 — a trium phant work of astonishing cinematography sure to sweep you away shot after shot. This is ju s t a glimpse at the many film s programmed for the Archival Series Cinema Centennial. Please join us in this celebration of our rich film ic heritage, a loving and well-rounded glance back as we look forward to cinem a’s second century.

100 Years of Cinema

David Lyman, The Seattle Post-Intelligencer

s c ie n c e c e n t e r s

Under the arches near the Space Needle. >

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For show times, call 443-IMAK.

10O Years of Cinema

OO Years of Cinema

Saturday, June 3 ■ Harvard Exit, 12:30 pm

Sunday, June 4 ■ Harvard Exit, 6:30pm

Saturday, May 27 ■ Harvard Exit, 12:30pm

A V EN TU R E R A Mexico, 1949

BELLE DE JOUR France, 1967

C H IN A TO W N USA, 1974

Director: Alberto Gout Producers: Pedro A. Calderon, Guillermo Calderon Screenwriters: Alvaro Custodio, Carlos Sampelayo Cinematographer: Alex Phillips Editor: Alfredo Rosas Prlego Music: Antonio Diaz Conde, Damaso Perez Prado; performed by Pedro Vargas, Ana Maria Gonzalez, Los Angeles del Infierno, Trio Los Panchos, Ray Montoya and his Orchestra Choreographer: Ninon Sevilla, Julien de Meriche Cast: Ninon Sevilla, Tito Junco, Andrea Palma, Ruben Rojo Print Source: Shadowfax Film Company 101 minutes

Director: Luis Buñuel Screenwriters: Luis Buñuel, Jean-Claude Carriere, based on the novel by Joseph Kessel Cinematographer: Sacha Viemy Editors: Louisette Hautecoeur, Walter Spohr Sound: Rene Longuet Cast: Catherine Deneuve, Jean Sorel, Genevieve Page, Michel Piccoli Print Source: Miramax Rims Inc. 102 minutes

Director: Roman Polanski Producer: Robert Evans Screenwriter: Robert Towne Cinematographer: John A. Alonzo Editor: Sam 0 ’Steen Music: Jerry Goldsmith Cast: Jack Nicholson, Faye Dunaway, John Houston, Perry Lopez, John Hillerman, Roman Polanski, Burt Young, Darrell Zwerling, Joe Mantell, Diane Ladd Print Source: Paramount Classics 131 minutes

Ninon Sevilla, the unforgettable star of this deliriously entertaining musical melodrama, was a Cuban-born rumba dancer who became a big star in Mexican films. As famous for her long, long legs as Betty Grable, Sevilla is reminiscent of Rita Hayworth and Carmen Miranda, but with a torrid screen presence all her own. Aventurera (“Adventuress” ) has it all: blazing musical floor show numbers fea turing Sevilla and a host of classic Latin music aces, camp erotic melodrama, stun ning film noir photography, and more plot twists than any three otherfilms put together. Elena (Sevilla), a young girl from a good family, leaves home when her mother com mits adultery and her father commits suicide. Lured to a nightclub by the unsavory but sexy Lucio (Tito Junco), she is drugged and forced into white slavery. Overcoming this crushing change of fortune, Elena emerges as the musical star of the cabaret, catching the eye of a handsome aristocrat who wants to take her away from it all. But dark secrets block her path to happiness, and Elena is determined to seek revenge. Don’t miss the tempestuous Ninon Sevilla setting the screen afire in erotic musical extravaganzas, including the harem number in which her skimpy costume reveals nearly all, and the Carmen Miranda-style fruit salad number in which she seductively fondles a banana draped over her pelvis. Selected Filmography: Victims o f Sin (1950), Sensuality (1950)

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We are thrilled to present the re-released classic Belle deJour, Spanish director Luis Bunuel’s 27th film, completed at age 68. Deaf and an acknowl edged alcoholic, Buñuel declared it would be his last. It wasn’t, but Belle de Jourwas the highlight of his curious career as an unsavory but legendary filmmaker whose pet themes were anticlericalism, madness, fetishist fantasies, and the wilder edges of sex. The Belle of this tale is a masochistic wife of a young and successful doctor who finds rescue from her marital frigidity by working the day shift in a high-class Parisian brothel. The engaging and visually shocking aspect of Belle de Jour is not sex on the big screen but the mystery of what is reality and what is not. The film opens with a long, seductive shot of an open coach moving along an estate driveway among the autumn leaves. In the coach sits Severine (Catherine Deneuve) and her husband, Pierre (Jean Sorel). They reciprocate their understated affections. Suddenly the husband orders the coach to stop. The coachman drags Severine screaming, strips her nearly naked, ties herto a tree, and whips her. The scene shifts: she is in bed, pure and com posed... The film moves back and forth betwixt real and fantasy worlds so subtly that it becomes impossible to tell which is which. Perhaps Buñuel is saying that fantasy is what makes life bearable. Deneuve is “deliciously sumptuous” in her lush Yves Saint-Laurent wardrobe, and so too is the cinematography. Bunuel’s most entertaining and successful film, Belle de Jour is painfully potent. In a 1968 issue of Esquire, Wilfrid Sheed admittted that “even in a relatively trashy film like Belle de Jour, the result is oppressively powerful— like being buried alive in Sarah Bernhardt’s dressing room." Selected Filmography: An Andalusian Dog(1928), The Young and the Damned (1950), Viridiana (1961), The Exterminating Angel (1962), Diary of a Chambermaid (1964), The Discreet Charm of the Bourgeoisie (1972), That Obscure Object of Desire (1977)

O O B B

In finest Polanski fashion, Chinatown stands as the preeminent example of the director’s preoccu pation with obsession, alienation, and aberra tions of the human mind. An astoundingly real ized, suspenseful film noir classic, Chinatown proves a tour de force for all Involved. Jake Gittes (Jack Nicholson) is the private eye who specializes in the stock in trade of gumshoe work, routine extramarital investigation. The film opens with Ida Sessions (Dianne Ladd) passing herself off as Mrs. Mulwray, who needs evidence against her husband’s philandering ways. Photos are taken; case is closed. And the pictures end up on the tabloid covers while Mrs. Sessions ends up dead in a pond of water. Los Angeles in the '30s was a snakepit of corruption and greed— money pouring in from all sides to assure land deals, water rights, and powerful commission positions. Gittes is sued by the real Mrs. Mulwray (Faye Dunaway) for smearing the reputation of her dead husband, and the mystery begins to deepen. Gittes and Mrs. Mulwray are intrigued by each other, and a ro mance develops. So too does the plot, as murder and incest make their way into a story full of style and political conspiracy. John Huston stuns movie audiences with his eerily restrained portrayal of the demented businessman profiting from his daughter’s beauty and his partner’s death. A newly struck print of Chinatown assures SIFF audiences of a stunning screening of this Bunueland-Kafka-inspired classic Polanski. Awards: Oscar, Best Original Screenplay, 1974 Selected Filmography: Knife in the Water (1962), Repulsion (1966)', Rosemary’s Baby(1968), Fran tic (1988)

Ia D B B

Sunday, May 28 ■ Egyptian, 6:30pm

I A M CUBA Cuba/U SSR , 1 964

This amazing film is a major discovery that must be seen to be believed. A CubanRussian co-production made in 1965, at the height of the Cold War, it has not been seen elsewhere until now. Directed by Mikhail Kalatozov (The Cranes Are Flying), I Am Cuba is a time capsule celebrating the idealism of the young Cuban Revolution of the 1950s. The poetic screenplay is made up of four portraits: A beautiful girl is ashamed to tell her fruit-seller boyfriend that she works as a prostitute for decadent foreigners; an old peasant burns his sugarcane rather than handing it over to the United Fruit Co., which has just bought his land; a young student lacks the resolve to assassinate a corrupt official and instead is killed by the police; and a poor mountain farmer at first rejects then joins the guerrillas. Reminiscent of Eisenstein’s Que Viva Mexico as it might have been shot by a New Wave director with a handheld camera, I Am Cuba marks a high point in the art of cinematography. A dazzling array of delirious images in high contrast and deep focus black-and-white are presented, often at subjective angles, using epic track ing shots that seem to go on forever and achieve the impossible. Early in the film the camera mingles with bathing beauties on top of a high-rise hotel, then rides an elevator down to meander among the guests, then follows a bikini-clad beauty into the pool and under the water, cavorting with the swimmers — all in one take!

TH E M O V IE S BEGIN: THE M O V IE USA, 1995 9 0 minutes Print Source: Kino International In commemoration of the centennial of the mo tion picture, SIFF ’95 is proud to present The Movies Begin, a compilation film comprising shorts from the first two decades of cinema. Featured in this treasure trove of cinematic gems and rarities are A Trip to the Moon, directed by Georges Melies, the world’s first science fiction film epic and a masterwork of epic length (21 minutes!) and stunning content; Those Awful Hats, directed by D.W. Griffith, a comedy noted for its use of positive double-printing and traveling matte; A Corner in Wheat, directed by D.W. Griffith; and The Great Train Robbery, directed by Edwin S. Porter, renowned for its sensational use of ten sion-riddled tableaux that build to a startling climax. Priceless and ground-breaking works from such cinematic pioneers as Thomas Edison (The Kiss, Fatima Uncensored) and Max Linder (Troubles o f a Grasswidowet) are included, as well as the animated Joyous Microbes and the hand-tinted The Golden Beetle, plus many, many more. Travel with us back in time to the very roots of the artistic genre SIFF so eagerly and joyously celebrates. Preceded by 1 0 0 Years at the Movies (Chuck Workman, 11 min.) This tribute to film , by academy award winning director Chuck Work man, is an affectionate, bittersweet look at our 100 Years of Cinema— an exceptional treat sure to beckon you back for more.

Selected Filmography: Salt for Svanetia (1930), Nail in the Boot (1932), Wings o f Victory (1941), Conspiracy o f the Doomed (1950), Faithful Friends (1954), The First Echelon (1956), The Cranes Are Flying (1957), The Letter Never Sent (1960), The Red Tent (1970)

KUOW 94.9FM

Saturday, May 20 ■ Harvard Exit, 12:30pm

N O TH IN G S A C R E D USA, 1937 Director: William Wellman Producer: David Selznick Screenwriter: Ben Hecht Cinematographer: W. Howard Greene Music: Oscar Levant Cast: Carole Lombard, Fredric March, Walter Connolly, Charles Winninger, Sig Rumann, Frank Fay, Maxie Rosenbloom, Margaret Hamilton, Hedda Hopper, Monty Woolley, Hattie McDaniel Print Source: Museum of Modern Art Archives 77 minutes This classic screwball 1930s comedy stars Carole Lombard as Hazel Flagg, a young woman from Vermont who prétends that she has fatal radium poisoning so she can take a free trip to New York with swanky city reporter Fredric March. March writes heart-wrenching stories about Flagg that make her a national celebrity, loved and honored for her heroism in the face of death. A cynical attack on American hypoc risy, Ben Hecht’s script reveals the pride Americans take in their unselfishness and graciousness just as they delight in others’ misery. This world is full of “ boobs and lascivi ous slobs,” according to Hecht; they cry big tears over Hazel and love every minute of it. Carole Lombard, who was at the time tagged the “screwball girl” and the “ Duse of daffy comedy,” sustains the film with wit and liveli ness. Classic scenes include March’s leg being bitten by a boy, Lombard fainting while showgirls parade in her honor, and a fab slugging match between March and Lombard. It’s obvious in Nothing Sacred why Lombard was Hollywood’s highest-paid star at the time. With Charles Winninger as the small-town alcoholic doctor, Walter Connolly as the bigcity editor, Slapsie Maxie in his acting debut, and Frank Fay. The film generated a Broadway musical, Hazel Flagg, as well as a movie with Jerry Lewis in the Lombard role. Selected Filmography: Wings (1927), The Public Enemy (1931), A Star Is Born (1937), Beau Geste (1939), The Oxbow Incident (1943), The Story ofG.I. Joe (1945), Battleground (1949)

KUOW 94.9FM

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10O Years of Cinema

Director/Producer: Mikhail Kalatozov Screenwriters: Yevgeny Yevtushenko, Enrique Pineda Barnet Cinematographer: Sergei Urusevsky Editor: N. Glagoleva Music: Carlos Farinas Cast: Luz Maria Collazo, Jose Gallardo, Raul Garcia, Jean Bouise, Sergio Corrieri Print Source: Milestone Films 141 minutes

Wednesday, May 24 ■ Egyptian, 7:15pm

10O Years of Cinema

TB JSL, I Monday, May 29 ■ Harvard Exit, 6:30pm

OO Years of Cinema

REBEL W IT H O U T A C A U SE USA, 1955 Director: Nicholas Ray Screenwriter: Stewart Stern Producer: David Weisbart Cinematographer: Ernest Haller Editor: William Ziegler Cast: James Dean, Natalie Wood, Sal Mineo, Jim Backus, Corey Allen, Dennis Hopper Print Source: Kit Parker Films 111 minutes A desperate cry for understanding of the era’s frustrated adolescents, Rebel Without a Cause focuses on three youngsters: Plato (Sal Mineo), who has been abandoned by his divorced parents; Judy (Natalie Wood), who feels re jected by herfather; and Jim (James Dean), the psychically scarred son of a domineering mother and henpecked father. The three teens seek to escape the chaos of their family lives by form ing a surrogate union of their own. In doing so, they discover that achieving balance and secu rity in life is much more difficult than they had thought. With his brutally honest and emotion ally ravaged portrayal of an awkward boy fight ing to become a man, James Dean touched the souls of a legion of alienated American youth who themselves were on the brink of adult hood; he came to personify the tortured feel ings of the transitional 1950s. Forty years after Dean’s tragic and untimely death, the epic angst-ridden power and lush Cinemascope sensuality of Rebel Without a Cause come to life in a vivid 35mm print remastered and restored especially for SIFF ’95. Selected Filmography: They Live by Night (1948), The Twisted Road (1949), In a Lonely Place (1950), Born to Be Bad(1950), The Lusty Men (1952), King o f Kings (1961), Lightning over Water/Nick’s Film (co-directed with Wim Wenders, 1980)

KUOW 94.9FM

Saturday, June 10 ■ Harvard Exit, 12:30pm

Monday, June 5 ■ Egyptian, 7:15 pm

THE SEA R C H E R S USA, 1956

SEVEN C H A N C E S USA, 1925

Director: John Ford Producers: Merian C. Cooper, C.V. Whitney Associate Producer: Patrick Ford Screenwriter: Frank S. Nugent, from the novel by Alan LeMay Cinematographers: Winton C. Hoch, Alfred Gilks Editor: Jack Murray Music: Max Steiner, orchestrated by Murray Cutter Cast: John Wayne, Jeffrey Hunter, Vera Miles, Ward Bond, Natalie Wood Print Source: Paramount Classics 119 minutes

Director: Buster Keaton Producer: Joseph M. Schenck Screenwriters: Clyde Bruckman, Jean Havez, Joseph Mitchell; based on a play by Roi Cooper Megrue Cinematographers: Elgin Lessley, Byron Houck Cast: Buster Keaton, Ruth Dwyer, Ray Barnes, Snitz Edwards Print Source: Raymond Rohauer Collection/ Douris Company 58 minutes

We can now look out from our theater seats onto R econstruction Texas, 1 8 6 8 — in ravishing Technicolor—from both Eisenhower America of 1956, when the film was made, and today, when the passage of 127 years has not created the peaceable kingdom that one of the beloved charac ters of The Searchers assures us will come. SIFF has obtained a gorgeous, recently restored 35mm VistaVision print of this magnificent odyssey in which a bitter and ruthless Confederate soldier, Ethan Edwards (John Wayne), spends what has been variously reckoned as five, seven, or ten years searching for his niece, Debbie (Natalie Wood), who’s been abducted by a Comanche chief, Scar. When Ethan, in the role of protector of the bloodline (in other words, keeper of female purity), discovers that his kidnapped niece has “defiled” herself by assimilating into Comanche culture and has no desire to return, his rescue mission suddenly mu tates into an all-out struggle to kill his last surviving relative. Scar sets in motion a cycle of carnage and revenge by dedicating himself to avenging the deaths of his sons, slain by whites. Here’s an opportunity for those who have yet to experience this broad and brooding, emotionally complex mas terpiece to see what they make of John Wayne’s terrible, terribly lonely rider. According to Sight and Sound’s most recent decade poll, The Searchers is now number five among the all-time favorite films. Selected Filmography: Stagecoach (1939), The Grapes o f Wrath (1940), How Green Was My Valley (1941), Fort Apache (1948), Rio Grande (1950), The Quiet Man (1952), Mogambo (1953), The Man Who Shot Liberty Valance (1962)

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Born the same year as the cinema, Joseph Francis Keaton grew up to be one of the new medium’s first and brightest stars. Dubbed “ Buster” by fellow trouper Harry Houdini after he fell down a flight of stairs unharmed at the age of six months, Keaton went on to become the greatest master of comic stunts ever. His uncanny physical skills, combined with a genius for comic timing, resulted in joyful and laugh-filled movies that seem fresher than ever today. In Seven Chances he plays a shy young man who finds he must marry that very day in order to inherit a fortune. After being turned down by every woman he knows, he desperately places an ad in the newspaper, which results in a crowd of would-be brides of all shapes, sizes, and ages. The groom-to-be panics and flees, leading to a great chase of boulders—and a crowd of angry women! This program also includes two terrific earlier shorts, One Week (1920) and The Goat (1921). Beautiful 35mm prints, shown with live piano accompaniment. Selected Filmography (as director or co-director): Three Ages (1923), Our Hospitality {±923), Sherlock Junior (1924), The Navigator (1924), Go West (1925), The General (1926)

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Over half of the movies made before 1950 have deteriorated beyond repair. Even films as recent as those of the 1960s and 1970s are showing signs of erosion that will become irreparable if we don't act now. That's why AMC created the annual Film Preservation Campaign. Please join us October 6 , 7 , 8 as we continue our commitment to classic films with AMC's Third Annual Film Preservation Festival. Don't let your favorite movies become just a memory. Support AMC's Film Preservation Campaign.

TTLE Y J V ^ H O N I

1995-1996 SON

Children’s Film Festival Linnea in M onet’s Garden: From the

author and illustrator of the best selling book, Linnea in Monet’s Gar den is a charming, beautifully ani mated tale of a little girl’s exploration of Impressionist Claude Monet’s paintings and life. Linnea and her friend Mr. Bloom travel from Sweden to Paris and finally to Monet’s gar den. There, the two delight in finding the actual party. Saturday, June 3 ■ Varsity, 12:30pm

LINNEA IN MONET’S GARDEN S w e de n, 1 9 9 4 Directors/Animators: Christina Bjork, Lena Anderson First Run Features 30 minutes

PRINCE CINDERS A u s tra lia , 1 9 9 5 Director: Derek Hayes Producer: lain Harvey Music: Dirk Higgins First Run Features 30 minutes

USA, 1 9 9 4 Director: Dean Pittsinger 10 minutes

Ashley and Josh’s vacation with Jack is starting out to be a real bust. Since they only get to see theirdivorced dad on rare occasions, this vacation at a lake resort in Canada was going to be their chance to catch up on all the times they’d missed being with him. Trouble is, they might as well be at the lake by themselves: Jack’s preoccu pied with a book he’s having trouble writing, and he spends any free time Saturday, May 27 ■ Harvard Exit, 6:30pm he might have on one of his three Saturday, June 10 ■ Varsity, 12:30pm cellular phones. Apparently dad has forgotten what it’s like to be a kid, to believe in things that can’t be seen or MAGIC IN THE even just to play. Ashley, however, is WATER 10 years old, so she is able to grasp USA, 1 9 9 5 somethingthatherdad, and even her Director: Rick Stevenson teenage brother, can’t: ju st outside Producers: Matthew O’Connor, their cabin, in the lake that laps at Rick Stevenson their shore, somewhere deep in the Screenwriters: Rick Stevenson, water, is something magical. In fact, Icel Dobell Massey legend in the resort town of Glenorky Cinematographer: Thomas Burstyn has it that the lake is indeed inhabited Editor: Allan Lee by a monster named Orky. When Music: David Schwartz Ashley’s dad has an Orky encounter Cast: Mark Harmon, Sarah Wayne, Josh Jackson, Harley Jane Kozak of his own, things begin to change at Print Source: Triumph Films their house: suddenly Ashley, Josh, 98 minutes and Jack find themselves conducting cloud orchestras, digging a hole to China, and swinging to the moon. But Orky isn’t finished, and he needs some major help if he’s to survive the disasters being tossed at him.

Strange Legend: In this delightful cartoon, a knight befriends a fear some beast who is not what he seems.

The Return of Tommy Tricker, writer/ director Michael Rubbo’s fourth con tribution to the “Tales for All” collec tion, is a rollicking romp through the magical world of stamps. The film ’s adventurous premise is that children have the ability to shrink themselves to the size of a postage stamp, attach themselves to a letter, and end up.. .wherever. Stamp collectorTommy Tricker and his friends Ralph and Nancy Saturday, May 20 ■ Varsity, 12:30pm are out to free Charles Merriweather, a mysterious boy held prisoner on a famous stamp since his last attempt at stamp-traveling, 65 years ago. For THE RETURN OF Ralph and Nancy, the mission is one TOMMY TRICKER of great importance, but Tommy is more intent on getting hold of the C a na da, 1 9 9 4 precious stamp for himself and mak Director: Michael Rubbo ing Charles a partner in his next project, Producer: Les Productions La Fete a children’s kingdom on a deserted Screenwriter: Michael Rubbo Cinematographer: Thomas Vamos island. When the threesome comes to Editor: Jean-Pierre Cereghetti the rescue, the victim turns out to be Music: Kate McGarrigle, Anna Charles’ sister, Molly, who starts ag McGarrigle, Jane McGarrigle ing rapidly once she is liberated. Cast: Michael Stevens, Joshawa Guided by a mysterious letter from Mathers, Heather Goodsell, Andrew Charles, Tommy and Molly set off in Bauer-Gador pursuit of the secret cure, somewhere Print Source/lnternational Sales: Les Productions La Fete in the South Pacific, that might help 105 minutes her regain heryouth. Shot on location in and around Montreal and the exotic Cook Islands, the film is part history, part geography, part philately, and pure fun. The result is intelligent en tertainment for kids from 8 to 80.

Billy McClusky has just moved from Michigan to the urban jungle of South ern California with his widowed mother (Ally Sheedy). She must work two jobs in orderto keep their humble household together, which leaves Billy alone most of the time. As a result, he must face the first day of school in this alien environment on his own. Even before the end of the first period, Billy quickly realizes Saturday, May 27 ■ Varsity, 12:30pm how much control the powerful gang members have over the other stu dents. As soon as school ends, he finds himself caught in a confronta TH E T IN SO LD IE R tion between two rival gangs, Pack USA, 1 9 9 5 13 and the Snakes, and tries to Director: Jon Voight escape. He hides in a toy shop until Co-Director: Gregory Gieras the owner, Mr. Fallon (Dom DeLuise), Producer: Steven Paul comes upon him. Recognizing his Screenwriter: Patrick J. Clifton, predicament, the kindly old man from The Steadfast Tin Soldier hands Billy a tin knight, hinting that by Hans Christian Andersen this toy might help him combat his Editor: Richard Fields Music: Benedikt Brydern troubles. That night, the toy magi Cast: Trenton Knight, Jon Voight, cally transforms into a life-sized Ally Sheedy, Dom DeLuise, person named Yarik (Jon Voight). Bethany Richards, Aeryk Egan, The Tin Soldier, a tale of two unlikely Pablo Irlando characters thrown together by exter Print Source/lnternational Sales: nal forces who must persevere Crystal Sky Communications against the odds, will entertain and 110 minutes amuse audiences of all ages. If only everyone could have a knight like Yarik...

The Children’s Film Festival is sponsored in part by

Q fc Quality Food Centers

Children’s Film Festival

STRANGE LEGEND OF ST. DESMOND AND THE DRAGON

Prince Cinders: In this outrageously funny twist on "Cinderella,” poor Prince Cinders is stuck at home do ing the laundry and housework while his three mean, macho brothers live it up around town. But when the prince’s magical godmother (who’s unfortunately still a student at fairy school) offers to turn Cinders into the he-man of his dreams, things go hilariously wrong. Instead of being made into a Schwarzenegger, he’s mistakenly turned into a gigantic, hairy ape! The ape prince is pursued across the countryside by a few mighty confused cops, all the while trying to make it to Princess Lovelypenny’s big party. Will Cinders show up his ungrateful brothers, turn back into a normal prince, and ultimately fall in love?

•

W e invite you to learn about the new first features and the remarkable

Read our special N ew Director's Showcase guide found in the M a y 17th Seattle W eekly and Eastsideweek issues

brought to you by

and at various theaters throughout the festival.

SEATTLEW EEKUT Eastsideweek

New Directors Showcase—Jury Now in its fifth year, our New

PEGGY CASE: Peggy Case is a sta ff producer in the na tion al/ international unit at KCTS/9. She has produced many arts and

Directors Showcase will once again

performance specials and documentaries, including the Art

jury feature film debuts from emerg

M inutes series showcasing Northwest visual artists and a five-

ing directors around the world.

of the new Boeing 777 airplane. Peggy recently finished

part series entitled 777: First Flight documenting the building

The New Directors Showcase is

directing and producing a short independent dramatic film, The Liar, written by Mary Brennan. For six years, Peggy served

collectively curated by the SIFF

as the president of the board and co-curator of the Interna tional Festival of Films by Women Directors. She is currently

programming com m ittee, which has selected 14 film s. Each direc

developing a dramatic feature project at KCTS, The Last Place on Earth, which has received funding from PBS and the BBC.

tor dem onstrates a sure grasp of cinematic language and technique;

TOM KEOGH: Tom Keogh writes about film for Eastsideweek and Seattle Weekly. He is also a contributing reviewer for

all of the film s selected evince a distinctive voice and unique vi

film.com, an Internet-based film magazine dedicated to the discussion and criticism of film . From 19 8 6 to 19 91 he was the on-air film reviewer for KUOW. In years past, he worked for

sionals and critics will select the director whose work represents

the greater good of the Seattle film scene through the Seattle Film Society, Seattle Filmhouse, and the Seattle International Film Festival. Currently, he is writing a screenplay for a feature film .

the m ost prom ising directorial debut. The New Directors Show case is presented with the kind KATHLEEN MURPHY: Kathleen Murphy is writer-in-residence support of Seattle Weekly and Eastsideweek.

at the Film Society of Lincoln Center. She writes and edits the W alter Reade Theater’s monthly calendar, and has curated a number of film programs there, including In the Name o f the Nation, the first comprehensive look at Irish cinema from 19 16 to the present, and Blood o f a Poet, the first New York retrospective of the film s of Sam Peckinpah. She headed a University of Washington cinema studies program, and served on the faculty of the women studies program. She is currently writing a tribute titled “The Man Who Loved Women” for inclusion in a book-length celebration of American critic Andrew Sarris.

DENNIS WEST: Dennis West teaches in the film studies program at the University of Idaho. He has published widely on cinema in journals such as Cineaste, Film Criticism, Choices, and New Scholar, and in books such as World Cinema Since 1945, The International Dictionary o f Films and Filmmakers,

'SEATTLEWEEKLY,

The Encyclopedia o f Film, and M agill’s Survey o f Cinema: Foreign Language Films. His research has been supported by several grants from the National Endowment for the Humani ties and the Fulbright Commission. Since the mid-1980s he

Eastsideweek

has served as an associate or contributing editor at the New York-based Cineaste.

New Directors Showcase

sion. A ju ry o ffilm industry profes

N ew Directors Showcase

New Directors Showcase

Wednesday, June 7 ■ Varsity, 7:15pm Friday, June 9 ■ Harvard Exit, 7:15pm

Monday, May 29 ■ Egyptian, 9:15pm Friday, June 2 ■ Harvard Exit, 7:15pm

C R O SS M Y H EAR T A N D HOPE TO D IE Norway, 1995

DEADLY M A R IA (Die todliche Maria) Germany, 1993

Director: Marius Holst Producer: Petter J. Borgli Screenwriters: Lars Saabye Christensen, Marius Holst Cinematographer: Philip Ogaard Editor: Hakon Overas Music: Magne Furuholmen Cast: Martin Dahl, Garfalk, Jan Devo Kornstad, Kjersti Holmen, Reidar Sorensen Print Source: Norwegian Film Institute International Sales: Nordic Screen Development A /S 9 6 minutes

Director: Tom Tykwer Producers: Stefan Arndt, Tom Tykwer Screenwriter: Tom Tykwer Cinematographer: Frank Griebe Editor: Katja Dringenberg Music: Tom Tykwer Cast: Nina Petri, Josef Bierbichler, Peter Franke, Joachim Krol Print Source/lnternational Sales: Jane Balfour Films Ltd. 1 0 6 minutes

Norway’s official candidate for the 1995 foreign Oscar nomination is anotherfirst-rate Scandinavian film about coming of age, but with a decidedly sinistertone. Young Otto, the sm allest boy in his class, has a hard tim e gaining acceptance from his mates. In the summer, when alm ost everyone has left town, he meets an older youth named Frank. Frank takes advantage o f the young boy’s naivete in increasingly bizarre ways. Ominous events escalate as Otto copies the older boy seducing his young neighbor, and later when Frank shares an uncomfortably intimate moment with O tto’s mother. There is also the m atter of a horrifying discovery the boys make during a trip into the forest; Frank insists tha t Otto keep the find a secret. Somewhere along the line, O tto’s father begins to suspect tha t something is wrong in his son’s newfound friendship; what ensues is a dark and disturbing denouement tha t puts this story in a class by itself. Awards: Oscar submission, Best Foreign Film, 1995; Blue Angel Prize, Berlin Film Festival, 1995; Jury Grand Prize, Audience Prize, Festival of Nordic Cinema, 1995

ISEATTLEWEEKLY| Eastsideweek

A woman lives for years trapped in her apartment with a pedantic, loutish husband and a bedridden, malicious father. She has no friends or companions, and only in letters to an imaginary lover tha t she never posts does she release her innermost thoughts. Though this may not sound like a recipe for fun cinema, Deadly Maria is one of the most outrageous, audaciously stylish, and disturbing psycho logical film s in this year’s Festival, comparable to a Fassbinder plot directed by the Coen Brothers, with touches of David Lynch and Alfred Hitchcock. Maria’s exceedingly quiet and uneventful life is spent collecting insects and responding to the demands of her father and husband. Then one afternoon she looks out her window and spies Dieter, who lives in the apartment opposite hers. Maria yearns immediately for Dieter, but can she deal with the reality o f an affair that could destroy the only life she has ever known? Deadly Maria emphasizes details, creative camera work, and a pulsating soundtrack to create the charged, surreal atmosphere of M aria’s world. Nina Petri is remarkable rendering Maria’s complex emotional and spiritual plight, and Joachim Krol is superb as her shy admirer. Clever, intense, and blackly comedic, Deadly Maria is an unforget table feature debut.

ISEATTLEWEEKLY| Eastsideweek

N ew D irectors Show case

Friday, May 26 ■ Egyptian, 7:15pm Sunday, May 28 ■ Varsity, 12:30pm

Friday, June 2 ■ Harvard Exit, 7:15pm Sunday, June 4 ■ Harvard Exit, 9:15pm

DO U B LE H A P P IN E S S Canada, 1994

FALSE P R E G N A N C Y France/Switzerland, 1 993

Mina Shum’s debut feature is the entertaining story of Jade Li, a 22year-old Chinese Canadian trying to walk the fine line between her traditional family and the realities of living in North America. Winner of the Young Filmmakers Prize at the Berlin Film Festival, Double Happiness delivers its story with refreshing wit, empathy, and confi dence. Aspiring actress Jade tolerates her parents’ matchmaking and agrees to marry a Chinese lawyer. But her patience starts to wear thin as her father’s rules and restrictions clash with the Western life she is living outside his home. Jade’s encounter with a white university student develops in a way her parents would disapprove of, and soon a major cover-up begins. The visit of an uncle from Hong Kong, also hiding aspects of his life that don’t fit into accepted family practice, gives her rebellious side a boost. But when the family discovers Jade’s bitter secret, she is forced to make the big choice. Sandra Oh shines as Jade in this story, with parallels to Shum’s own life experiences. This personal connection gives the story its strength, and Shum treats each character with understanding and sympathy, even in the midst of conflict. Her creative direction includes having each cast member directly address the camera, breaking down barriers between the characters and audience. “ It’s not simply about being Chinese— Jade could be Jewish or Italian. It's about growing up in a time where the rules aren’t clear,” states Shum. “ I wanted to deal with that in a way tha t’s not black-and-white. It’s not about rebelling and leaving home, it’s about the growing up Jade does in between.” Though Double Happiness is sure to draw comparisons to The Wedding Banquet, this delightful film stands impressively on its own and marks the emer gence of several bright new talents.

Director: Denis Rabaglia Producer: Didier Haudepin Screenwriter: Denis Rabaglia Cinematographer: Pierluigi Zaretti Editor: Monique Dartonne Music: Louis Crelier Cast: Tom Novembre, Sabine Haudepin, Isabelle Townsend, Patrick Braoude, CatherineSamie Print Source/lnternational Sales: Bloody Mary Productions 8 8 minutes Martin (Tom Novembre) is an immature 35-year-old advertising executive who discovers tha t the result of a one-night stand with au pair Sally (Isabelle Townsend) means a baby is on the way. While Sally decides to keep the child and raise it on her own, Martin falls in love. Trouble ensues when M artin’s do-gooder mother, Antoinette (Catherine Sarnie), demands an abortion in the name of world hunger. Then his childless ex-wife decides to fight for custody of the child. As Martin struggles through screwball encounters with other mad and m ilitant characters— including a fighter for fathe rs’ rights who happens to be his best friend, a surrogate mother on the run, his amorous secretary, and a cynical midwife— he learns some valuable lessons th a t might ju s t lead to his acting as a responsible adult. An intelligent black comedy as soul-searching as it is hilarious, Grosse Fatigue pokes fun at the politics of childbirth and mother hood in an original vision of fecundity with something guaranteed to offend and to please everyone.

Awards: Special Jury Citation, Toronto Film Festival, 1994; Wolfgang Staudte Prize, Berlin Rim Festival, 1994

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U S P r e m ie r e Director: Mina Shum Producers: Stephen Hegyes, Rose Lam Waddell Screenwriter: Mina Shum Cinematographer: Peter Wunstorf Editor: Alison Grace Music: Shadowy Men on a Shadowy Planet Cast: Sandra Oh, Stephen Chang, Alannah Ong, Frances You, Callum Rennie Print Source: Fine Line Features International Sales: First Generation Films Inc. 1 0 0 minutes

N ew D irectors Showcase

New Directors Showcase

Wednesday, May 31 ■ Harvard Exit, 9:30pm Saturday, June 3 ■ Harvard Exit, 3:30pm

HALF S P IR IT — V O IC E OF TH E S P ID E R France, 1995 Director/Producer/Screenwriter: Henri Barges Cinematography: Serge Godet Editor/Music: Henri Barges Cast: Catherine Ussel, Marc Duret, Philippe Spiteri, Jacques Fontan Print Source: Mainstream 9 0 minutes This oddly brilliant tale begins in the gritty urban underground of Paris. A mysterious psychosexual thriller, the film recounts the descent of a disturbed woman (Half Spirit) into a nightmarish world controlled by obsession and maniacal urges. Through flashbacks, we find tha t Half Spirit was chained to a radiator for over a year by a vicious lover, who also wrote on her skin. Her muses are three men, each hovering on the edge. Badfly thinks women can fly, pushes them off ledges, and obsesses about Half Spirit; Gil, a lowlevel drug dealer who is in over his head in a plutonium sale, is followed by Half Spirit; Priest has no morals, no illusions of love or God. Through the voice of Jimminy, the spider inside quirky Half S pirit’s head, the plot unfolds in a chilling retelling of a cracked journey through Europe, as the plutonium sale and the apocalyptic love triangle collide in tragedy. Shot in locations in Eastern European factories and cheap apartment blocks, Half Spirit unfolds in a Europe in decay...its characters drowning in their own illusions.

Thursday, June 8 ■ Seven Gables, 7:15pm Saturday, June 10 ■ Harvard Exit, 3:30pm

KOREA Ireland, 1995 W o rld P r e m ie r e Director: Cathal Black Producer: Darryl Collins Screenwriter: Joe O'Byrne, based on a short story by John McGahern Cinematography: Nic Morris Editor: Emer Reynolds Music: Stephen McKeon Cast: Donal Donnelly, Andrew Scott, Fiona Molony, Vass Anderson Print Source/lnternational Sales: Black Star Films 8 7 minutes Set amid the stunningly gorgeous lakes of County Cavan, Ireland, is this powerful story of a father and son in a rural town during a period of mass emigration and social change. Young Irish emigrants, upon arriving in America, have been enlisted and sent to fight in the Korean War. At the outset of the film , one such emigrant, Luke Moran, is sent back to his Irish village in a coffin draped by an American flag. It is rumored that the Moran family is receiving a handsome sum of money for the death of their son. Eamon Doyle, a boy of about the same age, is about to graduate from school and is spending the summer working with his father, one of the last of a long line of fisherman. He is compelled to com fort Una Moran over the loss of her brother, despite a long-running feud between the Doyles and the Morans dating back to the Irish civil war. Inevitably a secret romance develops between Una and Eamon, while further complications develop between the two fathers. With no future in sight for his son, Eamon’s father starts making plans to send Eamon to America, away from the Morans and the bleak existence of the village. This startling directorial debut from Cathal Black takes a poignant look at Ireland during a period in which one’s only escape resulted in loss of innocence at best and of life at worst.

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Saturday, June 3 I Egyptian, 9:15pm Tuesday, June 6 I Egyptian, 9:30pm

Friday, May 26 ■ Harvard Exit, 7:15pm Sunday, May 28 ■ Harvard Exit, 3:30pm

TH E S E X U A L LIFE OF TH E BELG IA N S Belgium, 1 9 9 3 /9 4

Director: Anthony Waller Producers: Alexander Buchman, Norbert Soentgen, Anthony W aller Screenwriter: Anthony Waller Cinematographer: Egon Werdin Editor: Peter Adam Music: W ilbert Hirsch Cast: Mary Sudina, Fay Ripley, Evan Richards, Oleg Jankowskij Print Source: Sony Pictures Classics 9 0 minutes

Director/Producer/Screenwriter: Jan Bucquoy Cinematographer: Michel Baudour Editor: Matyas Veress Music: Jean-Gregoire Mekhitarian Cast: Jean-Henri Compere, Noe Francq, Isabelle Legros, Sophie Schneider Print Source/lnternational Sales: Brussels Ave 8 5 minutes

Brace yourselves. This dizzying, Hitchcockian thriller about three unsuspecting members o f an American movie crew in Moscow who get thrown into a deadly situation far beyond their grasp will have you on the edge of your seats from start to finish. The film ’s heroine is Billie, a mute make-up artist who realizes while leaving the set after a frustrating day’s shooting tha t she has left behind a prop mask th a t needs some work. Leaving her co-workers Karen and Andy in the parking lot, she heads back to the studio to retrieve the forgotten prop; herfriends, meanwhile, head home to prepare a USstyle meal the group has planned. Once back in the studio, Billie doesn’t hear the nightwatchman lock up, but soon realizes she’s trapped in the building. Hearing noises, she goes downstairs in hopes th a t someone has come to free her, but instead what follows is a harrowing roller coaster ride th a t spirals in wholly unexpected directions. Imaginative camerawork, razor-sharp editing, and an astonishing directorial debut by Britains Anthony Waller combine to make Mute Witness a triumph of sheer suspense.

This sly, sem iautobiographical recounting of the changing sexual mores of a nation— as seen through the eyes of one befuddled, hapless man over the course of three decades— is a droll delight from first-tim e film director Jan Bucquoy (a slightly notorious Belgian writer, designer, producer, and conceptual artist).Young Jan clearly formed his early opinions about sex in his childhood home during the ’50s: his m other was a woman who ju stifie d everything— including breast-feeding— in term s of how much money she could save, and his father was an insensitive lout. Narrating his subsequent adventures in the field, Jan recounts his firs t awakening to sexual feelings on a romantic trip to the cinema to see Johnny Guitar as a boy. Stumbling through successive encounters with a series of remote, attractive women (such as the beauty who reads The Communist Manifesto to him while she poses nude), he eventually winds up taking a hiatus from the sexual revolution to marry and father two children of his own. As much at sea in married life as he was when single, he soon finds him self alone again and even more out of step with the changing sexual mores around him. Bucquoy infuses his story with a charming insouciance, telling all candidly and with a sharp sense of humor th a t mocks Belgian stuffiness and parochialism.

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M U T E W IT N E S S Great Britain, 1995

N ew Directors Show case

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Monday, May 29 I Seven Gables, 6:30pm Saturday, June 3 I Harvard Exit, 12:30pm

Sunday, May 28 ■ Harvard Exit, 9:15pm Wednesday, May 31 ■ Egyptian, 5:00pm

TH E S ILE N C E OF NETO (El Silencio de Neto) Guatemala, 1994

S IS TE R M Y S IS T E R Great Britain, 1 994

Director/Producer: Luis Argueta Screenwriters: Justo Chang, Luis Argueta Cinematographer: Ramon Suarez Editor: David Tedeschi Music: Jose Gallegos, Maurice Gallegos Cast: Oscar Javier Almengor, Herbert Meneses, Julio Diaz, Eva Tamargo Lemus, Eduardo Jose Guerrero Print Source/lnternational Sales: Forefront Films 1 0 6 minutes

Director: Nancy Meckler Producer: Normal Heyman Screenwriter: Wendy Kesselman Cinematographer: Ashley Rowe Editor: David Stiven Music: Stephen Warbeck Cast: Julie Walters, Joely Richardson, Jodhi May, Sophie Thursheld Print Source: Seventh Art Releasing 8 9 minutes

Luis Argueta’s debut feature is also the first feature film produced in Guatemala. It’s a poignant coming-of-age story set in a tim e of political turm oil, in 1954, when the US government, underpressure from the United Fruit Co., ordered the CIA to overthrow the socialist administration of Jacobo Arbenz. When we first meet Neto Yepes, a shy, pudgy 11-year-old, he is attending the funeral of his Uncle Ernesto. Through a series of flashbacks, we discoverthat Neto was very close to his uncle, though he is constantly doted on by his mother, Elena, and various female relatives. His father, Eduardo, is a conservative m iddle-class governm ent teacher with a longstanding hostility toward his brother. As the military conflict escalates, further encroaching on everyday life, Neto’s father loses his job and the family is forced to flee the city. Through it all, Neto is torn between his father’s stern, emotionally distant hand and the way Ernesto fuels his dreams and teaches him to fly model hot air balloons. But the m ost important lesson Uncle Ernesto teaches Neto is the danger of keeping silent and not speaking out in the face of lies and injustice. Needless to say, this last lesson has a particular resonance within the political context of the film. Argueta mixes elements of magical realism with a straightforward narrative, and beautifully handles Neto’s emotional turm oil. The result is a film with tenderness and heart tha t paints a portrait of a Guatemala we’ve never seen before. Awards: Oscar submission, Best Foreign Language Film, 1994; Special Mention, International Critics’ Prize, Venice Film Festival, 1994; International Critics’ Prize, Puerto Rico Film Festival, 1994

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This very strange tale, taken from the true case tha t formed the basis of Jean Genet s The Meids, is set in a French provincial town during the 1930s, a tim e when social rigidity and sexual repression were paramount factors in the way people conducted themselves. The wealthy Madame Danzard and her daughter Isabelle lead lives of perfect respectability in the exquisite manse they share in the quiet town of Le Mans. Their two servants, sisters Christine and Lea, are the envy of the Danzard’s neighbors for their immaculate appear ance and careful attention to duty. This perfect bourgeois existence is not, however, what it seems. While Madame’s burden is her awkward, sulky daughter, Isabelle, Christine’s is her younger, inexperienced, sister Lea. But the pretty, shy, and seductive Lea is also heronlyjoy. The atmosphere in the house becomes increasingly claustrophobic, fueled by Madame Danzard’s uneasy awareness that the close relationship between her two maids has taken on a new dimension. Despite her growing unease, it is beyond even her imagination to understand the sexual fever tha t now exists between the two girls. As tension between the four women escalates to the boiling point, an act of shocking violence erupts, catapulting the complacent little town into the limelight and ensuring the Danzard household a place in history. This dark, perverse gothic tale boasts incredible performances by Julie Walters as Madame Danzard and Joely Richardson as the obsessive servant Christine. Definitely not a film for the squeamish. Awards: Golden Spike for Best New Director; Best Actress, Joely Richardson and Jodhi May; Local Audience Award, Valladolid Film Festival, 1994

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Thursday, June 8 ■ Harvard Exit, 7:15pm Sunday, June 11 ■ Harvard Exit, 12:30pm

Tuesday, June 6 ■ Varsity, 7:15pm Friday, June 9 ■ Varsity, 5:00pm

SONG OF TH E S IR E N Israel, 1995 Director: Eytan Fox Producer: Jonathan Aroch Screenwriter: Irit Linur Cinematography: Avi Koren Editor: Zohar M. Sela Music: Ady Cohen Cast: Dalit Kahn, Boaz Gur-Lavi, Yair Lapid, Avital Diker, Orly Zilberschatz-Banai, Yaffa Yarkoni Print Source: Talisma Productions 9 1 minutes This unusually refreshing Israeli comedy is set against the back drop of the Gulf War. What sets it apart from other Israeli film s is tha t the protagonist is not ducking for cover but looking for romance among Saddam Hussein’s Scud m issiles. Smoothly directed by first-tim er Eytan Fox, the film is based on one of the biggest-selling novels ever published in Israel and went on to break all box office records in th a t country. Dalit Kahn stars as a sharp and sexy Tel Aviv advertising executive in her early 30 s who is still recovering from a recent breakup with her longtime live-in boyfriend, who now is engaged to a much younger woman. It’s alm ost New Year’s Eve, and the news is broadcasting dire warnings about the dangers of the expected attack on Tel Aviv. But Talila isn’t really worried about such things. She’s much more concerned about whether she’ll find the perfect man, or at least someone with whom she can spend New Year’s. W ithout much trouble she finds someone for the evening’s festivities, and a few days later she falls in love with a boyishly handsome food inventor who works for one of her clients. A romance ensues, until his ex-girlfriend comes back. But Talila is not going to let a Scud or some girl get in her way. Director Eytan Fox has come up with an ironic look of the Gulf War in this deliciously sassy film th a t is an engaging and entertaining glimpse o f love and lust under the threat of m issile assaults.

Director: Tomoyuki Furumaya Producers: Takenori Sento, Tamotsu Kanamori Screenwriter: Tomoyuki Furumaya Cinematographer: Kazuhiro Suzuki Editor: Mari Kishi Music: Isao Yamada Cast: Yukako Shimizu, Hideo Sakai, Toshio Kamiaki, Yoshiyuki Kubota, Hiromi Kurose Print Source/lnternational Sales: PIA Corporation 9 5 minutes Tomoyuki Furumaya was the surprise winner of the inaugural Dragons and Tigers Award for Young Cinema in Vancouver last fall. His charming This Window Is Yours shows a refreshing lack of pretension, especially after the recent onslaught of films about unreal characters in violent situations without a wisp of a script, let alone a grasp of real emotion. This film— Furumaya’s first— has plenty going on in the heads and hearts of its main characters and shows a sensitive understanding of teenage romanticism. It’s summer vacation, and 16-year-old Yoko’s family is moving to Hokkaido. Her parents have already left, but she keeps delaying her departure, crossing a board rigged between roofs to spend her days with next-door neighbor Taro, who is hobbled with a broken leg. The two are obviously attracted to each other, but neither can summon the courage to do anything about it, and the sexually naive Yoko is ju st starting to discover her feminine charms. “Their uncertain ties are echoed in the lives of their friends; no one is quite certain of anything in the languorous heat. Tomoyuki Furumaya’s first feature is quite unlike other recent Japanese movies about teenagers. For one thing, it’s about romantic longings ratherthan sex. For another, its tone is sensual ratherthan sappy. For yet another, its setting is rural rather than urban, and it catches the rhythms of young lives with surreal precision. Plus there’s the small matter of its visual style; it’s far from flawless, but the overall control of composition and m/'se-en-scene suggests a flair of the kind associated with veteran masters more than young independents. In a film that saves its first big close-up for its first intimate caress, the long view is everything, and Furumaya’s vision is 2 0 /2 0 .” — Tony Rayns, Vancouver International Rim Festival Awards: Dragons and Tigers Award, Vancouver Rim Festival, 1994

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U S P r e m ie r e

T H IS W IN D O W IS Y O U R S (Kono Mado Wa Kimi No Mono) Japan, 1994

N ew Directors Show case

New Directors Showcase

Monday, May 29 ■ Harvard Exit, 9:15pm Wednesday, May 31 ■ Harvard Exit, 5:00pm

Thursday, May 25 B Varsity, 7:15pm Saturday, May 27 ■ Egyptian, 3:30pm

TOKYO C O W B O Y Canada, 1 994

TW O C R IM E S Mexico, 1994

Director: Kathy Garneau Producers: Lodi Butler, Richard Davis Screenwriter: Caroline Adderson Cinematographer: Kenneth Hewlett Editor: Debra Rurak Music: Ari Wise Cast: Christianne Hirt, Hiromoto Ida, Janne Mortil, Anna Ferguson, Alec Willows Print Source/lnternational Sales: Once and Future Films 9 4 minutes

Director/Producer/Screenwriter: Roberto Sneider Cinematographer: Carlos Marcovich Editor: Oscar Figueroa Jara Music: Arturo Marquez Cast: Damian Alcazar, Jose Carlos Ruiz, Pedro Armendariz, Dolores Heredia Print Source/lnternational Sales: Cuevano Films 1 0 5 minutes

Winner of the Most Popular Canadian Film award in Vancouver last fall (shared with Louis 19), Tokyo Cowboy clearly demonstrates that Pacific Northwest filmmaking has come of age. This delightful, made-in-B.C. comedy with inventive takes on lesbian relationships and the western movie genre, charms its way into the heart with its story of cultural confusion and sexual opposites. No Ogawa is stuck going nowhere as a burger flipper in a Tokyo fast-food joint. His dream is to ride the range with his childhood pen pal, cowgirl Kate Beatty, a dream he imagines in scenes from his favorite Hollywood westerns. When No suddenly packs up and heads for Canada, he’s thinking only of his dreams, without any idea of the reality he is walking into. Kate is now an artist, stuck and frustrated by small town life. She shares a house with Shelly, the local grade-school teacher, but can’t adm it to her mother tha t their relationship goes well beyond being roommates. Chafing under a blanket of guilt, it ’s little wonder Kate isn ’t very receptive when No shows up, spurs in hand. Mrs. Beatty is soon charmed by this potential suitor, and Shelly can’t understand Kate’s rejection o f him and unwillingness to acknowledge their relationship. As No tries to incorporate these new developments into his dream, the scene is set for a gender bending showdown. This debut feature from Kathy Garneau (Rules for Romance, SIFF ’94) gleefully subverts the conventions of westerns, not the least of which is tha t all of the main characters are entitled to an “ identity crisis.” No’s attem pts to deal with his changing circumstances are hilariously played out in wonderful black-and-white “film within a film ” sequences. Packed with excel lent characters, solid performances, and fine direction, Tokyo Cowboy is a real nouvelle western, full of fun and surprises.

This charming, accomplished debut by the clearly gifted Roberto Sneider concerns a likable young architect who flees Mexico City when he’s falsely accused of a crime and winds up at the country home of his wealthy, elderly uncle Ramon. Sickly and childless, Uncle Ramon takes a shine to his long-lost nephew, and soon local family members, worried about their inheritance, begin plotting against young Roberto. Roberto, meanwhile, is doing a little plotting of his own: realizing that he’s on to a good thing, he has no intention of letting the relatives spoil it for him. The labyrinthine tw ists and turns of the plot (based on a novel by Mexican writer Jorge Ibarguengoitia) are a joy to behold; director Sneider has invested Two Crimes with a sly, dryly humorous touch tha t adds greatly to its many pleasures. Awards: Best Film, Nantes Film Festival, 19 94

Awards: Most Popular Canadian Film, Vancouver Film Festival, 1994

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B A B EL-OUED C IT Y Algeria/France/Germ any/Sw itzerland, 1994

Winner o f the Critics Prize at Cannes last year, Bab el-Oued City is a powerful portrait of the bullying tactics and hidden agendas of Islamic fundam entalists in Algeria. Set during the 19 8 8 riots, the film follows a young baker named Boualem who works nights and sleeps during the day. Returning home one morning, he angrily rips down one of the many loudspeakers th a t constantly blare funda m entalist admonitions and disturb his sleep. A radical extremist leader, Said, takes this act as an attack on his beliefs and swears revenge on the perpetrator. Bab el-Oued City soon plunges into turmoil. Not simply a study of fundam entalism and its repercus sions, the film is an intricate story of contemporary Algeria, complete with Europeanized wealthy, rebellious youth, undecided laborers, and, of course, m ilitant religious factions. Says writerdirector Merzak Allouache: “ During the shooting in the spring of 1993, the everyday life of Algiers was one o f murders, arrests, and reprisals. Despite all the instability, it was necessary to shoot in Algiers. In the tim es our camera could venture out into the streets, French people could join us on the set and still we could dream of Cinema. Unfortunately, all this is quite im possible today. Some of the people who read my script and gave me money to begin production have since been assassinated.”

A S H A D O W YOU SOON W IL L BE (Una Sombra Ya Pronto Seras) Argentina, 1994

Contemporary World Cinema

Director: Merzak Allouache Producers: Jacques Bidou, Jean-Pierre Gallepe Screenwriter: Merzak Allouache Cinematographer: Jean-Jacques Mrejen Editor: Marie Colonna Music: Rachid Bahri Cast: Mohamed Ourdache, Hassan Abdou, Nadia Kaci, Messaoud Hattou, Nadia Samir Print Source/lnternational Sales: Jane Balfour Films Ltd. 9 3 minutes

Wednesday, May 31 ■ Seven Gables, 7:15pm Monday, June 5 ■ Seven Gables, 5:00pm

Director: Hector Olivera Producer: Fernando Ayala Screenwriters: Osvaldo Soriano, Hector Olivera Cinematographer: Felix Monti Editor: Eduardo Lopez Music: Osvaldo Montes Cast: Miguel Angel Sola, Pepe Soriano, Alicia Bruzzo Print Source: INCAA International Sales: Aries Cinematografica 1 0 5 minutes In Hector Olivera’s farcical romp through the backwaters of Argen tina, a nameless, washed-up computer programmer walks off into the endless pampas after the train he is on breaks down in the middle of nowhere. We follow him as he wanders through forgotten towns, deserted hotels, abandoned highways, and broken dreams, encountering along the way a menagerie of eccentric characters who lure him with rides, food, sex, and misadventure. Full of magic and mischief, A Shadow You Soon Will Be is a lively study of characters fleeing their pasts and barreling toward other countries and impos sible alliances. In their efforts, they collide with one another, like bumper cars, causing havoc— even death— and, in the end, getting nowhere. Selected Filmography: Psexoanalisis (1967), Las Venganzas de Beto Sanchez(1972), El Muerto (1975), La Nona (1978), A Funny, Dirty Little War(1984), Two to Tango (1989), Midnight B lack(1990), The Gospel According to Marcus (1990)

Awards: Fipresci Prize, Cannes Film Festival, 1994; Silver Tanit, Carthage Film Festival, 19 94 Selected Filmography: Omar Gatlato (1976), Love in Paris (1986)

Australia

Contem porary World Cinem a

Saturday, May 27 I Varsity, 9:15pm Tuesday, May 30 I Harvard Exit, 5:00pm

Friday, May 19 ■ Harvard Exit, 7:15pm Saturday, May 20 ■ Harvard Exit, 3:30pm

DALLAS DOLL Australia, 1994

THE H EA R TB R EA K KID Australia, 1993

Director/Screenwriter: Ann Turner Producer: Ross Matthews Cinematographer: Paul Murphy Editor: Mike Honey Music: David Hirschfelder Cast: Sandra Bernhard, Victoria Longley, Frank Gallacher, Jake Blundell, Rose Byrne Print Source: Artistic License Films 1 0 4 minutes

Director: Michael Jenkins Producers: Ben Gannon, Barbara Gibbs Screenwriters: Richard Barrett, Michael Jenkins Cinematographer: Nino M artinetti Editor: Peter Carrodus Music: Single Gun Theory, The Persuasions, The Neville Brothers, U2 Cast: Claudia Karvan, Alex Dimitriades, Steve Bastoni, Nico Lathouris, William Mclnnes, Doris Younane Print Source: Beyond Films Limited 97 minutes

Outrageous, sassy Sandra Bernhard (subject of Confessions o f a Pretty Lady) stars as Dallas Adair, a take-charge American who brings havoc to a seemingly stable Australian family. Her first encounter with the Sommers family is, significantly, a near-death experience aboard a plane about to crash. Dallas sits next to teenager Charlie (taking his girlfriend’s seat) and refuses to move. She rallies the terrified passengers by having them sing a therapeu tic round of “ Old McDonald Had a Farm” while holding hands. Dallas lands on her feet in a smug Sydney suburb, where she sets up as a golfing guru who improves the members’ games by playing with their heads. Full of glib (but contradictory) stories about her colorful past, Dallas moves in with the Sommers family. She has a galvanizing effect on everyone, particularly the repressed mother (Victoria Longley), who begins to assert herself in startling ways. In a comic variation on Pasolini’s Teorema, all notions of sexual orthodoxy are thrown into disarray under Dallas’s disruptive influ ence. Only teenage daughter Rastus, a UFO freak, and Argus the fam ily dog, who sees her as a threat from the start, resist her charms. This may be the first movie to feature a dog’s nightmare, experienced by Argus in a postoperative stupor after having been beaned by Dallas with an errant golfball. W riter/director Ann Turner {Celia, Hammers overthe Anvil) creates a gallery of imaginative and surprising characters in a story tha t combines sensuality and sardonic humor.

This uplifting, extremely enjoyable love story revolves around what seems like ataboo subject: the unexpected romance between a high school teacher and her attractive, 17-year-old student. The fact tha t the film avoids the pitfalls of sm uttiness or cliché speaks loudly for the talents of its gifted young director/co-screenwriter, Michael Jenkins. The story centers on Christina, a novice 22-year-old school teacher who lives with her well-to-do parents and Is engaged to an upwardly mobile but unexciting young businessman. While her parents adore Christina’s fiancé, she has started to have serious doubts about her own feelings for him; embarking on her new career in teaching has given her a newfound sense of self-esteem, causing her to reassess her life and her circumstances. Into this picture steps Nick, a handsome, athletic student in her class who is as unruly as Christina is conventional. Through a series of events tha t brings the two together in more intimate surroundings, she finds herself drawn to him, and he in turn falls head over heels for her. What ensues from this mutual attraction confounds expectations in every way. Selected Filmography: Emerald City (1992), Sweet Talker (1992)

Selected Filmography: Celia(1988), Hammers overthe Anvil (1991)

C 89,5

A ustralia

Friday, May 26 ■ Varsity, 7:15pm Monday, May 29 ■ Harvard Exit, 12:30pm

Sunday, May 28 I Seven Gables, 12:30pm Tuesday, May 30 I Seven Gables, 7:15pm

MUSHROOMS Australia, 1995

U S P r e m ie r e

Director: Ben Lewin Producer: Bob Weis Screenwriter: Ben Lewin Cinematographer: Vincent Monton Editor: Peter Carrodus Music: Paul Grabowski Cast: Gia Carides, Anthony LaPaglia, Rebecca Gibney, Sobian Tuke, Jacek Koman, David W atson, Linda Gibbon, Michael E. Stevens Print Source: The Samuel Goldwyn Company 9 4 minutes

Director: Alan Madden Producer: Brian Rosen Screenwriter: Alan Madden Cinematographer: Louis Irving Editor: Henry Dangar Cast: Julia Blake, Simon Chilvers, Lynette Curran, Brandon Burke Music: Paul Grabowsky Print Source/lnternationai Sales: Southern Star Film Sales 93 minutes

With a wink to the 19 3 0 s screwball comedies and a nod to the Rock Hudson— Doris Day romantic comedies of the ’50s and ’60s, Lucky Break introduces us to two strong-willed characters: Sophie is an attractive author of bodice-ripping romance novels, while Eddie is a slick jew eler and full-time womanizer with an overbearing fiancée. The two “ meet cute” at a library one night when Eddie comes upon Sophie reading aloud from her latest raunchy novel, and he’s instantly sm itten with the young woman. For her part, Sophie is slightly put off by his approach, but subsequently finds she can’t get him out of her mind. What Eddie doesn’t know and Sophie is all too aware of is her handicap: one of her legs has been paralyzed by polio since childhood. Because she was sitting when they met, she knows he is unaware of it. Convinced th a t he’ll be put o ff if he discovers her impairment, Sophie spies on Eddie from a distance. Her pursuit, however, soon turns into a comedy o f errors in which no one remains unscathed. Lucky Break sweetly and somewhat subversively imagines a world where everyone, in one way or another, is impaired.

How do you get rid of an unwanted visitor— particularly when he’s dead? Leave it to elderly pals Minnie and Flo to cook up an outrageous solution in Mushrooms, a madcap comedy with a deliciously wicked tw ist from first-time Australian film m aker Alan Madden. Since their husbands died, longtime friends Minnie and Flo have developed a rather sideways approach to getting by— Flo (Julia Blake) goes out and shoplifts everything from groceries to household appliances, while Minnie (Lynette Curran) tends to their little-used pawnshop and boarding house. But the heat is on when a small-time th ie f called Grubb runs into their house with a bag of stolen loot, closely pursued by a charming elderly copper who’s new to town, Sgt. Harry Instep (Simon Chilvers). Grubb takes Flo hostage in her upstairs room while Minnie’s ordered to fend off the police. But Harry, the delightful, silver-tongued old gent, starts flirting with her, and next thing you know he has rented a room there, to Flo’s horror. Later, when helpful Harry sets about repairing a faulty gas heater, he unknowingly asphyxiates Grubb, who’s fallen into a drunken snooze in Flo’s bedroom. Next morning the ladies discover Grubb, in a state of rigor mortis. In a panic to fend off a police investigation, they decide to get rid of him the only way they can— one piece at a time. But the deceased Grubb manages to overstay his welcome no m atter how they struggle to dispose of him. If only Harry weren’t such a clever, honest cop— and so darned attractive! Mushrooms is an outrageously inventive comedy about murder, sex, money, and food, in which you’re never too old to misbehave.

Contemporary World Cinema

LU C K Y B R EA K Australia, 1 994

C '8 9 -5 9

Australia

Contemporary World Cinema

Tuesday, May 30 ■ Varsity, 9:30pm Thursday, June 1 ■ Egyptian, 5:00pm

Friday, May 19 ■ Varsity, 9:30pm Sunday, May 21 ■ Varsity, 12:30pm

ONLY TH E BRAVE Australia, 1994

S P ID E R A N D ROSE Australia, 1994

Director: Ana Kokkinos Producer: Fiona Eagger Screenwriters: Ana Kokkinos, Mira Robertson Cinematographer: James Grant Editor: Mark Atkin Music: Philip Brophy Cast: Elena Mandalis, Dora Kaskanis, Maude Davey, Bob Bright, Helen Athanasiadis Print Source: First Run Features 59 minutes

Director: Bill Bennett Producers: Lyn McCarthy, Graeme Tubbenhauer Screenwriter: Bill Bennett Cinematographer: Andrew Lesnie Editor: Henry Dangar Music: The Cruel Sea Cast: Ruth Cracknell, Simon Bossell, Max Cullen, Lewis Fitzgerald, Jennifer Cluff, Nellie Bennett, Henry Bennett Print Source/lnternationai Sales: Southern Star Film Sales 94 minutes

Alex (Elena Mandalis) and Vicki (Dora Kaskanis) are best friends, tough Greek-Australian teenage girls involved in drugs, vandalism, fights, sex, and aimless hanging out. Alex lives with her embittered dad but dreams o f reuniting with her mother, a singer who ran away years ago. Vicki aspires to be a singer, like Alex’s mother. Alex wants to be a writer, and is encouraged by her sympathetic English teacher Kate, who reluctantly responds to the sexual attraction she feels from Alex. Only the Brave is an honest and authentic vision of the contemporary teen war zone of ragged emotions, sex, boredom, and an all-pervading sense o f abandonment. Dark and brooding but also tender and yearning, this film is a remarkable debut by director Ana Kokkinos, an industrial lawyer making a big career switch. The young actresses’ performances are a revelation, giving the film a raw power tha t cannot be forgotten.

While odd-couple pairings are certainly not strangers to the screen, this witty new Australian entry to the genre abounds with invention and charm. After losing her husband in a terrible car accident suffered on a cross-country trip, the elderly, tart-tongued Rose has spent a year recuperating in the hospital. Anxious to return to the family farm she shares with her son and detested daughter-in-law, Rose looks forward to leaving the hospital en route to a 70th birthday party her son plans for her return. For the trip, a six-hour drive from Sydney, she is assigned a young, punkish ambulance driver who is marking his last day on the job; he, in turn, wants nothing more than to dump the old lady and get back to the city for a wild party he has planned to celebrate leaving the job he despises. Over the course of the ensuing trip, all manner of unexpected incident are visited on the dueling duo. Confounding expectations, this endlessly inventive story of generational conflict on the path to self-determination breathes fresh life into both the odd-couple and road movie genres. Director Bill Bennett invests his characters with deliciously sharp dialogue, and fills his script with more tw ists and turns than a country road, providing the moviegoer a refreshing and highly original ride.

Awards: Best Film, Melbourne International Film Festival, 1994; Best Film (Fiction), Sidney Film Festival, 1994; Audience Award for Best Film, San Francisco Lesbian & Gay Film Festival, 1994 Preceded by Playing the Part (USA, 1994, 38 minutes). Director Mitch McCabe, a student of Ross McElwee, needs to tell her highly proper and well-off parents tha t she’s a lesbian— but how? This film, both anxious and humorous, records her difficulties.

Awards: Best Supporting Actor, Max Cullen, Australian Film Insti tute Awards, 1994 Selected Filmography: Shipwrecked (1984), A Street to Die (1984), DearCardholder(1988) J ilte d (1988), M aipractice(1988)

A u stralia • Austria

Sunday, May 28 I Seven Gables, 6:30pm Thursday, June 1 I Harvard Exit, 5:00pm

Tuesday, May 30 ■ Harvard Exit, 9:30pm Sunday, June 4 ■ Seven Gables, 3:30pm

Director: John Ruane Producers: Peter Beilby, Grainne Marmion Screenwriters: John Ruane, Jim Barton Cinematographer: Ellery Ryan Editor: Ken Sallows Music: David Bridie, John Phillips Cast: Jamie Croft, Lisa Harrow, Mark Fairall, Amanada Douge, Peter Coyote Print Source/lnternational Sales: Beyond Films Ltd. 1 0 5 minutes

Director: Michael Haneke Producer: Veit Heiduschka Screenwriter: Michael Haneke Cinematographer: Christian Berger Editor: Mariae Homolkova Cast: Gabriel Cosmin Urdes, Lukas Miko, Otto Grunmandl, Anne Bennet, Udo Samel Print Source/lnternational Sales: Austrian Film Commission 9 6 minutes

That Eye, the Sky\s a lyrical adaptation o f Tim W inton’s novel about a rural fam ily in dire straits visited by a stranger who promises help and salvation but may well be a phony. The Flack fam ily lives in a run-down farmhouse near a sleepy backwater town. It’s a secure world for Morton, or “ Ort” as he prefers, an inquisitive, sensitive 12year-old. His father, Sam, gets by working at the local garage, his mother m aintains the house and farm, and his sister, Tegwyn, is a rebellious, bored teenager ju s t discovering her independence and sexuality. A serious vehicle accident shatters the fam ily’s peaceful existence, and when Sam is brought home from the hospital in a coma, they see their father slipping away. Ort survived meningitis as a child, and has a deep faith th a t his father can pull through. But Sam does not respond to treatm ent. Suddenly, one day, wandering evangelist Harry Warburton (Peter Coyote) shows up at their door, mysteriously knowing the details of the fam ily’s plight. He offers help, but it seems alm ost too good to be true. Are their suspicions valid, or does this stranger really have some heavenly powers? That Eye, the Sky Is a story about mysticism and m iracles th a t is handled in a totally realistic style. John Ruane captures the humility and pace of the rural setting, and the vitality of life lived close to the land. Ellery Ryan’s glorious cinematography is magical on its own, and emphasizes this child’s worldview, especially in the mystic swirls of color and evocative wide-screen landscapes. The cast is uniformly excellent, especially young Croft as Ort, and Peter Coyote pulls off the preacher role without his usual theatrics. There’s definitely a touch of The Rainmaker here, but without Burt Lancaster’s fire and brimstone. That Eye, the Sky is a beautiful coming-of-age film about the power of love, the importance o f belief, and the blurry line between the natural and the supernatural.

This forbiddingly titled film Is the third part of the trilogy begun with The Seventh Continent (SIFF ’90) and Benny’s Video (SIFF ’94), in which Michael Haneke examines the “ progressive emotional gla ciation” of his country. All three film s deal with senseless acts of violence, but 71 Fragments takes place not with a single family but in a cross-section of society. On Christmas Eve of 1993 a 19-yearold student murders a number of people who are complete strangers to him. About a dozen disparate characters are intro duced on their way to the fatal encounter, then periodically revisited in surprising ways. The story is told in five asymmetrical chapters, each of which begins with TV’s evening news, featuring numbing, recurring images of the war in Yugoslavia, the Michael Jackson affair, and so on. Michael Haneke raises troubling questions and refuses to provide answers, forcing the viewer to make his own interpretation. Haneke is an intellectually demanding film m aker who believes tha t cinem a’s most important function is to disturb and disorient its viewers, shaking them out of passivity; at this, the chilling 71 Fragments succeeds all too well.

Selected Filmography: Death in Brunswick (1989)

Selected Filmography: The Seventh Continent (1988), Benny’s Video (1992)

Contemporary World Cinema

U S P r e m ie r e

7 1 FR A G M E N TS OF A C HRONOLOGY OF C H A N C E Austria, 1994

THAT EYE, TH E S K Y Australia, 1 994

Austria • Burkina Faso

Contemporary World Cinema

Thursday, June 1 ■ Harvard Exit, 9:30pm Sunday, June 4 ■ Harvard Exit, 12:30pm

THE POET’S PRINCESS Austria, 1994

Monday, June 5 ■ Varsity, 7:15pm Thursday, June 8 ■ Egyptian, 5:00pm

A FR IQ U E , M O N A F R IQ U E ... Burkina Faso, 1994

U S P r e m ie r e Director/Producer: Niki List Screenwriter: Bernhard Scharfl Cinematographer: Martin Stingl Editor: Ingrid Koller Music: Martin Lichtenwallner, Peter Janda Cast: Gudrun Teilsch, Hans Werner Meyer, Hans Dieter Knebel, Birgit Zamulo, Gerhard Haase-Hindenberg, Silvia Fenz, Franz Solar, Wolfgang Gasser, Hilde Sochor, Johannes Silberschneider, Piroschka Szekely, Bernhard Scharfl Print Source/lnternational Sales: Austrian Film Commission 8 8 minutes Robert is a successful crime novelist who has ju s t finished his first “ serious” book, a tragic love story featuring a fantasy heroine and a doomed writer. Shortly afterward, he encounters a young woman who seems to be the embodiment of his novel’s female character, and before long she manipulates her way into his home and his life. Though Sarah starts out behaving ju s t like the character in Robert’s book, she soon stops being a male fantasy figure and becomes an independent woman who no longer belongs to her creator. Despite this disconcerting turn of events, Robert finds him self falling head over heels in love with her.This thoughtful comedy from Austria’s Niki List is a refreshing take on m ale/fem ale relationships. When Robert is forced to come to grips with the fact tha t the compliant and submissive woman he has created has a mind and will of her own, he confronts his long-held preconceptions of the “ perfect” woman and the masculine role in relationships.

Br it is h A irways

Director: Idrissa Ouedraogo Producer: Cedomir Kolar Screenwriters: Idrissa Ouedraogo, Santiago Amigorena Cinematographer: Daniel Barrau Editor: Monica Coleman Music: Ismael Lo Cast: Ismael Lo, Georgette Pare, Assita Ouedraogo, Naky Sy Savane Print Source/lnternational Sales: Noe Productions 54 minutes Afrique, Mon Afrique is the first African film to deal with AIDS; it is a modern-day folktale whose simplicity belies the social and psychologi cal impact of the disease. A young man, fleeing his village to pursue his musical dreams, is haunted by the loss of a close friend. Unable to come to terms with his grief and guilt over her death, the young man writes a song that becomes a requiem for all that is lost in today’s Africa. Made by Idrissa Ouedraogo, who is widely acknowledged as the preeminent African director, the film is a bittersweet journey to the backstreets of urban Africa, supported by powerful imagery and a seductive score from world music star Ismael Lo. Filmography: Yam Daaibo (1987), Yaaba (1989), Tilai(1990), Karim Na Sala (1991), Saamba Traore (1992)

HELLO PHOTO USA, 1 994 Director: Nina Davenport Print Source: Department of Visual and Environmental Studies, Harvard University 5 5 minutes Photographer and film m aker Nina Davenport spent one year traveling throughout India with her 16mm hand-crank movie cam era. In one unforgettable image after another, she leads us through countless places and moments: a ju te factory straight out of the industrial revolution, cows stuck in traffic jam s. W e’re taken from backstage at a traveling circus to the classrooms o f a school for blind boys, to a ceremony for an arranged marriage. Hello Photo is far more than ju s t a revelatory visual experience o f India; it is also an incisive look into the truths and deceptions inherent in making movies. Awards: Outstanding Independent Film Award, New England Film and Video Festival, 1994; Judges’ Technical Excellence Award, Ann Arbor Film Festival, 19 94

C a m b o d ia • C a n a d a

Monday, May 22 ■ Varsity, 5:00pm Tuesday, June 6 ■ Harvard Exit, 7:15pm

Thursday, June 1 ■ Egyptian, 9:30pm Saturday, June 3 ■ Egyptian, 3:30pm

EC LIPSE Canada, 1994

Director: Rithy Panh Producer: Jacques Bidou Screenwriters: Rithy Panh, Eve Deboise; from a novel by Shahnon Ahmad Cinematographer: Jacques Bouquin Editors: Andree Davanture, Marie-Christine Rougerie Music: Marc Marder Cast: Peng Phan, Mom Soth, Chhim Naline, Va Simorn, Sophy Sodany Print Source: Thomas F.R. Garvin, Ervin Cohen and Jessup 1 2 5 minutes

Director: Jeremy Podeswa Producers: Camila Frieberg, Jeremy Podeswa Screenwriter: Jeremy Podeswa Cinematographer: Miroslaw Baszak Editor: Susan Maggi Music: Ernie Tollar Cast: Von Flores, John Gilbert, Pascale M ontpetit, Manuel Aranguiz, Maria del Mar, Daniel Maclvor, Matthew Ferguson Print Source: Strand Releasing International Sales: Fire Dog Films 9 5 minutes

This delicate, beautifully photographed film about a rural Cambodian family focuses on the farm er’s centuries-old life-or-death link with rice growing. It’s a way o f life th a t implies harmony with nature, but it is a fragile harmony, with the risk of disaster always present. Poeuw, his wife, Om, and the ir seven daughters live in a remote village. Poeuw worries about their dwindling acreage, and Om worries about what might happen to them if he became incapaci tated. A seemingly slight accident occurs: Poeuw steps on a thorn. But his foo t becomes infected, leading to his death and tragedy for the family. Om is forced to take overthe burden of working in the rice fields as well as running the family. She becomes obsessed with the crop and grows distrustful o f her daughters. At last she breaks under the strain, and the eldest daughter m ust take charge for the fam ily’s survival. Making his feature debut, Paris-based Cambodian director Rithy Panh gives the story a haunting, tim eless quality, broken only by a dramatic dream sequence of the village being burned by the Khmer Rouge.

The setting is Toronto, a week before a predicted solar eclipse. In Jeremy Podeswa’s first feature, the varying responses to the upcoming celestial event set the stage for an impressive drama about the search for intimacy and understanding. The growing sense of excitement and fear is revealed through 10 characters whose lives intersect in love, desire, and need. It begins with Brian, an uptight businessman who picks up young hustler Henry and later rekindles an affair with Sylvie, his housemaid. Sylvie trysts with Gabriel, a refugee in her English class, who then has a rendezvous with Sarah, the wife of his immigration lawyer. In Eclipse, sex circulates like a juicy rumor. Though the characters are initially unknown to each other, with each encounter another connection is made. This game of carnal musical chairs includes every manner of coupling— homosexual, heterosexual, and both. But Eclipse is not ju s t about sex. Podeswa’s intelligent script is more concerned with the internal turmoil of these characters, the often elusive search for pleasure, and the difficulty of maintaining passion in relationships. Perhaps th a t’s why this metaphorical device works so well— like the heavenly bodies, the characters intersect only briefly, and then part to resume their normal lives. “ Morality in the film is always ambiguous," explains Podeswa. “All of the characters have com plex lives. Not necessarily double lives, but lives filled with contra dictions. They’re lives like ones led by m ost of the people I know, but they represent a reality I don’t feel is acknowledged or ad dressed in m ost film s .” The ensemble of talented up-and-coming actors turns in wonderful, subtle performances, and Miroslaw Baszak’s cinematography slips between sensuous, tinted color and moody black-and-white. Jeremy Podeswa demonstrates an assured directorial hand, and his take on a fam iliar theme is both finely crafted and delightfully fresh.

Contemporary World Cinema

PEO PLE OF TH E R IC E P A D D IE S Cambodia/France/Switzerland/Germany, 1994

Canada

Contemporary World Cinema

Saturday, May 27 ■ Harvard Exit, 6:30pm Monday, May 29 ■ Seven Gables, 12:30pm

LO UIS 1 9 , KING OF TH E A IR W AVES (Louis XIX, le roi des ondes) Canada, 1 9 9 4 U S P r e m ie r e Director: Michel Poulette Producer: Richard Sadler Screenwriters: Emile Gaudreault, Sylvie Bouchard, Michel Michaud Cinematographer: Daniel Jobin Editor: Denis Papillon Music: Jean-Marie Benoit Cast: Martin Drainville, Agathe de la Fontaine, Dominique Michel, Patricia Tulasne, Yves Jacques Print Source/lnternationai Sales: Malofilm Group 9 3 minutes This delightful comedy was one of the biggest hits in North America last year, without ever leaving Quebec. However, since taking the Best Screenplay award and Most Popular Canadian Film award (co winner with Tokyo Cowboy) in Vancouver last fall, the film is finally getting a larger release. Louis Jobin is a rather bland TV salesman. He dreams o f being on television, his only known passion, and when cable channel 19 launches a contest to find a viewer whose life will be broadcast live on TV, Louis enters immediately. His total ordinariness make him the perfect everyman, since he doesn’t seem to threaten any sector of the viewing public. Soon Louis’ life is being broadcast round-the-clock, invading every part of his existence and forcing on him more than a few changes. His apartm ent becomes a paradise of product placement, and his mother starts competing for her own recognition. When he meets aspiring actress Julie, the ratings soar, and the show’s producers are determined to do anything it takes to keep them soaring, even if it means embellishing the truth. Blessed with a sm art script, Louis 19 takes some pointed swipes at the pervasiveness of television and behind-the-scenes morals and ethics. Michel Poulette shows great confidence in his first full-length feature, moving the action along at a snappy pace with great comic timing. Martin Drainville is perfect as the naive but endearing Louis, a modern-day Jacques Tatiesque character, and the cast features many of Quebec’s most popular actors.

Saturday, June 3 ■ Varsity, 3:30pm Wednesday, June 7 ■ Egyptian, 5:00pm

V E L A Z Q U E Z ’S LITTLE M U S E U M Canada, 1994 Director/Screenwriter: Bernar Hebert Cinematographer: Daniel Jobin Editor: Philippe Ralet Music: Gaetan Gravel, Serge Laforest Cast: Louise Lecavalier, Markita Boies, Dancers of LaLaLa Human Steps Print Source: Antenna 50 minutes Montreal’s acclaimed avant-garde dance troupe LaLaLa Human Steps is featured in this wildly creative performance piece. The viewer enters a dreamworld where the boundaries between fantasy, fiction, art, and dance dissolve. This intriguing voyage takes place in an imaginary museum inhabited by the paintings of Spanish Renaissance master Diego Velazquez, which come to life. The amazing dance sequences, featuring the flam boyant Louise Lecavalier, are both sensual and brutal, staged with a ground breaking freedom. Atone point the dancers dive into a liquid painting and emerge, naked and dripping, onto a new plane. Such imagery recalls the film s of Peter Greenaway, energized into a kinetic kaleidoscope. Selected Filmography: LaLaLa Human Sex Duo No. 1 (1987), Commitment: Two Portraits (1988), Rooms (1988), Pictures at an Exhibition (1992) Preceded by Picasso Would Have Made a Glorious W aiter (USA, 1994, 34 minutes), directed by Jonathan Schell. Glorious Food of New York City is a gourmet catering firm capable of staging a superb banquet for 80 0 in the Guggenheim Art Museum. This delightful, mouthwatering film shows the army of disciplined workers behind the scenes, many of whom turn out to have artistic careers as well.

Awards: Most Popular Canadian Film; Canadian Screenplay Award, Vancouver Film Festival, 19 94 Selected Filmography: Pierre Guimond: entre Freud et Dracula (documentary, 1987), Les Bottes (TV movie, 1987), Coeurde Nylon (TV movie, 1989)

China/Hong Kong

Saturday, May 20 I Egyptian, 3:30pm Tuesday, May 23 I Varsity, 9:30pm

BLUSH (Hongfen) China, 1995 U S P r e m ie r e

Director: Huang Jianxin Producers: Willy Tsao, Jacob Cheung Chi-leung, Li Xudong Screenwriters: Huang Xin, Sun Yi’an Cinematographers: Zhang Xiaoguang, Zhu Shen Editor: Lei Qin Music: Zhang Dalong Cast: Niu Zhenhua, Lei Gesheng, Li Qiang, Ju Hao, Liu Guoxiang, Lin Haihai Print Source: Shu Kei’s Creative W orkshop International Sales: Fortissimo Film Sales 1 4 7 minutes Any observer or participant in office politics, especially governmentstyle, will easily relate to the humorous escapades and trench warfare in Huang Jianxin’s second installm ent of his “ Urban Atti tude” trilogy, following up on last year’s SIFF sleeper hit Stand Up, Don’t Grovel. An unforgettable star, the portly Niu Zhenhua, returns this tim e in the role of Wang Shuangli, assistant director of the Cultural Center in Xi’an, one of China’s oldest cities. A pro at political maneuvering and connections, Wang figures he’s the logical choice to take over as director now th a t the previous one has resigned. Much to his shock, however, the local Communist Party chief passes him over, firs t for an old Party cadre and then for his young, sleazy assistant, Yan. The clever Yan is onto Wang’s game, and although on the surface everything at the Center is functioning normally, an all-out battle is going on behind the scenes. Then the re’s the witty family subplot involving Wang’s infant daughter, his father, poison tea, and an embarrassing shoe repair job. Back to Back is an acidic satire on human relationships and careerist desires. The perfor mances are all first rate. The locations, m ost in Xi’an itself, are wonderfully revealing. Thankfully for us, maverick Huang Jianxin continues to explore the social conflicts and dichotom ies of contem porary urban China with his sharp observations, wrapping them all up in a universal humor. Selected Filmography: The Black Cannon Incident (1985), The Stand-In (1986), Samsara (1988), Stand Up, Don’t Grovel (1993), The Wooden M an’s Bride (1993)

Director: Li Shaohong Screenwriters: Ni Zhen, Li Shaohong; based on the novel by Su Tong Cinematographer: Zeng Nianping Editor: Zhuo Xinxia Music: Guo Wenjing Cast: Wang Ji, Wang Zhiwen, He Saifei, Zhang Liwei Print Source/lnternational Sales: Fortissimo Film Sales 1 1 9 minutes Based on a story by Su Tong (whose work also formed the basis for Raise the Red Lantern), Blush describes the contrasting but interwo ven fates of two prostitutes in the picturesque canal city o f Suzhou (called China’s Venice) who are forced to adjust to new lifestyles afterthe 1949 Communist takeover. Winner of the Silver Bear at this year’s Berlin Film Festival, the film is a vivid, exotic account of the changes taking place in Chinese society during an era of turmoil and “ reeducation.” Zhou Qiuyi and Wang Xiao’e are friends who work in the Red Happiness Inn at the tim e of China’s “ liberation” in 1949; they are among the many courtesans rounded up for reeducation and rehabilitation. Their paths diverge when Qiuyi escapes and hides out at the home of her favorite customer, the wealthy, youthful Lao Pu. But she is too strong-willed to tolerate the open disapproval of Lao Pu’s m other and leaves the house, ending up in a Buddhist nunnery. Xiao’e, meanwhile, goes through rehab and becomes a worker in a silk factory. She meets Lao Pu and they have an affair; they subsequently marry, though by this tim e he has lost all his property and wealth. The plot’s subsequent tw ists and turns reflect the differing characters of the two women: Qiuyi’s damaged pride, selfreliance, and inner strength are contrasted with Xiao’e ’s petulance, weakness, and dependence on men. While the film paints a lavish and moving portrait of life in China during the ’50s, it is ultimately a woman’s film about women, superbly crafted by China’s forem ost woman director.

Contemporary World Cinema

B A C K TO B A C K , FACE TO FACE (Bei Kao Bei, Lian Dui Lian) China/H ong Kong, 1 9 9 4

Wednesday, June 7 ■ Egyptian, 7:15pm Friday, June 9 ■ Egyptian, 5:00pm

Selected Filmography: Bloody Morning (1990), The Case o f the Silver Snake (1992), Family Portrait (1992)

China

Contemporary World Cinema

Sunday, May 28 ■ Varsity, 6:30pm Wednesday, May 31 ■ Harvard Exit, 5:00pm

Croatia

Friday, May 26 ■ Harvard Exit, 5:00pm Sunday, May 28 ■ Harvard Exit, 9:15pm

ERMO China/Hong Kong, 1994

VUKOVAR Croatia, 1994

Director: Zhou Xiaowen Producers: Chen Kunming, Jimmy Tan Screenwriter: Lang Yun Cinematographer: Lu Gengxin Editor: Zhong Furong Music: Zhou Xiaowen Cast: Alia, Liu Peiqi, Ge Zhijun, Zhang Haiyan Print Source: Arrow Releasing 93 minutes

Director: Boro Draskovic Producer: Danka Muzdeka Mandzuka Screenwriters: Maja and Boro Draskovic Cinematographer: Aleksandar Petkovic Editor: Snezana Ivanovic Cast: Mirjana Jokovic, Boris Isakovic Print Source: Iskra Productions 96 minutes

Ermo is a smart, semi-comical tragedy of a hardworking villager’s descent into the banalities of China’s burgeoning capitalism. The wife of an incapacitated husband, Ermo dutifully supports herfam ily by making and selling noodles. But she doesn’t particularly like it. Soon becoming consumed with self-pity and bitterness, she finds these sentim ents enhanced by a feud with her neighbor, the appropriately named Fat Woman. Ermo finds herself both repulsed and enticed by the leisure of her neighbor: Fat Woman spends her days watching the village’s only television while her husband, like Ermo, works unceasingly. Ermo’s bitterness becomes desire— first for a life of leisure, and soon thereafter for the symbol of that leisure, a television. She decides she m ust have it, working harder and longer to acquire it, jeopardizing herself and her family to get it. While a simple tale of simple people, Ermo is steeped in irony and the unfailing truism s of possession, jealousy, and desire. Selected Filmography: In Their Prime (1986), Desperation (1987), Obsession (1989), The Black Mountain Road (1990), No Regrets About Youth (1991), The Impulse o f Youth (1992), The Trail (1992), The Lie Detector (1993)

The story of Vukovar begins on the eve of the collapse of commu nism in Eastern Europe, when giddy optimism rises like a phoenix from the rubble of the newly razed Berlin Wall. A young couple, friends since childhood, are married and begin a new life together in the town of Vukovar, Yugoslavia. Little thought is given to the fact tha t he is Serbian while she is a Croat. During the ceremony, demonstrations erupt in the town square. Before long, scattered fighting breaks out in the countryside and the couple’s blissful honeymoon is interrupted by a call to arms. He is drafted into the crumbling Yugoslavian army, and she is left alone at home to ponder their fate. Soon the fratricidal fighting engulfs their own village, pitting neighbor against neighbor in a nightmarish scenario tha t none could have predicted. Separated from each other by the rapidly escalating hostilities, this once-happy couple is swept up in the violence that surrounds them. As the husband deserts his unit and struggles to return to his now-pregnant bride, he has no idea of the fate that awaits him in the ravaged town they once called home. Awards: Official Oscar Submission, Best Foreign Language Film 1995 Selected Filmography: Horoscope (1969), Red Hot (1979), The Great Silver Area (1979), ZivotJe Lep (Life Is Beautiful) (1979)

Czech Republic

Saturday, June 3 ■ Egyptian, Midnight Wednesday, June 7 ■ Harvard Exit, 9:30pm

Director: Jan Sverak Producer: Petr Soukup Screenwriters: Jan Slovak, Jan Sverak, Zdenek Sverak Cinematographer: F.A. Brabec Editor: Alois Fisarek Music: Ondrej Soukup Cast: Petr Forman, Edita Brychta, Zdenek Sverak Print Source: Aurora Productions International Sales: Film Bridge International, Inc. 1 0 2 minutes Following his Oscar-nominated firs t feature, The Elementary School (SIFF ’92), Jan Sverak changes genres and directs this visionary, tongue-in-cheek sci-fi fantasy about a man whose energy is being sucked away by a mysterious vampirelike force. Sverak claim s this is his answer to American film s like Predator and Terminator, but Accumulator 1 is clo serto David Cronenberg’s classic Videodrome, yet it becomes even more powerful and absurd. Soon after a television interview, couch potato Olda is overcome by an unusual, disabling lethargy. The doctors can’t diagnose his ailment, but a natural healer named Fisarek discovers th a t his problem is chronic energy loss. Fisarek trains Olda to recharge his energy by tuning into nature, art, people, and sex. Olda takes up with Anna, a dentist whose father died of a sim ilar affliction. During their firs t sexual interlude, a mousetrap sets o ff a TV remote control, causing Olda’s energy to be sucked out through the television and beyond. Now grasping th a t television saps away human energy, Olda becomes a vigilante, trying to destroy the pernicious force in order to save his love and his identity. Olda buys up remote controls, which he handles like pistols as if in a gunfight to complete his mission to overwhelm the energy vampire. Petr Forman (Milos Forman’s son) shines as the hapless hero, and cast performances are excellent, including Sverak’s father, Zdenek, as the healer. Television as a societal enemy is a fam iliarthem e, but Sverak’s audacious original ity (as in the spectacular shootout scene) has to be witnessed to be believed. Accumulator 1 is a wonderful combination of thriller, sci-fi, and romantic comedy, with dazzling special effects and camerawork th a t will make your insides crawl.

R ID E Czech Republic, 1995 U S P r e m ie r e Director: Jan Sverak Producers: Klara Bukovska, Marketa Hajkova Screenwriters: Jan Sverak, Martin Dostal Cinematographer: F.A. Brabec Editor: Alois Fisareck Music: Radek Pastrnak Cast: Anna Geislerova, Radek Pastrnak, Jakub Spalek, Filip Rene Print Source/lnternational Sales: Luxor Co. 9 5 minutes The road movie genre gets a fresh coat of paint in this sublime, topsy turvy joyride by prolific Czech film m aker Jan Sverak (The Elementary School, SIFF ’92). Disenchanted with their predictable lives, two thirtysomething buddies, Radek and Frank, buy a cheap car and head for the open road in hopes of bringing some excitement into their otherwise uninspired routine. When they pick up Anne, a hitchhiker on the lam from her overbearing boyfriend, they find a lot more excitement than they’d bargained for. Anne is a strong-willed waif who seems to thrive on danger and toys, and the two naive buddies are like puppets on a string. She makes the m ost of her strong sex appeal with Frank and particularly with Radek, but when her jilted boyfriend shows up to menace the threesome in hopes of taking her back, things quickly escalate from madcap to maniacal. Jan Sverak is perhaps the m ost original and talented auteur at work in the Eastern European film scene today. With Ride, shot on mere pocket change compared with the comfortable budgets of his earlier film s Elementary School and Accumulator!, he displays yet another facet of his formidable talents.

Contemporary World Cinema

ACCUM ULATOR 1 (Akumulator 1) Czech Republic, 1 994

Sunday, June 4 ■ Seven Gables, 9:15pm Thursday, June 8 ■ Harvard Exit, 9:30pm

S elected Filmography: E le m e n ta ry S ch o o l (1 9 9 1 ), A c c u m u la to r 1 (1 9 9 4 )

Awards: UCCA Venticitta Prize, International Critics Week, Venice Film Festival, 19 9 4 Selected Filmography: The Elementary School ( 1991), /?/'cfe(1995)

Denmark

Contemporary World Cinema

Monday, May 22 ■ Egyptian, 7:15pm

Tuesday, June 6 I Seven Gables, 7:15pm Thursday, June 8 I Harvard Exit, 5:00pm

TH E K IN G D O M Denmark, 1994

TW O ON A COUCH Denmark, 1994

Director: Lars von Trier Producer: Ole Reim Screenwriters: Lars von Trier, Tomas Gislason Cinematographer: Eric Kress Editors: Jacob Thuesen, Molly Marlene Stensgaard Music: Joachim Holbek Cast: Ernst-Hugo Jaregaard, Kirsten Rollfes, Soren Pilgaard Print Source: October Films 2 7 9 minutes

Director: Amir Rezazadeh Producers: Mogens Glad, Jens Asbjorn Seehuusen Screenwriter: Amir Rezazadeh Cinematographer: Jorgen Johansson Editor: Per K. Kirkegaard Music: Povl Kristian Cast: Anders Hove, Peter Hosse Overgaard, Heidi Holm Katzenelson, Karen-Lise Mynster Print Source/lnternational Sales: Danish Film Institute 1 0 5 minutes

Brace yourselves for one o f the major finds o f the Festival: Lars von Trier’s (Zentropa, Element o f the Crime) outrageously entertaining The Kingdom outdoes any film of recent years for sheer lunatic audacity. The film ’s opening section (“The Unheavenly Host” ) introduces us to the characters who inhabit the giant Copenhagen Hospital known as the Kingdom— built on a marshy medieval burial ground— and informs us th a t “ cracks are starting to appear in the edifice.” It soon becomes clear th a t these “ cracks” are allowing the spirit world entrée into the hospital, pitting demonic forces against the arrogance o f 20th-century science. Among the main characters in the emerging battle are Helmer, a Swedish neurosurgeon who loathes Danes and has turned a young girl, Mona, into a vegetable through a bungled brain operation; Mrs. Drusse, an old hypochon driac spiritualist who fakes illnesses to stay at the hospital and pursue her spiritual obsessions; a doctor, Hook, who runs a black m arket in medical supplies from the basement; Helmer’s lover Rigmor, an anesthetist who’s into Haitian voodoo; Hansen, a crazed researcher who’s determined to obtain a cancerous liver th a t’s still in the body of a patient; and Moesgaard, the ineffectual hospital director who presides over this bedlam. When Mona’s alter-ego— the ghost of a young girl murdered in 19 19 by her father— begins to reappear, the hospital is ready to go to hell in the proverbial handbasket. And th a t’s ju s t the beginning of this disturbing, darkly hilarious tale featuring soap-operatic plotting, hallucinogenic visu als, and the sure hand of a brilliant, iconoclastic director. Awards: Winner, Danish Bodil awards, Best Film, Best Screenplay, Best Actress Best Actor, Best Supporting Actor, 1994 Selected Filmography: Elements o f the Crime (1984), Epidemic (1987, Zentropa (1991) There will be a 20-minute break after the second section of the film (“Thy Kingdom Come," 67 minutes).

Deadpan humor and a distinctly offbeat sensibility inform this highly original film, which has more in common with the work of Jim Jarmusch and Aki Kaurismaki than with typical Danish film fare. The film introduces us to Soren and Pierre, two alienated, middle-aged friends who both have their troubles with members of the opposite sex. Soren is an artist with a distinctly misogynistic view o f women; his wife has recently left him, and he truly believes th a t “ men offer love in order to obtain sex, while women offer sex in order to obtain love.” His friend Pierre, with whom he shares his eccentric apart ment, is a rootless womanizer. Both men seem to have a vacuum where their hearts ought to be, though neither has a clue how to change his life or his attitudes. Into this void steps an enigmatic young woman who is friends with both Soren and Pierre but refuses to sleep with either of them. Gorgeously photographed and crammed with eccentric detail, Two on a Couch introduces us to a promising new directorial talent in Amir Rezazadeh, an Iranian-born film m aker with a distinct and very provocative perspective.

France PV

y Friday, May 26 ■ Harvard Exit, 7:15pm Monday, May 29 ■ Seven Gables, 3:30pm

Director: Lucian Pintilie Producers: Marin Karmitz, Constantin Popescu Screenwriter: Lucian Pintilie, from the novella The Salad, by Petru Domitriu Cinematographer: Calin Ghibu Editor: Victorita Nae Music: Anton Suteu Cast: Kristin Scott-Thomas, Claudiu Bleont, Olga Tudorache, Razvan Vasilescu Print Source: MK2 Productions USA 8 2 minutes This subtle and haunting film te lls o f an unforgettable sum m er in the narrator’s childhood, which comes to have an ironically ambigu ous meaning. In Romania in 19 25 , Captain Dumitru, an honorable man, finds him self posted to a godforsaken frontier garrison as a result o f his beautiful wife (Kristin Scott-Thomas) rejecting the advances o f a general. She jo in s him at the outpost with the ir three small children, setting up housekeeping and enjoying fresh veg etables from the garden. The countryside is som berly beautiful but isolated, with an air of approaching danger. Maria-Teresa’s warm hearted optim ism brightens the bleak surroundings, but is no match fo r the harshness of the m ilitary m indset. When Romanian soldiers are ambushed and slaughtered by Macedonian bandits, the captain is ordered to execute the peaceful Bulgarian peasants who tend his garden. It’s a m onstrous injustice, posing an impos sible conflict between humanity and duty. Lucian Pintilie (The Oak, SIFF ’93) directs with assurance and a caustic but understated wit, creating a portrait of a superficial world of elegance and civilization under which rages prim itive feudalism . Selected Filmography: Sunday a t 6 :0 0 (1965), The R econstitution (1969), Pavilion 6 (1973), Scenes o f Carnival (1979), The Oak (1991)

Br it is h A irways

D U ST OF LIFE France, 1994

Contemporary World Cinema

AN UN FO R G ETTA B LE S U M M E R France/Rom ania, 1 9 9 4

Friday, May 19 ■ Varsity, 7:15pm Monday, May 22 ■ Harvard Exit, 7:15pm

Director: Rachid Bouchareb Producer: Jean Brehat Screenwriters: Bernard Gesbert, Rachid Bouchareb Cinematographer: Youcef Sahraoui Editor: Helene Ducret Music: Safy Boutella Cast: Daniel Guyant, Gilles Chitlaphone, Leon Outtrabady, Jehan Pages, Siu Lin Lam, Eris Nguyen, Yann Roussel, William Low Print Source: 3B Productions 8 5 minutes Set in 1975, shortly after the fall of Saigon to the victorious North Vietnamese troops, Dust o f Life centers on the fate of the children left behind, the sons and daughters of American servicemen born out of wedlock to Vietnamese mothers who find themselves outcasts in the new social order. The film introduces us to Son, a 13-year-old boy who is caught by North Vietnamese troops during a sweep through downtown Saigon. Thrown into a lorry with a multitude of other orphans and street urchins, Son is taken to a “ reeducation cam p,” where his captors are intent upon reforming the boys and making them “ useful citizens” of the newly unified country. Camp life is harsh and the soldiers who run it are brutal and repressive, but Son is taken under the wing of a resourceful older boy who protects him from the young street toughs who prey on weaker children at the camp. Together with a younger, streetwise urchin, the boys set about building a raft which they plan to use to escape down the Mekong and back to Saigon; ultimately, each of the boys dreams tha t somehow his departed American father will come back to Vietnam to rescue him. Spectacularly beautiful landscapes form the backdrop for this exotic tale of youthful longing. Director Bouchareb has created a poetic, heartbreaking portrayal of the human ashes left behind after the fires of war are extinguished. Selected Filmography: Baton Rouge (1985), Cheb (1991)

BRITISH A irways 59

France

Contemporary World Cinema

Saturday, May 27 ■ Harvard Exit, 9:15pm Tuesday, May 30 ■ Seven Gables, 5:00pm

Sunday, May 2 1 1 Harvard Exit, 9:15pm Tuesday, May 23 I Egyptian, 5:00pm

G RO SSE FATIGUE France, 1 9 9 4

L’ENFER France, 1 9 9 4

Director/Screenwriter: Michel Blanc Producer: Patrice Ledoux Cinematographer: Eduardo Serra Editor: Maryline Monthieux Music: Rene Marc Bini Cast: Michel Blanc, Carole Bouquet, Philippe Noiret, Josiane Balasko, Charlotte Gainsbourg Print Source: Miramax Films Inc. 8 4 minutes

Director: Claude Chabrol Producer: Martin Karmitz Screenwriter: Claude Chabrol, from the original by Henri-Georges Clouzot Cinematographer: Bernard Zitzermann Editor: Monique Fardoulis Music: Matthieu Chabrol Cast: Emmanuelle Beart, Francois Cluzet, Marc Lavoine, Nathalie Cardone, Andre Wilms Print Source: MK2 Productions USA International Sales: MK2 Diffusion 1 0 1 minutes

“ Michel Blanc may be a popular comic actor, but is he ever a worrywart! This is a man who waited 10 years to shoot his second film, Grosse Fatigue, despite the fact th a th is firs t film, Walk on the Shady Side, was a huge success. For sure there are a lot of laughs in Grosse Fatigue, but it ’s also a nightmare. Blanc plays himself, which is to say an established actor-writer-director esteemed by all. But one day this star of the cinema discovers his doppelganger, an unscrupulous wretch who sets out to ruin our hero’s reputation, max out his credit card, and get him accused of raping a woman. This awful man has enough gall to literally take over Blanc’s life, his movie, and all his friends. Broke and on the dole, Blanc ends up on a park bench along with Philippe Noiret, him self a victim of sim ilar circumstances. Blanc has surrounded him self in this movie with a veritable who’s who of French cinema: Carole Bouquet, Josiane Balasko, Christian Clavier, Gerard Jugnot, Dominique Lavanant. In fact it’s such an insider’s movie tha t one might wonder whether its appeal would be too limited, too parochial. But never fear— both the artistry and the egos on display are of international caliber.”— Francoise Maupin, Vancouver Int’l Film Festival

It starts off like a fairy tale: Paul, 35 years old, becomes the owner of the hotel where he’s been employed for 15 years. He courts and weds Nelly, the prettiest girl in town. Business is good and they decide to have a baby. But he works fartoo much and she’s a bit of a flirt. They’re happy until the day Paul finds Nelly in a rather ambiguous position with another man. That’s all it takes to drive him crazy with jealousy, and it’s all downhill from there. He starts madly drinking and imagining her being unfaithful at any opportunity. Everything Nelly does to appease her husband is used against her, and soon we’re not sure which personal hell is worse, the psychological one Paul is imposing on everyone, or Nelly’s tortured prison. L’Enfer, originally scripted by Henri-Georges Clouzot (Les diaboliques), was started in 1964, but stopped on the third day of shooting when Clouzot suffered a heart attack and had to abandon the project. Thirty years later, Chabrol, who loves to put a dark, ironic twist on French provincial life, takes the essence of Clouzot’s script and updates it. In vintage Chabrol fashion it’s a real potboiler, but with more sympathy for the characters than we normally see from him and some very dark humor. Beart plays Nelly’s innocence to the hilt, using her pouting lips to maximum effect, and Cluzet does a good job with the very distorted Paul. Aspects of the story still recall ‘60s malefemale relationships, but Chabrol manages to keep L ’Enfer flowing along at a wild and quickening pace, to deliver his best film since Story o f Women. The sweet, sentimental love song of the beginning becomes a diabolical waltz at the end. But there is no end; Chabrol won’t give us one just like eternal damnation— and we’re left to muse on the twisted ending on our own.

Awards: Best Screenplay, Cannes Film Festival, 1994 Selected Filmography: Walk on the Shady Side (1984)

Selected Filmography: The Cousins (1959), Les biches (1967), Le boucher (1969), Violette Noziere (1978), Poulet au vinaigre (1984), Story o f Women (1987), Madame Bovary (1991), Betty (1993)

Br it is h A irways

France

Thursday, June 8 ■ Harvard Exit, 7:15pm Saturday, June 10 ■ Varsity, 3:30pm

S IX DAYS, S IX N IG H TS France, 1 9 9 4

U S P r e m ie r e Director: Karim Dridi Producers: Romain Bremond, Patrice Haddad Screenwriter: Karim Dridi Cinematographer: John M athieson Editor: Lise Beaulieu Music: Groupe Antidote Cast: Vera Briole, Frances Renaud, Raymond Gil, Philippe Ambrosini, Blanca Li, Jean-Claude Grenier, Bobby Pacha, Patrick Chauvel. Print Source: Seventh Art Releasing 9 3 minutes The cabarets, bars, streets, and sex shops o f Paris’s notorious Pigalle d istrict form the seedy backdrop of this harrowing tour through a nighttim e underworld of vice and lost virtue inhabited by desperate characters. First-time director Karim Dridi has vividly re created a world in which only the strong survive, and th a t survival comes at a high cost to the characters’ humanity. At the center of the story is a strange romance between Fifi, a small-time pickpocket, and Vera, a peepshow dancer resisting the push to become a prostitute. Fifi’s live-in career counselor is Jesus le Gitan, a drug pusher who shares a run-down apartm ent with Fifi and Divine, a transvestite prostitute. When Divine is brutally murdered, Fifi is determined to find the culprit, but it soon becomes clear th a t there is more going on than the isolated m urder of one prostitute. Recalling the works o f Bukowski and M iller, Pigalle is more concerned with the m inute details of its characters’ lives than it is with linear plotting or conventional drama. Vividly drawn and em otionally affecting, the film turns Pigalle into the haunting underbelly o f the universe.

Director: Diane Kurys Producer: Alexandre Arcady Screenwriters: Diane Kurys, Antoine Lacomblez Cinematographer: Fabio Conversi Editor: Luc Barnier Music: Michael Nyman Cast: Anne Parillaud, Beatrice Dalle, Patrick Aurignac, Bernard Verley Print Source: Lumiere Pictures 9 6 minutes Two of France’s best young actresses, Beatrice Dalle (Betty Blue, Night on Earth) and Anne Parillaud (La Femme Nikita, Map o f the Human Heart, Innocent Blood), make a powerhouse pairing in the newest film by Diane Kurys (Entre Nous). Elsa (Dalle) can’t cope with her life: the apartment is a mess and there’s nothing for breakfast. Saying she’s going out for milk, she leaves her husband and two small children and catches a train to Paris, still wearing her bedroom slippers. There she shows up on the doorstep o f her little sister, Alice (Parillaud), whose life, in contrast, is on a personal and professional upswing. Alice is succeeding as an artist, and her handsome young lover Franck (Patrick Aurignac) has ju s t moved in with her. In fact, it’s ju s t the life Elsa would have liked to have, and she moves in too, determined to take it away from Alice. The stage is set for an intense tale of sexual intrigue and all-consuming love, revolving around the intimate and ever-changing passions of the two women. Serving as their referee— and trophy— is Franck, who is drawn into the battle, never certain which woman is sane, which is telling the truth, or whether this peculiar pair are even sisters. As with previous Kurys film s, love is at the heart of the story, but Six Days, Six Nightsfocuses on the dark side of intimacy and the pitfalls of mutual dependency. Michael Nyman (The Plano, Prospero’s Books, Monsieur Hire) contributes the distinctive soundtrack.

Contemporary World Cinema

PIGALLE France, 1 9 9 4

Friday, June 2 ■ Egyptian, 7:15pm Sunday, June 4 ■ Egyptian, 3:30pm

Selected Filmography: Peppermint Soda (1977), Cocktail Molotov (1980), Entre Nous (1983), A Man in Love (1987), C’Est la Vie (1990), Love After Love (1993)

BRITISH AIRWAYS 61

Microsoft® Cinemania® ‘95 It’s where to find movies and the moviemakers. Microsoft Cinemania ‘95 is as entertaining as the movies it presents. Tap into more than 19,000 movie reviews by Leonard Maltin, Roger Ebert, and Pauline Kael - all cross-referenced so you can turn a few minutes o f browsing into a month’s worth o f films to see. Or use Cinemania Suggests for ideas when you don’t know what you want to see. And access more than 4,000 biographies (2,000 with photo portraits), 1,000 motion-picture stills, 168 dialogue clips, 139 tracks o f film music, and more than 20 video clips. Available on CD-ROMfo r both Windows™ and Macintosh® platform. For more information on Cinemania ‘95 and other Microsoft Home products, see your local retailer. Microsoft, Cinemania, and the Windows logo are registered trademarks and Windows is a trademark o f Microsoft Corporation. Macintosh is a registered trademark o f Apple Computer, Inc. © 1994 Microsoft Corporation. All rights reserved.

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Germany

Contemporary World Cinema

Friday, May 19 ■ Egyptian, 7:15pm Sunday, May 21 ■ Varsity, 9:15pm

Saturday, May 20 I Harvard Exit, 6:30pm Monday, May 22 I Harvard Exit, 5:00pm

PRETTY BABY

THE PROMISE

Germany, 1994

Germany/France/Switzerland, 1 994

Director: Sonke Wortmann Producer: Bernd Eichinger Screenwriter: Sonke Wortmann Cinematographer: Gernot Roll Editor: Ueli Christen Music: Torsten Breuer Cast: Til Schweiger, Katja Riemann, Joachim Krol, Rufus Beck, Armin Rohde Print Source: Neue Constantine Film 93 minutes

Director: Margarethe von Trotta Producer: Eberhard Junkersdorf Screenwriters: Peter Schneider, Margarethe von Trotta Cinematographer: Franz Rathe Editor: Suzanne Baron Music: Jurgen Knieper Cast: Corinna Harfouch, Meret Becker, August Airner, Anian Zollner, Eva Mattes Print Source: Fine Line Features 1 1 9 minutes

Sonke Wortmann, the gifted young director of Alone Among Women (SIFF ’92), created the biggest German box office hit in years with this madcap farce about a relentless skirt chaser who finds him self on the other side of the divide when he’s forced to move in with an openly gay male. Axel is a handsome, macho hunk who can’t keep his hands off other women despite his longstanding relationship with Doro (Katja Rieman, from Making Up, SIFF ’94). When Doro catches Axel cheating on her yet again with a woman in the lavatory at work, she throws him out of the house they share, intent upon dumping him for good. Axel has nowhere to go, and when all his attem pts to stay with one of his many bedmates come to naught, he is forced to move in with Norbert, an openly gay man who is instantly sm itten with him. At first Axel is oblivious to Norbert’s attentions. For her part, Doro is determined to forget her former lover, but her attem pts to find another man end in disaster. When she discovers th a t she’s pregnant, she casts all her good intentions to the wind and sets off to look for Axel. Thus begins a hilarious series of misadventures and misunderstandings tha t call preconceptions about sexuality into question. Director Wortmann, adapting the story from a series of hit comic books by cult cartoonist Ralf Konig, has created a sublime sexual farce tha t is as endearing as it is flat-out funny.

In this, her first film made in Germany in more than seven years, Margarethe von Trotta brings to the screen a heartbreaking moment in German history as shown through the lives of two lovers. A story of extreme circumstances, it encompasses the cycle of the Berlin Wall, starting in 1961, shortly after the wall is built, and climaxing on the night of November 9 ,1 9 8 9 , as the wall is torn down in front of millions of people around the world. While the two lovers live in the same town, because of the wall they see each other only four tim es in 28 years. Although schoolchildren Sophie and Konrad decided to escape to the West through a sewer system, only Sophie managed to get through; Konrad was surprised by an army truck and must stay behind. In the years tha t follow, the lives of the two take different paths. The brief, passionate encounters they are able to manage only cause more pain and grief at each parting. During one such meeting in Prague, Sophie becomes pregnant and decides she can no longer stand the uncertainty of their relationship. Years of silence follow, until at last Konrad is allowed to make ju s t one trip to the West. The Promise echoes screenwriter Peter Schneider’s statem ent tha t “ in Germany, time does not heal the wounds, but only kills the sensation of pain.”

Selected Filmography: Alone Among Women (1992), Acting It Out (1992)

Br it is h A irw ays

Selected Filmography: The Lost Honor o f Katerina Blum ( 1975), The Second Awakening o f Krista Clarges (1977), Sisters (1979), The German Sisters (1981), Friends and Husbands (1983), Rosa Lux emburg (1985), Three Sisters (1990), The African (1991), Anni del Murro (1992)

Br it is h A irw ays

G reat Britain

Friday, June 9 ■ Varsity, 7:15pm Sunday, June 11 ■ Varsity, 6:30pm

Monday, May 29 ■ Egyptian, 12:30pm Wednesday, May 31 ■ Varsity, 7:15pm

THE BUDDHA OF SUBURBIA Great Britain, 1993

W o rld P r e m ie r e Director: Ate de Jong Producers: M atthijs van Heijningen, Rudolph Wichmann Screenwriters: Ate de Jong, Olwen Wymark Cinematographer: Bruno de Keyzer Editor: Nicolas Gaster Music: Godfrey Kirby Cast: Irene Jacob, Stephen Rea, Marianne Sagebrecht, Chiara M astrianni Print Source: Nova Films international Sales: Cori Film Distributors 9 4 minutes Based on the eponymous novel by Simone de Beauvoir, All Men Are Mortal focuses on the denizens of the existential movement tha t sprang out of the bars, cafes, and jazz clubs of Paris in the years following World War II. Utilizing whimsy and irony in equal parts, the film ’s story centers on Regina (Irene Jacob), a celebrated young stage actress uninspired by her success, who longs for something more permanent. During a trium phant tour of the provinces, Regina and her faithful dresser (Sagebrecht) encounter the mysterious Tosca (Stephen Rea), a man who seems oblivious to his surround ings and indifferent to worldly things. Conspiring with her servant to break into his room and go through his belongings, Regina discovers little, save his name and some papers indicating he has spent tim e in an asylum as an amnesia victim. This merely piques her curiosity all the more. Determined to end the mystery, she confronts Tosca, and a relationship begins th a t promises revelations for both Regina and her en ig m atic lover. Exquisite production design by Ben van Os (Orlando; The Cook, the Thief, His Wife, and Her Lover) and sumptuous cinematography by Bruno de Keyzer (Round Midnight, Little Dorrit) do much to enhance the film ’s period feel. Selected Filmography: Shadow o f Victory, FIight o f Rainblrds (1981), Highway to Hell (1991), Drop Dead Fred (1991)

gift « if

BRITISH A irw ays

Director: Roger Michell Producer: Kevin Loader Screenwriters: Hanif Kureishi, Roger Michell Cinematographer: John McGlashan Editor: Kate Evans Music: David Bowie Cast: Naveen Andrews, Roshan Seth, Susan Fleetwood, Steven Mackintosh, Brenda Blethyn Print Source/lnternationai Sales: BBC Films 2 3 6 minutes Hanif Kureishi (Sammle and Rosie Get Laid) scripted this adaptation of his own novel for British TV, and the result is “ easily his best screen work since My Beautiful Laundrette" (Variety). The Buddha o f Suburbia is a broad, satirical depiction of mid-to-late-’70s attitudes and lifestyles, replete with the necessary drug use, sexual gymnastics (straight, gay, bi) and complementary David Bowie soundtrack— as experienced by 17-year-old Karim Amir, an English-born Indian. Karim’s father, Haroon (Roshan Seth, one of India’s leading actors), is the film ’s eponymous Buddha. Though a Moslem, he cashes in by spouting pseudoBuddhist babble to a circle of aging hippies, and promptly falls in love with one of his disciples, Eva. Karim’s English mother leaves with his younger brother, whereby father and son move to London, forcing Karim to grow up in a hurry. He’s attracted to Charlie, Eva’s son and a would-be glam rocker, and is closest to childhood friend Jamila, a Black Power activist who is pressured into an arranged marriage. Karim drifts about as his family life disintegrates, strugglingtofind and maintain a sense of identity and falling into an increasingly drug-fueled world of wild orgies, pretentious theater, punk rock, and interracial dating. The ensemble acting is uniformly superb, and Kureishi develops each role into a totally believable character. Roger Mitchell shows a keen eye for period detail, and sticks to the fast-paced editing style necessary to cover this breadth of material. This is the film ’s strength and weakness: its four hours fly by, yet one could argue that more time would have allowed the novel’s nuances more develop ment. Buddhais one of the finest pieces of cinema seen anywhere last year, yet with its uncompromising depiction of “ deviant” behavior, it is unlikely to be seen commercially in the United States. This further exposes the ever-widening gap between Britain and America, and their definitions of a democratic, tolerant society.

Contemporary World Cinema

ALL MEN ARE MORTAL Great Britain/N etherlands/France, 1995

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BRITISH AIRWAYS 65

G reat Britain

Wednesday, May 24 ■ Egyptian, 9:30pm Thursday, May 25 ■ Harvard Exit, 5:00pm

Contemporary World Cinema

A BUSINESS AFFAIR Great Britain/France, 1994 Director: Charlotte Brandstrom Producers: Xavier Larere, Clive Parsons, Davina Belling Screenwriter: W illiam Stadiem Cinematographer: Willy Kurant Editor: Laurence Mery-Clark Music: Didier Vasseure Cast: Christopher Walken, Carole Bouquet, Jonathan Pryce Print Source: Skouras Pictures 1 0 1 minutes Male vanity comes in for a thorough trashing in this delightfully droll dramatic comedy featuring a three-cornered relationship tha t has much in common with the Bermuda Triangle. The radiant Carole Bouquet portrays Kate Swallow, a young French woman who works as a floor model in an upscale British department store in order to support her adored celebrity husband of four years, grumpy novelist Alec Bolton (Jonathan Pryce), whose creative juices haven’t been flowing of late. In her spare tim e, Kate is writing her own first novel— a source o f much aggravation for Alec, as her writing seems to gush forth while he suffers the torm ents of w riter’s block. Into their life comes the brash American mover-and-shaker Vanni Corso (Christo pher Walken), a literary lothario who signs the tony Alec to a contract in order to bolster the failing old London publishing firm he has recently bought. While Alec stews in his creative slump, Kate subm its her book to Corso, causing Alec to take umbrage and the marriage to totter. Corso decides to buy Kate’s book, though what he’s really after is Kate herself. He eventually wins her away from Alec, who has let his marriage crumble through his own professional insecurity. All appears to be coming up roses for Kate: a man who seems to truly love her for herself, a second novel well on the way to completion, and a new sense of self-worth. But fate holds a few surprises in store for her; before long she is forced to confront the question of whether any man is capable of dealing with a strong, successful woman. Selected Filmography: Stormy Summer (1989), Sweet Revenge (1990), Road to Ruin (1991)

BRITISH AIRWAYS

Sunday, May 21 ■ Varsity, 6:30pm Friday, May 26 ■ Varsity, 5:00pm

CONFESSION OF A PRETTY LADY Great Britain, 1993 Director: Kris Clarke Producer: Sarah M ortim er Cinematographer: Fawn Yacker Editors: Nigel Finch, Anthony Wall Sound: John Vincent Print Source/lnternational Sales: BBC Films 4 4 minutes A bitingly witty look at America’s first lady of comic sarcasm, Confession o f a Pretty Lady takes a long overdue look at the work, life, and dreams of Sandra Bernhard. American pop-culture diva, would-be Motown singer, gay icon, Broadway success, comedienne extraordinaire, writer, and self-described pretty lady Bernhard is larger than life in this irreverent documentary probe behind the media star’s public persona. From her early days of breaking into showbiz come morsels and tidbits gleaned from her aunt and uncle; from the early days at the Comedy Store come the sharp and lessthan-pleasant reminders of prejudice from other (male) stand-ups; and from the first blush of success comes Bernhard’s philosophy on life. Seeing her honestly portrayed like this marks a turning point in understanding the “ a rt” of Bernhard; rarely has one seen with such clarity the motivations tha t may be behind her drive and ambition. Then again, no one should pass up the irony of Bernhard’s first singing sensation— best kept a secret until the curtains part! Confession o f a Pretty Lady does justice to the complexity, wit, and humor of a wonderfully multifaceted performer. Preceded by The Party Favor (USA, 1995, 20 minutes). Directed by Lisa Udelson. This hilarious short film features a devoted lesbian couple and a turkey baster at one of the scariest of heterosexual traditions, the bridal shower. Greetings from Africa (USA, 1994, 8 minutes). Directed by Cheryl Dunye. A candid view of the state of things in post-1980s lesbian dating.

G reat B ritain

Friday, May 26 ■ Seven Gables, 5:00pm Thursday, June 8 ■ Harvard Exit, 9:30pm

Thursday, June 1 ■ Harvard Exit, 9:30pm Tuesday, June 6 ■ Seven Gables, 5:00pm

DON’T GET ME STARTED Great Britain, 1994

U S P r e m ie r e

Director: Corin Campbell Hill Producer: Hilary Salmon Screenwriter: Vincent O’Connell Cinematographer: David Odd Editor: Mark Day Music: Orlando Gough Cast: Paul Popplewell, David Bradley, Lynda Rooke, June Watson Print Source: BBC Films 76 minutes

Director: Arthur Ellis Producer: Steve Clark-Hall Screenwriter: Arthur Ellis Cinematographer: Gil Taylor Editor: Michael Bradsell Music: Roger Bolton Cast: Trevor Eve, Steve Waddington, Marion Bailey, Ralph Brown Print Source/lnternational Sales: British Film Institute 76 minutes

Simon, the doomed fool at the center of Criminal, is one of nature’s spectators. First he is seen suspended in space, the orb of the earth rising slowly into the blackness before him, as a narrator intones an ecological discourse on man’s danger to the planet. After this solemn beginning, the film comes down to earth, as we are told the earth is dying from “ lack of love” and Simon is on the same sad path. From there we cut to a herd of teenagers moving in on this same boy, who, after a beating and a bit o f a cry, dusts him self off and gives an impromptu rendition of an Elvis standard. Vincent O’Connell’s firs t feature film is based on a real story, th a t of an imaginative m isfit, Simon Willerton, who hanged him self in Armley Jail in 19 9 0 a few days before his 18th birthday. Life at school was hellish, all persecution and abuse. Fortunately, there were a few kindly persons in his life: the school headmaster, the school caretaker, and friends— girls who stood up for him, won over perhaps by his straightforward innocence. Simple, goodhearted, and fragile, Simon is bullied at school, drawn into petty crime by delinquents, and inexorably separated from all sources o f care and support. He is sent to prison for a crime com m itted by a gang of thugs who take advantage o f him in everyway. The film contains no accusatory dramatization of the forces opposed to Simon, which makes watching his decline all the more painful. Seventeen-year-old Paul Popplewell gives a terrific performance as the beleaguered Simon. The true message of this film lies in its portrayal of society’s neglect for its weaker members, and the ways in which the m ost delicate among us are forced to suffer torm ents th a t would crush the spirit of the strongest.

In this twisted tale of the deceptively normal, a personable father of two has recently begun his second marriage with his new wife and kids in a quiet urban neighborhood. They are the model of confor mity, but Jack has secrets— a hidden past and a suppressed craving for cigarettes. His new wife, Gil, is also an ex-smoker, who quit when her first husband died. It has been nearly a year since Jack quit smoking, and the strain is unbearable whenever friends or col leagues light up. His smoking therapy cassette, “ Howto Stop Killing and Start Living,” is no longer effective, and his new co-workers at an insurance sales office bluntly smoke around him. Despite these obstacles, Jack is determined to live his new life right and has immediate success at the office. However, one night he breaks down and smokes a secret cigarette in the back garden. Suddenly a series of seemingly happenstance events sets off a chain of desire for Jack, for whom cigarettes are now the least o f his worries. First he concocts an elaborate pretense to prevent Gil from finding out tha t he has slipped off the smoking wagon. A few days later, a mysterious stranger arrives, drudging up the past th a t Jack has worked so hard to bury, and soon Jack is making contact with people who aren’t all tha t concerned with helping him keep his deadly habit kicked. It becomes obvious to him tha t he cannot quit his addiction to cigarettes...and all tha t goes with a nice, quiet smoke. His desire to become a perfect member of middle-class society slowly emerges as a metaphor for something much darker in this deadpan film that successfully combines the black comedy and film noir genres.

Contemporary World Cinema

CRIMINAL Great Britain, 1 994

G reat Britain

Contemporary World Cinema

Tuesday, May 30 ■ Harvard Exit, 7:15pm Friday, June 2 ■ Varsity, 9:30pm

Friday, May 26 ■ Harvard Exit, 9:30pm Sunday, May 28 ■ Harvard Exit, 12:30pm

FAMILY

FUNNY BONES

Great Britain, 1994

Director: Michael W interbottom Producer: Andrew Eaton Screenwriter: Roddy Doyle Cinematographer: Daf Hobson Editor: Trevor Waite Music: Elvis Costello, John Harle Cast: Sean McGinley, Ger Ryan, Neili Conroy, Barry Ward, Des McAleer Print Source: BBC Television, Drama Films 1 1 8 minutes

Director: Peter Chelsom Producers: Simon Fields, Peter Chelsom Screenwriters: Peter Chelsom, Peter Flannery Cinematographer: Eduardo Berra Editor: Martin Walsh Music: John Altman Cast: Oliver Platt, Lee Evans, Oliver Reed, George Carl, Leslie Caron, Jerry Lewis Print Source: Buena Vista Pictures Distribution 1 2 8 minutes

The third film to be made from 19 93 Booker Prize winner Roddy Doyle’s work (the first two parts of his Barrytown trilogy formed the basis for the previously successful film s The Commitments and The Snapper), Family again explores the plight of Dublin’s working-class poor, this tim e painting a much darker portrait of family life. Introducing us to the Spencer clan, a dysfunctional family ruled by a domineering, loutish father, the film focuses in turn on each of the family members, providing each their own “ chapter” and viewpoint. There’s father Charlo, a boorish, thieving womanizer who beats his wife; mum Paula, his long-suffering wife who drinks too much and tells herself tha t he will change; asthmatic John Paul, 13, footballmad and headed in the same direction as his dad; and his sister, Nicola, 16, who works in a factory and is not unaware of her father’s interest in her budding sexuality. Raw and gritty in its portrayal of life amid the tenem ents of a run-down public housing project, Family is never less than riveting cinema in the unique tradition of British “ kitchen sin k” drama.

From the Director of Hear My Song comes this outrageously captivating and funny gem, a tale that combines black comedy, smuggling, madcap vaudeville, and circus performing. Funny Bones tells the story of Tommy Fawke, played by Oliver Platt, a secondgeneration comedian struggling to live up to the image of his worldrenowned comedic father (played by Jerry Lewis in a remarkably selfreferential performance). As any great comedian will tell you, comedy is no laughing matter— it comes from pain and disappoint ment. While in Las Vegas, Tommy completely flops, only to have his dad take the stage and wow the audience. Fleeing from shame, he returns to his childhood stomping ground of Blackpool, England, to regain his footing and find some comic material th a t he can call his own. During his quest for something funny he shells out big bucks to the local community’s performers to help him find his next act. Eventually he discovers a family of clowns tha t includes an extraor dinary slapstick artist who for some unknown reason is no longer allowed to perform in public. Through his search for comic inspira tion he stumbles onto staggering revelations about his own fam ily’s past as well as his father’s success. The characters in this multilayered film are filled with a debilitating pain, bringing new meaning to the word comedy. Wonderful performances by Oliver Platt, Jerry Lewis, Freddie Davies, George Carl, and Lee Evans make this film a touching and highly original comedy tha t should tickle anyone with even the most insensitive funny bone.

Awards: Prize from International Art House Federation CICAE, Turin Film Festival, 19 94 Selected Filmography: Butterfly Kiss (1995)

Filmography: Hear My Song {1992)

Br it is h A irw ays

G reat B ritain

Sunday, June 4 ■ Egyptian, 6:30pm Monday, June 5 ■ Egyptian, 5:00pm

Great Britain, 1 994

UNCOVERED Great Britain/Spain, 1994 U S P r e m ie r e

Director: Peter Mackenzie Litten Producer: Gary Fitzpatrick Screenwriter: Johnny Byrne Cinematographer: John Ward Editor: Jeffrey Assenault Music: Roger Bolton Cast: Thomas Arklie, Ian W illiam s, Tony Slattery, Dilly Keane, Jean Boht, John Altman Print Source: First Run Features 1 0 1 minutes This moving story about a young man coming to grips with his lover’s death from AIDS combines whimsy, humor, and emotion in an engaging mix th a t illum inates even as it entertains. As the film opens, Mark and Simon are sharing an open relationship and a comfortable fla t in contemporary London. The two have very differ ent lifestyles: Simon is a handsome, HIV-negative tradesm an who is still relatively promiscuous, while Mark, a som etim e female impersonator, is more of a homebody and is living with AIDS. Mark deteriorates rapidly, and after his death— which comes relatively early in the film — Simon seems emotionally detached from his loss, through he can’t quite shake images of Mark th a t appear at wildly inconvenient moments. Despite the concerns of Sim on’s friends and his mother, he’s determined th a t life m ust go on, and soon is back cruising the bars. But fate (and the ghost of Mark) forces Simon to confront his true feelings. With a nod to Blithe Spirit, director Peter Mackenzie Litten has fashioned a sweet, emotionally resonant comedy th a t is unlike anything else in recent queer cinema.

■V

Director: Jim McBride Producer: Enrique Posner Screenwriters: Michael Hirst, Jim McBride, Jack Baran Cinematographer: Affonso Beato Editor: Eva Gardos Music: Philippe Sarde Cast: Kate Beckinsale, John Wood, Sinead Cusack, Paudge Behan Print Source/lnternational Sales: CiBy Sales 1 1 0 minutes Barcelona, Gaudi interiors, a 15th-century painting, and the game of chess. This seems an unusual combination for a sensual thriller, but Uncovered uses a delightful script to weave a historic mystery into a contemporary whodunnit worthy of Agatha Christie. Julie, a young art restorer, is preparing for auction a valuable Flemish painting depicting a game of chess when she discovers a Latin inscription tha t asks, “Who killed the Knight?” hidden under layers of paint. Spurred on by her gallery owner’s promise of an increased auction price (thus a larger commission for her), Julie sets about persuading the painting’s owner, Don Manuel, to help her unravel the mystery. He tells her of an ancestor, a medieval knight who died under mysterious circumstances, and says he believes the painting may hold the answer to his death. Julie enlists the help of her old friend Cesar, and with a gypsy chess whiz they find they’re soon playing the game backwards to discover the knight’s killer. Mean while, everyone connected to the painting starts dropping like flies— Julie m ust solve the puzzle before she too ends up dead. The team behind Uncovered is an eclectic combination of an American director known for his erotic thrillers, a Spanish production crew, and a terrific cast of up-and-comers headed up by Kate Beckinsale (Much Ado About Nothing), John Wood (Orlando), Sinead Cusak (Waterland), and Art Malik ( City o f Joy). Uncovered delivers a delightfully twisted mystery, and some refreshing insights into the game of chess. It is part art film and part B-thriller, wrapped up in an intricate, steamy plot filled with as many tw ists as there are on the Barcelona cathedral.

Contemporary World Cinema

HEAVEN’S A DRAG

Friday, May 26 ■ Varsity, 9:30pm Monday, May 29 ■ Harvard Exit, 3:30pm

Selected Filmography: David Holtzman’s Diary (1967), Hot Times (1974), Breathless (1983), The Big Easy (1987), Great Balls o f Fire (1989), The Wrong Man (1993)

BRITISH AIRWAYS

Guinea-Bissau * Hong Kong

Wednesday, May 24 ■ Varsity, 7:15pm Saturday, May 27 ■ Seven Gables, 3:30pm

Contemporary8World Cinema

XIM E

Guinea-Bissau/The Netherlands, 1994

Friday, June 9 ■ Varsity, 9:30pm Saturday, June 10 ■ Egyptian, Midnight

CHUNGKING EXPRESS Hong Kong, 1994

U S P r e m ie r e Director: Sana Na N’Hada Producers: Hillie Molenaar, Joop van Wijk, Jacques Bidou, Jean Pierre Gallepe Screenwriter: Sana Na N’Hada, Joop van Wijk Cinematographer: Melle van Essen Editor: Anita Fernandez Music: Malam Mane, Patricio Wang Cast: Jose Tamba, Justino Neto, Aful Macka, Juan Carlos Tajes Print Source: Molinwiek Film BV International Sales: Jane Balfour Films 9 5 minutes It’s 1963, and the village of Xime looks forward to an abundant rice harvest. Below the surface, however, tensions are brewing. Not only has lala lost control over his two sons, but the underground liberation movement of Amilcar Cabral is gaining more of a foothold against the Portuguese colonial oppressors, lala’s oldest son, Raul, has supposedly been sent to the seminary, but in reality he has joined the rebel forces. Bedan, the younger son, remains in the village, rebelling against any authority; he even tries to win his fathe r’s bride-to-be. Meanwhile, the colonial adm inistrator can only watch as his reign of benevolent terror collapses in the face of simple acts of defiance. When Raul’s activities are discovered, the authorities hunt him down, which is all it takes to spark the village into action. Sana Na N’Hada’s delightful debut feature captures the tim e ju s t before the revolution in vivid, lush colors, and stunning, fluid images. The characters are well developed, the cinematogra phy excellent, and Na N’Hada depicts a number o f curious rituals, such as one in which young boys are dressed up in women’s clothing as part o f their initiation into manhood. This traditional richness of village life is dramatically contrasted with the political tensions about to erupt. It’s a fresh approach to historical African storytelling and a powerful history lesson at the same time, and tha t makes Xime one of the real finds of recent African cinema.

Director/Screenwriter: Wong Kar-Wai Producer: Chan Pui-Wah Cinematographers: Christopher Doyle, Lau Wai-Keung Editors: William Chang, Hai Kit-Wai, Kwong Chi-Leung Music: Frankie Chan, Roel Garcia, The Mamas and the Papas Cast: Brigitte Lin, Tony Leung, Takeshi Kaneshiro, Faye Wang, Valerie Chow Print Source: Miramax Films Inc. 1 0 3 minutes “Wong Kar-Wai knocked off Chungking Express in ju s t three months to fulfill a contractual obligation, but you’d never know it from the results. Since he obviously had no tim e to think about what he was doing, he simply filmed like there was no tomorrow— and came up with a movie that looks like a wholesale reinvention of the cinema, not to mention the zingiest visit to Heartbreak Hotel you ever saw! This is what Godard movies were once like: fast, hand-held, funny, and very, very catchy. It’s in two parts, very loosely interconnected, both about lovelorn cops who have trouble with women. Takeshi Kaneshiro tries to pick up Brigitte Lin in a late-night bar, unaware tha t she’s a big-time heroin smuggler who has spent the evening hunting a n d/or dodging some absconding drug couriers. Then Faye Wang (a star is born!), boyish server at a fast-food counter, gets a crush on Tony Leung and starts breaking into his apartment to redecorate it while he s out. Some of the film ’s wry voice-overs have a big unacknowledged debt to hip Japanese novelist Haruki Murakami, but mostly this is pure Wong Kar-Wai. Probably the best tim e you can have in the movies in 1 9 9 4 .”— Tony Rayns Awards: Best Film, Best Director,-Hong Kong Film Awards (Golden Horse), 1994 Selected Filmography: As Tears Go By (1988), Days o f Being Wild (1990), Ashes o f Time (1994)

Hong Kong

Saturday, June 3 I Harvard Exit, 6:30pm Tuesday, June 6 I Harvard Exit, 9:30pm

Wednesday, May 24 ■ Harvard Exit, 7:15pm Friday, May 26 ■ Egyptian, Midnight

THE EAGLE SHOOTING HEROES

Hong Kong, 1995

(Sediu Yinghung Tsun Tsi Dung Sing Sai Tsau) Hong Kong, 1994

Director: Yim Ho Producers: Yim Ho, Ann Hui Screenwriter: Yim Ho Cinematographer: Hou Yong Editor: Wong Yee-shun Music: Otomo Yoshihide Cast: Siqin Gowa, Tuo Zhong Hua, Ma Jing Wu, Wai Zhi, Shu Zhong, Li Hu Print Source: Kino International 9 9 minutes A sumptuously shot study o f filial loyalty and Hamlet-like angst, The Day the Sun Turned Cold turns on a provocative plot set in the same bleak northern China territory seen in Ermo and The Story ofQiu Ju. At first, when 24-year-old Guan Jin walks into the local police precinct to report a suspected murder, the chain-smoking captain he accosts takes him for a lunatic or an overly imaginative reader o f dimestore novels. The story Guan Jin is forcing upon the police is indeed a shocking one: he has accused his own mother of murdering his father 10 years before. Eventually persuading the police to investi gate, Guan Jin sits awash in his own emotional ambiguity. As a young boy, he saw his emotional alliances constantly shift between his hardworking mother, his cruel-tempered schoolteacher father, and the handsome young woodsman who befriended him and fell for his mother. Guan Jin’s betrayal of their affair had tragic consequences, and many layers o f guilt and resentm ent serve to both suppress and revive his memories. Based on a true story, with much o f the dialogue taken directly from official documentation, The Day the Sun Turned Cold manages to turn a unique story into something universal to which the general audience will respond. Awards: Grand Prix, Tokyo International Film Festival, 1994; Best Director, Tokyo International Film Festival, 19 9 4 Selected Filmography: The Extras (1978), The Happenings (1980), Wedding Bells, Wedding Bells (1981), Homecoming (1984), Buddha's Lock (1987), King o f Chess (1989), Red Dust (1990)

Director: Jeffrey Lau Chun-wai Producer: Cal Songlln Screenwriter: Jeffrey Lau Chun-wai Cinematographer: Peter Pau Editor: Hai Kit-wai Music: James Wong Cast: Tony Leung Chiu-wai, Brigitte Lin Ching-hsia, Leslie Cheung, Tony Leung Kar-fai, Maggie Cheung, Joey Wang, Jacky Cheung, Carina Liu Print Source: Rim Film Distributors International Sales: Scholar Films 1 0 5 minutes

The Eagle Shooting Heroes is a veritable who’s who of Hong Kong cinema getting all dressed up and battling it out in psychedelically colorful costumes at insanely high speeds. Jeffrey Lau, who gave us the cult classic Savior o f the Soul, has gone beyond parody in this delirious takeoff on sword-and-sorcery film s like Swordsman. Plot synopsis: Mad concubine Queen and her lover, West Poison, are after the imperial jade seal held by Third Princess. Defeated and dumped by her god-sister the Imperial Commander, she teams up with young swordsman East Evil to find the Nine Ying Kung-Fu Book and help her reclaim her kingdom. Recovering at an inn after a snake bite, she runs into her ex-fiancé, wandering Buddhist South Em peror, dumb but honest North Beggar, a horny, gay Taoist, and a glamorous court magician. South Emperor falls for East Evil, and West Poison fights North Beggar and the Princess is captured by West Poison then freed by South Emperor ju s t returned from heaven. The Princess and East Evil marry and the god-sister snags the confused North Beggar. Got it? As fans of HK action flicks know, the '6 0 s King Hu and ’80s Tsui Hark flying swordsman film s defined and redefined a whole new genre. This crazed, hyperactive extravaganza takes cast members from Wong Kar-wai’s gorgeous disaster, Ashes o f Time, and lets them parody themselves with lots of in-jokes. Carina Liu is delightful in male drag as the Taoist. Jeffrey Lau continues to be one of the most innovative directors in Hong Kong. Catch the madcap action!

Contemporary World Cinema

THE DAY THE SUN TURNED COLD

Selected Filmography: Haunted Cop Shop ( 1987), A llforthe Winner (co-director, 1 9 9 0 ), Mortuary Blues (1 9 9 0 ), Savior o f the Soul (1 9 9 1 ), Legend o f La Rose Noire (1 9 9 2 )

Hong Kong • Hungary

Tuesday, May 30 Thursday, June 1

Varsity, 5:00pm Varsity, 9:30pm

Contemporary World Cinema

FIST OF LEGEND Hong Kong, 1995 Director: Gordon Chan Producer: Jet Li Screenwriter: Gordan Chan Cast: Jet Li, Nakayama Shinobu, Chin Sui Ho, Billy Chau, Kurata Yasuaki Print Source: Ri Film Distributors International Sales: Golden Harvest 1 0 2 minutes North America has been waiting for a successor to Bruce Lee, and finally a new star is emerging who may vault his way into the hearts of Western audiences— Jet Li (Once upon a Time in China; the Fong Sai-Yuk series). Twenty years after the release of the Bruce Lee classic Fist o f Fury, Jet Li resurrects the role of folk hero Chen Zhen in Fist o f Legend. The story’s set in 1910, and Shanghai is under siege by the Japanese. The Chinese government is merely a puppet of the Japanese, with Master Huo, leader of the Martial Arts Academy, heading the only real Chinese resistance.The head of the Japanese military wants Huo removed, so he sets Huo up in a duel with a judo master, and secretly poisons him to seal his fate. When Zhen hears of Huo’s death, he races back from Japan for revenge. Only two things hold him back: he is traveling with a Japanese girlfriend, and Huo’s second-in-command is reluctant to give up his control without a fight. Soon Zhen’s up against his own people in search of the truth behind his m aster’s murder. Director Gordon Chan uses his experience working with Jackie Chan to make Fist o f Legend his own exhilarating addition to the action genre. The charismatic Li, like Lee, is a martial arts m aster and, like Jackie Chan, performs virtually all his own stunts. With a full head of hair he is a bit more grounded here than in the Fong Sai-Yuk series, but the fight scenes are ju s t as spectacular. Selected Filmography: The Yuppie Fantasia (1989), Final Option (1992)

Tuesday, June 6 ■ Seven Gables, 9:30pm Friday, June 9 ■ Harvard Exit, 5:00pm

KISSES AND SCRATCHES (Csokkal es Korommel) Hungary, 1995 U S P r e m ie r e Director: Gyorgy Szomjas Producer: Miklos Szita Screenwriter: Gyorgy Szomjas Cinematographer: Ferenc Grunwalsky Editor: Anna Korriis Cast: Beata Papp, lldiko Bakos, Bea Kaman Print Source: Magyar Filmunio International Sales: Cinemagyar 7 1 minutes In Kisses and Scratches Gyorgy Szomjas uses a maverick docudrama style to create the first Hungarian film about lesbians th a t is naturally witty and visceral. Angi is an independent, no-nonsense social worker in Budapest, sitting part-time for her friend lldiko’s children. One day while playfully rolling around with the kids, the two women suddenly find themselves embracing passionately. They cautiously allow their relationship to grow, but outside forces affect them overtim e. Angi introduces lldiko to the lesbian community, but social constraints surface in many ways, sharply illustrated in a heated debate with lldiko’s ex-husband. In fact, the dialogue and interaction of the characters supersede the storyline as the actors, all nonprofessionals, essentially play out aspects of their own lives. The actors developed the dialogue, and Szomjas shaped it into loose dramatic form. The philosophical arguments o f these honest characters may seem years old to Westerners, but they dem onstrate real change in Hungarian sexual politics; since the fall of commu nism, gays and lesbians are increasingly more vocal and open. Kisses and Scratches was shot on video with a handheld camera using off-center angles and focus on small details— a hallmark of Szomjas’s style. Ongoing comments within the film echo early Godard and Gregg Araki. Kisses and Scratches evokes true emotion without dogmatic pretense, giving valuable insights into these women s lives and the state of current sexual attitudes in Eastern Europe. Selected Filmography: The WallDriller(1985), Mr. Universe(1988) Fast and Loose (1990)

Icelan d • India

Thursday, June 1 ■ Seven Gables, 7:15pm Monday, June 5 ■ Harvard Exit, 5:00pm

Wednesday, May 31 ■ Harvard Exit, 9:30pm Saturday, June 3 ■ Seven Gables, 3:30pm

BANDIT QUEEN

Iceland, 1 9 9 4

India/Great Britain, 1994

Director: Fredrik Thor Fridriksson Producers: Fredrik Thor Fridriksson, Peter Rommel, Peter Aalbek Jensen Screenwriters: Einar Mar Gudmundsson, Fredrik Thor Fridriksson Cinematographer: Ari Kristinsson Editor: Steingrim ur Karlsson Music: Hilmar Orn Hilmarsson Cast: Orvar Jens Arnarsson, Rurik Haraldsson, Sigrun Hjalm tysdottir, Orri Helgason Print Source: Icelandic Film Corp. International Sales: World Sales Christa Saredi 9 0 minutes

Director: Shekhar Kapur Producer: Sundeep Singh Bedi Screenwriter: Mala Sen Cinematographer: Ashok Mehta Editor: Renu Saluja Music: Nusrat Fateh Ali Khan Cast: Seema Biswas, Nirmal Pandey, Manoj Bajpai, Rajesh Vivek, Govind Namdeo, Sunita Bhatt Print Source: Arrow Releasing 1 1 9 minutes

Fredrik Thor Fridriksson’s follow-up to the highly acclaimed Children o f Nature is the semi-autobiographical coming-of-age story of a boy growing up in Iceland, circa 1960. It's a tim e of transition on this isolated island in the North Atlantic, and the influx o f foreign culture through the American air base threatens old cultural values. Tenyear-old Thomas’s life is being quietly transformed by the movies. Films and TV broadcasts from the military base compete with traditional oral sagas for his active imagination. Roy Rogers mati nees provide new heroes for Thomas, while his parents shepherd him and his brotherto film s like Nicholas Ray’s King o f Kings. When his rural-bred father begins to have serious reservations about the new urban environment of Reykjavik, he sends Thomas off to a relative’s farm for the summer, where he trades stories with an old farmworker. In the absence of his usual entertainm ent, he starts to interpret this odd new place as the ultim ate setting for a thriller, which it becomes when real tragedy intervenes. Partially based on stories by Ami Oskarsson, Movie Days shows Fredriksson’s deft, artistic touch. It is part heartfelt, whimsical anecdote, part subtle critique on the pervasive influence of film and television. Through Fridriksson’s keen observations, this beautifully mounted tale recalls Cinema Paradiso, and evokes sim ilar nostalgia for a tim e of great change.

Contemporary World Cinema

MOVIE DAYS

This tough and uncompromising drama, based on a true story, depicts the life of India’s most famous modern outlaw, Phoolan Devi. Used and abused since childhood by almost all the men in her life, she was kidnapped by a bandit gang, became a member, and began to fight back, most infamously in the Behmai Massacre, in which 22 higher caste men were slaughtered. The subject of a massive manhunt, Phoolan surrendered in 1983— but on her own term s, in front of a cheering crowd. For millions of lower caste Indians she is a heroine, an avenging angel, scourge of the rich and protector of the poor. Seema Biswas is terrific in the title role, playing Devi with searing intensity and a tangible sense of anger. Bandit Queen depicts a callous, caste-ridden, and brutally sexist society in which beating and rape— in or out of marriage— are the normal lot of lower caste women. Devi’s story is unusual only in that she resists. Not surprisingly, in a country where even on-screen kissing is taboo, Bandit Queen has been banned in India. Director Shekhar Kapur was asked if he might make a “toned-down” version for home consumption. He refused, saying with justifiable empha sis, “Why should I censor something tha t happens on a regular basis in India?” Bandit Queen exerts a shattering force, yet despite its harrowing story, it is far from depressing, thanks to the sheer resilience of its heroine. Selected Filmography: Masoom (Innocent, 1982), Mr. India (1987)

Awards: Nordic Amanda for Best Scandinavian Film, 19 94 Selected Filmography: Rock in Reykjavik (documentary, 1982), Icelandic Cowboys (documentary, 1984), White Whales (1987), Children o f Nature (1991)

Iran • Ireland

Contemporary World Cinema

Saturday, May 27 ■ Seven Gables, 6:30pm Monday, May 29 ■ Harvard Exit, 12:30pm

Thursday, May 25 ■ Varsity, 5:00pm Monday, May 29 ■ Harvard Exit, 6:30pm

THROUGH THE OLIVE TREES

AUSA

Iran, 1994

Ireland, 1 994

Director/Producer/Screenwriter: Abbas Kiarostami Cinematographers: Hossein Djafarian, Farhad Saba Editor: Abbas Kiarostami Cast: Hossein Rezai, Tahereh Ladanian, Mohamad Ali Keshavarz, Zarifeh Shiva Print Source: Miramax Films Inc. 1 0 2 minutes

Director: Paddy Breathnach Producer: Ed Guiney Screenwriter: Joseph O’Connor Cinematographer: Cian de Buitlear Editor: Emer Reynolds Music: Dario Marianelli Cast: Brendan Coyle, Andrea Irvine, Juliette Gruber, Gary Lydon, Blanaid Irvine Print Source/lnternational Sales: Temple Films 78 minutes

Abbas Kiarostami has been called by the LA Weekly “ one of the greatest contemporary filmmakers...(and) also one of the most Invisible.” Though the Olive Trees is a deceptively simple, sublimely sweet and comic film about unrequited love. It begins with a man casually introducing him self as the actor who will play the director, and from there on Kiarostami plays with the boundaries between fiction and documentary. A film crew has come to an earthquakedevastated village to make a movie, and Hossein, a bricklayer, is pressed into service as an actor. He’s playing the part of the husband of Farkhonde, the woman he wants to marry in real life, though she has already rejected him. The persistent suitor sets about trying to make real the role he is playing. In between takes he explains that, as a husband, he would treat her much better than her husband in the film does. Farkhonde remains obstinate in her rejection of him— so much so tha t she cannot act in her role, and the director is forced to change his script. Before the earthquake, Farkhonde’s parents had rejected Hossein because he was illiter ate and homeless. Now, he points out, no one has a house, and surely an illiterate man should marry an educated woman so their children will have som eone to help them with homework? Kiarostam i’s understated narrative relies on gestures and nuance, yet it exerts a cumulative emotional pull. Through wry, compassion ate observation he shows how events— be they earthquakes or the making of a movie— affect people’s dreams and destinies. Awards: Oscar submission, Best Foreign Language Film, 1994; Golden Spike, Best Film, Valladolid Film Festival, 1994 Selected Filmography: Traveller (1974), First Graders (1985), Where Is the Friend’s House? (1987), Homework(1989), Close Up (1990), And Life Goes On... (1992)

An accidental death arouses a strange appetite in a seemingly normal man in this dark and brooding tale of uncontrolled obses sion. Miles Butler lives with his girlfriend, Sara, in the third floor apartment of an old Georgian house. One night, when they return from a dance, they find tha t the electricity has gone off. As Miles searches for the cause of the power failure, he makes a gruesome discovery: the dead landlord’s body, electrocuted in his bath on the second floor. The apartment stays empty for months and Miles develops an odd fascination with the landlord’s belongings in the flat. Eventually, a mysterious woman named Campbell Rourke moves into the apartment. Miles slowly becomes intrigued with the new tenant. He makes several attem pts to introduce him self but is thwarted by chance occurrences on every occasion. One day he gets one of her letters in the mail by accident and decides to keep it. As his infatuation for the new neighbor progresses, he begins to take all of her mail and read it regardless of the contents. He even pays some of her bills. His relationship with both Sara and his work slowly spirals into oblivion. Growing frustration between Sara and Miles eventually erupts into a violent confrontation th a t seemingly shocks Miles back to his senses. As tim e passes, things appear to return to normal. But obsessions are hard to stop... This visually lush and moody directorial debut from Paddy Breathnach will linger in your thoughts long after the lights have come up.

Ireland • Israel

Thursday, May 25 ■ Harvard Exit, 9:30pm Friday, May 26 ■ Harvard Exit, 5:00pm

Wednesday, May 31 ■ Seven Gables, 9:30pm Sunday, June 4 ■ Harvard Exit, 3:30pm

THE FLYING CAMEL

Ireland, 1 994

Israel, 1994

Director: Mary McGuckian Producers: Mary McGuckian, Uwe Franke, Tom Reeve, Peter Flood Cinematographer: Des Whelan Editor: Kant Pan Music: Niall Byrne Cast: Geraldine Chaplin, Geraldine James, Ian Richardson, John Lynch, Gerard McSorley Print Source/lnternational Sales: J&M Entertainm ent 9 8 minutes

Producer: Marik Rozenbaum Director: Rami Na’aman Screenplay: Rami Na’aman Cinematographer: Yoav Kosh Editor: Tovah Asher Music: Shem Tov Levy Cast: Gidon Zinger, Salim Dau, Laurence Bouvard, Gilat Ankori Print Source/lnternational Sales: Transfax Film Production 92 minutes

A seance reaches back 2 0 0 years and unleashes the spirits of Jonathan Swift and his two lovers— known as Stella and Vanessa— on a group of spiritualists gathered together in 19 2 8 Dublin. During the cold, wet month of January, these citizens of the 20th century strive to uncover what lies beneath the turbulent relationships of the trio. Swift is a man torm ented in both life and death by his love and admiration for the two women, who are as fiercely jealous of each other in 19 2 8 as they were in 1728. S w ift’s spirit is tortured by guilt over his inability to fully please either woman, and specifi cally his failure to fulfill their dying wishes. The women, especially Stella, are propelled by a love turned to hateful revenge. Called together by the gentle but determined M iss McKenna (Geraldine Chaplin), the spiritualists become vessels for those they have reconvened, and are inevitably drawn into their tragic historical saga. As painful events o f the past are revealed to them, they m ust confront the hidden truths o fth e iro w n lives. Mary McGuckian’s first feature is a visually rich and intim ate film th a t will make an unforgettable impression.

A rab/lsraeli relations are viewed in an entirely different light in this gentle comedy featuring a Jewish historian, a Palestinian squatter, and a Catholic novice nun. As the film opens, we meet Professor Bauman, a cultivated old historian with a keen interest in Bauhaus artifacts. Forced to live in a junkyard shack while he works on reconstructing a 1930s statue of a camel with wings, Bauman is not pleased when he returns home one day to find Phares, a Palestinian, sleeping in his antique bed. Phares has discovered tha t his father’s orange grove used to occupy Bauman’s run-down property, and he insists tha t he has a moral right to the land. Unable to dislodge Phares from the property, Bauman settles into an uneasy truce with the squatter, and the two spend most of their tim e bickering over cultural differences. Their squabbling is interrupted one day when they wake up to find a trailer camped on the grounds. Occupying the trailer is sister Gina, a novice nun who has come to the promised land from Italy in a quest to further her spiritual studies. Dumbstruck by the siste r’s beauty, the two men put a temporary end to their quarreling, as they vie for her attentions. Filmography: After (1990)

BRITISH A irw ays

THE

M 0 « MTA I r

103.7FM

Contemporary World Cinema

WORDS UPON THE W INDOW PANE

Ita ly

Thursday, May 25 ■ Harvard Exit, 7:15pm Saturday, May 27 ■ Harvard Exit, 3:30pm

THE POSTMAN Contemporary World Cinema

(II Postino) Italy, 1995

Thursday, June 8 ■ Varsity, 7:15pm Sunday, June 11 ■ Varsity, 9:15pm

LIKE TWO CROCODILES (Come due coccodrilli) Italy, 1995 U S P r e m ie r e

Director: Michael Radford Producers: Mario & Vittorio Cecchi Gori, Gaetano Daniele Screenwriters: Anna Pavignano, Michael Radford, Furio & Giacomo Scarpelli, Massimo Troisi Cinematographer: Franco Di Giacomo Editor: Roberto Perpignani Music: Luis Enrique Bacalov Cast; Massim o Troisi, Philippe Noiret, Maria Grazia Cuchinotta, Linda M oretti, Renato Scarpa, Anna Buonaiuto, Mariana Rigillo Print Source: Miramax Films Inc. 1 1 6 minutes This luminescent film , which was the opening attraction at last autum n’s Venice Film Festival, portrays the inspiring story of a friendship between two vastly different men who are brought together under unusual circumstances. Freely adapted from the Chilean novel Burning Patience, the story centers on the renowned Chilean poet and diplom at Pablo Neruda (Phillipe Noiret), who was forced into exile by his country’s repressive government and granted sanctuary in Italy. Arriving on the island of Capri, Neruda hires the uneducated Mario (Massimo Troisi) as his personal postman. Aloof at first, he slowly warms to Mario despite the m an’s obvious lack of education. M ario’s innocence and his unfolding fascination with the delights of poetry cause Neruda to take the man under his wing, becoming both his mentor and his father-confessor. When Mario falls in love with a lovely local barmaid, Neruda has his work cut out for him, not only helping Mario win the girl’s heart but also smoothing the way past the girl’s overprotective aunt. Rich in characterization and emotionally affective, The Postman touches the mind as well as the heart.

Director: Giacomo Campiotti Producer: Domenico Procacci Screenwriters: Giacomo C am piotti, Alexander Adabachan, Marco Piatti Cinematographer: Raffaele Mertes Editor: Roberto M issiroli Music: Stefano Caprioli Cast: Fabrizio Bentivoglio, Giancarlo Giannini, Valeria Golino, Sandrine Dumas, Ignazio Oliva, Angela Baraldi Print Source: Intra Films International Sales: Intra Films 1 0 0 minutes Seamlessly blending past and present, this haunting story of a wealthy young antiques dealer coming to grips with his childhood is a resonant, highly original example of the new Italian cinema. Gabriele is successful at business but less than a whiz at romance. His lover, Claire, is frustrated by his lack of emotion and his lack of openness about his upbringing. When a brochure comes to his Parisian office informing him of a sale o f antiques at his family home in Italy, he leaps at the opportunity to return to the scene of his childhood. But his motives are clearly not entirely innocent. In an exquisite series of flashbacks, we learn tha t Gabriele and his brother Martino are illegitimate children, part of a second family th a t their sometime-father (Giancarlo Giannini) secreted away in a country home with their beloved, high-spirited mother (Valeria Golino). A tragedy changes their lives forever, and they are moved to their father’s villa to live with his official family. The uneasy union o f this extended family sows the seeds for Gabriele’s adult actions. Filmography: Corsa di Primavera (1992)

*3f

BRITISH AIRWAYS 76

Ita ly

Thursday, June 1 I Harvard Exit, 7:15pm Tuesday, June 6 I Egyptian, 5:00pm

Sunday, May 28 I Egyptian, 9:15pm Tuesday, May 30 I Egyptian, 5:00pm

A PURE FORMALITY

(No Skin) Italy, 1 994

Italy/France, 1994

U S P r e m ie r e

Director/Screenwriter: Giuseppe Tornatore Producer: Mario and Vittorio Cecchi Gori Cinematographer: Blasco Giurato Editor: Giuseppe Tornatore Music: Ennio Morricone Cast: Gerard Depardieu, Roman Polanski, Sergio Rubini, Nicola Di Pinto Print Source: Sony Pictures Classics 1 0 8 minutes

Director: Alessandro D’Alatri Producers: Marco Poccioni, Marco Valsania Screenwriter: Alessendro D’Alatri Cinematographer: Claudio Collepiccolo Editor: Cecilia Zanuso Music: Moni Ovadia, Alfredo La Consegliaz Cast: Anna Galiena, Massim o Ghini, Kim Rossi Stuart, Maria Grazia Grassini, Paola Tiziana Cruciani Print Source/lnternational Sales: Instituto Luce 1 0 5 minutes Gina (Anna Galiena) and Riccardo (Massimo Ghini) have a very normal relationship, alm ost too normal. Although they are not legally married, they might as well be. One day Gina receives a letter tha t is a wild, passionate declaration of love from an anonymous admirer. As more letters arrive, Gina makes a point to keep them hidden from Riccardo, until one day he finds them and all hell breaks loose. Obsessed with finding out who is sending his woman these letters, Riccardo finally tracks down the culprit. He is a beautiful young man, Saverio (Kim Rossi Stuart), who suffers from both a nervous disorder and from living with an overprotective mother. Gina, acting out of pity (at first), is drawn to Saverio; his declarations of love are som ething she starts to respond to, and her growing fascination starts to change her way of life. Riccardo is wildly and insanely jealous, but he also begins to feel a strange compassion toward his com petition, and the plot thickens. Senza Pelle the second film from director Alessandro D’Alatri (L’America) th a t SIFF has had the pleasure to present. He is clearly the m ost innovative young director working in Italy today. The compassion in his work is sim ilar to th a t of Phillipe de Broca ( King o f Hearts, clearly) and Francois Truffaut. If you m iss th is wonderfully funny and endearing film you will be doingyourslef a disservice. An accomplished, warmly human film , Senza Pelle will set universal heartstrings resonating. Selected Filmography: L’America, 19 91

A major change of pace for the director of Cinema Paradiso, A Pure Formality is a mystery tha t unfolds through the interrogation of a suspicious stranger (Gerard Depardieu) by a police inspector (Roman Polanski). The story starts with a dazed and bleeding man staggering through a terrific thunderstorm. Stopped by the police (who have discovered a corpse in the vicinity), he is unable to explain his presence and is taken to the station for further questioning. When the inspector arrives, the stranger rather unconvincingly claims to be a world-famous novelist. The inspector turns out to be a fan and cites extensive literary examples, which actually confirm his identity. Now on friendly term s with the suspect, the suave but persistent inspector continues the interrogation, insisting it is “ a pure form ality.” But much more is y e tto b e revealed. Giuseppe Tornatore propels the narrative with unexpected mood shifts, the dramatic use of subjective widescreen camera work, and split-second flashbacks tha t tantalize with clues. The film is a tour de force for Depardieu, today’s m ost acclaimed international star, and Polanski, who has previously demonstrated his acting talent in Chinatown and The Tenant. Director Tornatore makes the most of their contrasting physical types: Depardieu seems more bearlike than ever, and Polanski seems as quick and sharp as a ferret. Fascinating and suspenseful, A Pure Formality builds to a powerful surprise ending.

Contemporary World Cinema

SENZA PELLE

Selected Filmography: II Camorrista (1986), Cinema Paradiso (1989), Everybody’s Fine (1991), Especially on Sunday (Blue Dog segment), (1993)

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Japan

Saturday, May 27 ■ Seven Gables, 9:15pm Monday, May 29 ■ Varsity, 3:30pm

(Waga Jinsei Saiaku No Toki) Japan, 1 994 Director: Kaizo Hayashi Producers: Shunsuke Koga, Kaizo Hayashi, Yu Weiyan Screenwriters: Daisuke Tengan, Kaizo Hayashi Cinematographer: Yuichi Nagata Editor: Nobuko Tomita Music: Meina Co. Cast: M asatoshi Nagase, Kiyotaka Nambara, Shiro Sano, Joe Shishido, Yang Haiping, Hou Dejian Print Source/lnternational Sales: Herald Ace Inc. 9 2 minutes Foremost among young Japanese directors with fresh cinematic ideas is Kaizo Hayashi, whose earlier film s merely serve as preludes to The Most Terrible Time in My Life, an innovative detective-genre pastiche. This firs t episode in the Hama Maiku trilogy became a blockbuster hit after its opening in March 1994. Yokohama private eye Mike Hama is a cross between Raymond Chandler gumshoes and Peter Falk’s Columbo. To reach his office in the Nichigeki Theater, he m ust pass through the fictional reality of the movie playing before he gets to the hard, cold facts upstairs. The action begins after Mike saves a Taiwanese mahjong club worker from the local mafia and finds out the man is looking for his brother, who disappeared shortly after arriving in Japan. After making a cryptic connection between the lost foreigner and his own clouded past, M ike’s on the case. His search escalates into a clash with the Black Dog Gang, naturalized foreigners who call them selves the “ New Japs.” Several beatings and the odd severed finger later, Mike uncovers a conspiracy to reorder the power structure of organized crime in Asia. Masatoshi Nagase {Mystery Train, Autumn Moon) heads a talented cast th a t includes 19 60 s action star “Joe of Ace” (Joe Shishido) as M ike’s detective teacher. True to its film noir influences, The Most Terrible Time in My Life is shot gratifyingly in black-and-white in the gritty Yokohama suburb of Kogane-cho. Hayashi plays off 19 4 0 s Hollywood and 19 6 0 s Japanese thrillers while launching a subtle assault on the age-old notion of Japanese racial purity. Introspection on friendship and betrayal is combined with wild car chases and a deliciously risky style. This often hilarious and som etim es bloody film comes endorsed by the Japan Detective Association (really!). Selected Filmography: To Sleep, so as to Dream (1986), Circus Boys (1989) Zipang (1990), Stairway to the Distant Past (1994)

THE MYSTERY OF RAMPO Japan, 1994 Director: Kazuyoshi Okuyama Producer: Yoshihisa Nakagawa Screenwriter: Kazuyoshi Okuyama Cinematographer: Yasushi Sasakibara Editor: Akimasa Kawashima Music: Akira Senju Cast: Masahiro Motoki, Naoto Takenaka, Michiko Hada Print Source: The Samuel Goldwyn Company 93 minutes A gorgeous Gothic tale of lust and intrigue, The Mystery ofRampo is based on the work of Edogawa Rampo, whose erotic thrillers were sporadically banned in Japan during the 1930s. The film begins as Japan is preparing for war, and the author’s latest home is under scrutiny by the authorities. Going about his daily routine, he is astonished when he discovers a newspaper article about a woman who is suspected of killing her husband by suffocating him in her nagamochi, or hope chest— the identical circumstance of a short story he has ju s t written. Intrigued, Rampo searches out the young widow, Shizuko, and is amazed to discover that she is identical to the heroine of his story. As his fascination with her grows, he begins writing a sequel to his story, featuring Shizuko as a woman trapped in the home of a kinky marquis who screens porno movies while ravishing her. In this new story, he sends his stock character, detective Kogoro, to rescue her, but fiction and reality come together in the bizarre climax to this tale.

Contemporary World Cinema

THE MOST TERRIBLE TIM E IN M Y LIFE

Friday, May 26 ■ Harvard Exit, 9:30pm Sunday, May 28 ■ Seven Gables, 3:30pm

Contemporary World Cinema

Monday, May 29 I Varsity, 12:30pm Sunday, June 4 I Harvard Exit, 3:30pm

Wednesday, June 7 ■ Egyptian, 9:30pm Saturday, June 10 ■ Harvard Exit, 9:15pm

THE RACCOON WAR

THE SERIOUSLY ILL

Japan, 1994

Japan, 1 9 9 4 U S P r e m ie r e

Director: Isao Takahata Producer/Screenwriter: Toshio Suzuki Animator: Studio Ghibli Editor: Takesi Seyama Music: Koryo, Manto Watanobe, Yoko Ino, Masaru Goto, Ryojiro Furusawa Voices: Shinsho Kokontei, Makoto Nononmura, Yuriko Ishida, Nijiko Kiyokawa Print Source/lnternational Sales: Tokuma Shoten Publishing Co. Ltd. 1 1 9 minutes This delightful, animated environmental fable was one of the year’s m ost popular film s in Japan (grossing more than $50 million). It comes from the same studio tha t produced My Neighbor Tortoro, which charmed American audiences. In Japanese mythology rac coons are thought to have magical powers, sometim es able to transform themselves into humans (though leaving some telltale sign of their own identity visible). The Raccoon War tells the story of the raccoon tribe of the Tama Hills, who are being forced from their beautiful forest home by encroaching human development. The trees are being cut and the hills are being leveled to make room for construction. Their homes and way of life threatened, the raccoons fight back in amazing and entertaining ways. They wage a “ spook war," transforming themselves into everything from kitchen utensils to goblins, and even learn to exploit the media as well as any savvy publicist. Funny but sympathetic, the raccoons are ingenious combatants. The film ’s truly spectacular animation creates a beautiful world of nature under siege. Moreover, anima tion is the only medium tha t could adequately embody the wonders of this fantastic tale. A tim ely reminder tha t we share the earth with all life, The Raccoon War is a charming and humorous film that adults will enjoy every bit as much as children. Awards: Oscar submission, Best Foreign Language Film, 1994 Selected Filmography: Grave o f the Fireflies, Omoide Poroporo,

Laputa: The Castle in the Sky, Nausicca o f the Valley o f the Wind

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Director: Juzo Itami Producer: Yasushi Tamoki Screenwriter: Juzo Itami Cinematographer: Yonezo Maeda Editor: Akira Suzuki Music: Toshiyuki Honda Cast: Rentaro Mikuni, Masahiko Tsugawa, Nobuko Miyamoto Print Source: The Juzo Itami Corporation International Sales: Jane Balfour Films 1 1 6 minutes From comic master Juzo Itami comes The Seriously III, a movie within a movie tha t gives us a scathing look at the Japanese medical system. Itam i’s last film, Minbo—or the Gentle Art o f Japanese Extortion, was a biting satire of the yakuza (Japanese mafia). Pointing out the yakuza’s evil hold on Japanese society is taboo, and upon completion of the film Itami was attacked and slashed— sending him to the hospital. There he received the inspiration for the story of The Seriously III: An egocentric film director in the m idst of creating his ultimate work, which coincidentally is about a couple dying of cancer, becomes very ill. He does not realize, however, tha t his recently diagnosed ulcer is actually cancerous. As his illness progresses, his doctor, family, and friends become more and more inventive in trying to keep the truth from him. Eventually he discovers the truth and sets out to put the finishing touches on his life in every way. He prepares his mistress, long hidden from his wife, to live without him. He ultimately comes to an understanding with his wife and finishes his film , which becomes his final testam ent. Like Itam i’s otherfilm s, The Seriously III combines humor and farce with very serious subject matter. The sensibility of Juzo Itami is unlike tha t of any other filmmaker. Japanese superstar (and Itam i’s wife) Nobuko Miyamoto returns to the screen in a supporting role as the strong-willed wife of the director in this highly original tale. Selected Filmography: The Funeral: Death Japanese-Style (1984), Tampopo (1986), A Taxing Woman (1987), A Taxing Woman’s Return (1988), Tales o f a Golden Geisha (1990), Minbo— or the Gentle Art o f Japanese Extortion (1992)

A JM 1A A 1R U N E S

Tuesday, May 30 ■ Harvard Exit, 5:00pm Sunday, June 4 ■ Seven Gables, 6:30pm

Thursday, June 1 ■ Seven Gables, 9:30pm Sunday, June 4 ■ Seven Gables, 12:30pm

ONCE UPON A TIM E, BEIRUT

(Harukana Jidai No Kaidan 0) Japan, 1994

Lebanon/France, 1994

Director: Kaizo Hayashi Producers: Shunsuke Koga, Kazutoshi Wadakura, Kaizo Hayashi Screenwriter: Daisuke Tengan, Kaizo Hayashi Cinematographer: Yuichi Nagata Editor: Nobuko Tomita Music: Meina Co. Cast: M asatoshi Nagase, Haruko Wanibuchi, Eiji Okada, Kiyotaka Nanbara, Mika Ohmine Print Source/lnternational Sales: For Life Records, Inc. 1 0 1 minutes

Director: Jocelyne Saab Producers: Arte and Aleph Screenwriters: Philippe Paringaux, Roland-Pierre Paringaux Cinematographer: Roby Breidi Editors: Dominique Auvray, Isabelle Dedieu Cast: Michele Tyan, Myrna Makaron, Emile Accar Print Source/lnternational Sales: Balcon Production 1 0 5 minutes

There’s nothing better after catching a Mike Hama film than a s tiff drink, a good cigarette — and another Mike Hama film ! The Seattle International Film Festival is pleased to present the second screen ing outside Japan o f Part II of the Hama Maiku trilogy, a more refined but equally delightful sequel to director Kaizo Hayashi’s The Most Terrible Time in My Life. This is Hayashi’s firs t color film , and he pulls it off with surprising ease and no lack of visual inventiveness. “A beautiful stripper named Lily appears in town and stirs up a world of trouble for Mike Hama (Masatoshi Nagase), Yokohama’s worstdressed private detective. Lily, it turns out, is M ike’s mother, who abandoned him and his little sister when they were children, leaving them to fend for themselves. Mike is still bitter about her desertion and demands she stay away from his sister. Meanwhile, a rogue gang calling themselves the New Japs are trying to muscle in on Yokohama’s lucrative river front area, controlled with brutal effi ciency since World War II by the legendary White Man (Eiji Okada, the equally legendary star of Alain Resnais’ Hiroshima, Mon Amour). These two stories converge on the river th a t flows through the center of the city, as Mike stum bles into a wild swirl of complications, complete with high-speed boat chases, gang wars, dirty cops, and even dirtier politicians. In the process, he confronts terrible scenes from his own past, which mirror Yokohama’s own dark secrets. Director Hayashi takes us on an enthralling, tragicomic time-trip, a visually spectacular meditation about tim e and fam ily th a t is pure delight.”— Tod Booth, San Francisco International Film Festival Selected Filmography: To Sleep, so as to Dream (1986), Circus Boys (1989) Zipang (1990), The Most Terrible Time in My Life (1994)

U S P r e m ie r e

Two serious yet lighthearted women of 20, Yasmine (Michele Tyan) and Leila (Myrna Makaron), share a passion for Beirut and for the cinema. Both women long for a sense of how Beirut fell from being the Star of the Middle East— steeped in business, pleasure, and drama— to the war-torn and heartbreaking shell it is today. In their search of Beirut’s memory, looking for any telling images the city may be willing to offer, Yasmine and Leila encounter a reclusive film enthusiast named Monsieur Farouk (Emile Accar). Although he doesn’t normally receive visitors, Monsieur Farouk makes an excep tion forthe young women because they possess two rare, unreleased film s. He takes the women on a veritable journey of images, from large-scale American studio efforts of the 1970s to the Beirut of the 1960s seen through the lenses of Arab filmmakers, to the Frenchdirected film s of the 1930s, in an attem pt to understand the interests of a powerful foreign presence. Through the tim e machine of cinema, Yasmine, Leila, and the mysterious Monsieur Farouk take us on a mythical and history-laden tour of one of the Middle East’s m ost complex cities.

Contemporary World Cinema

STAIRWAY TO THE DISTANT PAST

M exico

Contemporary World Cinema

Monday, June 5 ■ Harvard Exit, 7:15pm Tuesday, June 6 ■ Harvard Exit, 5:00pm

Wednesday, May 31 ■ Harvard Exit, 7:15pm Saturday, June 3 ■ Seven Gables, 12:30pm

EL BULTO

THE GARDEN OF EDEN

Mexico, 1991

Mexico, 1994

Director: Gabriel Retes Screenwriters: Gabriel Retes, Maria Del Pozo Cinematographer: Gabriel Retes, Maria del Pozo Music: Pedro Plascencia Cast: Delia Casanova, Cecilia Camacho, Luis Felipe Tovar Print Source: Lou O’ Neil 1 1 4 minutes

Director: Maria Novaro Producer: Jorge Sanchez Screenwriters: Beatriz & Maria Novaro Cinematographer: Eric A. Edwards Editor: Sigfrido Barjau Cast: Renee Coleman, Bruno Bichir, Gabriela Roel, Rosario Sagrav, Alan Ciangherotti, Ana Ofelia Murguia, Joseph Culp Print Source/international Sales: Tom Garvin/Ervin, Cohen, and Jessup 1 0 4 minutes

A wry and touching variation on the story of Rip Van Winkle, El Bulto recounts the struggles of a man who awakens from a decades-long sleep and is forced to confront the startling changes tha t have occurred in the world around him during his absence. Beaten into a coma during a student demonstration at the age of 20, Lauro reawakens 20 years later to find th a t his wife has taken up with another man, his children are adults, and society has changed beyond his wildest imaginings. El Bulto loosely translates as “the lum p,” and th a t’s ju s t how Lauro is perceived by those around him as he lies in a coma in the hospital for 20 years. Long since abandoned by his once-loving wife, Lauro nevertheless receives the daily m inistrations of his now-22-year-old daughter, Sonia, and his 20-year-old son, Daniel, whom he has never known. One night the unexpected happens: Lauro opens his eyes and awakes to find him self 20 years older, in a world radically different from the one he knew. Much has transpired in the interval: the fall of communism, the advent of computers, new ways and new ideas, new diseases and new hopes. Struggling even to re-find his voice, Lauro is shocked and amazed, curious and terrified, by all the years he has lost and all tha t has happened in the meantime. Selected Filmography: Chin Chin the Wino (1975), Paper Flowers (1977), New World(1978), Broken Flag(1980), Savage (1984), The Castaways o f Liguria (1985), Naked City (1988)

Maria Novaro, whose exquisite Danzon (SIFF ’92) gained interna tional acclaim, returns to the screen with this vivid portrait of three women whose paths crisscross and destinies intermingle in the hot, dusty frontier town of Tijuana. Serena, a beautiful widow, has arrived in Tijuana with her three children intent on a fresh start in life, but the family is having a hard tim e adjusting to their new surroundings. Jane, a young American woman, has come to the town in search of her brother Frank and her close friend Elizabeth; Elizabeth, in turn, is a Mexican-American who has returned to Mexico with her young daughter to search for her roots. Each of these women is, in her own way, on a quest to find some meaning in life. In this sense, Tijuana represents a kind of way station on the road to a land of promise. Director Novaro intertwines the separate strands of narrative with a judicious eye for detail and nuance; her rendering of these wom en’s stories provides a moving metaphor for the human search for a kind of paradise. Selected Filmography: Una Isla Rodeada de Agua (1985), Azul Celeste (1987), Lola (1989), Danzon (1991), Otonal (1993)

M exico • N etherlands

Friday, May 26 ■ Seven Gables, 9:30pm Sunday, May 28 ■ Harvard Exit, 3:30pm

Saturday, June 3 ■ Harvard Exit, 9:15pm Tuesday, June 6 ■ Harvard Exit, 5:00pm

1-900

(’Til Death) Mexico, 1 993

The Netherlands, 1994

Director/Producer: Fernando Sarinana Screenwriter: Marcela Fuentes Berain Cinematography: Guillermo Granillo Editor: Carlos Bolado Music: Eduardo Gamboa Cast: Veronica Merchant, Juan Manuel Bernal, Demian Bichir, Dolores Beristain Print Source: IMCINE International Sales: Thomas F.R. Garvin 9 0 minutes Fernando Sarinana, one of Mexico’s leading producers and a wellknown director of short film s, makes his feature debut with Hasta Morir, an intriguing tale of bonds, broken dreams, and destinies reversed in the underbelly of Mexico City society. A newcom erto the city, the fiery Mauricio is initiated into the world of petty crime by his childhood friend El Boy. The “ blood brothers” dream of stealing money and living happily forever in Los Angeles. Their fantasies sour when a big convenience store heist goes awry. Forced to flee, El Boy leaves his ailing aunt in M auricio’s car and jo ins a street gang in another city. Meanwhile, Mauricio comes across the deed to a property El Boy was meant to inherit. Impersonating his old friend, Mauricio befriends the innocent and cautious Victoria, El Boy’s longlost cousin, and persuades her to sell the deed. Yet his big plans for the money are derailed as he falls in love with her. When El Boy returns to find his friendship betrayed, disaster looms. Sarinana deftly conjures up a marginal world of street gang violence with a thorougly modern sensibility and an engaging contemporary Mexi can rock music soundtrack.

Contemporary World Cinema

HASTA MORIR

Director/Producer: Theo van Gogh Screenwriter: Johan Doesburg Cinematographer: Tom Erisman Editor: Ot Louw Music: Ruud van Dijk Cast: Ariane Schlüter, Ad van Kempen Print Source: Zeitgeist Films Ltd. 90 minutes Theo van Gogh’s outrageously frank 1-900 is a lot more than ju s t talk. Two lonely professionals meet through a sex line and begin a weekly rendezvous via the telephone. Their interaction is by turns erotic, funny, frustrating, and even sinister in this surprisingly engaging adaptation of a controversial Dutch stage play. The action focuses on Thomas, who one day decides to try out a 1-900 listing, and Sarah, who responds to his message. Both are rather tentative in their first encounter. Somehow, though, the experience of relating sexually over the phone, and the absence of visu a l/ personal contact, allows each of them to adapt a “telephone persona,” part fantasy and part uninhibited hidden desire. She pretends to be a blonde, and he pretends he’s not mid-40s and balding. Despite the initial rules of the game, neither partner can help wishing for more intimate contact as they become increasingly attached to one another. Thus begins a cycle of weekly phone calls, deceptions, and steamy conversations in which they begin to open up to each other more and more. Both actors drive the film along with first-rate performances, especially Ariane Schluter. Van Gogh manages to keep the film from becoming claustrophobic by captur ing little details of their lives, or tracking around the actors as they talk. In the end, 1-900 is a provocative psychological study, and a sexually charged exploration of the boundaries of imagination, fantasy, and power. Awards: Official Oscar submission, Best Foreign Language Film, 1994; Special Jury Prize, Dutch Film Festival, 1994; Best Film, Dutch Press Award, 1994 Selected Filmography: Luger (1981), A Day at the Beach (1984), Charly (1985), Return to Oegstgeest (1987), No Potatoes (1989)

N ew Z ealand/N orw ay

Contemporary World Cinema

Friday, June 2 ■ Seven Gables, 7:15pm Saturday, June 3 ■ Harvard Exit, 3:30pm

WAR STORIES OUR MOTHERS NEVER TOLD US New Zealand, 1995 U S P r e m ie r e Director/Producer: Gaylene Preston Cinematographer: Alun Bollinger Editor: Paul Sutorius Print Source/lnternational Sales: New Zealand Film Commission 9 5 minutes Gaylene Preston, who grew up during World War II, has crafted a powerfully revealing, cathartic, and uplifting film about the ravages of war and the way its effects stretch far beyond the battlefields. In a country where not a shot was fired, countless young men left to fight a world war in places many had barely heard of. Most of the women, young and old, stayed behind, only to find their lives radically altered. In New Zealand, as elsewhere, the war turned normal society upside down, and lost in the stories of heroism and tragedy were the personal stories of those who had to soldier on. Preston uses interviews with seven women (including her mother) now in their 70s and 80s, who speak about the impact of the war on their lives. As elsewhere, the loss and suffering was so great tha t many could not confront their experiences, and an entire generation tried to sweep its problems under the carpet. This film has the requisite newsreel clips and personal photographs, but it is the stories long repressed in pain, smothered in shame, or disregarded as insignifi cant tha t hold the greatest revelations. Unlike previous film s about women and war, War Stories is also about the men in the lives of these women, and the disparity of experience between those who went to fight and those who did not. As the film progresses, the tales become more and more unexpected. “ I used to think they were a tim id bunch” states Preston, “these women with their unworldly ways and their insistence on conformity and security, but I know now how wrong I w as.”

Friday, May 19 ■ Harvard Exit, 5:00pm Tuesday, May 23 ■ Harvard Exit, 7:15pm

BEYOND THE SKY Norway, 1993 Director: Berit Nesheim Producer: Axel Helgeland Screenwriter: Klaus Hagerup Cinematography: Philip Ogaard Editor: Lillian Fjellvaer Music: Geir Bohren Cast: Inger Lise Winjevoll, Harriet Andersson, Arne Willy Granli Johnsen, Birgitte Victoria Svendsen Print Source: First Run Features 9 0 minutes Harriet Andersson, who worked often with Ingmar Bergman, returns to the screen in Beyond the Sky, a tender story of two outsiders who develop a rare friendship. Mari, a grumpy girl of 12, and Miss Kjaer, a very unpopular teacher at M ari’s school, first encounter one another on the day of Miss Kjaer’s retirement. Mari is fascinated by Miss Kjaer’s indifferent character, and dares to force her out of complacency by stuffing an ice cream cone in her face. M iss Kjaer is delighted by M ari’s confidence and invites herto be the sole guest at her private birthday party. There Miss Kjaer confesses the story of her long-lost love, who disappeared from her life 4 0 years earlier. The deadening standstill to which her life came as she waited and waited gradually becomes the focus around which both M iss Kjaer and Mari take a step forward in self-realization. Berit Nesheim ’s film is a subtle exploration of what it means to be a woman, and a pleasurably acute and sympathetic rendering of the pains of youth and old age, friendship between generations, and the old adage tha t it is nevertoo late to learn or love. This entertaining romantic comedy takes us to tha t place where we’ve all dream t of going— the place in which fea r o f real intim acy is overridden by our deeper need to love. Selected Filmography: Frida—Straight from the Heart (1991)

Selected Filmography: Mr. Wrong (1985), Ruby and Rata (1990), Bread and Roses (1993)

KPIU

British A irways

Norw ay • Peru

Tuesday, May 30 ■ Harvard Exit, 9:30pm Friday, June 2 ■ Seven Gables, 5:00pm

(Trollsyn) Norway, 1 994

NO MERCY (Sin Companion) Peru/Mexico, 1994

U S P r e m ie r e Director: Ola Solum Producer: Hilde Berg Screenwriter: Anja Breien Cinematographer: Haralk Gunnar Paalgard Editor: Einar Egeland Music: Jan Garbarek Cast: Julia Onsager Steen, Liv Bernhoft Osa, Bjorn W illberg Aderson, Reldar Sorensen, Baard Owe, Oddbjorn Hesjevoll Print Source: Norske F ilm instituttet International Sales: Seawell Films 9 3 minutes At the peak of the Middle Ages, Norway was a major European power. But when the plague swept through Europe around 1350, Norway was hardest hit, with more than two-thirds o f the population lost. In one of the m ost incredible re-creations of medieval tim es and psychology ever seen on film , Second Sight tells the Norwegian folktale of the “Jostedal Grouse,” a young girl who is the only survivor of the plague in her village. Young Maren and her mother live in a small village in the valley of Jostedal. Rumors of the Black Death have made foreigners unwelcome. When wandering m instrels ap pear for the annual harvest festival, all the villagers are stricken in no tim e, but Maren remains safe with her father in high pastures. Born with the umbilical cord wrapped around her head— a sign of clairvoyance— Maren sees the devastation of her village in a dream. She races back to the village, only to find her mother gravely ill. With everyone else dead, she flees into the forest, surviving on her instincts, folklore, and luck. Fortunately, a neighboring village sends out a search party after Jostedal’s unattended cattle wander over. Director Ola Solum ( Orion’s Belt, SIFF ’86) has created a master piece of mysticism and heroism. The film incorporates magnificent landscapes, m eticulous attention to medieval customs, and breath taking cinematography, totally immersing the audience in the m indset o f ancient tim es. Julia Onsager Steen is terrific as Maren, with ju s t the right mix of innocence and steel. Second Sight is a tribute to the resilient Norwegian spirit, as well as a magical contemporary legend in its own right. Selected Filmography: Christmas Star( 1976), Orion’s Belt (1985), Wanderers (1989), The Polar Bear King (1991)

Director: Francisco Lombardi Producers: Gustavo Sanchez, Francisco J. Lombardi Screenwriter: Augusto Cabada, adapted from Crime and Punishment by Fyodor Dostoevsky Cinematographer: Pili Flores Guerra Cast: Diego Bertie, Adriana Davila, Jorge Chiarella, Hernan Romero, Marcello Rivera Print Source: CiBy Sales 1 2 0 minutes

No Mercy is a masterful adaptation of Dostoevsky’s Crime and Punishment set in the slums of modern Lima. Ramon, an impover ished student, is an idealist trying to assert him self against a society filled with oppression, squalor, and violence. He meets Sonia, a teenage girl driven to prostitution to support herfamily, and is moved by her purity of spirit. Filled with pity and hatred for society, Ramon commits a brutal crime tha t he believes is an act of justice. Afterwards, he unexpectedly finds him self tormented by guilt. He has several ambiguous encounters with the persistent police chief, Portillo, who may or may not suspect him of the crime; they develop a relationship tha t is a curious mix of friendship and hate. Struggling with his conscience, Ramon embarks on a painful journey of selfdiscovery, which leads to self-understanding. No Mercy features brilliant performances, especially by Diego Bertie as Ramon. Vet eran director Francisco Lombardi ( The Lion’s Den, SIFF ’89) creates a jarring conjunction of literary ripeness and gritty realism tha t is strangely compelling. Selected Filmography: Death at Dawn (1977), Death o f a Tycoon (1980), The City and the Dogs (1985), The Escape o f the Jackal (1986), The Lion’s Den (1988), Fallen from Heaven (1989)

Contemporary World Cinema

SECOND SIGHT

Monday, June 5 ■ Seven Gables, 9:30pm Wednesday, June 7 ■ Harvard Exit, 5:00pm

Poland

Monday, May 29 I Harvard Exit, 9:15pm Thursday, June 1 I Seven Gables, 5:00pm

Contemporary World Cinema

THE CONVERT (Zawrocony) Poland, 1994

Monday, June 5 ■ Varsity, 9:30pm Wednesday, June 7 ■ Harvard Exit, 7:15pm

SQUADRON Poland, 1994 U S P r e m ie r e

Director: Kazimierz Kutz Producer: Andrzej Stempowski Screenwriter: Kazimierz Kutz Cinematographer: W ieslaw Zdort Editor: Zygmunt Dus Music: Jan Kanty Pawluskiewicz Cast: Zbigniew Zamachowski, Zofia Rysiowna, Anna Waszczyk, Marek Kondrat Print Source/lnternational Sales: Telewizja Polska 79 minutes

Director: Juliusz Machulski Producers: Juliusz Machulski, Jacek Moczydlowski Screenwriter: Juliusz Machulski Cinematography: Witold Adamek Editor: Jadwiga Zajicek Music: Krzesimir Debski Cast: Radoslaw Pazura, Janusz Gajos, Siergiej Szakurow, Jan Machulski, Katarzyna Lochowska, Franciszek Pieczka Print Source/lnternational Sales: Film Polski 1 0 5 minutes

Thomas is a stooge. He’s a good-natured stooge, however, and for tha t reason he agrees to infiltrate a 19 81 Solidarity rally upon his boss’s request. For Thomas it is an appealing task: he feels more comfortable among the protesting workers than with his fellow power plant employees. A man of simple mind and ideals, Thomas has no notion of protest, only of camaraderie. Amid the groundswell of the demonstration, he soon becomes a mindless participant instead of an informant. In the ensuing crackdown, Thomas, too, is pursued. As the unwitting prey of his taskmakers, he is soon captured but refuses to crack under interrogation. It is here tha t the film achieves its potency: Thomas, like his native Poland, begins to reassess the foundation of his beliefs. Zbigniew Zamachowski, the lovable opportunist in Kieslowski’s White, is equally appealing in The Conversion as the blank-faced idealist Thomas.

Director Juliusz Machulski, who brought us the Oscar-nominated Sex Mission (SIFF ’85), engages the mind with anti-war sentim ents tha t have universal resonance and appeal in this lavishly produced drama. Set during an insurrection of Polish peasants in 1863, the tale focuses on Jeremin, a young officer in a regiment of Russian dragoons sent to quell the unrest. He initially confronts his commis sion with zeal, but the reality of the war zone turns his passion into confusion. For Jeremin did not join the regiment for the savagery of war but to win the heart of his unrequited love; he had hoped tha t his uniform and officer’s stripes would impress her. With increasing horror Jeremin observes act of cruelty carried out by his comrades in arms as the struggle becomes protracted and the battles become bloodier. The brutality of his fellow soldiers in squashing the rebellion appears hopelessly out of balance with the modest demands of the Poles, and Jeremin gradually loses faith in the sense of the battle— he begins to realize tha t he is not on the right side. But there’s no way out. In the ensuing battles he begins to distinguish him self by his valor and kills so as not to be killed. To complicate matters, he falls in love with a beautiful Polish girl, yet he has no chance— the girl is an ardent patriot. The futility of war and the waste of human life are conveyed with enormous force in Squadron. Equaling Platoon in scope, only set a century earlier, Squadron is an epic film tha t chronicles the effects of war on the life of an ordinary man.

Selected Filmography: Warriors Cross (1959), Nobody Is Calling (1960), People from the Train (1961), The Salt o f the Black Soil (1965), Beads o f One Rosary (1979), / Will Stand upon My Watch (1983), Death like a Slice o f Bread (1994)

Selected Filmography: Va Banque{1980), Sex Mission (1983), Va Banque 11(1984), King Size (1988), Deja Vu (1989), VIP (1991)

Portugal • Russia

Sunday, May 28 ■ Seven Gables, 9:15pm Thursday, June 1 ■ Harvard Exit, 5:00pm

(Two Brothers, My Sister) Portugal, 1994 Director: Teresa Villaverde Producer: Joaquim Pinto Screenwriter: Teresa Villaverde Cinematographer: Volker Tittel Editors: Vasco Pimentel, Teresa Villaverde Sound: Vasco Pimentel Cast: Maria de Medeiros, Marcello Urgeghe, Eugeni Sidihin, Laura del Sol, M ireille Perrier, Olimpia Corlisi International Sales: Intrafilm s Print Source: Grupo de Estudos/Real LdK. 1 1 0 minutes Maria de Medeiros (Pulp Fiction, Henry and June) hauntingly plays a doomed woman passively bearing witness to her fam ily’s slow dissolution and her own destruction in the psychological thriller Tres Irmaos. Two brothers, Mario and Joao, and their sister, Maria, have always lived together. The siblings thrive on each other’s energy and keep a distance from those outside the family circle. Of course, in growing up, they m ust separate, which is both a tragedy for the brothers and their salvation. Maria, on the other hand, becomes isolated and has no one to com fort her. At the beginning of the film the crumbling of their family is already well under way. The fragile father is blind and often drunkenly violent, and the mother is a deeply unhappy wife who dumps the household duties onto the shoulders of the introspective, pathetically self-effacing Maria, who cooks, cleans, studies, and holds down a job. A violent confrontation between the brothers and the father over the brutalization of the mother leaves Maria alone with her unpleasant father; the brothers move out and the mother follows shortly thereafter. Maria is drawn down a puzzling, alm ost self-sacrificing path as she takes care of her father, brothers, and mother. As the film takes increasingly disturb ing turns, Maria is pushed over the edge, creating a moving portrait and profound love story of difficult and abiding affection.

Awards: Best Actress, Venice Film Festival, 1994; Best Actress, Cancún Film Festival, 19 9 4

BURNT BY THE SUN Russia/France, 1994 Director: Nikita Mikhalkov Producers: Nikita Mikhalkov, Michael Seydoux Screenwriters: Nikita Mikhalkov, Roustam Ibraguimbekov Cinematographer: Vilen Kaluta Editor: Enzo Meniconi Music: Eduard Artemyev Cast: Nikita Mikhalkov, Nadia Mikhalkov, Oleg Menchikov, Ingeborga Dapkounaite Print Source: Sony Pictures Classics 1 3 4 minutes This year’s winner of the Academy Award for Best Foreign Language Film and co-winner of the Cannes Film Festival’s Jury Prize, Burnt by the Sun is a staggeringly beautiful and moving film. Director Nikita Mikhalkov (A Slave o f Love, Close to Eden) deals affectingly with the ghosts of his country’s past. In the summer of 1936, middle-aged Hero of the Revolution Sergei Kotov (played by the director) is enjoying an idyllic life at his country estate with his precocious and spirited daughter, Nadia (played beguilingly by the director’s own daughter), and his beautiful wife, Marusya. It’s a paradise from which all cares seem to have been banished; the purges and gulags of the Stalin regime seem impossibly far away. But the outside world intrudes in the form of Dmitri, a suave and handsome rogue who was Marusya’s lover before her marriage. Dmitri charms little Nadia with tricks, jokes, and music, fa st becoming her favorite. Sergei, how ever, gradually comes to distrust his motives. As thunderclouds gather to obscure the sun, outside forces of evil threaten Sergei’s world. With a subtle, lingering development, Mikhalkov’s story achieves tragic grandeur and an almighty emotional payoff.

Contemporary World Cinema

TRES IRMAOS

Saturday, May 20 ■ Egyptian, 6:30pm Sunday, May 21 ■ Egyptian, 3:30pm

Awards: Grand Jury Prize (co-winner), Cannes Film Festival, 1994; Academy Award, Best Foreign Language Film, 1995 Selected Filmography: Slave o f Love (1975), An Unfinished Piece for Player Piano (1976), Oblomov (1979), Dark Eyes (1986), Close to Eden (Urga) (1991), Anna from 6 to 18 (1993)

Selected Filmography: A Idade Maior (1991)

South Korea

Contemporary World Cinema

Sunday, June 4 ■ Harvard Exit, 6:30pm Wednesday, June 7 ■ Seven Gables, 9:30pm

Sunday, May 21 ■ Harvard Exit, 12:30pm Tuesday, May 23 ■ Egyptian, 9:30pm

LIFE AND DEATH OF THE HOLLYWOOD KID

THE TAEBAEK MOUNTAINS

South Korea, 1994

U S P r e m ie r e

Director: Chung Jiyoung Producer: Ahn Dongkyu Screenwriter: Ahn Junghyo Cinematographer: Shin Okhyon Cast: Choe Minsu, Toko Yongjae, Shin Hyesu Print Source: KMPPC International Sales: Ahn’s World Production Co. Ltd. 1 1 4 minutes Korean director Chung Jiyoung presents a strong anti-Hollywood message in his thought-provoking film Life and Death o f the Hollywood Kid, about two men deeply influenced by American movies. Coming of age during the 19 60 s, Yun Myonggil (Toko Yongjae) is fascinated by his movie-buff schoolmate, Im Pyongsok (Choe Minsu). As organizers of a movie fan club at their high school, the two engage in all manner of forbidden activities and even try smuggling themselves to California. Rivalry over a girl (Shin Hyesu) eventually drives them apart. After Yun’s stint in the military and Im’s stin t as a gigolo, the two team up again to work on a movie. Disappointed by the low standards of the Korean movie industry, Im quits, unable to accept a reality tha t is distinct from the movie fantasy he created for himself. Yun fails as a director and eventually meets up again with his form er schoolmate. Im has been institution alized after the shock of escaping his burning home without his young son. Barely able to speak, he gives Yun the screenplay he has been writing and rewriting all his life. Yun turns the script into one of the m ostsucessful movies of the year— but was the masterpiece an original work, or ju s t a collection of scenes and dialogues stolen from Hollywood movies? Based on the novel of the same title by screenwriter Ahn Junghyo, Life and Death o f the Hollywood Kid is a biting indictm ent of a generation unable to surmount the difficulties of holding on to a cultural identity in the face of Westernizing influences. “ Hollywood movies offered dreams and fantasies to impoverished Koreans in the 19 50 s and ’60s. They tasted like candy,” says Jiyoung. “ We were not capable of sucking the honey while tunneling out the poison.” Selected Filmography: The Woman Hiding in the Woods (1988), Mountain Snake (1988), The Southern Army (1990), The Shattered Name (1991), White Badge (1992)

South Korea, 1994 Director: Im Kwon Taek Producer: Lee Tae-Won Screenwriter: Song Nueng-Han Cinematographer: Jung ll-Sung Editor: Park Soon-Duk Music: Kim Soo-Chul Cast: An Sung-Kee, Kim Myung-Kon, Kim Gap-Soo, 0 Jung-Hae, Shin Hyun-Joon, Choi dong-Joon, Chung Kyung-Soon, Bang Eun-Jin, Lee Ho-Jae Print Source: KMPPC International Sales: Tae Hung Production Co. 1 6 8 minutes This gripping historical drama from Korean master Im Kwon Taek thrusts us into the lives of a group of South Korean villagers during the years leading up to the war between North and South. Combining sweeping set pieces with intimate personal drama, the film paints a vivid, affecting portrait of the ways in which political struggle tears apart the fabric of society, and sets a high-water mark for quality in the new Korean cinema. Opening up three years after the Japanese occupation, the story focuses on the residents of a small rural city on the southwestern coast of Korea. Once a peaceful community, the town is being torn apart by political forces of the left and right. Occupied in turn by the warring factions, the citizenry turn on each other, currying favor with the group currently in control by informing on neighbors and even family. While the rebel forces have withdrawn to carry on their guerrilla warfare in the villages and mountains surrounding the city, the nationalist troops ruthlessly purge the citizenry; but before long, the tables are turned once again as war breaks out to the north and the cycle begins anew. Heartbreaking in its inevitability, the story of this small town is but a microcosm o f the larger struggle between ideologies. Im Kwon Taek’s visually stunning tale of individuals caught in the thrashing jaws of history provides a vivid portrait of the forces tha t continue to bedevil the Korean Peninsula. Selected Filmography: Mandala (1983), Gilsodom (1 9 8 5 ), Come, Come, Come Upward (1989), The Son o f a General (1990), Fly High, Run Far (1992), Sopyonje (1993)

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Spain • Sweden

Contemporary World Cinema

Wednesday, May 24 ■ Harvard Exit, 9:30pm Saturday, May 27 ■ Egyptian, 12:30pm

ALEGRE MA NON T R 0P P 0

JUST YOU AND ME

Spain, 1994

(Bara Du & Jag) Sweden, 1994

Director: Fernando Colomo Producer: Beatriz De La Gandara Screenwriters: Joaquin O ristell, Fernando Colomo Cinematography: Javier Salmones Editor: Miguel A Santamaria Music: Edmon Colomer Cast: Pere Ponce, Penelope Cruz, Rosa Maria Sarda, Oscar Ladoire, Andoni Gracia, Nathalie Sesena, Jordi Molla Print Source: ICAA, M inisterio De Cultura International Sales: Fernando Colomo PC 1 0 0 minutes

U S P r e m ie r e

Outrageously irreverent in the style of Almodovar, this ferociously fam ilial farce has something to offend ju s t about everyone. Pablo is a young musician who has had the misfortune of losing his boyfriend and failing miserably at an audition for a prestigious youth orchestra in the same week. However, he meets an out-of-towner, Vincente, at the auditions who seems to have some romantic potential— until his girlfriend Salome shows up the next day. She has made it into the orchestra but Pablo and Vincente have not. As the saga continues, a disheartened and somewhat suicidal Pablo is persuaded by his newfound friends to see a psychiatrist. The doctor espouses the notion th a t Pablo’s problems stem from his sexuality and tha t he is not really gay. Ironically, Pablo believes him, and his search for the perfect woman begins. Things keep getting better for Pablo as a space opens in the orchestra, and he’s able to reherse with Salome (it didn’t hurt tha t his father was on the selection committee). A series of events unfolds tha t weaves a web of tangled romance and lust between the unlikeliest partners, as Salome, Pablo, and his father trek off to an orchestra retreat while his steam roller o f a mother engages in a search for a new man for her “gay” son. Scene after scene takes a turn for the unexpected as Alegre Ma Non Troppo reaches its bewildering climax. Selected Filmography: Paper Tigers (1977), I ’m Having a Crisis (1982), Skyline (1983), Life’s a Lark (1986), Miss Caribbean (1988), Having It O ff( 1988)

Monday, June 5 ■ Seven Gables, 7:15pm Wednesday, June 7 ■ Harvard Exit, 9:30pm

Director: Suzanne Osten Producer: Anders Birkeland Cinematographer: Goran Nilsson Screenwriters: Barbro Smeds, Suzanne Osten Editor: Michal Leszczylowski Music: Bengt Berger Cast: Fransesca Quartey, Etienne Glaser, Lena T. Hansson, Bjorn Kjellman Print Source/lnternational Sales: Swedish Film Institute 9 8 minutes A humorous political satire, Just You and Me parodies politicians and their dishonorable decisions. Director Suzanne O sten’s previ ous film , Speak Up! It’s So Dark, dealt seriously with racism and growing neo-Nazism in Swedish society. Just You and Me examines these themes as well, but in a different light. Twenty-five-year-old Flore, a black woman, is made m inister of schools and immediately becomes a paparazzi queen. This is Flore’s chance to make some necessary changes in the educational system, until she meets Eliel and falls in love. Eliel is a dad of five children. Flore and Eliel make an unlikely couple, and the passion they feel for each other plays havoc with their lives. Finding tim e together is nearly impossible, which adds stress to their relationship and to Flore’s work. She aims to move in with him; he aims to see th a t she doesn’t. He is a very unusual teacher, constantly struggling with difficult students and anxiety-ridden colleagues. Her problems are different: devious, corrupt politicians are constantly undermining her efforts, and she is hassled by racists both inside and outside the department. Selected Filmography: Mamma— Our Life Is Now (1982), The Mozart Brothers (1986), Lethal Film (1988), The Guardian Angel (1990), Speak Up! It’s So Dark (1993)

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Sw eden

Sunday, May 28 ■ Harvard Exit, 6:30pm Wednesday, May 31 ■ Varsity, 5:00pm

Friday, June 2 ■ Seven Gables, 9:30pm Monday, June 5 ■ Harvard Exit, 5:00pm

DAUGHTER OF THE PUMA

Sweden, 1 994

Sweden/Denmark, 1994

U S P r e m ie r e Director: Colin Nutley Producers: Klas Olofsson, Steen Priwin Screenwriter: Colin Nutley Cinematographer: Jens Fischer Editor: Perry Schafter Music: Eddy Grant Cast: Helena Bergstrom, Reine Brynolfsson, Ewa Froling, Peter Andersson, Rikard W olff, Philip Jackson Print Source/lnternational Sales: Swedish Film Institute 1 1 4 minutes Colin Nutley has become one of the m ost popular directors in Swedish cinema. His latest is a witty and black tale about a roller coaster friendship between two big-city Swedish couples. No emotion is left unexplored as these four friends delve into relation ships th a t cause laughter and tears and spark hate as well as love. Helena Bergstrom presents a strong portrayal of Tove, a woman desperate for a child and extrem elyjealous of her much hated friend Liselott. Liselott wants nothing other than to have breasts like Britt Ekland; she is as loud as Tove is quiet, a thankless winner to Tove’s forlorn loser. The two wom en’s husbands want to please their wives so th a t they can get what they want, whether th a t is a little peace or a little piece of their friend’s wife. For three months these four people clash with one another; som etim es the confrontations are nostalgic and tender, oth ertim es they are very black, and frequently they are funny. Yet when tem pers flare, all it takes is one false step for disaster to change everyone’s life. Selected Filmography: House o f Angels (1992)

Director:Ulf Hultberg, Asa Faringer Producer: Peter Ringaard Screenwriters: Bob Foss, Ulf Hultberg, Asa Faringer Music: Jacob Groth Cast: Angela Cruz, Gerardo Taracena, Dolores Heredia, Elpidia Carillo, Nora Aguirre, Damian Zavala, Jose Pedrero Print Source/lnternational Sales: Danish Film Institute 1 0 1 minutes This haunting film , inspired by the dramatic life of Guatemala’s 19 9 2 Nobel Peace Prize winner, Rigoberta Menchu (and based on a novel by Monica Zak), te lls the story of a young Indian girl, Aschlop, who flees Guatemala with her parents after a massacre in the ir village. Brutally interrogated by the army, she is sent to a refugee camp in southern Mexico. Thoughts of her brother Mateo, who disappeared during the massacre, return to torm ent her. Determined to find him, Aschlop sneaks back into Guatemala at great personal risk. She is aided in her search by the vision of a puma, which, according to Indian mythology, is her spiritual companion and protector. On her clandestine journey she is pursued by visions of her past, recurring in harrowing flashbacks in which she revisits the fears inflicted upon her country by the m ilitary junta, for whom Indian lives hold no value. Overflowing with stunning visual imagery, Daughter o f the Puma is a powerful testam e nt to the horrors of political repression.

Contemporary World Cinema

THE LAST DANCE

Awards: Special Jury Prize, International Film Festival of San Sebastian, 1994; Golden Award, Best Direction, Swedish Film Institute, 1995

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Contemporary World Cinema

A CONFUCIAN CONFUSION

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Sunday, June 4 ■ Harvard Exit, 9:15pm Wednesday, June 7 ■ Varsity, 9:30pm

THE RED LOTUS SOCIETY

(Duli Shidai) Taiwan, 1994

(Fei Xia Ah Da) Taiwan, 1994

Director: Edward Yang Producer: Yu Weiyan Screenwriter: Edward Yang Cinematographers: Arthur Wong, Zhang Zhan, Li Longyu, Hong Wuxiu Editor: Chen Bowen Music: Antonio Lee Cast: Ni Shujun, Chen Xiangqi, Wang Weiming, Wang Bosen, Richie Li, Danny Deng, Wang Yeming Print Source/lnternational Sales: Atom Films, Theatre and Creatives Co. 1 2 5 minutes

Director: Stan Lai Producers: Wang Ying-Hsiang, Ding Nai-Chu Screenwriter: Stan Lai Cinematographer: Christopher Doyle Editor: Chen Bowen Music: Fumio Itabashi Cast: Ying Zhaode, Chen Wenming, Na Weixun, Li Tongcun, LI Lijun, Lu Yuzhou, Lo Manfei Print Source/lnternational Sales: Performance W orkshop Films 1 2 0 minutes

Ex-Seattleite Edward Yang’s new film, A Confucian Confusion, is a biting, philosophical comedy that follows the lives of about a dozen young, upwardly mobile Taipei urbanites in a span of two days’ time. Whether rooted in or tugging free of the age-old Confucian ideal of social order, they face strained and broken love relations, unemploy ment, and quests for individual identity. Molly, the daughter of a rich family, has delighted her parents by agreeing to marry Akeem, the wealthy heir who is funding her PR firm. Qiqi, Molly’s best friend, keeps the firm on the rails and is engaged to Ming, a conservative civil servant. Molly’s agent, Akeem’s longtime friend Larry, has Akeem under his thumb, while having an affair with aspiring actress Xiao Feng. Through Qiqi, Feng becomes acquainted with playwright Birdy, who has a habit of expanding the number of roles in his play to fit the number of aspiring actresses available. Yang’s premise is that the confusion these characters face is representative of the larger social issues affecting developed countries in Asia today. Confucianism preaches conformity through rigid behavioral codes and social structures for the betterment of the group. Yet contemporary educa tion, wealth, and technologies are necessitating a rethinking of traditional philosophies, the underlying theme being that it’s time to cut through the deception and subjection of self and go for honest, up-front relating. A Confucian Confusion shows the influence of Yang’s recent theatrical work in its refined, detailed script and in its cast, who have also worked on his plays. It’s a richly textured, often humorous, and thought-provoking film. According to Yang, “To have your way, in a Confucian society, sometimes may not be a blessing.”

Fantasy, superstition, martial arts, mysticism, and romance all come together in Stan Lai’s highly entertaining follow-up to The Peach Blossom Land (SIFF ’93). In a Taipei park, old Mao holds court and spins tales of a secret society of seven who mastered the legendary Chinese art of “ vaulting” and fled the Communist revolu tion to run secret missions for the KMT (Kuomintang). Three may still be alive, living “ ordinary” lives in Taipei. Ayoung man named Ah Da is fascinated by these stories and drops out o f the business of selling language tapes to search forthe se gurus who can teach him this clandestine art. Qinggung, literally the “Art of Lightness," is the ancient kung-fu technique used to defy gravity and vault long distances. It’s a stunt extremely popular in HK sword-and-sorcery film s, but there is historical evidence to vouch for its authenticity. Ah Da’s search fo rth e s e hidden teachers takes him on a magical mystery tour through every stratum of Taipei society, encountering a myriad of people claiming to have mystical knowledge of every thing from miracle medicines to lottery tickets to stock market success. Then there’s Ah Da’s father, who’s in trouble with racketeers involved in the jade trade, and Ah Da’s love for a woman named Dan, who breaks his heart. The film itself is an adventure; Lai packs a wealth of details and cultural commentary into a structure tha t blends past and present in a collage of myth and reality. Master cinematographer Chris Doyle delivers striking im ages, and the original score is by jazz pianist Fumio Itabashi. The Red Lotus Society gives us Asia in flux, where high tech runs into the occult, and mysteries unfold like a flower, one petal at a tim e.

Selected Filmography: That Day, On the Beach (1983), Taipei Story (1985), The Terrorizer (1986), A Brighter Summer Day (1991)

Selected Filmography: The Peach Blossom Land (1992)

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\ f Wednesday, May 31 ■ Egyptian, 7:15pm Saturday, June 3 ■ Egyptian, 12:30pm

Tuesday, May 30 ■ Harvard Exit, 7:15pm Friday, June 2 ■ Harvard Exit, 5:00pm

AN U N C O N D ITIO N A L LOVE USA, 1994

Director: Huang Jianxin Producer: Wang Ying Hsiang

D irecto r/P ro d ucer: Arthur Bjorn Egeli Screenw riters: Arthur Bjorn Egeli, lan Bowater Cinem atographer: Teresa Medina

S creenw riter: Yang Zhengguang Cinem atographer: Zhang Xiaoguang Editor: Lei Qin

Editor: Barbara Boguski M usic: Michael Errington

M usic: Zhang Dalong

Cast: Pablo Bryant, Aleksandra Kaniak, Isabelle Dahlin, David

Cast: Chang Shih, Wang Lan, Ku Paoming, Wang Yumei,

Wang Fuli, Kao Mingjun Print Source: Arrow Releasing

Ellsworth, Jessica Brytn Flannery, Adrienne Newberg, Joe Estevez, Hal Streib Print Source: Prodigy Productions

1 1 4 m inutes

9 8 m inutes

This ravishing, epic love story set in a remote part of northwest China in the 19 2 0 s combines the visual splendor o f such Chinese masterworks as Red Sorghum with the type of pacing and narrative conventions usually found in the best Hollywood productions. The film opens on an operatic note, as a simple-minded worker, Kui, is enlisted to carry the bride of an arranged marriage in an eye-popping wedding procession on camelback across the desert to her in tended husband. Set upon by a band of marauding bandits, Kui defends the bride, Wang Lan, fearlessly, but she gives herself up in order to save his life. News of the ambush travels back to her groom, and in his haste to rescue her he sets off an explosion in which he is killed. Coming to the bride’s aid, Kui storms into the kidnappers’ hideout, where his loyalty and reckless courage touch a chord in the bandit chief, prompting him to release the pair unharmed. Journeying back to the groom ’s family mansion, Wang Lan gets an icy welcome from the groom ’s dowager mother, who promptly forces a hum iliating virginity te s t upon her. Determining that the bride is still worthy o f her dead son, Madame Liu arranges a solemn wedding-cum-funeral ceremony, pledging the young bride to a carved wooden man to ensure her ongoing fidelity. The bride’s futile attem pts at rebellion and escape are dealt with harshly. When she befriends her rescuer, Kui, their halting intimacies soon turn into raging passion. Before long Madame Liu catches them in the act, setting the stage for a finale of sweeping proportions. S elected Filmography: The Black Cannon Incident (1985), Dis

Steven Buchanan (Pablo Bryant) is spending a blissful summer at a seaside art colony where he is the adored favorite student and is, everyone agrees, on the brink of discovery. Imagine his chagrin when Mary, a married woman in a nearby cottage, dism isses his work as technically correct but lacking in passion. Before long, Steven, who thought he was through learning, realizes he is ju s t beginning. He is driven to please this demanding critic who gives him no place to hide and who takes over his mind, body, and talent. His teacher, Robert (David Ellsworth), is shattered to find tha t Steven, who was his best hope, has shifted allegiance and discarded the lessons he has taught him. Steven’s voluptuous, sensual model, Theresa (Jessica Brytn Flannery), who lives only to please and pose, is desolate over the abandonment. And then there’s Melissa (Isabelle Dahlin), a young art student who is awed by Steven’s mastery but is also on her own journey of discovery. While the illicit relationship with Mary dominates his life, it does not free Steven to paint. After breaking all ties— with his teacher, his model, and the one woman who loves him unconditionally— he finds him self alone and ready to express his own true voice. Arthur Bjorn Egeli, an accomplished artist who created many of the paintings used in the picture, has created a movie of exquisite beauty— ¡n its physical setting, its paintings, and its heartbreaking image of true, selfless love.

Contemporary World Cinema

TH E W O O D E N M A N ’S B R ID E Taiwan/China, 1 993

Awards: Golden Starfish Award, Hamptons International Film

Festival, 1994

placement (1986), Samsara (1988), ZhanzhUuo, BlePaxia!(1992)

USA

Contemporary World Cinema

Monday, May 29 ■ Egyptian, 6:30pm Thursday, June 1 ■ Varsity, 5:00pm

Tuesday, May 30 ■ Varsity, 7:15pm Friday, June 2 ■ Varsity, 5:00pm

BALLOT M E A S U R E 9 USA, 1994

BLACK IS ...B L A C K A IN ’T USA, 1995

D ire cto r/P ro d u c er: Heather MacDonald Cinem atographer: Ellen Hansen Editors: Heather MacDonald, B.B. Jorissen

D irecto r/P ro d ucer: Marlon T. Riggs Co-Director: Christine Badgley

M usic: Julian Dylan Russell Print S o u rc e /ln te rn a tio n a l Sales: Z eitgeist Films 7 2 m inutes

Heather MacDonald’s provocative and devastatingly powerful docu mentary tells what happened during the 1992 campaign for Oregon’s anti-gay ballot initiative. Sponsored by a “family values” group, the ballot measure would have amended the state constitution to prohibit and revoke laws th a t protect homosexuals from discrimina tion. The film follows players on both sides of the heated debate over an eight-month period, telling a story of increasing urgency, escalat ing rhetoric, and threats of violence tha t turned into reality. State wide, the virulent discourse on the “ dangers and im morality” of homosexuality led to an unprecedented rise in violence against lesbians, gay men, and their supporters. Families were torn apart, neighbor set against neighbor; leaders on both sides began wearing bulletproof vests and sleeping with guns under their beds. In 1992 there were more reports of anti-gay violence in Portland, Oregon, than in Chicago, San Francisco, or New York City. People who had never cared about politics found themselves forced to stand up for their beliefs, at great personal cost. Now the election is over, but as Ballot Measure 9 shows with chilling clarity, the battle over its issues is ju s t beginning. This shocking and vivid portrayal of the politics of intolerance is more important and relevant today than ever. “A farreaching exposé of hate politics tha t crosses lines of race, religion, and sexual identity...this ju s t might be the next training manual on how to rescue the soul of America.”— B. Ruby Rich

Co-Producer: Nicole Atkinson Cam era (Color): Robert Shepard Editors: Christine Badgley, Bob Paris M usic: Mary W atkins Sound: Sekou Shepard Print Source: Tara Releasing 8 8 m inutes

Combining folk stories, personal Interviews, archival material, mu sic, and dance, Black Is...Black Ain’t is a lift-every-voice-and-sing colloquy on the varied meanings of black identity. Racism, homophobia, sexism, language, patriarchy, and m ortality are pieced together in a collage of the lives and experiences of AfricanAmericans tha t is by turns both enlightening and supremely engag ing. Black Is... features leading performances by artists and public intellectuals including bell hooks, Cornel West, Bill T. Jones, Essex Hemphill, and the incandescent Angela Davis. Unifying the varied segments is director Marlon T. Riggs’s own search for meaning and self-affirmation as his health deteriorates from AIDS. And it is Riggs’s face on his hospital bed tha t will stay with you long after the film has ended— still witty, dignified, and fierce. Riggs managed to capture the essence of the humanity of African-Americans, and proves tha t to be human is to be different in an infinite number of ways. The film , finished posthumously by his production team, is more than ju s t an eloquent tribute to Riggs and an insightful and intuitive discussion of black consciousness; it is also a substantial contribution to the exploration of how we develop our identities. Awards: Filmmaker’s Trophy, Sundance Film Festival (1995)

Awards: Co-winner, Audience Award (Documentary), Sundance Film

Festival, 19 95 ; Teddy (Best Gay Film), Berlin Film Festival, 1995

Selected Filmography: Tongues Untied (1987), Color Adjustment

(1991), Non, Je Ne Regrette Rien (1992) S elected Filmography: Kitchen Talk USSR( 1991), Kiev Blue (1993)

Preceded by Since Lisa... (USA, 29 minutes) Directed by Shari L. Carpenter. Can a man’s female best friend and his new girlfriend be friends? “ Not likely,” is the answer in this spirited and refreshing comedy about an African-American love triangle.

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Wednesday, June 7 ■ Harvard Exit, 7:15pm Sunday, June 11 ■ Varsity, 12:30pm

Director: Gregory Hines Producers: Ron Kastner, Mark Evan Jacobs Screenw riter: Allison Burnett Cinem atographer: Bernd Heinl Editor: Ray Hubley M usic: Stanley Clarke C ast: Karen Kirkland, Mark Evan Jacobs, Ruben Santiago-

Hudson, Melina Kanakaredes, Charles M alik W hitfield, Lorraine Toussaint, Peter Riegert, Elliott Gould Print Source: BK Productions 9 2 m inutes

An audacious directorial debut from renowned Broadway dancer, actor, and more recently Hollywood star Gregory Hines, this provoca tive story of a white, middle-class liberal and the black teenager he falls in love with is an ironic cautionary tale about the difficulty of interracial relationships in contemporary America. Lonny (Mark Evan Jacobs) is a struggling, 30-year-old novelist caught in a relationship th a t’s going nowhere fast. Dumped by his savvy longtime girlfriend and frustrated in his attem pts to write a novel that will express his rage at the racism he believes informs American society, he is drifting without purpose or direction. In a chance meeting in a park, he encounters Denise, a beautiful young black student who is studying for her upcoming SAT tests. He strikes up a conversation and before long he becomes her friend and tutor. Their relationship soon turns romantic despite the obvious disdain of family and friends; she is overwhelmed by the attention he showers upon her, and he in turn is attracted by both her beauty and her seeming need for a mentor. What Lonny is too blinded by his own sense of liberalism to see is th a t he has become what he despises most: the classic white male imposing his language, values, and tastes on Denise in order to “ improve” her life. While those around the couple are more obviously racist, the two lovers themselves largely pave the way toward the story’s tragic conclusion. Deftly directed, with a talented cast of actors, Bleeding Hearts is a wellcrafted and thought-provoking work sure to spark introspection and discussion.

BLUE IN TH E FACE USA, 1995 Directors: Wayne Wang, Paul Auster Producers: Peter Newman, Greg Johnson, Diana Phillips Screenw riters: Wyane Wang, Paul Auster, in collaboration with

the actors Cinematography: Adam Holender Editor: Christopher Tellefsen M usic: John Lurie Cast: Harvey Keitel, Lou Reed, Roseanne, Michael J. Fox, Jim

Jarmusch, Lily Tomlin, Mel Gorham, Jared Harris, Giancarlo Esposito, Victor Argo, Madonna, Keith David, Mira Sorvino Print Source: Miramax Films 8 9 m inutes

In what is quite possibly the first “ instant” movie ever made, Wayne Wang has created a brilliant, off-the-cuff film tha t was completely improvised during a week-long shoot following the wrap-up of his latest and equally terrific feature, Smoke. During the film ing of Smoke, Wang and Auster came to the realization tha t the characters in the film had developed something like lives of their own, indepen dent of the screenplay. Even supporting roles, of which not more than two or three scenes found their way into the finished film , unwittingly took on personality traits normally attributed to main characters. The actors’ and crew’s contracts were extended for a week to make what has resulted: a spontaneous and delightful slice of life. Filled with fascinating performances by most of the actors from Smoke as well as the glittery addition of some well-known stars, Blue in the Face is a series of amusing vignettes about the residents of Brooklyn. The action again focuses on a Brooklyn cigar store, which is still managed by Auggie (Harvey Keitel). Roseanne exuberantly plays store owner Vinnie’s wife, who is fed up because she is never taken anywhere. Vinnie has big ideas to sell the store, as “wheat germ is in and tobacco is o u t,” but Auggie is able to persuade him otherwise. Other newcomers include Madonna doing an energetic bit as a singing telegram girl, Lily Tomlin as an unrecognizable offbeat street person, and Michael J. Fox as a frazzled market research specialist. Audi ences will have a ball in this brilliant blend of comedy and the bizarre set in the neighborhood surrounding a Brooklyn cigar store. Selected Filmography: A Man, a Woman and a Killer (1975), Chan

Is Missing{1981), Dim Sum: A Little Bit o f Heart (1985), Slam Dance (1987), Eat a Bowl o f Tea (1989), Life Is Cheap...But Toilet Paper Is Expensive (1989), The Joy Luck Club (1993)

Contemporary World Cinema

BLEED IN G H EAR TS USA, 1 994

Sunday, May 21 I Egyptian, 9:15pm Tuesday, May 23 I Harvard Exit, 5:00pm

USA

Contemporary World Cinema

Monday, May 22 ■ Varsity, 7:15pm Wednesday, May 24 ■ Varsity, 5:00pm

Saturday, May 20 I Harvard Exit, 9:15pm Thursday, June 8 I Harvard Exit, 5:00pm

B R O TH ER M IN IS T E R : THE A S S A S S IN A TIO N OF M A L C O L M X USA, 1994

TH E B R O TH ER S M C M U L L E N USA, 1995

Director: Jack Baxter Producers: Jack Baxter, Lewis Kesten, Jefri Aalmuhammed

Producers: Edward Burns, Dick Fisher Screenw riter: Edward Burns

S creenw riters: Jack Baxter, Jefri Aalmuhammed,

C in em a tog ra ph e r/E ditor: Dick Fisher

Joan Claire Chabriel Editor: M itchell Kress M usic: Richie Havens, Annie Lennox, Frank Herrero Narrator: Roscoe Lee Browne Print Source: X-Ceptional Productions

M usic: Seamus Egan Cast: Jack Mulcahey, Mike McGlone, Edward Burns,

Connie Britton, Maxine Bahns, Elizabeth McKay, Shari Albert, Jennifer Jostyn Print Source: Fox Searchlight Pictures

1 1 5 m inutes

1 0 8 m inutes

Director: Edward Burns

Seldom has a documentary actually made news as did this stunning and controversial investigation of the murder of Malcolm X. Its bombshell is a speech by Nation of Islam leader Louis Farrakhan, at a closed-door m eeting of his followers in 1993, in which he calls Malcolm X a traitor and seems to claim responsibility for his death. It was this footage, shown to M alcolm ’s widow Betty Shabazz, that elicited her headline-making statem ent tha t she believed Farrakhan was involved in the murder. Shortly afterward, her daughter Qubilah was arrested on a charge of conspiring to kill Farrakhan. Brother Minister raises many riveting questions about the murder of Malcolm X and, amazingly, goes a long way toward answering them. There is eyewitness testim ony from many of those who were present at the murder, including undercover New York cop Gene Roberts, who had infiltrated the group and was serving as a bodyguard, and Benjamin 2X Karim, who was standing next to Malcolm when he was killed. There are many other fascinating in te rvie w ee s, in clud in g Elijah M uh am m e d’ s son W. Deen Muhammed; Khalil Islam, who served 23 years for the murder but always denied guilt; attorney W illiam Kunstler, who tried to reopen the case after hearing a jailhouse confession tha t named other killers; and retired New York FBI chief James Fox. Over it all there is Malcolm X himself, undeniably charismatic, seeming to grow more conciliatory as his death approached. In an incredibly chilling interview a week before he died, ju s t after his house has been firebombed, Malcolm predicts his murder and calmly explains the motive. Do not miss this powerful and startling film .

This Sundance Film Festival Grand Prize winner is a captivating charmer about three Irish-American brothers whose lives undergo radical reassessment after the passing of their father. The film opens with a graveside chat between the boys’ mother, and her eldest son, Jack, at which she announces th a t now th a t her husband is dead and buried, she will be returning to her native Ireland to join the man she actually loved all these years. “ Don’t make the same mistake I m ade,” she tells him, “ and get trapped in a loveless marriage.” Segue to five years later. Mrs. McMullen, true to her word, has stayed in Ireland, selling the family home to son Jack, who now lives there with his lovely wife, Molly. The first cracks have appeared in their marriage: Molly wants to have a child, while Jack has major misgivings. Jack’s two brothers are going through some changes of their own: middle son Barry, a writer, has ju s t broken off a six-month relationship with his strong-willed soulmate, while youngest brother Patrick is having a difficult tim e reconciling his Catholic faith with his Jewish fiancée. Out of need, both younger brothers ask Jack if they can move back into the fam ily home temporarily; he agrees, and for the firs t tim e in years the three brothers are living under one roof. What follows is a spirited, at tim es very funny look at romance and com mitment, as seen from three quite different perspectives. Award: Grand Jury Prize, Sundance Film Festival, 19 95

A D E U A A IR U N E S

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USA

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Friday, May 26 ■ Seven Gables, 7:15pm Sunday, May 28 ■ Harvard Exit, 12:30pm

Director: Wally Wolodarsky Producers: Michael J. Fox, M attTolm ach, Brad Krevoy,

Steve Stabler, Brad Jenkel E xecutive Producer: Larry Estes Screenw riter: Wally W olodarsky Cinem atographer: Robert Yeoman Editor: Craig Bassett M usic: Steve Bartek C ast: Jason Priestley, Kimberly W illiam s, Janeane Garofalo, Peter Riegert, Robert Loggia Print Source: IRS Media Releasing 9 1 m inutes

Wally Wolodarsky displays a deft hand for straight-on dry comedy and expert pacing in his directorial debut, Cold Blooded, co produced by Hollywood’s steamy-hot duo of Brad Krevoy and Steve Stabler (Dumb and Dumber). Cosmo (Jason Priestley) is a bottomrung bookie suddenly promoted to hitman by crime lord Gordon (Robert Loggia)— an offer he’d be wise not to refuse. Under the tutelage o f Steve (Peter Riegert), a health-drink-and-vodka-swigging veteran assassin, Cosmo discovers an innate talent: he’s the perfect killer, with bulls-eye marksmanship and a detached, unemo tional psyche. Yet living up to his newfound reputation as a first-rate murderer proves difficult when he finds him self confronted by such foreign em otions as remorse and love, the latter inspired by his comely yoga instructor, Jasmine (Kimberly Williams). Cosmo’s desperate attem pts to reconcile his grisly vocation with the tugs on his heartstrings make for a deliciously perverse, cool, and bitingly witty film th a t’s an absolute must-see for all fans of black comedy.

Tuesday, May 23 ■ Varsity, 7:15pm

C O M P L A IN T S OF A D U TIFU L DAUGHTER USA, 1994

Contemporary World Cinema

COLD BLOODED USA, 1 995

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D ire c to r/P ro d u c e r/S c re e n w rite r: Deborah Hoffmann Cinem atographer: Frances Reid Editors: Jennifer Chinlund, Deborah Hoffmann Music: Mary W atkins Print Source: Women Make Movies 4 4 m inutes

This inspiring directorial debut by Deborah Hoffman sensitively relates the evolution of her mother’s worsening symptoms of Alzheimer’s disease— confusion, disorientation, and obsessive be havior. Hoffman struggles with her sense of hopelessness at her mother’s condition and is at first disheartened at herfailed attem pts to help. She comes to realize, however, tha t she need not feel this way, that her mother’s disease is not hopeless. Rather than fight against the Alzheimer’s, she learns to relate to her mother within its boundaries, paying attention to the feelings behind her m other’s words rather than the words themselves. In Complaints, Hoffman successfully and honestly takes a somber subject and gives it lightness, sympathetic humor, and hope. Preceded by Love Stories M y Grandmother Tells: Part One (USA, 1994, 30 minutes) Directed by Dana Plays. In Love Stories My Grandmother Tells, Dana Plays’s 90-year-old paternal grandmother, Peggy Regler, reminisces about her love affairs and significant relationships. Regler talks insightfully about her failed first mar riage, the agreement she made with her husband to stay with him until the children were grown (but to have other lovers), which resulted in the true love she found with her second husband, renowned writer Gustav Regler, who later died a tragic death in India. The love affairs are historically rooted in the political and technologi cal developments of the 20th century, and are narratively based in a complex sound/im age structure. Silent interludes (optically printed film passages narrated with intertitles excerpted from her diaries and early phildhood memories) form alistically refer to early cinema. With each passing minute, Peggy Regler, a beautiful, articulate, and passionate woman, further endears herself to you, becoming more lovely all the while. Her stories are pain-filled but unencumbered by false morality, and she is matter-of-fact about her various desires. She is an inspired example of what drives so many women’s lives forward. We love these love stories and look forward to the sequels.

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Saturday, June 3 ■ Varsity, 9:15pm Saturday, June 10 ■ Egyptian, 12:30pm

Saturday, May 27 ■ Harvard Exit, 3:30pm Saturday, June 3 ■ Harvard Exit, 9:15pm

D E N IS E CALLS UP USA, 1995

Director: Terry Zwigoff

Print Source: Sony Pictures Classics

Director: Hal Salwen Producer: J. Todd Harris Screenw riter: Hal Salwen Cinem atographer: Michael Mayers Editor: Gary Sharfin

1 1 9 m inutes

Cast: Tim Daly, Caroleen Feeney, Dan Gunther,

Producers: Lynn O’ Donnell, Terry Zwigoff Cinem atographer: Maryse Alberti Editor: Victor Livingston M usic: David Boeddinghaus

This sensational film is blackly funny, frightening, tragic— and unfor gettable. Counterculture cult artist Robert Crumb and his bizarre family make the term “ dysfunctional” seem inadequate, to say the least. Notoriously reclusive, Crumb surprisingly allowed director Terry Zwigoff, a longtime friend, to film him intimately over a six-year period, and the result is astoundingly frank. Robert recalls that as a little boy he was sexually attracted to Bugs Bunny, carrying around a picture that became crumpled and was all but destroyed when his mother ironed it. As a high school nerd he couldn’t get dates, and his adult work s e e th e s w ith h a tre d and fe a r o f, and d is g u s t w ith — as w ell as obsessive attraction to— women. Crumb’s wife, ex-wives, and ex girlfriends are candidly interviewed: one reveals his fondness for piggyback rides, another comments on his unusual genitalia. His older brother, Charles, who as a child was the more talented artist, regressed into drawing figures smothered in rolls o f wrinkles, then to filling notebooks with parallel lines, and then stopped drawing altogether. Unable to leave his mother’s house, Charles is full of bitter wit and antidepressants. Reminiscing with Robert about their “ sadis tic bully” of a father, Charles confesses his childhood wish to murder Robert. Younger brother Max, also a recluse, meditates daily on a bed of nails and practices bizarre health rituals. Of his family, only Robert went on to gain fame, creating the randy Fritz the Cat, the “ Keep On Truckin’ ” poster, and the cover art for the historic first Janis Joplin album Cheap Thrills (for all of which he bitterly resents his lack of suitable payment). An uncanny draughtsman and searing social critic, Crumb has been called “the Brueghel of the 20th century.” This riveting film manages to reveal as much about America and its psyche as it does about the artist who is its subject.

Dana Wheeler Nicholson, Liev Schreiber, Aida Turturro, Alanna Ubach Print Source: Gersh Agency 7 9 m inutes

A very funny modern fable about love, alienation, and the folly of human relationships, Denise Calls Up introduces us to a group of seven overachieving, attractive young New Yorkers who can’t seem to tear themselves away from the phone long enough to engage in human contact. Linda, Gale, Frank, Jerry, Barbara, and Martin have been friends for years, but it has been years since they actually saw each other in the flesh. Caught up in their own individual pursuits, they keep making plans to get together for lunch, dinner, coffee, a party, whatever. Unfortunately, their plans never seem to work out; they're all constantly working, either on the phone or at their computers, or otherwise engaged. The plain truth of the m atter is that it has been so long since they saw each other th a t E.U.A. has set in (that’s Extreme Urban Alienation): they no longer know how to communicate face-to-face. And then there’s Denise... Touching, romantic, hysterically funny, and frighteningly on the mark, Denise Calls Up is a brilliantly conceived overview of the absurdity of contemporary urban life.

Contemporary World Cinema

CRUMB USA, 1 994

Awards: Jury Prize (Documentary), Best Cinematography (Documen tary), Sundance Film Festival, 1995 Filmography: Louie Bluie (1985)

A D E H A A IR LIN ES

101

USA

Contemporary World Cinema

Sunday, June 4 ■ Egyptian, 9:15pm Friday, June 9 ■ Egyptian, Midnight

Saturday, June 10 ■ Egyptian, 6:30pm Sunday, June 11 ■ Egyptian, 3:30pm

TH E D O O M GENERATION USA, 1995

DOW N C A M E A B L A C K B IR D USA, 1995 W orld P re m ie re

Director: Gregg Araki Producers: Gregg Araki, Andrea Sperling S creenw riter: Gregg Araki

Producer: Jana Sue Memel

Cinem atographer: Jim Fealy Editors: Gregg Araki, Kate McGowen

Cast: Laura Dern, Vanessa Redgrave, Raul Julia, L. Scott

Cast: James Duvall, Rose McGowan, Johnathon Schaech,

Cress W illiams, Perry Farrell, Skinny Puppy, Julie Tewes, Christopher Knight, Heidi Fleiss Print Source: The Samuel Goldwyn Co. 8 5 m inutes

Destined to be one of the m ost controversial film s of the year, The Doom Generation marks an astounding leap for Gregg Araki (The Living End, Totally F ***e d Up), from the gritty, grungy technique of his earlier film s to an assured, hallucinogenic visual style that perfectly reflects the themes of this nihilistic, cutting-edge black comedy about a trio of alienated young losers in a headlong rush down the road to ruin. Sweet, bubble-brained Jordan White and his venomous speed freak girlfriend Amy Blue are doing ju s t fine, thank you, until they have a chance encounter with a mysterious drifter named Xaviar (Xaviar Red, of course). Amy is instantly repulsed by Xaviar, but when a too-close encounter with a convenience store clerk turns into a deadly, comedic fiasco, Xaviar comes to the rescue unexpectedly and the three unlikely cohorts hit the road for a quick trip straight to hell. Though the film is unquestionably violent, m ost of the violence is played strictly tongue-in-cheek (indeed, one of the movie’s running jokes is th a t whenever the trio stops forfood, someone ends up dying). The psychedelic tone of the piece is greatly enhanced by the score, featuring songs by Jesus and Mary Chain, Nine Inch Nails, and Porno For Pyros. Though The Doom Generation is definitely not for the faint of heart, if you miss it you’ll be missing one of the best made, m ost original American independent film s of recent years. Filmography: Three Bewildered People in the Night (1987), The

Long Weekend (O’Despair) (1989), The Living End (1992), Totally F ***e d Up (1994)

Director: Jonathan Sanger Cinem atographer: Kees van Oostrum

Caldwell, Falconer Abraham, C liff Gorman, Sarita Choudhury Print Source: Chanticleer Films 1 0 0 m inutes

This deeply moving story about the plight o f the survivors of politically motivated repression and torture features a brilliant cast and an insightful, multilayered script th a t focuses attention on the psychological effects of brutal, repressive regimes. As the film begins, a young, adventuresome American reporter, Helen McNulty (Laura Dern), is on assignment with her photographer boyfriend, Jan, in an unnamed Central American country. Attem pting to make contact with a rebel leader, the pair stum ble upon a protest demonstration being violently suppressed by the country’s secret police. Attempting to run, Helen and Jan are grabbed by the police and whisked away to an unknown destination in separate cars. The film then picks up one year later, when we encounter Helen at work in her newspaper’s offices back in the United States. Clearly, she has put the past behind her and is trying to get on with her life. Attending a symposium dealing with survivors of experiences such as her own, she is drawn to the event’s keynote speaker, Anna Lenke (Vanessa Redgrave), who is herself a survivor of torture and rape at the hands o f the Gestapo. Anna now runs a clinic dedicated to working with such survivors, and when Helen suggests the possibility of a feature story on Anna’s work, the older woman, sensing Helen’s own need to deal with unspoken events in her past, invites her to visit the clinic to experience Anna’s work in depth. Helen at first declines, but after another sleepless night spent dealing with her nightmarish memories from a year before, she packs a bag and checks into the clinic, under the pretense of researching her story. At the same tim e, a haunted man named Tomas (Raul Julia) arrives, fleeing from his pursuers into the relative safety of the clinic. Selected Filmography: Code Name: Emerald (1984), The Doctor

and the Devils (1984)

THEom t ■ liW r l

USA

Friday, May 19 ■ Varsity, 5:00pm Monday, May 22 ■ Egyptian, 5:00pm

Director: Brian Danitz Executive Producer: Chris Zelov Co-Producer: Patricia Streeten Editor: Patricia Streeten M usic: David Darling Narrator: Linda Hunt Print Source: Brian Danitz

FLESH S U ITC A S E USA, 1995 Director: Paul Duran Screenw riters: Jayne Caneddi, Paul Duran Producers: Ivan Victor, Kai Ephron Executive Producers: Meike Kopp, James Magowan Cinem atographer: Arturo Smith Editor: Ivan Victor Cast: Corey Parker, Kai Ephron, Harold Gould Print Source: Tom Gavin/Ervin, Cohen and Jessup 8 9 m inutes

6 4 m inutes

Ecological Design: Inventing the Future is an uplifting and thoughtprovoking documentary th a t illum inates the emergence of ecologi cal design in the 20th century. The film features the ideas and prototypes o f pioneers including inventors, city planners, design teachers, anthropologists, software designers, energy experts, and biochemists. Their diverse works and plans— solar architecture and aquatics, engineered biospheres, domed cities, electric vehicles, and ecological cities— are unified through concepts such as Design as a Way o f Life, Creating New Forms of Wealth, Designing with Nature, Regenerative Design, the Biosphere, and the Technosphere. Concepts are vividly illustrated through location footage, animation, computer sim ulations, stills, architectural blueprints, nature pho tography, NASA footage, and artist renderings of the designs. The film is the product of collaboration by a team o f supremely qualified and creative artists, including music by progressive world music com poser/vocalist David Darling, and narration by Academy Award winning actress Linda Hunt. “ Ecological Design: Inventing the Future draws together the planet’s m ost creative architects and engineers to sketch out how we can move into a new prosperity...It is a distillation of the best practical thinking we have, and it is not to be missed by anyone concerned about leaving a vibrant planet for the next generation.”— Brian Swimme, physicist and author of The Universe Story and The Universe is a Green Dragon.

In a neo-noir Los Angeles, two heroin smugglers on the last leg of a run from Malaysia sit in a hotel, waiting out the arrival of their LA connection as well as the passage of their cache— dozens of heroin balloons ingested before the trip. Hence the name of the film, and the basis for two of the rules: “ Don’t eat the candy unless it’s wrapped,” and, “ If you have to, blame the dead guy.” Craig (Corey Parker) is the naive first-tim er sharing a hotel room with seasoned, second-generation pro Michael (Kai Ephron). Over the next 24 hours, as paranoia, suspicion, and doubt creep into their surroundings, the two men find it hard to lie low. Their surreal environment confounds the comic nightmare; residents of the hotel include the interfering concierge (Harold Gould) and his dog, a go-go dancer and her drugcrazed girlfriend, and Chad, the loner next door, readying him self for the imminent apocalypse. In addition, Craig isn’t feeling so well, there’s been a wave of local dog killings, and Michael starts to question the loyalty of the front office. All in all, it’s an odd day in LA.

Contemporary World Cinema

EC O LO G IC A L D ESIG N: IN V E N T IN G TH E FU TU RE USA, 1994

Tuesday, May 30 ■ Seven Gables, 9:30pm Sunday, June 4 ■ Harvard Exit, 12:30pm

Behold th e M an: Ecce Homo (Bosnia-Herzegovina, 29 minutes)

Directed by Vesna Ljubic. Life in besieged Sarajevo: people walk the streets flinching at gunfire, funerals of all faiths are held— yet in a ruined building people gather to hear a children’s choir sing angelically. Filmed by a multicultural crew on borrowed money with black m arket materials, this amazing film bears witness to the tenacity of the human spirit.

KUOW 94.9FM

THEom l m iw n

103

USA

Contemporary3World Cinema

Sunday, May 28 ■ Harvard Exit, 6:30pm Wednesday, May 31 ■ Seven Gables, 5:00pm

FR A N K A N D OLLIE USA, 1995

Friday, June 9 ■ Harvard Exit, 9:30pm Sunday, June 11 ■ Harvard Exit, 3:30pm

HEADLESS BO DY IN TO PLESS BAR USA, 1995 W orld P re m ie re

Director: Theodore Thomas Producers: Kuniko Okubo, Theodore Thomas

Director: James Bruce

Cinem atographer: Erik Daarstad Editor: Kathryn Camp

Producers: Rustam Branaman, Charles Weinberger,

Print Source: Buena Vista Pictures Distribution 9 0 m inutes

Screenw riter: Peter Koper

A team o f creative artists at the Walt Disney Company transformed the art of animation from crude cartoons to one of the greatest achievements in cinema. Two of the star talents who were instru mental in developing the Disney style were Frank Thomas and Ollie Johnston, who arrived at the studios in the 19 30 s and kept on doodling for alm ost 4 0 years. Their contribution to the legacy of the Disney studios is examined in this captivating film portrait. As roommates, best friends, neighbors, and fellow animators, Frank and Ollie created some of the most memorable characters tha t ever came to life on the silver screen. The two men met at Stanford in 19 32 and have been virtually inseparable ever since. They arrived at Disney within a year of each other, drove to work in the same car, both married and had children at the same tim e, and bought houses on adjoining property. Although one could easily m istake the two for one collective persona, each has a distinct personality tha t comple ments the other’s creative vision. Ted Thomas, Frank’s son, directed this touching and funny tribute to their craft and their lives. The film also offers a look at the development of character animation. Through 23 features and 4 books, Frank and Ollie have touched m illions of people and left a legacy th a t will undoubtedly touch m illions more for generations. This showing will include a personal appearance by Frank Thomas and Ollie Johnson.

Steven Falick Cinem atographer: Kevin Morrisey Editor: Robert Barrere M usic: Karyn Rachtman Cast: Raymond J. Barry, Jennifer MacDonald, Paul W illiams,

David Selby, Taylor Nichols, Rustam Branaman, April Grace, B iff Yeager Print S o u rc e /ln te rn a tio n a i Sales: Green Tea Pictures 1 0 1 m inutes

With a title literally ripped from the headlines (New York Post, 1983), Headless Body is closer in spirit to Reservoir Dogs than the exploitation fare its name implies. The plot, in fact, imagines the circumstances tha t led to this outrageous headline, as a group of strangers are thrown together by fate one dark New York night at the Baby Doll Lounge. When one particular young man sidles into the bar, an evening of passive voyeurism turns into an unexpected latenight encounter. As the patrons watch a stripper dance, they are unaware of the ex-con at the bar who is about to put them through a psychotherapy session from hell. When his initial robbery attem pt goes awry, the ex-con kills the bartender and takes over the bar, holding a cross-section of society hostage: the topless dancer, an old man in a wheelchair, a corporate lawyer, and two Long Island hockey fans. The killer tries to make friends with the hostages but, having been through group therapy in ja il, ends up using pop psychology to root out their deepest secrets. As the situation de terio rates, issues surface th a t touch on the p o litic s of gender, the e ffe cts o f in s titu tio n a liz a tio n , and the deadly dance between victim and predator. All o f th is is delivered w ith a generous helping o f w it and dialogue th a t snaps, crackles, and pops w ith energy and invention. Selected Filmography: The Suicide Club (1988)

KUOW

A JM JA A IR L IN E S

USA

X-

Wednesday, May 31 ■ Egyptian, 9:30pm Friday, June 2 ■ Varsity, 7:15pm

THE IN C R ED IB LY TR U E A D VE N TU R E S OF TW O G IRLS IN LOVE USA, 1995

Director: Don Was Producers: Don Was, Larry Shapiro, David Passick,

Ken Kushnick Cinem atographer: Wyatt Troll Editor: Helen Lowe Print Source: Palomar Pictures 6 8 m inutes

Director: Maria Maggenti Producer: Dolly Hall Screenw riter: Maria Maggenti Cinem atographer: Tami Reiker Editor: Susan Graef M usic: Terry Dame Cast: Laurel Holloman, Maggie Moore, Kate Stafford,

What has been said about Brian Wilson, leader and creative soul of the Beach Boys, has focused mainly on his bouts with depression and addiction, while his music-making artistry has been cast aside. Director Don Was, the lauded music producer, corrects this omis sion with this new documentary, his directorial debut. The film sidesteps the band’s tragedies in favor of W ilson’s mastery as a composer and songwriter— especially as his old songs are rede fined today. A musician himself, Was chooses to comment only on the musician in Wilson. W ithin th a t context, however, I Just Wasn’t Made for These Times captures the undercurrent of adversity that has plagued the composer throughout his life. Included are several re-recorded versions of W ilson’s classics, as well as interviews with David Crosby, Tom Petty, and Sonic Youth’s Thurston Moore. All are likely to agree with W as’s assessm ent during a recent Rolling Stone interview: “ [Wilson] was on par with the Beatles as far as music for m usic’s sake .” The Shaper (Canada, 8 minutes) Directed by Jochen Schiessler. Attractive scenes of surfers riding the restless waves are intercut with the careful shaping of a surfboard by a m aster craftsman.

Sabrina Artel, Toby Poser Print Source: Fine Line Features 9 5 m inutes

This spirited girl-meets-girl story is a romantic fable about a tomboy from the wrong side of the tracks who falls for one of the m ost popular girls in her school, and finds her love reciprocated. Randy is a rebellious spitfire who shares a home in a working-class neighborhood with her lesbian aunt and her aunt’s lover. Uninspired by school and her job at her aunt’s gas station, she is struck by a lightning bolt of love when Evie, a beautiful black classmate, pulls into the service station one day to have her Range Rover checked. They exchange meaningful looks, and Evie finds herself intrigued despite her involvement with a young man. Thus begins a sweet, romantic series o f encounters tha t soon blossoms into full-fledged love. Director Maria Maggenti tells tale with a fresh, utterly unaf fected style tha t emphasizes the universal details of falling in love for the first time. With humor, much warmth, and above all a knowing eye for what it means to be young and in love, she has created an appealing comedy that lovers of any persuasion should embrace.

Contemporary World Cinema

I JUST W A S N ’T M A D E FOR TH E S E T IM E S USA, 1995

Tuesday, June 6 ■ Harvard Exit, 7:15pm Wednesday, June 7 ■ Varsity, 5:00pm

105

USA

Contemporary World Cinema

Sunday, June 11 ■ Harvard Exit, 6:30pm

Friday, May 19 ■ Egyptian, 5:00pm Wednesday, May 24 ■ Varsity, 9:30pm

JOE’S ROTTEN W O R LD USA, 1995

J U P IT E R ’S W IF E USA, 1994

Director: Richard LaBrie Producer: Richard Hahn

Director: Michel Negroponte Screenw riters: Gabriel Morgan, Michel Negroponte

S creenw riter: Richard LaBrie Cinem atographer: Dean Hayasaka

Cinem atographer: Michel Negroponte Editor: Michel Negroponte

Composer: Murielle Hamilton C ast: Ramsay Midwood, Jessica Hecht, Ricky Dean Logan, Blair

M usic: Beo Morales, Brooks W illiams Print Source: Artistic License 8 7 m inutes

Shannon Print Source: East W est Film Partners, Inc. 9 5 m inutes

“Joe’s Rotten World is a terrific comedy from Los Angeles-based w riter/director Richard LaBrie, which comes on like A Confederacy o f Dunces as directed by Albert Brooks and scripted by Tom Robbins. The premise is too complicated and bizarre to detail here, but a few key details should tell you what kind of movie you’re in for. Joe Seymore (Ramsay Midwood) is a doctoral student who’s steadily losing his grip on sanity. For the past few years he has been so obsessed with completing his 3,000-page dissertation on the collapse of America tha t he has turned into a pop-eyed, hostile hermit who torm ents his long-suffering wife, Annie (Jessica Hecht), and everybody else he knows with endless angry, scatological harangues about how the world is going to hell in a handbasket. Annie decides she can’t take it anymore, packs her things, and heads out into the desert, where she falls in with a fertility cult comprising 13 very pregnant women, a sexually insatiable patri arch, and his chief henchman, who has a large, pointy-tipped firecracker permanently impaled in his skull. (He’s adaptable, though— aside from having to wear the same hat his whole life and give up smoking, he seems none the worse for wear.) Meanwhile, back in the semi-real world, Joe’s two best buddies, fellow doctoral students Bobby (Ricky Dean Logan) and Curtis (Blair Shannon), try to bring their disturbed pal back to sanity. Their task isn’t easy: Joe recently got stung by a gigantic, unclassified wasplike bug, and the pustulant wound on his chest and the insect venom coursing through his bloodstream have made him prone to sudden bouts of clairvoyance and tim e travel.”— M att Zeller Seitz

Dog-wielding daughter of actor Robert Ryan, or momentarily famous horse-and-buggy driver in Central Park? It’s anybody’s guess as Michel Negroponte attem pts to unravel the life of Maggie Logan, a homeless woman with her own pack of dogs and a backpack large enough to make any hiker envious. Steeped in paranoia and conspiracy, cosmic philosophizing, and mythic references, the words of the feisty and articulate Maggie drive Negroponte to try and solve the riddles of her life. Claiming to receive radio transm issions from Jupiter, Maggie cheerfully relates intim ate anecdotes about her dogs and her six children, as well as claim s of being switched at birth by angry parents. For two years, Negroponte pursues Maggie, decoding her well thought-out words, until he begins to create a cohesive, understandable history, alm ost a psychic translation. For these stories, as outlandish or mythological as they seem, always contain some element of sincerity or truth. Especially eerie is 30year-old footage of Maggie’s What’s My Line appearance, revealing her long ties with “ Erebus” (her name for Central Park, and what the ancient Greeks called the Underworld). We witness change in Maggie as well, who is forced indoors during a brutal winter and only partially acclimates to indoor life, with difficulties th a t include having to sacrifice some of her beloved dogs. There are tense moments, when Negroponte gets too close to aspects of Maggie’s life, such as her parents’ identity and her children. Maggie has, through necessity, designed her own reality,as all people do. A true mystery, more haunting than fiction could be, the life of Maggie Logan is full of dramatic, poetic enigmas with transcendent revelations.

Selected Filmography: Blood & Concrete (producer and co-writer,

1990), The Ox and the Eye (1995)

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Monday, June 5 ■ Harvard Exit, 7:15pm Wednesday, June 7 ■ Seven Gables, 5:00pm

LITTLE O DESSA USA, 1994

US P rem iere Director: Arnold Schwartzman Executive Producer: Richard Trank Producers: Arnold Schwartzman, Rabbi Marvin Hier Screenw riter: Arnold Schwartzman Editor: David Dresher M usic: Carl Davis Narration: Ben Kingsley, Miriam Margolyes, Patrick Stewart,

Jean Boht, Whoopi Goldberg Print Source: October Films 1 0 0 m inutes

Academy Award-winning director Arnold Schwartzman directs a documentary on World War II th a t is unique in addressing two themes in a single film : the dramatic story of the battle waged on two fronts during the war, namely, the allied campaign to liberate Europe and Adolf Hitler’s genocidal war against the Jews. Liberation begins in 1942, when Hitler was still at the height of his power and the Allies began envisioning a cross-channel invasion of Europe. Combining film footage, period music, and radio broadcasts col lected from archives around the world, the film takes you behind the scenes to wartime London, Moscow, Washington, DC, occupied Paris, and Berlin. From Churchill to Roosevelt, from Stalin to de Gaulle to the Nazi leaders, to battlefields peopled by generals and ordinary soldiers, the film ’s panoramic sweep records those fateful years. Woven in throughout the film are the compelling stories of the Jews o f Europe— unforgettable stories of tragedy, courage, resis tance, and survival. Liberation exposes the audience to the ines capable and sobering fact th a t while Hitler was losing the war on the Allied Front, the Nazis were winning the war against the Jews and other innocent victim s o f the Holocaust. The film reaches its dramatic climax with the liberation of Paris and the Benelux countries, the death o f the camps, and V-E Day. Voice-overs by Ben Kingsley, Miriam Margolyes, Patrick Stewart, Jean Boht, and Whoopi Goldberg bring to life first-person anecdotes, some wrenching and some providing memorable comic relief in this suspenseful look at a past th a t is as horrific today as it was 50 years ago.

Director: James Gray Producer: Paul W ebster Screenw riter: James Gray Cinematographer: Tom Richmond Editor: Dorian Harris Music: Dana Sano Cast: Tim Roth, Edward Furlong, Moira Kelly,

Vanessa Redgrave, Maximilian Schell Print Source: Fine Line Features 9 8 minutes

Joshua (Tim Roth) is a hired hitman sent back to his family neighbor hood in the Russian émigré section of Brooklyn for an unsavory job, despite the fact that local mafia are after him to even a previous score. Scorned by his father, who threw him out years before, he is drawn back to his family by news from his younger brother (Edward Furlong) that his mother has little tim e left to live. His arrival sets off a spiral of events that leads to a catharsis for the family and a climactic confrontation with his pursuers. Director James Gray, a 24year-old film school graduate making his feature film debut, is clearly a major talent to watch. Every aspect of the film — from the dazzling, evocative camerawork to the lucid, resonant performances by his uniformly superb cast— shows a command of the film ic crafts tha t belies the director’s age and relative inexperience. Little Odessa is brilliantly achieved, its atmosphere of love and tenderness, and of violence and despair, beautifully drawn. As for Tim Roth, his portrayal of a fatalistic black sheep son provides further proof tha t he is one of the finest actors working in contemporary cinema.

Contemporary World Cinema

LIBER A TIO N USA, 1995

Saturday, May 27 ■ Harvard Exit, 9:15pm Monday, May 29 ■ Varsity, 6:30pm

Awards: Silver Lion, Venice Film Festival, 19 94

Selected Filmography: Genocide(1982), Echoes that Remain (1991)

107

USA

Contemporary World Cinema

Friday, June 9 ■ Egyptian, 7:15pm Saturday, June 10 ■ Varsity, 9:15pm

Saturday, June 3 I I Varsity, 6:30pm Thursday, June 8 I Egyptian, 9:30pm

LIVIN G IN O B LIV IO N USA, 1995

LIVE N U D E G IRLS USA, 1995 W orld P rem iere

Director: Tom DiCillo Director: Julianna Lavin

Producers: Michael G riffiths, Marcus Viscidi Screenw riter: Tom DiCillo

Producers: Cara Tapper, Steve White, Barry Bernardi S creenw riter: Julianna Lavin Editor: Kathryn Himoff

Cinem atographer: Frank Prinzi

C ast: Dana Delany, Kim Cattrall, Olivia d ’Abo,

Editor: Camilla Toniolo M usic: Jim Farmer

Cynthia Stevenson, Laila Robins, Lora Zane

Cast: Steve Buscemi, Catherine Keener,

Print Source: Republic Pictures International 9 3 m inutes

Dermot Mulroney, Danielle Von Zerneck Print Source: Sony Pictures Classics 9 1 m inutes

Don't let the title fool you: Live Nude Girls is not about strippers in some sleazy topless bar th a t you might find on First Avenue. This sparkling, sexy comedy deals with seven lifelong girlfriends who come to a slumber party tha t is thrown in honor of theirfriend, Jamie (Kim Cattrall), a well-known soap opera star who is about to embark on herthird marriage. The host of the party is a bisexual woman (Laila Robins) who is having doubts about herself and is unsure of what to do with her moody, demanding lesbian lover (Olivia d ’Abo), who keeps trying to lure her away from her friends and into the bedroom. As the evening progresses, secrets are revealed about each woman th a t will ultim ately te s t the lim its of their friendships. First-time w rite r/d irecto r Julianna Lavin has crafted a wonderfully warm, sexy, knowing comedy th a t celebrates the differences in friends. These girlfriends are about to learn one other’s m ost intimate secrets, and with each secret a new obstacle m ust be overcome. The candid confessions are refreshing, especially in the women’s treatm ent of men as nothing more than sex objects. The performances are uniformly terrific, especially those of Dana Delany and Kim Cattrall. Newcomers Cynthia Stevenson and Olivia d ’Abo (The Last Good Time) display a remarkable naturalness tha t infuses the film with deep sensitivity. W ithout question this is one of the boldest com edies ever about what it means to be a woman, and how to survive in what has been rumored (although you’ll never believe it after seeing this film ) to be a male-dominated world.

Murphy’s Law thrives on independent movie sets, as th is delicious send-up of the world of low-budget film m aking vividly illustrates. Though its story focuses on a film m aking crew under the gun on the set of an “ a rt” film , its observations could be applied to any group collaborative process in which egos, wills, talents, libidos, and technology collide. Steve Buscemi is hilariously on the mark as a frustrated auteur in charge of creating “ a rt” on tim e and within budget on the set of his ambitious but underfunded feature film . His problems are legion: in the m idst of shooting a key emotional scene featuring two talented actresses, all manner of distractions and technical glitches affect the performance, destroying whatever integrity the scene may have had; his leading man Chad Palomino shows up, intent upon offering idiotic notions of how to improve his big scene, all of which come at the expense o f other actors and the film ’s dramatic sense; his crew, though enthusiastic, lacks a brain among the lot of them. W hat’s a director, however resourceful, to do in the face of all of this lunacy? Tom DiCillo (Johnny Suede, SIFF ’92; Scene 6, Take 1, SIFF ’94) provides the answers in a way tha t make it clear he has lived through all of th is and more. Living in Oblivion is a seriocomic delight. Awards: Waldo Salt Screenwriting Award, Sundance Film Festival,

1995 Filmography: Johhny Suede (1991)

USA

Friday, June 2 ■ Harvard Exit, 9:30pm Wednesday, June 7 ■ Harvard Exit, 5:00pm

Saturday, June 3 ■ Harvard Exit, 6:30pm Monday, June 5 ■ Egyptian, 9:30pm

Director: John Rubino

Director: George Hickenlooper

Producers: John Rubino, Jeffrey Beer S creenw riter: John Robino

Producers: Donald Zuckerman, Tobin Heminway Screenw riters: John Enbom, George Hickenlooper Cinem atographer: Richard Crudo

C inem atographer: Rufus Standefer

Editors: Yaffa Lerea, Jim Makiej M usic: Bill Boll

M usic: The Hughes Brothers Editor: Jack Haigis

Cast: Rory Cochrane, Sean Astin, Kyra Sedgwick, Ron

C ast: Larry Gilliard, Wendell Holmes, Barbara Gonzalez, Suzanne Costallos Print Source: In Pictures

Print S o u rce /ln te rn atio n a l Sales: Low Life Productions

8 7 m inutes

9 6 m inutes

Set in a mixed-race Brooklyn neighborhood in the grip of lottery fever, L o tto La nd is about working to make your dreams come true. It interweaves two love stories, one full of the raging hormones and innocence of a black boy and his Latina girlfriend on prom night, the other a tender middle-age romance between their single parents on the fire escape. The cast is very appealing, and the story rings true. Hank (Larry Gilliard of S tra ig h t O ut o f Brooklyn) is a high-school basketball star, the only member of his team who is graduating. He works in the liquor store for “ chump change” as his drug-dealing friends tau nt him, and dreams of winning the lottery. Joy, the beautiful girl who lives next door, has a scholarship to college. She’s ashamed of her alcoholic father, and changed her name from Dolores, which she says means “ pain.” Hank’s father, Milton, helping him don his firs t tuxedo, insists on showing him how to tie a real bowtie, saying, “ You want to give the girl something to untie!” The prophecy comes true later th a t evening when the mutually attracted young couple “fool around,” unsure how far they want to go. They’re interrupted by Joy’s surrogate mother, who is outraged. She’s also Hank’s employer, but the next day instead of firing him, she marches him into the drugstore and loudly insists on buying the “fam ily economy pack” of condoms. Milton, meanwhile, tries to have a heart-to-heart ta lk with his son about sex, and reveals a potent philosophy of romance (not to mention his philosophy of plumbing, which comes later). First-time director John Rubino invests scenes from everyday life with a lot of humor and heart, and a candor th a t is seldom achieved on the screen.

There have been a lot of bad Gen-X film s, but The Low Life is a sensitive, dramatic comedy about a group of frustrated dreamers desperate to hit the big-time in Los Angeles. Director George Hickenlooper ( H earts o f Darkness) really comes into his own in this tim eless tale clearly close to his own heart. It’s the story of John, an aspiring writer who moves to the big city, where several of his old Yale buddies are living. His uncle sent him off with the advice to “ not get close to anyone,” but soon he’s got a new roommate, a shy, needy hayseed from Modesto. Unfortunately, LA can be lonely when you’ve got a big-name education behind you and poverty is looming a tthe doo r.T o pay the rent John works tem pjobs, sorting credit card receipts and fronting for a sleazy slumlord. In the evenings he and his friends get together in a bar to fantasize and forget. Prozac keeps them sane, pot keeps them happy, and an overnight breakdown is ju s t part of life. John’s emotional coldness prevents him from really connecting with his art, his alcoholic sometimesgirlfriend, and his roommate. As the world happens around him, John passively watches it go by, not quite connecting until tragedy strikes. The Low Life eschews Hollywood bashing and goes for the sympathetic, honest, and touching portrait of a life in trouble. The script is full of subtle humor, and Hickenlooper gives us a compel ling view of recessionary LA. From Rory Cochrane’s laconic lead to Sean Astin’s desperate loner, the acting is superb. Middle-class losers have rarely been portrayed so knowingly, lost in a cultural

Livingston, Christian Meoli, James LeGros

Contemporary World Cinema

THE LOW LIFE USA, 1995

LOTTO LAND USA, 1995

wasteland. Selected Filmography: The B ells o f Funicello (1986), H earts o f D a rkne ss: A F ilm m a ke r’s Apocalypse (co-director, documentary,

1991), Grey K night (aka The K illin g Box, 1993)

109

USA

Contemporary World Cinema

Sunday, May 21 ■ Harvard Exit, 6:30pm Wednesday, May 24 ■ Harvard Exit, 5:00pm

Saturday, June 3 ■ Seven Gables, 9:15pm Monday, June 5 ■ Harvard Exit, 9:30pm

M Y FA M ILY USA, 1995

NADJA USA, 1 995

Director: Gregory Nava

Director: Michael Almereyda Producers: Mary Sweeny, Amy Hobby

Executive Producers: Francis Ford Coppola,

Guy East, Tom Luddy Producer: Anna Thomas

Executive Producer: David Lynch S creenw riter: Michael Almereyda

Screenw riters: Gregory Nava, Anna Thomas Cinem atographer: Edward Lachman

Cinem atographer: Jim Denault

Editor: Nancy Richardson M usic: Mark McKenzie, Pepe Avila Cast: Jimmy Sm its, Edward James Olmos, Esai Morales,

Eduardo Lopez Rojas, Elpidia Carrillo Print Source: New Line Distribution

Cast: Suzy Amis, Peter Fonda, Martin Donovan, Elina Lowensohn, Galaxy Craze, Karl Geary, David Lynch, Jared Harris Print Source: October Films

1 2 8 m inutes

9 4 m inutes

Generous in spirit, Gregory Nava’s grand historical saga boasts the finest Latino acting ensemble ever assembled. Set in Los Angeles, this powerful, multigenerational fam ily story begins with one inno cent, ingenuous young man setting out on what he thinks is a short trip to find his only remaining relative. An epic odyssey alternating between the courageous and the comic, My Family follows Jose Sanchez as he travels far from the green mountains of his Mexican village to the turbulent city of Los Angeles of the 1920s. There he begins a new life, finding work, falling in love, and raising a family. As narrated by Paco Sanchez (Edward James Olmos), one of Jose’s three sons, My Family traces the family tree through the myriad directions of its members, into marriage, violent death, profes sional achievement, social activism, machismo street life, ja il, and finally, the future. Touching and troubling, MyFamily ls an intimately recounted story tha t has not been told in this way before; it captures an authentic landscape with passion and heart. In particular, harrowing moments o f conflict accentuate the contrast between the lure of American cultural values and the heart of the Mexican heritage. In one devastating sequence, Jose’s wife, Maria, who is pregnant with her third child, is picked up by INS authorities as they sweep through the Latino community rounding up illegals and citizens alike to send them back to Mexico. Distraught over her separation from her family, who know nothing of her whereabouts, Maria, babe in arms, courageously marches back to Los Angeles and her family. Familia is at the heart of the Latino cultural experience, as well as at the heart of My Family. S elected Filmography: The Confessions ofAman (1973), El Norte

(1983), A Time o f Destiny (1987)

A D E H Ä A IR U N E S n o

Editor: David Leonard M usic: Simon Fisher Turner

C895

Blood ties are hard to break, but Nadja, a postmodern version o f the conventional vampire film , manages to inject new blood into the old genre. A pair of estranged vampire twins in New York City, Nadja (Elina Lowensohn) and Edgar (Jared Harris), attem pt to escape their monstrous inheritance after Dr. Van Heising (Peter Fonda) drives a stake through their father’s heart. Van Heising entangles his own nephew Jim (Martin Donovan) in his efforts to find and kill the accursed twins. But Jim’s wife has already been seduced by Nadja into the netherworld, and Edgar’s private nurse (Suzy Amis) is drawn into the fray as the story shuttles to the darker regions of Brooklyn and on to Romania and a Transylvania of the soul. D irector/ screenwriter Michael Almereyda ( Twister, SIFF, ’89) has created a world where chains-moking vampires drink their meals from coffee mugs; where blood transfusion equipment is wielded as casually as a household appliance; where Dracula, the father of the evil twins, is compared to Elvis at the end o f his life (he’d lost it, the magic was gone). Shot in luminous black-and-white 35m m and Pixelvision, the film features hypnotic camerawork th a t never lets us escape the world we have entered. It is a world o f love and death, shape-shifters and zombies, the m onstrosity of dysfunctional fam ilies, the delirium of New York nights, a misty romantic domain of inhuman need, lust, cruelty, and the improbability of dom estic bliss and the pain of fleeting joy. This is a daring, intoxicating, and mesmerizing new film from a very original filmmaker.

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USA

Contemporary World Cinema

Saturday, June 3 ■ Egyptian, 6:30pm Tuesday, June 6 ■ Egyptian, 7:15pm

PARTY G IR L USA, 1994

P H A R A O H ’S A R M Y USA, 1 994

Director: Daisy von Scherler Mayer Producers: Harry Birckmayer, Stephanie Koules

D ire c to r/P ro d u c e r/S c re e n w rite r: Robby Henson Cinem atographer: Doron Schlair

S creenw riters: Daisy von Scherler Mayer, Harry Birckmayer

Editor: Robby Henson

Cinem atographer: Michael Slovis Editor: Cara Silverman M usic: Bill Coleman

M usic: Vince Emmett, Charles Ellis, Michael Stamper,

Cast: Parker Posey, Omar Townsend, Sasha von Scherler,

Anthony DeSando, Donna M itchell, Liev Schreiber, Nicole Bobbitt Print Source: First Look Pictures Releasing

Robert Freidman Cast: Chris Cooper, Patricia Clarkson, Kris Kristofferson,

Richard Tyson, Robert Joy, Frank Clem, Huckleberry Fox, Will Lucas Print S o u rc e /ln te rn a tio n a l Sales: Cicada Films 9 0 m inutes

9 4 m inutes

She’s a Holly Golightly for the ’90s: she’s hip, she’s hot, and she’s headed for the slammer after being busted for throwing an illegal rent party and selling booze out of her Chinatown loft. She’s Mary, the goofy spirit at the center o f this delicious confection about living large on a low budget in contemporary New York. Parker Posey lights up the screen as Mary, a footloose, twentysomething party animal whose self-described best talents are partying, flirting, and making stu ff up— not exactly prime credentials in today’s job market. Landing in ja il after the cops bust her party (apparently not the first she’s hosted), Mary throws herself at the mercy of her godm other/ guardian, Mrs. Lindendorf. Desperate to raise the needed bucks for bail and her overdue rent, Mary takes Mrs. Lindendorf up on her offer of a job at the library she runs, getting off to a rocky start despite her best intentions. Loathed by her co-workers and drawn inexorably back to the downtown lifestyle of her eccentric friends, Mary finds her life increasingly complicated by her attraction to an enigmatic young falafel stand owner. Clearly, it ’s tim e for Mary to get her shit together; and so she does, although not quite in a conventional manner. Oh well, party on!

T H E « m i

m u ffì

11 4

Sunday, June 4 ■ Varsity, 6:30pm Tuesday, June 6 ■ Harvard Exit, 9:30pm

Filmed in the Cumberland Mountains of Kentucky, Pharaoh’s Army explores the turbulent effects of the American Civil War on a remote farm, evoking an authentic, epic past. A Union Army captain (Chris Cooper) leads his ragtag cavalry troop up a misty creek to a remote farm to steal livestock. The farm is worked by Sarah Anders, whose husband is away fighting for the Confederacy. Far from the great armies and battlefields, a very private war erupts. The captain and Sarah are pulled by the war’s undertow into choices they cannot fully control or understand. Each character in this drama m ust decide whether blood will be the price of loyalty. With its parallels in current partisan conflicts, Pharaoh’s Army examines the pathology o f war, how events trigger unwanted tragedy, how good people can be driven to malevolence. The film boasts an amazingly talented ensemble of actors— especially Patricia Clarkson, who gives a strong performance as the farm wife who defends her property against the Yankees.

A JM 1A A IR L IN E S

TH E 11 0 U HT A I I"

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USA

Sunday, May 21 ■ Egyptian, 6:30pm Wednesday, May 24 ■ Egyptian, 5:00pm

PO STC A R DS FR O M A M E R IC A USA, 1994

S creenw riters: Kayo Hatta, M atr Hatta Cinem atography: Claudio Rocha

Director: Steve McLean Producers: Christine Vachon, Craig Pauli Screenw riter: Steve Mclean Cinem atographer: Ellen Kuras

M usic: C liff Eidelman Cast: Youki Kidoh, Akira Trakayama, Tamlyn Tomita,

Editor: Elizabeth Gazzara M usic: Stephen Endelman

Cary-Hiroyuki Tagawa

Cast: James Lyons, Michael Tighe, Olmo Tighe,

Print Source: Miramax Films Inc. 9 8 m inutes

Michael Imperioli, Michael Ringer, Maggie Low Print Source: Strand Releasing

Director: Kayo Hatta Producer: Lisa Onodera

9 3 m inutes

In 19 1 8 nearly 2 0 ,0 0 0 Japanese women left their homeland to marry laborers on the islands of Hawaii, leaving behind family and friends for promises of a new life based on the pictures they exchanged with laborers on the islands. In her feature-film debut, director Kayo Hatta casts a sensuous spell in the telling of this immigrant saga; following the story of 17-year-old Riyo (Youki Kudoh, o f Jim Jarmusch’s Mystery Train) as she leaves Japan for her imagined Eden. Having ju s t suffered the loss of her parents, and coerced into the marriage arrangement by a well-meaning aunt, Riyo reluctantly sets sail for Hawaii, consoling herself throughout the trip with her future husband’s poetic letters and the handsome young visage depicted in his photo. Upon her landing, the disappoint ments are great: her fiancée is 25 years older than he led her to believe. He in turn had hoped for a robust country girl to work in the sugarcane fields instead of the slight, frail city girl he sees in Riyo. The two, distant and at odds, struggle to wrench romance from the hardship, and to forge a new truth from the lies th a t began their relationship. At the same tim e, the seeds of worker unrest and labor strikes threaten the idyllic setting as well as Riyo’s marriage. In a singularly stunning setting, Picture Bride te lls an archetypal Ameri can story of adaptation and renewal.

Adapted from the fictionalized autobiographical writings of the late poet, essayist, performance a rtist, and video m aker David Wojnarowicz, Postcards from America is a brilliant reflection on a difficult and disturbed life. Wojnarowicz made his first splash into the international limelight with his heart-wrenching essays on the horrors of AIDS, in which he communicated his rage through a mix of poetic ranting and contemplation. He died from complications of AIDS in 1993. The film portrays the life of the young gay outsider in three distinct periods: a depressing childhood tha t included regular violent beatings from his alcoholic father; a stint as a teenager hustler and petty th ie f on the streets of New York; and, in a more abstract section, Wojnarowicz as a young man aimlessly traveling the desolate Southwest. The film interweaves the sections in three distinctly diferent visual styles: afrightening constantly circling wideangle view in the boy’s tale, a dark and eerie void for the young hustler, and windblown shots for the desert life. The fact tha t this is not a conventional biography makes itself known in the abrupt and disorienting shifts in direction. It is these gaps tha t lend the film a haunting tone of fatalism . Postcards from America is magnificent and breathtaking as it captures the voice of innocence forever lost.

Contemporary World Cinema

P IC T U R E B R ID E USA, 1 9 9 4

Friday, May 19 ■ Harvard Exit, 9:30pm Sunday, May 21 ■ Harvard Exit, 3:30pm

S elected Filmography: Audience Award, Best Picture, Sundance

Film Festival, 1995

115

USA

Contemporary World Cinema

Saturday, June 3 I Seven Gables, 6:30pm Thursday, June 8 I Varsity, 9:30pm

Friday, May 19 ■ Egyptian, 9:30pm Monday, May 22 ■ Harvard Exit, 9:30pm

SAFE USA, 1994

SMOKE USA, 1 995

Director: Todd Haynes Producers: Christine Vachon, Lauren Zalaznick

Producers: Greg Johnson, Peter Newman, Hisami Kuroiwa,

Screenw riter: Todd Haynes Cinem atographer: Alex Nepomniaschy

Screenw riter: Paul Auster

Director: Wayne Wang

Kenzo Hurikoshi

Editor: James Lyons M usic: Ed Tomney

Cinem atographer: Adam Holender

Cast: Julianne Moore, Peter Friedman,

M usic: Rachel Portman

Kate McGregor Stewart

C ast: W illiam Hurt, Harvey Keitel, Stockard Channing,

Print Source: Sony Pictures Classics

Harold Perrineau Jr., Forest W hitaker Print Source: Miramax Films Inc.

1 2 1 m inutes

Editor: Maysie Hoy

1 0 8 m inutes

She’s allergic to the 20th century, and director Todd Haynes (Poison, SIFF ’91) may have the cure for what ails her. Julianne Moore plays Carol, repressed to the point of self-destruction, desperately seeking answers, defined only by her status as an upper-middle-class wife and homemaker. Her existence is clean, proper, passionless, and without stim ulation of any kind until a periodic cough turns persistent, and escalates into nosebleeds and increasingly severe seizures. Unable to find a cure, Carol retreats to the Wrenwood Institute in New Mexico, a rural New Age com pound devoted to the care of the “ healing” individual and presided over by self-love guru Peter (Peter Friedman). Director Haynes delves into the ominous condition of “ environmental illness” and the very upper class, very insular world of one California woman to exact a remarkably rich film , covering themes ranging from sci-fi paranoia about the dangers of modern existence to philosophical allegory to a riveting exposition of New Age coercion and manipula tion. Haynes, whose innovative cinematic prominence has not come without some notoriety and controversy, has once again returned to the exploration of social existence and angst. Brilliantly executed and superbly funny, Safe is a remarkably insightful depiction of the underlying threats to contemporary day-to-day life.

An intoxicating jigsaw puzzle of a film built around a series of seemingly random encounters th a t link the destinies of its charac ters, Smoke unites the talented Wayne Wang (The Joy Luck Club) with cult novel ist/screenw riter Paul Auster (The Miracle o f Chance) in a heady rendering of human foibles and personal fate. The film ’s five interconnected stories are linked by their characters’ trajectory through the Brooklyn tobacco shop of Auggie Wren (Harvey Keitel). Auggie is a friendly soul who dispenses worldly wisdom and good humor along with the cigars and cigarettes o f his trade. Among the characters who pass through shop are: Paul Benjamin (William Hurt), a gifted novelist who has developed w riter’s block since the senseless death of his wife in a bank holdup; a young black man who spins a new identity to suit each new encounter; Auggie’s former girlfriend Ruby (Stockard Channing), who shows up out of the blue after 18 years, claiming she and Auggie have a daughter he never knew about who’s in big trouble. Adding to the mix are Auggie’s boss, Vinnie, who has a big thing for Cuban cigars, a reclusive service station operator who is running from his past (Forest Whitaker), and a paper bag containing $5 ,0 0 0 th a t gets passed from hand to hand. In the eccentric course of this contemporary fable, these disparate elements come together in poignant and endlessly intriguing ways.

Selected Filmography: Superstar: The Karen CarpenterStory(1987),

Poison (1991)

Awards: Golden Bear, Special Jury Prize and International Critics

Prize, Berlin Film Festival, 19 95 S elected Filmography: A Man, a Woman and a Killer (1975), Chan

Is Missing(1981), Dim Sum: A Little Bit o f Heart (1985), Slam Dance (1987), Eat a Bowl o f Tea (1989), Life Is Cheap...But Toilet Paper Is Expensive (1989), The Joy Luck Club (1993)

^ D E H A A IR U N E S

Thursday, June 8 ■ Seven Gables, 9:30pm Saturday, June 10 ■ Harvard Exit, 6:30pm

Saturday, May 20 ■ Egyptian, 9:15pm Monday, May 22 ■ Varsity, 9:30pm

S W E E T NOTHING USA, 1995 W orld P rem iere

Director: James Keach

Editor: Joel Cox

Director: Gary Winick Producers: Rick Bowman, Gary Winick Screenw riter: Lee Drysdale Cinem atographer: Makoto Watanabe

M usic: David Benoit

Editors: Niels Mueller, Bill Pankow

C ast: Robert Duvall, Aidan Quinn,

M usic: Steven M.Stern Cast: Michael Imperioli, Mira Sorvino, Paul Calderon,

Producers: Clint Eastwood, David Valdes S creenw riter: Steve Railsback Cinem atographer: Bruce Surtees

Frances Fisher, Brian Dennehy Print Source: Warner Bros.

Patrick Breen, Richard Bright Print S o u rce /ln te rn atio n a l Sales: Concrete Films

1 1 0 m inutes

9 0 minutes

In th is directorial debut James Keach te lls a story of hope and the American dream in the early Oil Boom days, including details from his own fathe r’s life as a wildcatter. Set in Henrietta, Texas, in 1935, during the Great Depression, The Stars Fell on Henrietta is driven by Mr. Cox (Robert Duvall) and his quest for an oil strike so huge and so rich th a t he will find not only wealth, but validation of who he is and what he has always done. As yet, however, the dream remains a little out of reach, and Cox is living a threadbare life with only his cat, Matilda, to keep him company. The uniquely American Cox is a man who suffers from self-doubt, but his determination is evidenced by his inability to adm it defeat. He clings to his dream and builds on nothing, creating som ething along the way. Left alone on a country road with nothing left to gamble, and willing to risk everything for one real chance at success, Cox finds him self rescued by desperately poor farmers Don and Cora Day (Aidan Quinn, Frances Fisher). Infecting the fam ily with his brand of romanticism, Cox strikes an uneasy partnership with Don Day. Since he has convinced everyone, including himself, th a t black gold will be found on their farmland, Cox takes one last extraordinary chance at striking it rich.

Based on the found diaries of a New York City crack addict, Sweet Nothing is a deeply affecting portrayal of vice and attempted virtue among the victims of the contemporary drug scene. Centering as it does on the story of an average guy and his family caught in a steady downward spiral by his attraction to “the life," the film is infinitely more powerful than its glossy Hollywood cousins. Angel (Michael Imperioli) and Monica (the brilliant Mira Sorvino) enjoy a happy existence with their children in a respectable section of the Bronx. Though there has recently been an increase in the street drug scene around their apartment block, the family remains for the most part unaffected. Then one day Angel’s best friend, Raymond, turns his pal on to some crack; it’s no big deal, it ju s t happens. Time passes, and Angel finds him self drawn back to the drug, though at first it seems to present no problem to his family or his job. Eventually, as Angel’s using escalates, his family begins to experience financial difficulties; when Raymond suggests to Angel that he could make some good money dealing drugs, Angel ultimately agrees, rationalizing that it’s the best choice for his family. The road to hell is paved with good intentions, and before long Angel and his family are swept into a bitter cycle of pain and destruction. Narrated throughout with jottings from the book on which the story is based, Sweet Nothing paints a harrowing portrait of an all-too-common contemporary blight.

Contemporary World Cinema

T H E STARS FELL ON H EN R IETTA USA, 1 9 9 5

Selected Filmography: Out o f the Rain (1991), Curfew (1988)

A D E H Ä A IR U N E S

Sheraton Seattle HOTEL & TOWERS

A d e l ia a ir u n e s 117

Contemporary World Cinema

Saturday, May 27 I Egyptian, 9:15pm Monday, May 29 I Seven Gables, 9:15pm

S W IM M IN G W IT H S H A R K S USA, 1994

USA

Wednesday, June 7 ■ Seven Gables, 7:15pm Thursday, June 8 ■ Seven Gables, 5:00pm

TA R A N TELLA USA, 1 995 W orld P re m ie re

Director: George Huang Producers: Steve Alexander, Joanne Moore S creenw riter: George Huang

Director: Helen de Michiel

Cinem atographer: Steven Finestone Editor: Ed Marx M usic: Sharal Churchill

Screenw riters: Helen de Michiel, Richard Hoblock Cast: Mira Sorvino, Rose Gregorio, M atthew Lilliard,

C ast: Kevin Spacey, Frank Whaley, Michelle Forbes Print Source: Trimark Releasing

Print Source: La Voo Productions

Producer: George LaVoo

Stephen Spinella 1 0 0 m inutes

9 4 m inutes

This hilariously twisted black comic nightmare lays bare the hideous truth behind surviving in Hollywood: you’re required to have the ego of a large doormat. That’s what sweet film school grad Guy (Frank Whaley) learns at the hands of his monstrous boss Buddy Ackerman (Kevin Spacey in the role of a lifetime). Buddy is a “ raving, selfish, vulgar, sadistic, nonstop m onologist.” Guy is living proof o f the old adage “ Be careful what you wish for or you might ju s t get it.” Still wet behind the ears when he lands his big break as a personal assistant to high-powered studio production executive Ackerman, Guy quickly learns tha t his jo b description may as well read “ slave. ” Not only does Buddy humiliate him in front of other workers; he is verbally and physically abusive, calling him at all hours of the night to satisfy his every whim. Buddy’s demands extend to such extremes as having Guy rush all over town removing every copy of the current issue of Time because of an unflattering comment about him. But this is Hollywood, after all, and Guy soon gets his shot at the brass ring through a project he shepherds into Buddy’s office on behalf of foxy young producer Michelle Forbes. When Buddy pulls the ultim ate double-cross, leaving Guy out on a very shaky limb, the stage is set for a showdown of epic proportions in this fa st and furious exposé of Hollywood hype.

This highly evocative story of a young woman coming to grips with her mother’s death and her own ethnic heritage is a small but stunning gem amid the current wealth of American independent cinema. Mira Sorvino (Quiz Show, Barcelona) portrays Diana, an am bitious pho tographer in her early 30s who has shut out the memories of her past and began a new life as far away from her old Italian-American community as she could get. Stunned by the news of her m other’s death, Diana reluctantly agrees to return to her childhood home to pack up her m other’s belongings and prepare the house for sale. In the process, she finds herself confronting not only her m other’s past but her own sense of identity and her family history. A simple plot synopsis cannot do justice to the manifold pleasures th is very special film provides. Sorvino’s performance ranks among the best we’ve seen this year, and director Helen de M ichiel’s thoughtful, gorgeously textured rendering of an emotional journey through the secrets of the soul provides abundant proof th a t she is a tale nt to be reckoned with.

A IM J A A IR IJ N E S

USA

Thursday, June 1 I Varsity, 7:15pm Tuesday, June 6 I I Varsity, 5:00pm

Saturday, May 20 I I Egyptian, Midnight Tuesday, May 23 I Harvard Exit, 9:30pm

T H E R E M IN : AN ELE C TR O N IC ODYSSEY USA, 1 994

TIE -D IE D : ROCK ’N ’ ROLL’S M O S T DEAD IC A TED FANS USA (1995)

D ire c to r/P ro d u c e r/S c re e n w rite r: Steven M. Martin

Producers: Marsha Oglesby, James Deutch Cinematography: Hamid Shams Editors: Andrew Behar, Sara Sackner

Director: Andrew Behar Cinem atographers: Frank De Marco, with Robert Stone,

Cris Lombardi, Ed Lachman Editor: David Greenwald M usic: Hal W illner Print Source: Orion Classics

M usic: Peter Fish Print Source: Andrew Behar International Sales: ISA Associates

8 4 m inutes

8 0 minutes

This story seems too incredible to be true: the scientist who invented a new musical instrum ent was kidnapped by the Russians, had a seminal influence on the Beach Boys and Alfred Hitchcock, and was decorated by Stalin for inventing the bug th a t helped the Russians spy on the Americans. Yet it all happened to Leon Theremin, the fascinating subject of th is amazing film . Born in St. Petersburg in 18 95 , Theremin excelled at both physics and the cello. In 1920, while trying to repair a radio, he invented the therem in, the only musical instrum ent played without being touched — sound is produced by waving a hand near an antenna-like wand. The resulting eerie wail will be instantly recognizable to those fam iliar with the Beach Boys’ “ Good Vibrations” or '5 0 s sci-fi film s The Day the Earth Stood Still and The Thing-, it also signals the onset of Gregory Peck’s psycho dream in Hitchcock’s Spellbound. But if the instrum ent is spooky, th a t’s nothing compared with Theremin’s life. He had been living in New York for 10 years when, in 1938, Soviet secret police walked into his studio and kidnapped him. Nothing more was heard of him for decades, and it was assumed he had been executed in Stalin’s purges. But in reality, after seven years in a labor camp he was rehabilitated for scientific services to the state and continued to do research. Filmmaker Steven M. Martin tracked him down in Moscow and brought Theremin, an alert nonagenarian, to New York for the first tim e in over 60 years. There he had a sentimental reunion with his muse and former romantic interest Clara Rockmore, the world’s greatest theremin virtuoso. It is a fitting end to a truly incredible saga.

T/e-D/edis a visually stunning, artfully crafted celebration of the spirit and community of Deadheads who followed the Grateful Dead from coast to coast during the band’s 1994 summer tour. Through interviews with a diversity of fans— including 11-year-old J.D.and 28year tour veteran “Thin Man”— what emerges is a portrait of a distinct community with a universally understood code of ethics and an overwhelming sense of family and spiritual longing. Far more than a bunch of homeless kids and aging hippies getting stoned and partying, these dedicated modern nomads possess a spirituality, an optimism, a belief in the planet, a hope for the future, and the understanding tha t love is what life is all about. Despite hardships including robbery, police busts, vehicular malfunction, and lack of reliable income— the Deadheads’ enthusiasm for the unique scene is never dampened. After all, in the words of fan Nikki, on tour you can discover “ a love vibe tha t you can’tfin d anywhere else.” Tie-Died is a uniquely entertaining and thought-provoking look at a group of people who might make us question our own life choices, priorities,

Awards: Filmmakers’ Trophy (Documentary), Sundance Film Festi

val, 1994; Golden Gate Award, San Francisco Film Festival, 19 94

and material needs.

Contemporary World Cinema

Friday, May 26 ■ Egyptian, 9:30pm Sunday, May 28 ■ Egyptian, 3:30pm

TO D IE FOR USA, 1995

jNHM

USA

Friday, June 2 ■ Harvard Exit, 9:30pm Sunday, June 4 ■ Varsity, 9:15pm

U N Z IP P E D USA, 1 9 9 4

US P rem iere Director: Gus van Sant Jr. Producer: Laura Ziskin Screenwriter: Buck Henry Cinematographer: Eric Alan Edwards Editor: Curtiss Clayton M usic: Danny Elfman Production Designer: Missy Stewart Cast: M att Dillon, Nicole Kidman, Casey Affleck, llleanna

Douglas, Alison Folland, Dan Hedaya, Wayne Night, Kurtwood Smith, Holland Taylor, Mark Tucci Print Source: Columbia Pictures 1 0 0 m inutes

It is always a pleasure to see a good film from a local filmmaker. It is rare, however, when you get a chance to see a local film that blows you away. When Gus van Sant first showed us his daring and dynamic debut feature Mala Noche (SIFF, ’84) we were knocked out by the stark originality and dark humor of this amazing new director. Now, 11 years and four film s later, we are honored to present the American premiere o f van Sant’s first film for a major studio, To Die For. Working again with the team consisting of editor Curtis Clayton, cinematographer Eric Alan Edwards, production designer Missy Stewart, and star Matt Dillon (Drugstore Cowborf, van Sant has crafted a delicious black comedy that paints a very hip portrait of America as seen though the eyes of a woman whose warped view of reality and naive ambition land her in freezing cold water. Suzanne Stone (Nicole Kidman) is a small-town girl with a dream— to become a famous TV personality. Disillusioned with her marriage to Larry (Matt Dillon), she immerses herself in the pursuit of her career and manages to talk her way into a local TV station. She decides to produce a documentary about kids and enlists the help of three teenagers who seem to have little hope for the future: Jimmy (Joachin Phoenix), Russell (Casey Afflek), and Lydia (Alison Folland). The four form a powerful and dangerous bond that threatens to blow the lid off their seemingly idyllic suburban life forever. Working from Buck Henry’s wonderful screenplay, van Sant infuses each and every character with life, giving the actors the chance to bring a natural quality to their unnatural characters. Nicole Kidman has never been betterthan this, and M att Dillon proves again, as he did in Drugstore Cowboy, that he is one of America’s most versatile young actors. Welcome to the wonderful and bizarre world of Gus van Sant Jr.— there isn’t a fresher or more original filmmaker working in America today. Filmography: Mala Noche (1986); Drugstore Cowboy (1989); My

Own Private Idaho (1991); Even Cowgirls Get the Blues (1994)

Director: Douglas Keeve Producer: Michael Alden Cinem atographer: Ellen Kuras Editor: Paula Heredia Print Source: Miramax Films Inc. 8 0 m inutes

Unzipped is a hip, insightful, and amusing insider’s view of worldfamous fashion designer Isaac Mizrahi’s 1 9 9 4 New York fall fashion show. From initial designing to fabric cutting to model dressing, the documentary explores and dem ystifies the sources of Mizrahi’s genius and follows him step-by-step through the long, exciting, and incredibly tedious task of orchestrating such a huge media event. Narrated by Mizrahi him self— and featuring interviews with and appearances by supermodels Cindy Crawford, Kate Moss, Linda Evangelista, and Christy Turlington, as well as Mizrahi’s sta ff and mother—the film builds in intensity to the climax of the audacious and supremely inventive big show. In his directorial debut, Douglas Keeve, a renowned fashion photographer, has produced a uniquely textured film tha t chronicles his love for the world of fashion without judging or glamorizing it. From the sophisticated events frontstage to the raw power and chaos backstage to the drama in the wings, the alluring world o f high fashion has rarely been shown in such exquisite and brutal detail.

USA

Friday, June 9 ■ Egyptian, 9:30pm Saturday, June 10 ■ Varsity, 6:30pm

Thursday, May 25 ■ Egyptian, 9:30pm Sunday, May 28 ■ Varsity, 9:15pm

W IG S TO C K , THE M O V IE USA, 1994

Director: Bryan Singer

Director: Barry Shils Producers: Dean Silvers, Marlen Hecht Cinematographer: Wolfgang Held

Producers: Bryan Singer, Michael McDonnell Screenw riter: Christopher McQuarrie Cinem atographer: Newton Tomas Sigel E d ito r/M u s ic : John Ottman Production Designer: Howard Cummings

Editors: Marlen Hecht, Tod Scott Brody Music: Gerry Gershwin Cast: RuPaul, Dee-Lite, Deborah Harry, Lypsinka,

C ast: Gabriel Byrne, Stephen Baldwin, Chazz Palminteri,

Crystal Waters, The “ Lady Bunny”

Kevin Spacey, Kevin Pollack, Pete Postlethwaite, Suzy Amis, Benecio del Toro Print Source: Gramercy Pictures

Print Source: The Samuel Goldwyn Company 8 5 minutes

1 0 5 m inutes

Check your inhibitions at the door: this behind-the-scenes and in-yourface look at New York City’s annual gala drag extravaganza, Wigstock— also known as “Woodstock without bad hair”— is a rowdy, rambunc tious delight. The film is a celebration of the 10th anniversary of this singular event, born of nothing more than a dream and a few cans of hairspray. Springing from the fertile imaginations of a couple of chick wannabes sitting around cooling their heels (literally) after a night on the town, Wigstock has grown into an annual event that attracts tens of thousands of people. The film combines interviews with partici pants and glimpses of the studious preparations and arduous rehearsals involved, culminating in the annual variety show which showcases dazzling costumes and hilarious acts by the uniquely talented performers. Make a point of dragging yourself out of the house for this delirious delight. Costumes are recommended.

Director Bryan Singer (Public Access) has returned to the scene with this dazzling, sleek, and seductive new thriller in which a group o f New York police detectives set out to crack the recent hijacking of a truck loaded with gun parts. They begin by rounding up five of the East Coast criminal com m unity’s m ost prominent thieves, but then unintentionally jo in forces with them. Dean Keaton (Gabriel Byrne), an ex-cop turned smuggler whose past history has the special attention of the Customs Department, is the leader of the group. The other members of this den of thieves are played with gusto by Stephen Baldwin, Benicio del Toro, Kevin Pollack, and the always superb Kevin Spacey. Nothing is as it seems in The Usual Suspects. This is a film th a t keeps you on your toes from the very firs t frame to the last; it has more pure adrenaline per frame than any other thriller in recent memory. The superb cast all contribute to th is wonderful puzzle, and when the pieces are all put together, you won’t believe your eyes. The sleek camerawork combined with the atmospheric production design and the richly textured screen play all add up to proof th a t Bryan Singer (co-winner, Grand Jury Prize 1992, Public Access, Sundance 1992) is a major film m aker who knows how to make the m ost of every element. The Usual Suspects is the real thing— a first-class thriller th a t keeps you on your toes and guessing every second of the ride.

Contemporary World Cinema

TH E U S U A L S U S P E C T S USA, 1 994

S elected Filmography: Motorama (1991)

121

USA • V ietn am

Contemporary World Cinema

Saturday, May 27 ■ Egyptian, 6:30pm Tuesday, May 30 ■ Egyptian, 9:30pm

Wednesday, May 31 ■ Harvard Exit, 7:15pm Friday, June 2 ■ Harvard Exit, 5:00pm

W O R LD A N D T IM E ENOUGH USA, 1994

TH E R ETU R N Vietnam, 1 9 9 4

Director: Eric Mueller

D ire c to r/P ro d u c e r/S c re e n w rite r: Dang Nhat Minh

Producers: Julie Hartley, Andrew Peterson S creenw riter: Eric Mueller

Cast: Nguyen Thu Hien, Tran Luc, Manh Cuong

Cinem atographer: Kyle Bergensen Editor: Laura Stokes M usic: Eugene Huddleston Cast: Johnny Hagen Print Source: Strand Releasing 9 0 m inutes

This sweet, highly enjoyable story oftw otw entysom ethinggay lovers at odds with the world around them is further proof of the abundance of fresh talent in contemporary queer cinema. The story, narrated in part by one of the protagonists’ best friends, introduces us to two singular characters: Mark is a conceptual artist who splits his tim e between erecting short-lived installations of politically motivated art and the despised tem pjobs th a t provide his livelihood; his lover Joey works as a highway trash collector who makes good use of his profession by adding to his fetishistic collection of found art. Each of them is semi-estranged from his family, and together they cope with the daily pressures of being a gay man in a straight world. Over the course of the film ’s story, both Mark and Joey deal with rocky family relationships and find th a t their ultimate fulfillm ent in life lies in their relationship with each other. Though the plot sounds simple and even a little threadbare, this eccentric, engaging story of contemporary gay life builds to a cathartic conclusion. The viewer would be hard-pressed to find a movie in this year’s Festival tha t gets under your skin quite so easily, and goes down quite so enjoyably.

Print Source: NETPAC 1 0 0 m inutes

This is a story about the “ new” Vietnam, a country trying to enter the world market economy. The heroine, Loan, an introspective young schoolteacher, like the whole of Vietnam society, is looking for the path to dignity, stability, and intellectual self-respect. Loan becomes romantically involved with Hung, a friend of a colleague, despite the fact th a t he has a wife and children. They fall in love, and soon after, Hung is forced to leave Vietnam. Loan returns to her hometown and is reunited with Tuan, an old school friend who has become an ambitious and successful Saigon businessman. They marry after three years, yet Loan is unfulfilled. One day Hung, who now calls him self Vincent, returns to Vietnam on business. Loan is faced with a dilemma: should she remain in her family-endorsed marriage of convenience or renew her relationship with Vincent, who represents the “ new” Vietnam ethos? Does she need either one? Her choice provides the story with its denouement— and, symbolically, an answer for her country itself. Selected Filmography: When th e Tenth M o n th Com es (1973), The Girl on the River

122

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A P A R T FR O M HUGH USA, 1994

THE YEAR OF M Y JAPANESE C O U S IN USA, 1995 W orld P rem iere

Producers: Jon FitzGerald, Randall Allred Screenw riter: Jon FitzGerald

Director: Maria Gargiulo

C ast: David Merwin, Jennifer Reed, Steve Arnold

Producers: Maria Gargiulo, Sheila Kelly, Tami Hinch Screenw riter: Maria Gargiulo Cinem atographer: Lulu Gargiulo Editor: Maria Gargiulo M usic: Fastbacks, Gas Huffer, the Deflowers, the Young Fresh

Print Source: Jon FitzGerald 8 7 m inutes

Cast: Selene Vigil, Janis Tanaka, Jasper Streak, Bobo, Criss

Cinem atography: Randall Allred Editors: Randall Allred, Jon FitzGerald M usic: James Clarke

This deeply felt, impressive directorial debut tells the story of a relationship on the cusp of major change. It has been a year since Collin and Hugh have firs t embarked on building a life together. To commemorate the occasion, Hugh has planned a party, not realizing tha t his significant other is having second thoughts about staying. Collin wrestles with his discontent, trying to understand the mean ing of his emotions. What would happen if he left Hugh? The catalyst for Collin’s decision arrives in the form of his former roommate, Frieda, a frazzled ex-hippie whose unexpected visit prods him to contemplate both his past and his future. Frieda and Collin embark on a day-long adventure th a t further complicates his feelings when he becomes tem pted by his renewed taste of freedom— but what about Hugh? A lively cast of characters attends the supposed surprise party Hugh has so meticulously planned. One cannot help but feel the pain in store when Hugh expresses his love for Collin. With its universal themes, this wonderfully understated film will touch a note in all of us who have ever been torn between what we know and love and what we dream or desire.

S E A T T L E ARTS j

Fellows, Supersnazz, Edmonia Jarrett, Shanta Belt Crass, Maryellen Cooley, Louis Barkan, Raegan Butcher Print Source: Michi Pictures 7 0 m inutes

Destined to be one of the hits of the festival and blessed with dazzling performances by Selene Vigil from the band Seven Year Bitch and Janis Tanaka from San Francisco’s Stone Fox, this fresh Generation X comedy hits all the marks where others have failed. Maria Gargiulo, in her directorial debut, demonstrates her tale nt as a filmmaker to watch in the future. Set against the backdrop of Seattle’s thriving alternative music scene, The Year o f My Japanese Cousin takes a look at Stevie (Vigil), an ambitious rocker struggling to find recognition for her longtime band, which so far hasn’t risen above the local music scene. Her constant efforts and determination do not seem to help. Unexpectedly, Stevie’s distant cousin from Japan, Yukari (Janis Tanaka), shows up on her doorstep, and Stevie happily plays the role of the savvy rock star mentor. Yukari, however, proves to be more than a follower: a talented musician herself, she quickly finds rock ’n' roll success on her own. What ensues is the transformation of Stevie from protective mentor to seething rival and that of Yukari from a wide-eyed newcomer to a confident musician. Guitars, not guns, become the weapons of choice when these two cousins clash. Featuring performances and music from internation ally and locally acclaimed artists such as the Fastbacks, Gas Huffer, the Deflowers, the Young Fresh Fellows and Supersnazz, as well as cameos from local luminaries such as Dick Dickerson, The Year of My Japanese Cousin manages to capture the true essence of the burgeoning alternative music scene and the lives of those who live it. This is the twentysomething film tha t Hollywood has been trying to produce for years. Don’t miss it.

CH O

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Director: Jon FitzGerald

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TH E BEST OF TH E N O R TH W E S T 96 minutes The Northwest is becoming increasingly well known for its talented film community. This year we are proud to present an outstanding selection of thought-provoking shorts tha t examine everything from Kurt Cobain to the first day of school, and reflects the diversity of our regional film m akers.

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M y Brown Eyes (Jay J. Koh, 19 min.) A young Korean boy, who may

or may not speak English, m ust face the hardships of his first day in America. Atouching commentary on alienation and the resilience of childhood. The Stupid Club (Leah D. Delyte, 18 min.) Kurt Cobain is the latest

celebrity to join the Stupid Club, in the words of a sad and angry fan. Filmed at Seattle Center the day after Cobain’s death, this film catches the raw emotions of reaction. Reign of th e Dog: A Revisionist History (Ruth Hayes, 16 min.) A

brilliantly animated, fluid reinterpretation of history. Continents shift with the passage of tim e, but the dog leaves his mark everywhere. ¡¡H l

Do Roo (Soon Mi Yoo, 15 min.) A 16-year-old Korean girl, adopted

and raised by an American family, seeks her ethnic heritage in a poetic, spiritual journey. Am erican Fish (Jesse Wine, 10 min.) To the strains of “ I Know I’ve

Heard That Tune Before,” two older Asian-American women m eet at a market and try to remember each other’s names, while exchang ing reminiscences. Donut Holes (John Jeffcoat, 6 min.) While watching the amusing

and appetizing spectacle of mass donut-making, a man ponders the meaning of life— and donut holes: “When traveling through life brother, whatever be your goal, keep your eye upon the donut, not upon the hole.”

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Named one of the best in America by Bon Appetit magazine 126

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Shorts Programs It’s a good climate for shorts this year at the Seattle International Film Festival. This is an opportunity to see films not normally available to the general public. In terms of talent, the short field has never had so much to offer. SIFF is enjoying the reawakening of audiences’ appe tite for film shorts, and is one of the few film festivals to be screening short pieces together in full-length packages— bringinga much broader

Tuesday, May 30 ■ Egyptian, 7:15pm Monday, June 5 ■ Varsity, 5:00pm

ALL TH IN G S B R ITIS H

1 0 9 m in u tes range of high-quality productions to an apprecia tive crowd. Boasting one short for every year of cinematic glory, our assortment of 100 shorts this year is divided into eight packages, as well as partnered with various feature films through

C A N A D IA N Q U IP S

1 0 3 m in u tes Through television shows like SCTVand Kids in the Hall, actors like John Candy, Dan Ackroyd, Martin Short, and Andrea Martin, and offbeat filmmakers like Guy Madden and Bruce McDonald, the world is discovering there’s a lot more north of the border than snow, beer, and hockey. As this delightful collection of young filmmakers demonstrates, the future holds much more laughter from the Great White North. Arrowhead (Peter Lynch, 30 min.) Don McKellar (Highway 61, Exotica) is a bored suburbanToronto post-teen telling the story of a mast odon skeleton found in a swamp. Winner of the Genie Awards Best Canadian Short last year. Off Key (Karethe Linaae, 22 min.) A handsome young Russian concertmaster and a middleaged photographer turn gender conventions upside down with surprisingly funny results. Selected for competition in Cannes last year.

Shorts Programs

out the Festival.

Over the years the Seattle International Film Festival has showcased an extensive selection of British short films, some of the finest shorts made. This year we continue the tradition with another collection, repre senting styles ranging from acerbic comedy to emo tional drama to pure visual poetry. It’s a stimulating, diverse, and often humorous assortment, where you’re sure to find something that’s your cup of tea. Aftermath (Nancy Diuguid, 11 min.) Aftermath is the story of a woman raped in an alley and her subsequent reactions and journey toward healing. This beautifully shot film is powerful, emotional, and important. Ah Pook Is Here (Philip Hunt, 6 min.) An animated delight with music by John Cage, and William S. Burroughs reading his own text on the relationship of humans, gods, power, and death. Beauty (Richard Sealy, 4 min.) A fairy-tale princess falls victim to an unfortunate disaster, but is not entirely happy to be awoken by her knight in this humorous update on the Sleeping Beauty story. Butter (Alan Cumming, 15 min.) Successful, middleaged businesswoman Jane is obsessed by her weight and lack of love life, and imposes her neurotic obsessions on herfriends. With a who’s-who castthat includes Hilary Lyon, Helena Bonham Carter, Richard E. Grant, and Jane Horrocks. Crazy? (Bob Lawrie, 12 min.) A woman appears at a psychologist’s office distressed over her sexual iden tity and lack of physical charms. Perhaps some radical new therapy might be in order? A twisted black comedy about analysis set to Patsy Cline’s syrupy song. The End of Restriction (Robert Bradbrook, 5 min.) A wistful, nostalgic meditation on the loss of an older generation’s beliefs and values in contemporary Lon don, expressed through an artful assemblage of stopaction animation, B/W collage, and evocative music. In the Time of Angels (David Anderson, 15 min.) In this marvelous and magical visual poem from the director of Deadsy and Door (SIFF ’92), a beautiful woman reflects on her decision in facing a marriage proposal. The Night Face Up ( Twarza do Nocy) (Ian Liggett, 10 min.) Visually dense but virtually wordless, this short is a metaphorical story of a prostitute who is forced to examine her own life while she keeps encountering a young, innocent girl panning for gold on the streets. Summer (Martin Wagner, 11 min.) A married man. A female co-worker. The story of their summer affair as told through a series of interactions in the front seat of his car. The highly original first film in a four-part series. Whispers (Richard Lingard, 20 min.) A deaf photogra pher uses his disability to capture echoes of previous lives in common objects. When he picks up a stained, discarded T-shirt he discovers some very disturbing evidence.

Thursday, May 25 ■ Varsity, 9:30pm Sunday, May 28 ■ Varsity, 3:30pm

Scratch Ticket (John Fawcett, 10 min.) This black comedy won Best Short Film in Montreal last year. Two guys buy an instant lottery ticket that turns out to be a winner. Is this an unexpected windfall, or has fate dealt them a cruel blow? Trawna Tuh Belvul (Martin Rose, 15 min.) Martin Rose illustrated this technically superb animated masterpiece of Earl Birney reading his poem of a train trip from Toronto to Bellville. Won the NFB Award for Best Animated Film in Vancouver last fall. Weight of the World (Brian Stockton, 17 min.) In this deadpan, original comedy, earth’s grav ity has unexplainably doubled, making life dif ficult for three characters in a low-rent apart ment building. X-Presso (Anastasios Dimopoulis, 9 min.) Bob is an out-of-work coffee addict who wants nothing more than to own an espresso ma chine. A perfect Seattle date film!

129

Shorts Programs

Thursday, May 25 ■ Egyptian, 5:00pm Sunday, June 4 ■ Varsity, 3:30pm

Tuesday, May 23 ■ Egyptian, 7:15pm Friday, May 26 ■ Egyptian, 5:00pm

L’A M O U R FOU S H O R TS

ON TH E ROAD

OUT A N D A B O U T A G A IN

1 0 8 m in u tes

1 2 4 m in u tes

9 3 m in u tes

L'amour fou is a French term used to describe a mad, passionate, all-consuming love that is rarely based in rationality. This collection brings an added perspective to this romantic phrase.

These offbeat and colorful excursions down the road of life are motivated by jealousy, freaks, dreams, and destiny.

Talented filmmakers from around the world ex plore the diversity of the gay male experience in these remarkable short films, unified in love, longing, laughter, and pride.

A Wall of Candles (Gerald DeMarco, 25 min.) How much of your romantic history are you willing to share with your current lover? Is knowledge damning, or does it hold the key to redemption? Fever (Caarine Adler, 16 min.) A woman has various affairs with increasingly unsuitable men. What lies behind her compulsive search for love and why does she repeatedly run away from her sweet boyfriend when love is offered? Hugo and Hilda Get Engaged (Jonathan Parker, 9 min.) An award-winning study of a quirky man prepared to pop the question to his sweetheart until his goldfish gets in the way. Magnetism (Paul Vincent, 4 min). This ani mated look at the magnetic and binding power of love is an intriguing piece in which technique and contentment meet. The Other Woman (Michael Jaffer, 15 min.) A chilling tale of the destructive power of deceit. Jealousy leads to tragedy when a man suspects his lover of having an affairwith anotherwoman. Snuff (David Blackburn, Alison Thompson, 15 min.) The making of a bogus snuff movie degen erates into mayhem as the line between fact and fiction blurs and the violence spills off the set and into reality. That Sunday (Dan Zeff, 15 min.) Good friends Stanley and Rachel simultaneously take us through the history of their relationship one Sunday morning. As their stories intertwine, contract, and collide, it becomes clearthat each must confront the truth about the nature of their relationship. The Victim (Nigel Squires, 10 min.) A woman involved in a casual affairwith her chiropractor becomes pregnant. She moves to deepen the relationship, yet he’s reluctant. Her spite turns into vengeance in a delightful denouement.

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Monday, May 29 ■ Varsity, 9:15pm Friday, June 2 ■ Egyptian, 5:00pm

Cyclops, Baby (D.J. Caruso, 47 min.) Josh Charles heads an all-star cast in this slighty wacky tale of a couple detained by a cop with a foot fetish as they drive across the country to see a freak of nature. Whit & Charm (Laurence Starkman, 30 min.) Tarot cards and animal crackers spell “destiny" in this quirky comedy in which two lost souls hook up and discoverthat finding someone may be the luckiest thing in life. Or is it luck? Brotherly Love (Brad Carlson, Eddie Schmidt, 20 min.) Two very different young women— a dreamer and a cynic—try to make their way toward a concert 3,000 miles away. With the help of the odd bunch of people they meet along the way, they learn to recognize bullshit, stand up for themselves, and appreciate each other. Drive Baby, Drive (Paul Rachman, 14 min.) Passion and anger motivate this claustropho bic drive designed for redemption. Rejecting apologies, love, and friendship, a man controls the fate of his wife, his best friend, and his friend’s wife through his grip on the wheel. Suspicious (David Koepp, 13 min.) The urban myth about a girl doing the road trip thing late at night, pumped up on sugar and caffeine. After being spooked by the stares of the male clientele in an all-night diner, she is freaked by a gas station attendant’s weird behavior.

The Dadshuttle (Tom Donaghy, 20 min.) A young man tries to broach the subject of his “ room mate” with his father on a car trip to the train station after a family holiday visit. Sparky’s Shoes (Glen Cairns, 18 min.) Buddy visits his lover, Sparky, who is dying of AIDS. A touching yet not overly sentimental look at love, loss, and moving on. Alkali, Iowa (Mark Christopher, 17 min.) An attractive young farm worker deals with homophobia both in his rural community and his home. Let Me Die Again (Leone Knight, 15 min.) A lush, stylish melodrama on the pain of love and sepa ration. A gay man pines for his departing lover, a young dyke pleads with her older, married lover for commitment, and a drag queen diva sees death as the only response to rejection. Rambles (Richard Press, 11 min.) Confronted with the inevitability of the aging process, a gay man seeks refuge in anonymous sexual encoun ters in Central Park. Frank’s Cock (Hoolboom, 8 min.) An evocative, masterful elegy to Frank and one of his most infamous attributes. Small Gestures (Ian Cottage, 5 min.) A haunting, abstract film on the interrelationship of form, images, and simple pleasures. Featuring Derek Jarman as the subject.

Shorts Programs

Sunday, May 21 ■ Varsity, 3:30pm Sunday, June 4 ■ Varsity, 12:30pm

R ITE S O F PASSAGE

1 0 8 m in u tes A heartfelt collection of coming-of-age shorts that offers insights into the realities, pains, and epipha nies of children around the world. Portrait of Boy with Dog (Robin Hessman, 26 min.) The unique and personal perspective of a 13-year-old homeless and abandoned boy, Gosha, on the changes taking place in Russia and in his own life.

The Sewing Room (Rick Randall, 17 min.) In an exquisite short that takes a dark look at the ’50s family, a son steals a wistful moment with his mother in the sanctuary of the sewing room. The Smell of Burning Ants (Jay Rosenblatt, 21 min.) An affecting, abstract deconstruction of the male identity vis-a-vis violence and abuse of animals. Using found images, it presents one man’s reflections on growing up and the initiation rites and behavioral teachings he endured. Little Women In Transit (Barbara Heller, 7 min.) In the backseat of a wood-paneled station wagon, 12-year-old Jenny sits wedged between her two sisters enduring that special hell, the family car trip. To escape the expert teasing of her sisters— one older and sophisticated, one younger and precocious—Jenny writes Girls Galore, which she’s sure will make her the next Louisa May Alcott. But her sisters’ mockery interrupts her reveries and targets all that she holds sacred. Steam (Ryan McFaul, 22 min.) A young girl finds treasure in the thought of escape from her small town and the domestic life of her mother by fantasizing, and participating in, the magical world of a train that only passes through her town but never stops.

OB9J

STRANG E EN CO UN TER S

1 2 8 m in u tes

Tuesday, June 6 ■ Varsity, 9:30pm Thursday, June 8 ■ Egyptian, 5:00pm

TALES FR O M DOW N U N D ER

1 1 7 m in u tes Vampires and lemmings, murderous pancakes and the mafia are just a few of the subjects of these shorts. Isn’t life odd? Irving (Jason Bloom, 38 min.) When Irving, a sweet momma’s-boy stockbroker in his late 30s, gets set up with a drop-dead gorgeous woman, it’s a dream come true....that is, until her playful licking becomes biting and his dream date be comes a one-way ticket to blood-lusting eternity. What’s worse, confronting other creatures of the night, or telling his mother the truth? The Bicyclist (Robert Stark, 17 min.) What could be more surprising than discovering a short, fat accountant strapped to an airplane seat hanging precariously from a lone oak tree? Perhaps that the self-serious bicyclist who finds him has been sent by the mafia to finish the man off? The Last Laugh (Robert Harders, 13 min.) Set in a mortuary, this is a comedy about two women who come to pay their last respects to the dead—a woman they both hate. Lemming Aid (Grant La Hood, 13 min.) New Zealand animal rights activists assemble to prevent the annual mass suicide of the lem mings. A Norwegian woman intends to use the lemmings in a crude blood sport. This is the story of their encounter. Dropping the Baby (Spiro Kyriacou, 12 min.) The dilemmas of love, sex, and procreation (and a life-threatening pancake) conspire to break up Harry and Louise’s marriage. A rapid-fire romp in the style of a ’30s Hollywood screwball comedy adapted from the short story by Robin Hemley. Eight for Eight Thirty (Toa Stappard, 10 min.) Eight people gather together at a housewarming/dinner party in this noir short. Social eti quette keeps the guests proper while their true feelings towards each other are presented on screen. The Hero (James Mairata, 9 min.) Maxjust wants to hold up the local deli. He thinks himself lucky when the shopkeeper asks him to mind the store while she attends to a family crisis. Yet Max has a knack for complicating the simplest tasks. Regarde-Moi (Elisabeth Aubert, 9 min.) A few glances and an ambiguous dialogue between two women lead us to Pigalle, where the bound aries of a forbidden world are quietly trans gressed. Surprise (Veit Helmer, 7 min.) A man piles up an arsenal of murder weapons around his lover’s bed. All these ingredients can mean only one thing: he wants to kill her. And she’s asleep!

These nine provocative Australian short films give us a well-rounded and insightful look at the nitty gritty of life Down Under. Brave (Alfredo Peyretti, 15 min.) A young grafitti artist, Danny, living in subway tunnels, painting, and trying to avoid trouble, is drawn into the violence of gang life by his sister, and challenged to trade in his independence for the rituals and codes of gang membership. Evidence (Kathleen O’Brien, 9 min.) Using a series of tableaux, with offscreen teen dialogue, this film is about girls, romance, nasty friends, and disinterested guys that will have you in stitches. Gorgeous (Kaz Cooke, 10 min.) A humorous, animated Hermione, the Modern Girl, nagged by herever-critical innervoice, Deirdre, puts herself through plastic surgery, bulimia, and other or deals in her tireless struggle for “ beauty.” In the end, is she bold enough to fend off Deirdre and her obsessions? Lucinda, 31(Cherie Nowlan, 15 min.) Lucinda is rushing to become pregnant before she’s too old. When her businesslike strategy to find a suitable mate fails miserably, she sets her sights on Andrew, her roommate for the past seven years. Trouble is, he has found a younger woman, and she’s the antithesis of Lucinda. Miss Taurus (Graeme Wood, 17 min.) Violet Evans expects the boredom typical of her mean ingless teenage life for the school holidays, but what she gets is a weekend of unexpected, twisted, and sometimes raunchy events. My Mother Practices Drowning (Vanessa Alexander, 14 min.) In a house with no photo graphs, Hannie, an eight-year-old girl, tries to explain her family on a tape recorder in the bathtub. The arrival of a vivacious woman helps her to discover the truth of her family’s past. Out (Sam Lang, 13 min.) The star of this short goes out by herself for a night on the town with her good sense of humor and her insecurities. She’s the hit of the party—or is she? Small Treasures (Sarah Watt, 15 min.) This animated short follows pregnant Jane as she walks on the beach and swims, daydreaming about her pregnancy and her life to follow. Universal Appliance Co. (Andrew Lancaster, 10 min.) An inventor finally gets a chance to massproduce his latest creation at the Universal Appliance Co. factory. The production line runs smoothly until advertising and romance become distractions.

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Shorts Programs

Trumpet (Guy Richards, 15 min.) A young boy tries to win his soldier father’s admiration by playing the trumpet. But Dad ignores his at tempts— and is only interested in making the boy a clone of himself.

Saturday, May 20 ■ Egyptian, 12:30pm Monday, June 5 ■ Harvard Exit, 9:30pm

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flieStemécr AMERICAS FAVORITE WEEKLY NEWSPAPER

Ue at The Stranger hope you enjoy this year’s film festival. We love it so much that we’ve decided to buy it. There’s nothing like the prestige of owning your own film festival, and we’re going to keep it with our new golf course and gourmet restaurant. It’s like the Reagan ’80s all over again, and you're invited. Here’s what we have planned:

OPENING NIGHT

CLOSING NIGHT

Cabjn Boy: The Director’s Cut Chart a course for fun with

Vikings ond Donkeys World Premiere of Hollywood Pictures’

Chris Elliot's comedic masterpiece, including 10-minutes of restored footage (bringing the running time up to 90 minutes). Co-star, and Conan O’Brian sidekick, Andy Richter, will be there to answer questions. Then it's off to Stranger receptionist Mike Nipper’s house for a kegger and cocktail weenies. Mike’s roommate’s band, Rusty Blaide, will perform. ft

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epic adventure, starring Lance Henriksen as Thorog, the Viking chief; Lindsay Wagner as the elusive Valkyrie; and Jimmy the Donkey as Ragnarok. Free drinking norns to the first 100 people. You’re gonna need ’em too, because afterwards everybody is invited to the popular Roosevelt High drinking spot, Interlaken Ravine, for wine coolers ana Old Milwaukee.

Week 1: Solute to Television!

We’ll bring you some of the more important events happening on “the small screen.” Everything will be shown in the TV lounge of the University of Washington’s Terry-Lander dorm. We’ll start with Mexico’s cruelest home videos, Camera Infragante (Mexico); then it’s behind the scenes at Evening M agazine (local Seattle show); TVBloops and Blunders (archival); More TVBloops, Blunders, and P ractical Jokes (archival); Best of the After School Sp ecials (CBS); and it’ll all end with a R yan’s Hope marathon (soap opera). Week 2: Our Favorite Soundtracks!

It’s back to Mike’s house every night this week to listen to the music from some of our favorite movies. Mike’s got ‘em all, from Rollerball to Footloose, Goldfinger to Medicine Man, Valley o f the Dolls to Beyond the Valley o f the Dolls, Convoy to The Prince o f Tides, and the list goes on and on. Almost all of them are on vinyl, and we will pofitely request people step outside to talk and smoke. (BYOB) Week 3: Hey Everybody, It’s George Kennedy!

He’s been walking in Ernest Borgnine’s shadow for too long, and it’s about time he’s gotten his props. Whether you remember him as the prison yard bully who’s power gets usurped in Cool Hand Luke, or as a man who survived all four Airport movies, George Kennedy has been a steadily working actor since the ’60s. We plan on showing the credit sequences from all of his films and, every night at midnight, prank calling his home in Los Angeles. We would like to thonk Darryl Macdonald and the rest of his hardworking staff for the hospitality and good nature we have felt through the years of working with them. Unfortunately, we have had to make difficult decisions in the organizing process for next year’s festival, and we won’t be needing them.

The Midnighters Hot on the heels of last year’s midnight series come 19 9 5 ’s brazen films of late-night eyeopeners. Designed forthe adventurous cinephile, the Midnighters are full of restlessness, wit, creative chaos, and subversive humor. This year promises many new delights, visceral thrills, gratuitous violence, and cerebral stimulants not

Friday, June 2 ■ Egyptian, Midnight

Friday, May 26 ■ Egyptian, Midnight

C H IN ES E TO RTURE CHAMBER

self every Friday and Saturday night at the world-

H ong Kong, 19 9 4

famous Egyptian Theatre, where the curtain

Director: Bosco Lam Producer: Wong Jing Screenwriter: Cheuk Ping Cast: Lawrence Ng, Yvonne Yung Print Source: Rim Film Distributors International Sales: Golden Harvest 88 minutes

goes up beyond the edge. Be afraid...be very afraid!

(Three films in this series also appear in other sections of the Festival. Please refer to “Contem porary World Cinema" for Accumulator 1 (p. 57), The Doom Generation (p. 102), Tie-Died: Rock n ’ Roll’s Most Deadicated Fans (p.119).

In our quest to bring you unusual entertain ment, we turn our eyes again to Hong Kong, specifically to Wong Jing, creator of the legend ary God o f Gamblers. Wong outgrossed every one in Hong Kong last year, at the box office and onscreen. His films manage this by going forthe lowest common denominator: over-thetop violence, bodily function jokes, gratuitous nudity, the lot. Wong has his own unique style, whether producing or directing, and he loves placing his characters in situations that are sure to offend just about everyone— in an outrageous, humorous way, of course! In Chi nese Torture Chamber, an innocent peasant girl, Shaw, is taken in as a chambermaid by scholar Yang. Yang’s jealous wife (who is having an affair with the magistrate’s son, Liu) is furious, and marries Shaw to a peasant notorious for being well-endowed. The peas ant is honorable, and when the philandering Liu tries to rape Shaw, he intercedes. But Yang’s wife is too inventive, she has Liu “off” Shaw’s husband by exploding his penis (and you thought John Wayne Bobbitt had it rough), and frames Shaw and Yang for the murder. Shaw is subjected to a barrage of stomachchurning tortures, to the ghastly delight of the conspirators, and finally confesses. Eventu ally the victims get a new trial, but not before we discover a little-known Chinese law—to get an appeal a person must strip naked and role around on a bed of nails! There is a slew of wild scenes, like the “wonder screw,” breast-en largement surgery, eunuch training, and more. When we say you’ve never seen anything like it, we really mean it.

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THE EAGLE SH O O TIN G HEROES

H ong Kong, 19 9 4 Director: Jeffrey Lau Chun-wai Producer: Cai Songlin Screenwriter: Jeffrey Lau Chun-wai Cinematographer: Peter Pau Editor: Hai Kit-wai Music: James Wong Cast: Tony Leung Chiu-wai, Brigitte Lin Ching-hsia, Leslie Cheung, Tony Leung Kar-fai, Maggie Cheung, Joey Wang, Jacky Cheung, Carina Liu Print Source: Rim Film Distributors 105 minutes The Eagle Shooting Heroes is a veritable who’s who of Hong Kong cinema getting all dressed up and battling it out in psychedelically colorful costumes at insanely high speeds. Jeffrey Lau, who gave us the cult classic Savior o f the Soul, has gone beyond parody in this delirious takeoff on sword-and-sorcery films like Swordsman. Plot synopsis: Mad concubine Queen and her lover, West Poison, are after the imperial jade seal held by Third Princess. Defeated and dumped by her god-sister the Imperial Com mander, she teams up with young swordsman East Evil to find the Nine Ying Kung-Fu Book and help her reclaim her kingdom. Recovering at an inn after a snake bite, she runs into her ex fiancé, wandering Buddhist South Emperor, dumb but honest North Beggar, a horny, gay Taoist, and a glamorous court magician. South Emperor falls for East Evil, and West Poison fights North Beggar and the Princess is cap tured by West Poison then freed by South Emperor just returned from heaven. The Prin cess and East Evil marry and the god-sister snags the confused North Beggar. This crazed, hyperactive extravaganza takes cast members from Wong Kar-wai’s gorgeous disaster, Ashes o f Time, and lets them parody themselves with lots of in-jokes. Catch the madcap action! Selected Filmography: Haunted Cop Shop (1987), All for the Winner (co-director, 1990), Mortuary Blues (1990), Savior o f the Soul (1991), Legend o f La Rose Noire

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The Midnighters

recommended forthe fainthearted. Indulge your

The M idnighters

Saturday, May 27 ■ Egyptian, Midnight

Friday, May 19 ■ Egyptian, Midnight

FASTER, PU SSYC A T! KILL! KILL!

The Midnighters

USA, 19 6 5

138

Director: Russ Meyer Producers: Russ & Eve Meyer Screenwriter: Jack Moron Cinematographer: Walter Schenk Editor: Russ Meyer Music: Igo Kantor Cast: Tura Satana, Haji, Lori Williams, Susan Bernard, Stuart Lancaster, Paul Trinka Print Source: Strand Releasing 90 minutes Fans of Russ Meyer will flock to see this 1965 cult classic on the big screen. For those un familiar with Meyer’s work, Faster, Pussycat! Kill! Kill! provides an unabashed sample of the director/producer’s style. Three go-go watusi dancers embark upon a whirlwind tour of violence and seduction, led by the darkly voluptuous Tura Satana as Varla, a woman with a pychopathic need to be in control and a fetish for sports cars. Accompanied by two women who share her love of car racing, Varla heads to the desert to seek fast-paced thrills and a driver worthy of sharing the road with her speed machine. Not-so-subtle sexual in nuendo and plenty of high-powered karate chops keep viewers entertained as they learn about this dark dominatrix and the men who love and hate to compete with her. With martial arts battles, a chicken run, a musclebound guy named Vegetable, Sue Bernard (Playboy’s Miss December 1966) as a kidnap victim, and the best dialogue you’ve heard in years.

ihe Stranger

KCfctf/ «i“

HIGHWAY OF HEARTACHE

Canada, 1994 Director: Gregory Wild Producers: Terrence Weir, Gregory Wild Screenwriter: Gregory Wild Cinematographer: Brian Pearson Editor: Reginald Dean Harkema Music: Barbara Chamberlin Cast: Barbara Chamberlin, Pat Patterson, Serge Houde, Klaus Kohlmeyer, The Big Wigs Print Source: Scorn-A-Rama Pictures Inc. 86 minutes From the land of rhinestones and big hair comes Highway o f Heartache, a witty, wayover-the-top musical extravaganza that’s out to offend just about everybody, but especially conservatives. While poking relentless fun at country music, the Christian Right, tabloid TV, and what debut director Gregory Wild calls “victimology,” Highway o f Heartache tells the story of Wynona-Sue Turnpike, a would-be country-western star complete with beehive hairdo and cat’s-eye glasses. Wynona-Sue’s journey is an endless trail of misery: her career keeps getting sidetracked by things like abuse from her heartless mother, a dose of the clap, the Ku Klux Klan’s kidnapping of her interracial child, and betrayals by various menfolk. Even after she marries the man of her dreams, a talk-show host named Crawfish, her troubles continue, providing further inspiration for her bottomless bag of hurtin’ tunes. Though her life is a constant nightmare, her optimism, coupled with her undying love for God and a heartbreaking country song, provide the faith that the best is yet to come. Wild, who is appropriately named, has obliterated all natu ralism from the film, which is full of psyche delic face paint, bright costumes, and cartoonlike sets. The performances are deli ciously campy, and a chorus of drag queens adds to a John Waters-meets-Douglas Sirk atmosphere that is beyond melodrama. Fortu nately, Wild’s smart script never stops to look back at the wreckage in its wake, and he manages to pull off one of the most original, hysterical musicals you’ll ever see. Seattle’s Barbara Chamberlin is terrific as Wynona-Sue, and the soundtrack, which she wrote and performs, manages a fine country parody and carries the film along with its catchy, snappy tunes. So put up your biggest hair and get ready to sing along to hits like “ Ring on My Finger, Stiff on My Hands.”

flieSfranger

KCM(/ v

Saturday, May 20 ■ Egyptian, Midnight

T IE -D IE D : R O CK ’ N ’ RO LL’S M O S T D E A D IC A TED FANS

USA, 19 9 5 Director: Andrew Behar Producers: Marsha Oglesby, James Deutch Cinematography: Hamid Shams Editors: Andrew Behar, Sara Sackner Music: Peter Fish Print Source: Andrew Behar International Sales: ISA Associates 80 minutes Tie-Died is a visually stunning, artfully crafted celebration of the spirit and community of Deadheads who followed the Grateful Dead from coast to coast during the band’s 1994 summer tour. Through interviews with a diver sity of fans— including 11-year-old J.D.and 28year tour veteran “Thin Man”—what emerges is a portrait of a distinct community with a universally understood code of ethics and an overwhelming sense of family and spiritual longing. Far more than a bunch of homeless kids and aging hippies getting stoned and partying, these dedicated modern nomads possess a spirituality, an optimism, a belief in the planet, a hope for the future, and the understanding that love is what life is all about. Despite hardships— including robbery, police busts, vehicular malfunction, and lack of reli able income—the Deadheads’ enthusiasm for the unique scene is never dampened. After all, in the words of fan Nikki, on tour you can discover “ a love vibe that you can’t find any where else.” 77e-D/edis a uniquely entertaining and thought-provoking look at a group of people who might make us question our own life choices, priorities, and material needs.

QieSfranger

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LOGO/LAYOUT BY MARSHALL GOOCH • GOOCH DESIGN/WRITE • 206-860-0899

Youwant it.. .We've got it! One of the Northwest's best collections of foreign, gay interest, esoteric and hard-to-find films. Mon - Thur every 2nd film $1.00 * Validated Parking

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Home o f the 20th Annual Seattle International Film Festival, May 20 - June 12.

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Join the S e attle International Film Festival The Seattle International Film Festival Is a registered 501(C)(3) nonprofit or ganization. As a nonprofit organiza tion, SIFF depends primarily upon our audience and the year-round support of our members for survival. We are in our 21st year of bringing to Seattle Festivalgoers the best the film world has to offer. We ask that you help us continue this tradition through our mem bership plan. Your private support is encouraged at any membership level. Corporate donations and matching plans are appreciated as well. Join now and expose yourself to world film. Membership forms are available at all theater venues and at the Broadway Market Ticket Office (325-6828), or you may write for more information: Seattle International Film Festival, c/o The Egyptian Theatre, 801 East Pine Street, Seattle, WA 98122. LIFETIME MEMBERS ($2,000) Allen Cohn, American Production Services, Jeff Parsons

BENEFACTOR MEMBERS ($100) Keneta Anderson, Avi Belinsky, Colin Brown, Clif Bunch, Paul Canniff, David DeMerritt, Gregory Foster, Carrie Gorringe, Donald Stephen Grenley, Timothy Hale, Alison Harris, James Jackson, Steven Johnson, Ian Jose, Jonell Kalamar, Arthur Kuniyukl, Michael Kurtz, Scott Larson, Steve Lawson, Candace Man ning, Robert Marritz, Gerald Maxey, Stephen Mellander, Mina Person, Kevin Phaup, Shirley Snow, Patrick Soricone, Jil Spitzer-Fox, Ben jamin Stephens, Shaun Sullivan, Jane Suzick, Perry Unjang, Michael Weidemann, Carol Westlie FRIEND MEMBERS ($50) Dave Antonelli, Lee Bennett, Mary Clare Benson, Harolynne Bobis, Leonard Costello, Alice Cunningham, John DeRosa, Andrew Dillman, Julie Ferkingstad, Jerry Fulks, Charles Hansen, Bruce Hawley, Miriam Hunt, Richard Kamicar, Alison Kartiganer, Vince Keenan, Karin Lee, Kristine Lee, Drew Lienau, Deming Maclise, D.P. McArdle, Jacqueline McCarthy, Susan McCloskey, Kathleen Mclnnis, Medora C. Moburg, Randall H. Moeller, Barbara Muirhead, Randy Neymeyer, Jean Patton, David Paul, Thornton Perry, Dan Poliak, Lucy Pond, Donna Poppe, Andrea Rabinowitz, Tom Reynolds, Paul Roberts, Scott Rosenfelt, Loretta Russell, S. Severn, Fred Sharp, Steve Shippert, J Russell Smith, Rachel Speaks, Robert Stevens, Peggy Suehiro, Miles Takahashi, Gillian Teichert, Albert Teters, Richard Tho mas, Grace Tracy, Michael Wannenwetsch, Jeanette Weston, Joseph White GOODWILL MEMBERS ($25) Glenn Abe, Rabih Abou-Jaoud6, Kathy Ackerman, Anna Ackley, Kathy Agather, Sandra Ahola, Bronwyn Allen, Raymond Allen, Shmuel Alon, Marilyn Alterman, BobAltizer, Eric Ander son, Fabio Arevalo, Liz Artola, GreggAyakawa, Lona Badgett, Mark Ballinger, Chris Banta, Heather Barbieri, Greg Barnes, Veronica Barnes, Gary Bastoky, Charles Bates, Darryl Beckmann, Mary Begley-Ankeny, Janice Bell,

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PATRON MEMBERS ($500) Amanda Lyon

Kathleen Bennett, Russell Bennett, Marcia Bennison, Sid Benson, Linda Betts, Diane Bisset, Görden Bisset, Debra Bond, Wendy Bones, Michael Boswell-Windsor, Jeff Botten, Barbara Brainin, Philip Bransford, Mary Brazeau, Pauline Brim, Ann Briselden, Sonja Brisson, Harry Broad, Karin Brookes, Ardeth Brown, Jill Brown, Beth Bruning, Tanya Bruton, David Bucher, Barbara Burgess, Robert Burke, BeBe Burns, Emily Burns, Morris Buttnick, Frank Buxton, Dodie Cardinal, David Carroll, JackCashdollar, Martin Cassidy, Erin Casteel, Max Chan, Caryn Cline, Jill Cole, Jean Colman, Marc Comstock, Alice Conner, Christopher Conrad, Layne Corneliuson, Ken Coulter, Steven Crazier, Helen Custer, Deb Dahrling, John W. Daise, Ronna Dansky, Lisa Louise Davis, Sara Davis, Stephen De Tasnady, David Deal, Darren Dean, Harvey Dean, Nancy Dean, NiiLartey DeOsu, Elizabeth Deutsch, Virginia Dolan, Barbara Dolman, Christine Downer, Rebecca Downer, Kelly Doyle, Olivia Dresher, Johann Drewett, Paul Dwoskin, David Eastwold, Fred Eaton, Mark Edmondson, Mary Eisenheim, Ruth Eller, John Ellis, Lynda Emel, David Emerson, Mary Emhoff, Pauline Erera, Ginny Evans, Lawrence Evans, Tom Evans, Joni Fassett, Paul T. Feavel, Yuan Feng, Kathy Fennessy, Paula Ferguson, Pia Fessenden, Sylvia Fisher, Larry Fletcher, Bryan Ford, Sepideh Forouhar, Kenneth Forster, Glenn Fox, Jason Francois, Kira Franz, David & Sonja Frederick, Richard Freeman, Susan Fried, Linda Friend, Stephen Friend, Deborah Froula, Allen Fuller, Robert Gallup, Charles Gardner, Linda Gerrard, Shelley Gibson, Ernie Gilbert, Angela Gillian, Charles Gioiosa, Annie Gleason, Larry Glickman, Warren Godefroy, Paul Goetz, Laurie Gogic, Joan Golston, Bruce Goodnow, Sarah Gordon, Laura Gottesman, David Gow, Doug Griffin, Richard Hagan, Sa rah Hansen, Craig Harris, Mary Beth Hasselquist, Andrew Havlis, Lois Hayes, Ruth Hayler, Paul Heckel, Peter Heffelfinger, Sarah Henderson, Pamela Henrioulle, James Henry, Julia Henry, Marjorie Henry, David Herman, Jeffrey Herre, Georgene Hert, H Hertzel, Cathy Hibler, John Higinbotham, Judy Hill, Richard Hirschberg, Donald Hirst, Linnea Hirst, Susan Hodges, Diane Holbrook, Michael Hollander, Jo Hollingsworth, Connie Holloway, Kathleen Holmes, David Hopkins, Heidi Hubbard, Cindy Hughen, Della Hurt, Kathlyn Huson, John Hutchins, Thomas Hyland, Doug Ing, Valerie Ingram, Lisa Irwin, Gregg Jackson, Jim Jackson, Andrée Jacovich.Coralie Janssen-Sween, Scott Jenkins, Bradley Jeter, Richard Jobes, William Jochim, Marjorie Jodoin, Brooke Johnson, Sandra Johnson, Erika Johnston, Erie Jones, Glenn Jones, Mark Kaehler, Helene Kaplan, Scott Katz, Michael Kaufman, Patricia Kedor, Joan Kelley, Ryan Kelley, Beverly Kelly, Meg Kelly, Barb Kempf, Bill Kennedy, Scott Ki, Nancy Kind, Annabella Kirby, Karen Kirby, Kathy Kirk, JoAnne Kirkland, Bruce Kirkpatrick, Krys Klinefeller, Doug Knoop, Karen Ko, Steve Kodish, AI Korpela, Beth Kostecki, Judith Koven, Robert Kramer, E. Kruger, Lorraine Kuniyuki, Edwin Lambert, Karyn Lamborn, Robert Lang, Dave Langford, Sheryl Larson, Mark Leavitt, Curtis Lee, Mandy Lee, Emily Lenzner, Marita Lesch, Janice Letts, Marga ret Levi, Sara Levin, Barry Levine, Zenobia Levy, Christine Lewis, Gabriel Lewison, Dede Lien, Stuart Lilias, Karen Lindsey, Colin J. Lingle, Georgia Logan, Daniel Lonzo Jr., Philippe Loulier, Larry Lowary, Jerry Luiten, Tove Lund, Lizabeth Lyles, Michelle Lynch, Sheila Lyon, Joseph Mabel, Darryl Macdonald,

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Volunteers The Seattle International Film Festival is fueled in large part by the enthusiasm and dedication of its community. The festival would like to thank the hundreds of volunteers who have c o n trib u te d thousands o f hours in the previous 20 years. We would like to extend our gra titu de to the m ost recent group of volun te e rs liste d below as well as tho se not liste d individually. Carla Abrams Diana Adams Jim Adamski Danielle Alexander Marilyn Alterman Keneta Anderson Vanessa Angelvy Dave Antonelli Fabio Arevalo Lona Badgett Tanya Baklanoff Daniel Barber Mia Barker Grace Bennett Terry Berman Mark Bigelow Merlyn M Bilas Caitlin Bjorke Melanie Blair Alex Blanton Stephen Boni Amy Bradburd Alexander Bram Barbara Bree Susan Broome Emily Burns Trista Campbell Richard Campbell Kerry Canfield Karin Carmassi Elizabeth Carter Lee Caruso Angela Carver Tony Case Ed Casper Eric Chappelle Jean Chen Indra Chendekiawan Victoria Childs S J Chiro Lynn R Clark Steven Cochran Brian Collins C David Cook Mila Cortes Henrietta Cottingham Dan Crow Jay Crutcher Rose Dalba Pamela Dales Ronna Darfsky Scott Davies

Todd B Davis Stephen De Tasnady Tom DeFelice Alyssa Deutchler Elizabeth Deutsch Alexandra Deutsch Emily Deutsch Su Devam Sara Dickerman Janice Dillard Jessica Dorr Kelly Doyle David Duntley David Egan Anita Ertel Genie Lynde Esselstyn Jim Esselstyn Kevin Fansler Penny Fearon Kathy Fennessy Chris Ferlazzo Julie Fish Grace Fitzgerald Julie Forkasdi Bob Fortner Catherine Foss Angela Fountas Tamara Anne Fowler Virginia Franers Stuart Frank Christian French Susan Fried Linda Friend Deborah Froula Darcy Furseth Cathi Gainor Jeff Gerson Deborah Girdwood Laurie Gogic Julia Gold Nikolai Goodman David Gordon Charles Goven Laurie Greenlee Tlrzah Griffin Peter B Haney Helen Hansens Craig Harris RobTlart Philip Harvey Elisabeth Harwood Frank Helmer Bill & Nena Hendricks Pamela Henrioulle Caroline Hoffman Llysa Holland Heidi Hubbard Jodi Huffman Miriam Hunt Bruce Hutson Lisa Irwin Sarah Isakson Pete Jensen Brook Johnson Karen Jurgensen Scott Katz John Keel Bryan Kennedy

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Acknowledgments

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American Movie Rentals Ross Harney

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X-Ceptional Productions Inc. Lewis Kesten Zeitgeist Rim s Ltd. Adrian Curry Nancy Gerstman Emily Russo Individuals: Guy Allen Aaron Anches John Atkins Terry Arnett Nate BeM iller Amy Bengtson Jason Brawn Keith Breslain Tanya Bruton Jeanne Cavagnaro Micnael Donaldson Ralph Donnelly Tamara Dover Helen du Toit Linda Friend Amy Fritz Tom Garvin Ken Ginway Steve Hansen Julie Healey Lana Loyer Nancy Locke Chris McKoy Albe M artin Steve M ellander Meg O’ Leary M ichael Parle M a tt Peterson Dawson Smith Peter Riches Peter Smith Bryan Steinke Rick Stevenson Wan Suwandi Helen Underwood Dan Pitts Patrick Picasso Darcy Stone Jimmie Thompson Lamar Van Dyke Janet Wainwright Amy W hitehorse Jane the Dog

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In s titu te Luce S.p.a. Via T u scolana, 1 0 5 5 0 0 1 7 3 Rome Italy Tel. (3 9 )(6 ) 7 2 2 2 4 9 6 Fax (3 9 )(6 ) 7 2 2 2 0 9 0

M ain stream SA 3 4 rue P o n ce le t 7 5 0 1 7 P aris France Tel. (3 3 )(1 ) 4 4 .4 0 .0 5 .5 5 Fax (3 3 )(1 ) 4 7 . 6 3 .0 7 .6 2

Arles C inem atográfica S.A. L avalle 2 0 8 6 1 0 5 1 B ue n o s A ires A rg entina Tel. (5 4 )(1 ) 9 5 3 -6 8 2 3 Fax (5 4 )(1 ) 9 5 3 -7 3 5 5

CiBy Sales 1 0 S tephen M ew s London, W 1P 1PP England, U.K. Tel. (4 4 )(7 1 ) 3 3 3 8 8 7 7 Fax (4 4 )(7 1 ) 3 3 3 8 8 7 8

H re Dog H lm s Inc. 1 4 Palm erston Gardens Toronto, O ntario C anada M6G 1V9 Tel. (4 1 6 ) 5 8 8 -3 5 4 4 Fax (4 1 6 ) 5 8 5 6 3 0 0

Intra Films Sri. V iale Gorizia 25C 0 0 1 9 8 Rome Italy Tel. (3 9 )(6 ) 8 8 4 1 2 8 9 Fax (3 9 )(6 ) 8 5 3 5 3 7 9 0

M alofilm Group Inc. 3 5 7 5 Boulevard S a int-Laurent, Bureau 6 5 0 M o n tre a l, Q uebec Canada H 2 X 2 T 7 Tel. (5 1 4 ) 8 4 4 4 5 5 5 Fax (5 1 4 ) 8 4 4 -1 4 7 1

Arrow E ntertainm ent 1 R o ck a fe lle r Plaza, 1 6 th Floor New York, New Y ork U .S.A. 1 0 0 2 0 Tel. (2 1 2 ) 3 3 2 -8 1 4 0 Fax (2 1 2 ) 3 3 2 -8 1 6 1

C icada H lm s 8 W eehaw kln S tre e t New York, New York U.S.A. 1 0 0 1 4 Tel. (2 1 2 ) 6 4 5 7 3 8 6 Fax (2 1 2 ) 6 4 5 7 3 8 6

First Generation Films S u ite 4 1 0 - 3 7 3 8 N orfolk S tre e t Burnaby, B.C. Canada V 5 G 4 U 4 Tel. (6 0 4 ) 4 3 0 -0 5 7 2 Fax (6 0 4 ) 2 5 1 -6 4 1 9

ISA, litis Sikich A ssociates 6 8 0 N orth Lake S hort Drive, S tu lte 1 3 2 8 C hicago, Illin o is U.S.A. 6 0 6 1 1 Tel. (3 1 2 ) 3 3 7 -6 0 1 2 Fax (3 1 2 ) 3 3 7 -1 2 5 8

A rtistic License Hirns 4 7 0 Park Ave. S o u th , 9 th Floor N ew York, NY U.S.A. 1 0 0 1 6 Tel. (2 1 2 ) 2 5 1 8 7 1 8 Fax (2 1 2 ) 2 5 1 8 6 0 6

Cinem agyar B athori u tca 1 0 . H -1 0 5 4 B ud a p e st V. Hungary Tel. (3 6 )(1 ) 1 1 1 4 6 1 4 Fax (3 6 )(1 ) 1 5 5 1 3 1 7

H rs t Look Pictures 8 8 0 0 S un se t Blvd., S u ite 3 0 2 Los Angeles, C alifornia U.S.A. 9 0 0 6 9 Tel. (3 1 0 ) 8 5 5 1 1 9 9 Fax (3 1 0 ) 8 5 5 -0 7 1 9

ISKRA Productions 7 0 0 7 5 S tre e t S.E., Bay A Calgary, A lberta Canada T2H 2G 2 Tel. (4 0 3 ) 2 5 2 -8 1 1 5 Fax (4 0 3 ) 2 5 2 -9 5 7 3

A tom Film s, T h eatre & C réatives Co. 1 2 , Lane 3 5 0 , Guang Fu S outh Road T aipei Taiw an Tel. (8 8 6 )(2 ) 7 7 3 7 5 5 7 Fax (8 8 6 )(2 ) 7 5 2 4 9 1 6

Columbia Pictures 1 0 2 0 2 W e s t W ashington Blvd. C ulver City, C alifornia U.S.A. 9 0 2 3 2 Tel. (3 1 0 ) 2 8 0 -8 0 0 0 Fax (3 1 0 ) 2 8 0 -1 3 6 3 / 1 4 2 0

First Run Features 1 5 3 W averly Place New York, New York U.S.A. 1 0 0 1 4 Tel. (2 1 2 ) 2 4 3 -0 6 0 0 Fax (2 1 2 ) 9 8 9 -7 6 4 9

J & M E ntertainm ent 2 D o rse t S quare London, NW 1 6PU England, U.K. T e l. (4 4 )(7 1 ) 7 2 5 6 5 4 4 Fax (4 4 )(7 1 ) 7 2 4 -7 5 4 1

Aurora Productions Inc. 8 6 4 2 M e lro s e A venue, S u ite 2 0 0 Los A ngeles, C a lifo rn ia U.S.A. 9 0 0 6 9 Tel. (3 1 0 ) 8 5 4 -6 9 0 0 Fax (3 1 0 ) 8 5 4 -0 5 8 5

Corl H im Distributor 1 9 A lbam arle S tre e t London W 1X 3HA England UK Tel. (4 4 )(7 1 ) 4 9 3 -7 9 2 0 Fax (4 4 )(7 1 ) 4 9 5 8 0 8 8

For Life Records, Inc. 4F 5 2 8 - 8 Ikejlri, Setagaya-Ku Tokyo, 1 5 4 Japan Tel. (8 1 )(3 ) 5 4 3 0 -3 1 5 0 Fax (8 1 )(3 ) 5 4 3 0 -9 5 8 4

Jane Balfour Films Ltd. Burghley H ouse, 3 5 Fortress Road London, NW 5 1AD England, U.K. Tel. (4 4 )(1 7 1 ) 2 6 7 -5 3 9 2 Fax (4 4 )(1 7 1 ) 2 6 7 -4 2 4 1

A ustrian Film Commission S tlffg a s s e 6 A -1 0 7 0 V ienna A u stria Tel. (4 3 )(1 ) 5 2 6 3 3 2 3 Fax (4 3 )(1 ) 5 2 6 6 8 0 1

Crystal Sky Communications 1 8 0 0 Century Park East, 6 th Floor Los A ngeles, C alifornia U.S.A. 9 0 0 6 7 Tel. (3 1 0 ) 8 4 5 0 2 2 3 Fax (3 1 0 ) 5 5 5 9 8 9 5

Forefront Films 5 0 7 1 7 th S tre e t Brooklyn, New York U.S.A. 1 1 2 1 5 Tel. (7 1 8 ) 8 3 2 -3 3 9 5 Fax (7 1 8 ) 8 3 2 -4 9 5 1

Jon FitzGerald 2 0 3 W e st Holly, S u ite 2 1 2 B ellingham , W ashington U.S.A. 9 8 2 2 5 Tel. (2 0 6 ) 6 7 6 -2 5 2 8

Balcon Productions 3 rue du S o m m e ra rd 7 5 0 0 5 P aris France Tel. (3 3 )(1 )4 3 2 9 3 3 2 1 Fax (3 3 )(1 )4 0 5 1 0 7 4 9

Cuevano Films 1 0 4 5 0 E astb o m e Avenue, S u ite 2 0 5 Los A ngeles, C alifornia U.S.A. 9 0 0 2 4 Tel. (3 1 0 ) 4 4 1 -1 1 6 3 Fax (3 1 0 ) 4 4 1 -1 1 6 3

Fortissim o H im Sales H erenm arkt 10-2 1 0 1 3 ED A m sterdam The N etherlands Tel. (3 1 X 2 0 ) 6 2 7 3 2 1 5 Fax (3 1 )(2 0 ) 6 2 6 1 1 5 5

BBC Television, Dram a Films BBC T e le v is io n C e n tre H ouse, 5 6 W ood Lane London, W 1 2 7RJ England, U.K. Tel. (4 4 )(1 8 1 ) 5 7 6 -1 4 1 4 Fax (4 4 )(1 8 1 ) 5 7 6 -8 4 8 4

Curb Entertainm ent International 3 9 0 7 W e st A lam eda Ave. B urbank, C alifornia USA 9 1 5 0 5 Tel. (8 1 8 ) 8 4 3 8 5 8 0 Fax (8 1 8 ) 5 6 6 1 7 1 9

Fox Searchlight 1 0 2 0 1 W est Pico Blvd., Bldg. 38, Rm 1 0 3 Los Angeles, C alifornia U.S.A. 9 0 0 3 5 Tel. (3 1 0 ) 3 6 9 4 2 8 1 Fax (3 1 0 ) 3 6 9 2 3 5 9

D e t Danske H lm in stltu t S to re S o n dervoldstraede 4 D K -1419 Copenhagen K D enm ark Tel. (4 5 ) 3 1 5 7 6 5 0 0 Fax (4 5 ) 3 1 5 7 6 7 0 0

Thomas F.R. Garvin c / o Ervin, Cohen and Jessup 9 4 0 1 W ilshlre Blvd., S uite 9 0 0 Beverly H ills, C alifornia U.S.A. 9 0 0 6 9 Tel. (3 1 0 ) 2 8 1 -6 3 0 0 Fax (3 1 0 ) 8 5 9 -2 3 2 5

Beyond H lm s Lim ited (L .A .) 1 8 7 5 C entury Pack E ast, S u ite 1 3 0 0 Los A n g e le s, C a lifo rn ia U .S.A 9 0 0 6 7 Tel. (3 1 0 ) 7 8 5 -2 2 5 5 Fax (3 1 0 ) 7 8 5 -2 2 6 0 BK Productions 3 8 1 P ark Ave S outh New York, New Y ork U .S.A. 1 0 0 1 6 Tel. (2 1 2 ) 7 7 9 -2 1 9 1 Fax (2 1 2 ) 7 7 9 -1 7 0 7 B lack S ta r H lm s 3 7 W exford S tre e t, 2 n d Floor D ublin Ireland Tel. (3 5 3 )(1 ) 4 7 5 -0 2 1 6 Fax (3 5 3 )(1 ) 4 7 5 -0 4 4 7 Bloody M ary Productions Praz F o ntannna 1 1 1 9 2 0 M a rtig n y S w itzerland Tel. (4 1 ) 2 6 2 2 5 9 2 1 Fax (4 1 ) 2 6 2 2 5 9 2 1 British H im In s titu te , Production 2 9 R ath b o n e S tre e t L ondon, W 1P 1AG E ngland, U.K. T e l. (4 4 )(7 1 ) 6 3 6 -5 5 8 7 / 5 7 8 4 Fax (4 4 )(7 1 ) 5 8 0 -9 4 5 6

The Douris Corporation 2 0 9 S outh High S tre e t, S u ite 3 1 0 C olum bus, Ohio USA 4 3 2 1 5 Tel. (6 1 4 ) 4 6 9 0 7 2 0 Fax (6 1 4 ) 4 6 9 1 6 0 7 East W e s t Film Partners 2 7 0 N orth Canon Drive, S u ite 1 3 2 9 Beverley H ills, C alifornia U.S.A. '9 0 2 1 0 Tel. (3 1 0 ) 8 5 8 -3 0 9 1 Fax (3 1 0 ) 8 5 5 0 7 0 3 Ecological Design Project 2 2 5 S te rlin g Place #3J Brooklyn, New York U.S.A. 1 1 2 3 8 Tel. (7 1 8 ) 7 8 5 0 7 5 8 Fax (7 1 8 ) 7 8 5 0 7 5 8 Fernando Colomo P.C. G enova 7 2 8 0 0 4 M adrid S pain Tel. (3 4 )(1 ) 3 1 0 3 8 3 4 Fax (3 4 )(1 ) 3 1 0 4 6 1 3 H im Bridge International 8 8 9 9 Beverly Blvd., S u ite 6 0 0 Los A ngeles, C alifornia U.S.A. 9 0 0 4 8 Tel. (3 1 0 ) 8 8 5 8 0 0 2 Fax (3 1 0 ) 8 8 5 8 0 3 0

146

Golden Harvest (H .K .) 8 King Tung S tre e t, H am m er Hill Road Ngau Chi W an, Kowloon Hong Kong Tel. (8 5 2 ) 3 5 2 -8 2 2 2 Fax (8 5 2 ) 3 5 1 -1 6 8 3 Gramercy Pictures 9 2 4 7 Alden Drive Beverly H ills, C alifornia U.S.A. 9 0 2 1 0 Tel. (3 1 0 ) 7 7 7 -1 9 6 0 Fax (3 1 0 ) 7 7 7 -1 9 6 6

Kim Lewis M ark e tin g (L.A .) 6 4 0 4 Hollywood Blvd., S u ite 2 0 6 H ollywood, C alifornia U.S.A. 9 0 0 2 8 Tel. (2 1 3 ) 4 6 9 -0 2 6 2 Fax (2 1 3 ) 4 6 9 -3 1 6 8 Kino International Corporation 3 3 3 W e st 3 9 th S tre e t, S u ite 5 0 3 New York, New York U.S.A. 1 0 0 1 8 Tel. (2 1 2 ) 6 2 9 -6 8 8 0 Fax (2 1 2 ) 7 1 4 -0 8 7 1 Kit P arker Films 1 8 0 1 C atalena S tre e t S and C ity, C alifornia U.S.A. 9 3 9 5 5 Tel. (4 0 8 ) 6 4 9 -5 5 7 3 Fax (4 0 8 ) 6 4 9 -8 0 4 0 Korean M o tio n P ictu re Prom otion Corp. (K M P P C ) 3 4 -5 , 5 K a , N am san-D ong, Chung-ku Seoul S outh Korea Tel. (8 2 )(2 )7 5 5 -9 2 9 1 /5 Fax (8 2 X 2 )7 7 4 -0 5 3 1 Kushnlck Passlck M anagem ent 3 E ast 2 8 th S tre e t, 6 th Floor New York, New York U.S.A. 1 0 0 1 6 Tel. (2 1 2 ) 6 9 6 -9 0 7 7 Fax (2 1 2 ) 6 9 6 -9 4 5 5

Green Tea Pictures 1 4 1 4 N orth Harper Los A ngeles, C alifornia U.S.A. 9 0 0 4 6 Tel. (2 1 3 ) 6 5 1 -5 9 5 9 Fax (2 1 3 ) 6 5 2 -8 3 7 5

LaVoo Productions c / o Red W eather Films 6 6 W e s t Broadway, S u ite 3 0 1 New York, New York U.S.A. 1 0 0 0 7 Tel. (2 1 2 ) 5 1 5 7 5 1 3 Fax (2 1 2 ) 7 9 1 -5 4 8 8

Herald A ce Inc. 5 1 1 - 1 Ginza, Chuo-ku Tokyo, 1 0 4 Japan Tel. (8 1 )(3 ) 3 2 4 5 1 1 5 1 Fax (8 1 )(3 ) 3 2 4 5 1 1 7 0

Les Productions La Fete 2 2 5 Rue Roy Est, S u ite 2 0 3 M ontreal, Q uebec C anada H2W 1 M 5 Tel. (5 1 4 ) 8 4 8 -0 4 1 7 Fax (5 1 4 ) 8 4 5 0 0 6 4

I.R .S . Releasing 3 5 2 0 Hayden Avenue C ulver City, C alifornia U .S.A 9 0 2 3 2 Tel. (3 1 0 ) 8 3 5 7 8 0 0 Fax (3 1 0 ) 8 3 8 -7 4 0 2

Low Life Productions T rlbeca R im C enter, 3 7 5 G reenw ich S tre e t New York, New York U.S.A. 1 0 0 1 3 Tel. (2 1 2 ) 9 4 1 -3 9 3 5 Fax (2 1 2 ) 9 4 1 -2 0 4 6

M ich i Pictures 3 2 0 N.W . 5 3 rd S tre e t S e a ttle , W a sh in g to n U.S.A. 9 8 1 0 7 Tel. (4 0 6 ) 4 5 2 -2 0 8 4 Fax (4 0 6 ) 4 5 2 -2 3 7 5 M iles to n e H im & Video 2 7 5 W e s t 9 6 th S tre e t, S u ite 28C New York, New Y ork U.S.A. 1 0 0 2 5 Tel. (2 1 2 ) 8 6 5 7 4 4 9 Fax (2 1 2 ) 2 2 2 -8 9 5 2 M ira m a x H lm s Inc. 3 7 5 G reenw ich S tre e t, 4 th R o o r New Y ork, New Y ork U.S.A. 1 0 0 1 3 Tel. (2 1 2 ) 9 4 1 -3 8 0 0 Fax (2 1 2 ) 9 4 1 -3 8 3 4 M IS R H lm s International 3 5 C h a m p o lllo n S tre e t C airo

Egypt Tel. (2 0 )(2 ) 5 7 8 8 1 2 4 / 8 0 3 8 Fax (2 0 )(2 ) 5 7 8 8 0 3 3 M K 2 Productions USA 1 6 3 Third A venue, Box 1 0 2 New York, New York U.S.A. 1 0 0 0 3 Tel. (2 1 2 ) 2 6 5 0 4 5 3 Fax (2 1 2 ) 3 9 7 -0 5 4 4 M useum of M odern A rt 1 1 W e s t 5 3 rd S tre e t New York, New York U.S.A. 1 0 0 1 9 Tel. (2 1 2 ) 7 0 5 9 4 8 0 Fax (2 1 2 ) 7 0 8 -9 8 5 7 NETPAC 7 0 0 B is h o p S tre e t, S u ite 4 0 0 H ono lu lu , Haw aii U.S.A. 9 6 8 1 3 Tel. (8 0 8 ) 2 6 2 -0 8 2 8 Fax c / o (8 0 8 ) 5 2 5 1 4 1 0 Neue Constantin H im K a is e rs tra s s e 3 9 8 0 8 0 1 M unich G erm any Tel. (4 9 )(8 9 ) 3 8 6 0 9 0 Fax (4 9 )(8 9 ) 3 8 6 0 9 2 7 9 N ew Line Distribution 1 1 6 N orth R o b e rtso n , S u ite 2 0 0 Los A n g e le s, C a lifo rn ia U.S.A. 9 0 0 4 8 Tel. (3 1 0 ) 6 5 2 -1 6 0 0 Fax (3 1 0 ) 6 5 9 4 6 3 5 N ew Zealand Film Commission The R im C entre cnr. Je rvois Q uay and C able S tre e t W ellin g to n New Z ealand Tel. (6 4 )(4 ) 3 8 5 9 7 5 4 Fax (6 4 )(4 ) 3 8 4 -9 7 1 9 Noe Productions 1 0 7 , Boulevard P erelre 7 5 0 1 7 P aris

Teln(l)(44)15 66 44 Fax (1)(44) 15 96 11 Nordic Screen D evelopm ent A /S W edel J a rlsb e rg s vei 3 6 N -1 3 4 2 Jar Norway Tel. (4 7 )(6 7 ) 5 2 5 4 6 0 Fax (4 7 )(6 7 ) 1 2 3 7 7 3 Nordisk H im TV D istribution AS S k elb a e k s g ra d e 1 1 7 1 7 C openhagen D enm ark T el. (4 5 ) 3 1 2 3 2 4 8 8 Fax (4 5 ) 3 1 2 3 0 4 8 8

Print Sources Norske F N m m stituttet Grev W e d e ls P ias 1 0 1 0 5 O slo 1 Norway Tel. (4 7 )(2 ) 2 4 2 8 7 4 0 Fax (4 7 )(2 ) 2 3 3 2 2 7 7

Prodigy Productions 3 4 0 S outh M arengo Avenue Pasadena, C alifornia U.S.A. 9 1 1 0 1 Tel. (8 1 8 ) 7 9 5 2 6 1 9 Fax (8 1 8 ) 7 9 5 8 5 1 3

Shadowfax Film Company, Inc. 4 6 1 9 M orro Drive W oodland H ills, C alifornia U.S.A. 9 1 3 6 4 Tel. (8 1 8 ) 3 4 7 -3 1 9 6 Fax (8 1 8 ) 3 4 7 -3 1 9 7

Talism a Productions Ltd. 2 2 M ikve Israel S tre e t 6 5 1 1 5 Tel Aviv Israel Tel. (9 7 2 )(3 ) 5 6 0 -8 4 1 8 Fax (9 7 2 )(3 ) 5 6 0 -8 4 6 6

W arner Bros. Inc. 4 0 0 0 W arner Blvd. Burbank, C a lifo rn ia U.S.A. 9 1 5 2 2 Tel. (8 1 8 ) 9 5 4 -6 0 0 0 Fax (8 1 8 ) 9 5 4 -0 6 7 3

O ctober R im s 6 5 B le e c k e r St. New Y ork, N ew Y ork U.S.A. 1 0 0 1 2 Tel. (2 1 2 ) 5 3 9 4 0 0 0 Fax (2 1 2 ) 5 3 9 4 0 9 9

Republic P ictures International 1 5 8 2 1 V entura Blvd., S u ite 2 9 0 Encino, C alifornia U.S.A. 9 1 4 3 6 Tel. (8 1 8 ) 7 8 9 -6 5 5 5 Fax (8 1 8 ) 7 8 9 -6 6 5 8

Skouras Pictures 3 3 5 North M aple Drive, S u ite 2 4 8 Beverly H ills, C alifornia U.S.A. 9 0 2 1 0 Tel. (3 1 0 ) 2 8 6 5 4 5 5 Fax (3 1 0 ) 2 8 5 -5 4 6 6

Tara Releasing 1 2 4 B elvedere, S u ite 5 San Rafael, C alifornia U.S.A. 9 4 9 0 1 Tel. (4 1 5 ) 4 5 4 -5 8 3 8 Fax (4 1 5 ) 4 5 4 -5 9 7 7

W om en M a k e M ovies 4 6 2 B roadway, S u ite 5 0 1 New York, New York U.S.A. 1 0 0 1 3 Tel. (2 1 2 ) 9 2 5 0 6 0 6 Fax (2 1 2 ) 9 2 5 -2 0 5 2

Once And Future R im s RR2, S-7, C -17 5 6 2 C ypress Place G ib so n s, B.C. C anada VON IV O Tel. (6 0 4 ) 8 8 6 -4 2 0 9 Fax (6 0 4 ) 8 8 6 4 2 5 9

Rim R im Distribution 9 8 8 4 S anta M onica Blvd. Beverly H ills, C alifornia U.S.A. 9 0 2 1 2 Tel. (3 1 0 ) 2 0 3 -8 1 8 2 Fax (3 1 0 ) 5 5 1 -1 5 3 0

Skyline Entertainm ent 2 1 2 1 Ave. o f th e S ta rs, S u ite 2 9 0 0 Los A ngeles, C alifornia U.S.A. 9 0 0 6 7 Tel. (3 1 0 L 5 5 1 2 2 6 6 Fax (3 1 0 )*5 5 6 3 7 6 0

Telew izja Polska 1 7 J.P. W oronicza s tr. 0 0 -9 9 9 W arsaw Poland Tel. (4 8 )(2 2 ) 4 7 8 1 9 1 Fax (4 8 )(2 2 ) 4 4 0 2 0 6

W orld Sales C hrista Saredl O ttilie s tra s s e 1 9 C H -8003 Zurich S w itzerland Tel. (4 1 )(1 ) 4 6 3 7 0 2 0 Fax (4 1 )(1 ) 4 6 3 7 1 8 0

Rio M ixco ac, S.C.L. Coapa No. 4 5 Col. T oriello C.P. 1 0 4 5 0 G uerra Tlalpan D.F. M exico T el. (5 2 ) 6 6 6 6 4 1 7 Fax (5 2 ) 6 6 6 8 9 9 8

Sony Pictures Classics 5 5 0 M adison Avenue, 8 th Floor New York, New York U.S.A. 1 0 0 2 2 Tel. (2 1 2 ) 8 3 3 -8 8 3 3 Fax (2 1 2 ) 8 3 3 -8 8 4 4

Tem ple Rim s 4 W indm ill Lane D ublin 2 Ireland Tel. (3 5 3 )(1 ) 6 7 1 9 3 1 3 Fax (3 5 3 )(1 ) 6 7 1 9 3 2 3

X-Ceptional Productions Inc. 3 3 1 W e s t 5 7 th S tre e t, S u ite 2 7 1 New York, NY U.S.A. 1 0 0 1 9 Tel. (5 1 6 ) 6 2 5 -5 5 6 0 Fax (5 1 6 ) 6 2 5 -5 5 8 4

Sam uel Goldwyn Co. 1 0 2 0 3 S a n ta M onica Blvd., S u ite 5 0 0 Los Angeles, C alifornia U.S.A. 9 0 0 6 7 Tel. (3 1 0 ) 5 5 2 -2 2 5 5 Fax (3 1 0 ) 2 8 4 -8 4 9 3 / 9 1 0 8

Southern S tar R im Sales 8 W e st S tre e t, 1 0 th Floor N orth Sydney, N.S.W . A ustra lia 2 0 6 0 Tel. (6 1 )(2 ) 2 0 2 8 5 5 5 Fax (6 1 )(2 ) 9 5 6 6 9 1 8

Tokum a Shoten Publishing Co., Ltd. 3 4 8 3 1 s t S tre e t H erm osa Beach, C alifornia U.S.A. 9 0 2 5 4 Tel. (3 1 0 ) 3 7 4 -4 4 6 5 Fax (3 1 0 ) 3 7 2 -6 9 1 2

Z e itg e is t R im s Ltd. 2 4 7 C entre S tre e t, 2n d Floor New York, New York U.S.A. 1 0 0 1 3 Tel. (2 1 2 ) 2 7 4 -1 9 8 9 Fax (2 1 2 ) 2 7 4 -1 6 4 4

Scorn-A-Rama Pictures Inc. P.O .Box 4 2 9 3 , 3 4 9 W e s t Georgia S tre e t V ancouver, B.C. C anada V 6B 1 Z 1 Tel. (6 0 4 ) 6 8 7 -3 2 2 4 Fax (6 0 4 ) 8 7 6 9 5 4 8

Strand Releasing 2 2 5 S anta M onica Blvd., 8 th Floor S anta M onica, C alifornia U.S.A. 9 0 4 0 1 Tel. (3 1 0 ) 3 9 6 5 0 0 2 Fax (3 1 0 ) 3 9 6 2 5 0 2

Transfax R im Productions 7 Aharonson S tre e t Tel Aviv Israel 6 8 0 1 2 Tel. (9 7 2 )(3 ) 6 6 2 -7 4 5 Fax (9 7 2 )(3 ) 6 6 2 -7 4 4

S eaw ell R im s 4 5 rue Pierre Charon P aris 7 5 0 0 8 France Tel. (3 3 )(1 ) 4 7 .2 0 .1 8 .7 3 Fax (3 3 )(1 ) 4 7 .2 0 .1 5 .4 3

Svenska R lm in s titu te t Film huset, Borgvagen 1-5 S -1 0 2 5 2 S tockholm Sweden Tel. (4 6 )(8 ) 6 6 5 1 1 0 0 Fax (4 6 )(8 ) 6 6 2 2 6 8 4

Trim ark Pictures 2 6 4 4 3 0 th S tre e t S anta M onica, California U.S.A. 9 0 4 0 5 Tel. (3 1 0 ) 3 1 4 -2 0 0 0 Fax (3 1 0 ) 3 9 9 -3 9 3 7

Seventh A rt Releasing 7 5 5 1 S u n s e t B oulevard, S u ite 1 0 4 Los Angeles, C alifornia U.S.A. 9 0 0 4 6 Tel. (2 1 3 ) 8 4 5 1 4 5 5 Fax (8 1 8 ) 8 4 5 4 7 1 7

Tae Hung Pictures Ltd. 6 1 , Hannam -Dong, Youngsan-Ku Seoul 1 4 0 -2 1 0 S outh Korea Tel. (8 2 )(2 ) 7 9 7 -1 5 2 1 / 5 1 2 1 Fax (8 2 )(2 ) 7 9 7 -5 1 2 5

W .M .F . 8 , rue Lincoln 7 5 0 0 6 Paris France Tel. (3 3 )(1 ) 4 2 .2 5 .8 4 .2 0 Fax (3 3 )(1 ) 4 2 .2 5 .6 7 .5 2

Orion C lassics 1 8 8 8 C entury P ark E ast, 7 th Floot Los A n g e le s, C a lifo rn ia U .S.A. 9 0 0 6 7 Tel. (3 1 0 ) 2 8 2 -2 5 2 1 Fax ( 3 1 0 ) 2 8 6 9 9 0 2 Param ount Pictures 5 5 5 5 M e lro s e Ave. H ollyw ood, C a lifo rn ia U.S.A. 9 0 0 3 8 Tel. (2 1 3 ) 9 5 6 -5 0 0 0 Fax (2 1 3 ) 9 5 6 -8 4 1 1 Perform ance W orkshop R im s Ltd. 1 5 3 K angnlng S tre e t, 3 F H slchlh T aipei C ounty Taiw an Tel. (8 8 6 )(2 ) 6 9 6 2 6 6 5 Fax (8 8 6 )(2 ) 6 9 6 2 6 8 6 PIA Corporation 2 -5 K o ji-m achl, Chiyoda-ku Tokyo, 1 0 2 Japan Tel. (8 1 )(3 ) 3 2 6 6 1 4 2 5 Fax (8 1 )(3 ) 3 2 6 6 5 6 5 9 P relinger Archives 4 3 0 W e s t 1 4 th S tre e t, Room 4 0 3 New Y ork, N ew York U.S.A. 1 0 0 1 4 Tel. (2 1 2 ) 6 3 6 2 0 2 0 Fax (2 1 2 ) 2 5 6 5 1 3 9

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Harvard Exit 2

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V arsity

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Beyond the Sky, p. 84 Heartbreak Kid, p. 48 Postcards from America, p. 115

Ecological Design..., p. 103 Dust of Life, p. 59 Spider and Rose, p. 50

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

Strange Encounters, p. 131 (SHORTS) Back to Back..., p. 55 Burnt by the Sun, p. 87 Stars Fell on Henrietta, p. 117 Tie-Died..., p. 119

tH eartbreak Kid, p. 48 The Promise, p. 64 The Brothers McMullen, p. 98

Return of Tommy Tricker, p. 33 Northwest Shorts, p. 126 (SHORTS) Year of My Japanese..., p. 125 Apart from Hugh, p. 125

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

Secret Festival, p. 21 (B u rn t by the Sun, p. 87 Picture Bride, p. 115 Blue in the Face, p. 97

The Taebaek Mountains, p. 8 8 (Postcards from America, p. 115 My Family, p. 110 L’Enfer, p. 60

(S pider and Rose, p. 50 Rites of Passage, p. 131 (SHORTS) Confession of a Pretty Lady, p. 66 (P retty Baby, p. 64

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

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

(Ecological Design..., p. 103 The Kingdom, p. 58

The Promise, p. 64 fD u s t of Life, p. 59 tS m oke , p. 116

People of the Rice Paddies, p. 53 Brother Minister, p. 98 (S ta rs Fell on Henrietta, p. 117

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

f L ’Enfer, p. 60 Out and About Again, p. 130 (SHORTS) (T he Taebaek Mountains, p. 88

tB Iu e in the Face, p. 97 fBeyond the Sky, p. 8 4 fTie-Died, p. 119

(A pa rt from Hugh, p. 125 Complaints of a Dutiful..., p. 99 (B ack to Back..., p. 55

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

Wednesday, May 24

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

■(■Picture Bride, p. 115 The Movies Begin, p. 29 A Business Affair, p. 66

|M y Family, p. 110 Eagle Shooting Hero, p. 71 Alegre, ma non Troppo, p. 92

■(Brother Minister, p. 98 Xime, p. 70 tJ u p ite r’s Wife, p. 106

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

Thursday, May 25

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

L’Amour Fou, p. 130 (SHORTS) More Social Guidance Classics, p. 25 Wigstock, the Movie, p. 121

(A Business Affair, p. 66 The Postman, p. 76 The Flying Camel, p. 75

Ailsa, p. 74 Two Crimes, p. 42 Canadian Quips, p. 129 (SHORTS)

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

Friday, May 26

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

(O u t and About Again, p. 130 (SHORTS) Double Happiness, p. 37 To Die For, p. 120 (T he Eagle Shooting Hero, p. 71

|T h e Flying Camel, p. 75 Sexual Life of the Belgians, p. 39 Funny Bones, p. 68

Saturday, May 27

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

(Alegre, ma non Troppo, p. 92 (Two Crimes, p. 42 World and Time Enough, p. 122 Swimming with Sharks, p. 118 Highway of Heartache, p. 138

Sunday, May 28

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

Monday, May 29

Sunday, May 21

Monday, May 22

D aily Film S chedule

Tuesday, May 23

Tuesday, May 30

Wednesday, May 31

D aily Film Schedule

Friday, May 19

Jupiter’s Wife, p. 106 Pretty Baby, p. 6 4 Smoke, p. 116 Faster Pussycat... p. 138

Vukovar, p. 56 An Unforgettable Summer, p. 59 The Mystery of Rampo, p. 79

Criminal, p. 67 Cold Blooded, p. 99 Hasta Morir, p. 83

(Confession of a Pretty..., p. 66 Lucky Break, p. 49 Uncovered, p. 69

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

Chinatown, p. 28 Denise Calls Up, p. 101 Louis 19..., p. 54 Little Odessa, p. 107

(T he Postman, p. 76 Magic in the Water, p. 33 Grosse Fatigue, p. 60

Bab el-Oued City, p. 47 (Xim e, p. 70 Through the Olive..., p. 74 M ost Terrible Time..., p. 79

Tin Soldier, p. 33 (M ore Social Guidance ..., p. 25 A Confucian Confusion, p. 94 Dallas Doll, p. 48

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

Secret Festival, p. 21 (T o Die For, p. 120 I Am Cuba, p. 29 A Pure Formality, p. 77

tFunny Bones, p. 68 (Sexual Life of the Belgians, p. 39 Frank and Ollie, p. 104 Sister, My Sister, p. 40

tC o ld Blooded, p. 99 (H a sta Morir, p. 83 The Last Dance, p. 93 tVukovar, p. 56

Mushrooms, p. 49 •(■Mystery of Rampo, p. 79 That Eye, The Sky, p. 51 Tres Irmaos, p. 87

•(•Double Happiness, p. 37 (•Canadian Quips, p. 129 (SHORTS) Ermo, p. 56 fW igstock..., p. 121

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

The Buddha of Suburbia, p. 65 Ballot Measure 9, p. 96 Deadly Maria, p. 36

f Lucky Break, p. 49 t Uncove red, p. 69 Rebel W ithout a Cause, p. 30 Tokyo Cowboy, p. 42

(-Through the Olive Trees, p. 74 (A Confucian Confusion, p. 94 (-Ailsa, p. 74 The Convert, p. 86

f Louis 19, p. 54 tU nforgettable Summer, p. 59 Silence of Neto, p. 40 f Swimming with Sharks, p. 118

The Raccoon War, p. 8 0 (-Most Terrible Time..., p. 79 (•Little Odessa, p. 107 On the Road, p. 130 (SHORTS)

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

(A Pure Formality, p. 77 All Things British, p. 129 (SHORTS) tW orld and Time Enough, p. 122

Stairway to the Distant Past, p. 81 Family, p. 68 Second Sight, p. 85

(-Dallas Doll, p. 48 Unconditional Love, p. 95 71 Fragments..., p. 51

(-Grosse Fatigue, p. 60 f Mushrooms, p. 49 Flesh Suitcase, p. 103

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

(S iste r, My Sister, p. 40 The Wooden Man’s Bride, p. 95 I Just W asn’t Made..., p. 105

tE rm o, p. 56 Garden of Eden, p. 82 Bandit Queen, p. 73

(Tokyo Cowboy, p. 42 The Return, p. 122 Half Spirit..., p. 38

(Frank and Ollie, p. 104 The Shadow You Soon Will Be, p. 47 Words upon the Windowpane, p. 75

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

Fist of Legend, p. 72 5:00 pm Black Is...Black Ain’t, p. 9 6 7:15 pm Only the Brave, p. 50__________ 9:30 pm (The Last Dance, p. 93 (The Buddha of Suburbia, p.65

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

153 152

Thursday, June 1

Friday, June 2

Saturday, June 3

Sunday, Júne 4

Harvard Exit 1

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

tO n ly the Brave, p 50 Wonderful Worlds of Aardman, p.25 (SHORTS) Eclipse, p. 53

tT re s Irmaos, p. 87 Senza Pelle, p.77 Poet’s Princess, p. 52

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

tO n the Road, p. 13 0 (SHORTS) Six Days, Six Nights, p. 61 SNEAK PREVIEW Chinese Torture Chamber, p. 137

fU nconditional Love, p. 95 False Pregnancy, p. 37 Unzipped, p. 120

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

tT h e Wooden M an’s Bride, p. 95 tE clip se, p. 53 Party Girl, p. 114 Mute W itness, p. 39 Accumulator 1, p. 57

Aventurera, p. 28 tW a r Stories Our M others..., p. 8 4 The Low Life, p. 109 tD e n ise Calis Up, p. 101

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

Secret Festival, p. 21 tS ix Days, Six Nights, p. 61 Heaven’s a Drag, p. 69 The Doom Generation, p. 102

tP o e t’s Princess, p. 52 tT h e Raccoon War, p. 80 Belle de Jour, p. 28 Red Lotus Society, p. 94

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

tH e a ve n ’s a Drag, p. 69 Seven Chances, p. 30 tT h e Low Life, p. 109

t Daughter o f the Puma, p. 93 Liberation, p. 107 tS tra ng e Encounters, p. 131

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

tS enza Pelle, p. 77 tP arty Girl, p. 114 |M u te Witness, p. 39

1 1-900, p. 8 3 Incredibly True Adventures..., p. 105 tT h e Day the Sun Turned Cold, p. 71

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

tVelazquez..., p. 54 Blush, p. 55 The Seriously III, p. 80

tN o Mercy, p. 8 5 Bleeding Hearts, p. 97 tA ccum ulator 1, p. 57

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

tT a le s from Down Under, p. 13 1 (SHORTS) tT h e Year of My Japanese Cousin, p. 125 tL ivin g in Oblivion, p. 10 8

tT h e Brothers McMullen, p. 98 Song of the Siren, p. 41 tR id e, p. 57

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

tB Iu sh , p. 55 Live Nude Girls, p. 108 The Usual Suspects, p. 121 tT h e Doom Generation, p. 102

Monday, June 5

Schedule

Tuesday, June 6

Wednesday, June 7

Thursday, June 8

Friday, June 9

Saturday, June 1Ö

Sunday, June 11

154

12:30 pm tC rum b, p. 101 3:30 pm tW onderful Worlds of Aardman, p. 25 (SHORTS) 6:30 pm Down Came a Blackbird, p. 102 9:15 pm SNEAK PREVIEW midnight tChungking Express, p. 70

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

Secret Festival, p. 21 tD ow n Came a Blackbird, p. 102 Cold Comfort Farm, p. 15 tC old Comfort Farm, p. 15

Harvard Exit 2

Seven Gables T heatre

V arsity

tT h a t Eye, the Sky, p 51 tB a b el-Oued City, p.47 Don’t Get Me Started, p. 67

tT h e Convert, p 86 Movie Days, p.73 Once upon a tim e..., p. 81

tB a llo t Measure 9, p 96 Theremin, p.119 tF is t o f Legend, p. 72

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

tT h e Return, p. 122 tD ea dly Maria, p. 36 Lotto Land, p. 109

tSecond Sight, p. 85 War Stories..., p. 84 Daughter of the Puma, p. 93

tB Ia ck Is...Black Ain’t, p. 96 t l Just W asn’t Made..., p. 105 tFam ily, p. 68

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

tS ile n ce of Neto, p. 40 tH alf-S pirit..., p. 38 Day the Sun Turned Cold, p. 71 1-900, p. 83

tG arden of Eden, p. 82 tB a n d it Queen, p. 73 Safe, p. 116 Nadja, p. 110

Linnea in M onet’s Garden..., p. 33 Velazquez..., p. 54 Living in Oblivion, p. 108 Crumb, p. 101

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

tF lesh Suitcase, p. 103 tW ords upon the Windowpane, p. 75 Life and Death..., p. 88

tO nce upon a tim e..., p. 81 t 7 1 Fragments..., p. 51 tStairw ay to Distant Past p. 81 tR ide, p. 57

tR ite s of Passage, p. 131 (SHORTS) t L ’Amour Fou, p. 130 (SHORTS) Pharaoh’s Army, p. 114 tUnzipped, p. 120

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

tM o vie Days, p. 73 El Bulto, p. 82 tN a d ja , p. 110

tShadow You Soon Will Be, p. 47 Just You and Me, p. 92 No Mercy, p. 85

tAII Things British, p. 129 (SHORTS) Afrique, Mon Afrique, p. 52 Squadron, p. 86

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

tE l Bulto, p. 82 tP eople of the Rice..., p. 53 tP ha raoh’s Army, p. 114

tD o n ’t Get Me Started, p. 67 Two on a Couch, p. 58 Kisses and Scratches, p. 72

tTheremin, p. 119 This Window is Yours, p. 41 Tales from Down Under, p. 131 (SHORTS)

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

tL o tto Land, p. 109 tSquadron, p. 86 tJ u s t You and Me, p. 92

tLiberation, p. 107 Tarantella, p. 118 tL ife and Death..., p. 88

tlncredibly True Adventures..., p. 105 Cross My Heart, p. 36 tR ed Lotus Society, p. 94

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

tTw o on a Couch, p. 58 Pigalle, p. 61 tC rim inal, p. 67

tTarantella, p. 118 Korea, p. 38 Sweet Nothing, p. 117

tAfrique, Mon Afrique, p. 52 Like Two Crocodiles, p. 76 tS a fe , p. 116

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

tT h is Window Is Yours, p. 41 All Men Are Mortal, p. 65 Chungking Express, p. 70

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

tM agic in the Water, p. 33 tPigalle, p. 61 tU sual Suspects, p. 121 tL ive Nude Girls, p. 108

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

tBIeeding Hearts, p. 97 tB e s t of the Shorts, p. 131 (SHORTS) tAII Men Are Mortal p. 65 tL ik e Two Crocodiles, p.76

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

tK is s e s and Scratches, p. 72 tC ro ss My Heart..., p. 36 Headless Body..., p. 104

The Searchers, p. 30 tK ore a, p. 38 tS w e e t Nothing, p. 117 tT h e Seriously III, p. 80

tS o n g of the Siren, p. 41 tH e a d le ss Body..., p. 104 Joe’s Rotten World, p. 106

Schedule

Egyptian T h eatre

Indicates Repeat Screening

155

Film Ind ex

I FEATURES BY TITLE

Grosse Fatigue, 60

Accumulator 1, 57 Afrique, Mon Afrique, 52 Ailsa, 74 Alegre, ma non Troppo, 92 All Men Are Mortal, 65 All Things British, 129 L’Amour Fou Shorts, 130 Apart from Hugh, 125 Aventurera, 28

Half Spirit—Voice of the Spider, 38 Hasta Morir, 83 Headless Body in Topless Bar, 104 Heartbreak Kid, 48 Heaven’s a Drag, 69 Highway of Heartache, 138

Bab el-Oued City, 47 Back to Back, Face to Face, 55 Ballot Measure 9 , 9 6 Bandit Queen, 73 Belle de Jour, 28 Best of the Northwest, 126 Beyond the Sky, 84 Black Is...Black Ain’t, 96 Bleeding Hearts, 97 Blue in the Face, 97 Blush, 55 Braveheart, 13 Brother Minister..., 98 The Brothers McMullen, 98 The Buddha of Suburbia, 65 Burnt by the Sun, 87 A Business Affair, 66

Dallas Doll, 48 Daughter of the Puma, 93 The Day the Sun Turned Cold, 71 Deadly Maria, 36 Denise Calls Up, 101 Don’t Get Me Started, 67 The Doom Generation, 102 Double Happiness, 37 Down Came a Blackbird, 102 Dust of Life, 59 The Eagle Shooting Heroes, 71 Eclipse, 53 Ecological Design: Inventing the Future, 103 L’Enfer, 60 Ermo, 56 False Pregnancy, 37 Family, 68 Faster Pussycat! Kill! Kill!, 138 Fist of Legend, 72 Flesh Suitcase, 103 The Flying Camel, 75 Frank and Ollie, 104 Funny Bones, 68 The Garden of Eden, 82

Joe’s Rotten World, 106 Jupiter’s Wife, 106 Just You and Me, 92 The Kingdom, 58 Kisses and Scratches, 72 Korea, 38 The Last Dance, 93 Liberation, 107 Life and Death of the Hollywood Kid, 88 Like Two Crocodiles, 76 Linnea in Monet’s Garden/ Prince Cinders, 33 Little Odessa, 107 Live Nude Girls, 108 Living in Oblivion, 108 Lotto Land, 109 Louis 19, King of the Airwaves, 54 The Low Life, 109 Lucky Break, 49 Magic in the Water, 33 More Social Guidance, 25 The Most Terrible Time in My Life, 79 Movie Days, 73 The Movies Begin, 29 Mushrooms, 49 Mute Witness, 39 My Family, 110 The Mystery of Rampo, 79 Nadja, 110 No Mercy, 85 Nothing Sacred, 29 On the Road, 130 Once upon a Time, Beirut, 81 1-900, 83 Only the Brave, 50 Out and About Again, 130 Party Girl, 114 People of the Rice Paddies, 53 Pharaoh’s Army, 114 Picture Bride, 115 Pigalle, 61 The Poet’s Princess, 52 Postcards from America, 115 The Postman, 76 Pretty Baby, 64 The Promise, 64 A Pure Formality, 77 The Raccoon War, 80 Rebel Without a Cause, 30

Safe, 116 The Searchers, 30 Second Sight, 85 Senza Pelle , 77 The Seriously III, 80 Seven Chances, 30 71 Fragments of..., 51 The Sexual Life of the Belgians, 39 A Shadow You Soon Will Be, 47 The Silence of Neto, 40 Sister, My Sister, 40 Six Days, Six Nights, 61 Smoke, 116 Song of the Siren, 41 Spider and Rose, 50 Squadron, 86 Stainway to the Distant Past, 81 Stars Fell on Henrietta, 117 Strange Encounters, 131 Sweet Nothing , 117 Swimming with Sharks, 118 The Taebaek Mountains, 88 Tales from Down Under, 131 Tarantella, 118 That Eye, the Sky, 51 Theremin: An Electronic Odyssey, 119 This Window Is Yours , 41 Through the Olive Trees, 74 Tie-Died: Rock ’n’ Roll’s..., 119 The Tin Soldier, 33 To Die For, 120 Tokyo Cowboy, 42 Tres Irmaos, 87 Two Crimes, 42 Two on a Couch, 58 An Unconditional Love, 95 Uncovered, 69 An Unforgettable Summer, 59 Unzipped, 120 The Usual Suspects, 121 Velazquez’s Little Museum, 54 Vukovar, 56 War Stories Our Mothers Never..., 84 Wigstock: The Movie, 121 The Wonderful Worlds of Aardman, 25 The Wooden Man’s Bride, 95 Words upon the Windowpane, 75 World and Time Enough, 122 Xime, 70 The Year of My Japanese Cousin, 125

SHORTS BY TITLE Aftermath, 129 Ah Pook Is Here, 129 Alkali, Iowa, 130 American Fish, 126 Arrowhead, 129 Beauty, 129 The Bicyclist, 131

Brave, 131 Brotherly Love, 130 Butter, 129 Crazy?, 129 Cyclops Baby, 130 The Dadshuttle, 130 Do Roo, 126 Donut Holes, 126 Drive Baby, Drive, 130 Dropping the Baby, 131 Ecce Homo, 103 Eight for Eight Thirty, 131 End of Restriction, 129 Evidence, 131 Fever, 130 Frank’s Cock, 130 Gorgeous, 131 Greetings from Africa, 66 Hello Photo, 52 The Hero, 131 Hugo and Hilda..., 130 In the Time of Angels, 129 Irving, 131 The Last Laugh, 131 Lemming Aid, 131 Let Me Die, Again, 130 Little Women in Transit, 131 Love Stories My Grandmother..., 99 Lucinda, 3 1 ,1 3 1 Magnetism, 130 Miss Taurus, 131 My Brown Eyes, 126 My Mother Practices Drowning, 131 Night Face Up, 129 Off Key, 129 The Other Woman, 130 Out, 131 Party Favor, 66 Picasso Would Have..., 54 Playing the Part, 50 Portrait of Boy with Dog, 131 Portrait of Jenny, 126 Prince Cinders, 33 Rambles, 130 Regarde-Moi, 131 Reign of the Dog, 126 Small Gestures, 130 Scratch Ticket, 129 The Sewing Room, 131 The Shaper, 105 Since Lisa, 96 Small Treasures, 131 The Smell of Burning Ants, 131 Snuff, 130 Sparky’s Shoes, 130 Steam, 131 The Strange Legend..., 33 Stupid Club, 126 Summer, 129 Surprise, 131 Suspicious, 130 That Sunday, 130 Trawna Tuh Belvul, 129 Trumpet, 131 Universal Appliance Co., 131 The Victim, 130 A Wall of Candles, 130 Weight of the World, 129 Whispers, 129 Whit and Charm, 130 X-presso, 129

Film Ind ex

Canadian Quips, 129 Chinatown, 28 Chinese Torture Chamber, 137 Chungking Express, 70 Cold Blooded, 99 Cold Comfort Farm, 15 Complaints of a Dutiful Daughter, 99 Confessions of a Pretty Lady, 66 A Confucian Confusion, 94 The Convert, 86 Criminal, 67 Cross My Heart and Hope to Die, 36 Crumb, 101

I Am Cuba, 29 I Just Wasn’t Made for These Times, 105 The Incredibly True Adventures of Two Girls in Love, 105

Red Lotus Society, 94 The Return of Tommy Tricker, 33 The Return, 122 Ride, 57 Rites of Passage, 129

156

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