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Information: Triskel Arts Centre, Tobin Street, Cork, Ireland, tel: + 3 5 3 2 1 2 7 1 7 1 1 fax: + 3 5 3 2 1 2 7 5 9 4 5

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FILMS IN BY 10.30 a.m.

BACK BY 4.30.p.m. 55 PATRICK ST. CORK PH. 2749 35

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Chai It is my great pleasure once again to preside over Cork Film Festival in this our 35th year. Since 1956 we have sought to bring to Irish audiences the best of world cinema, with, I believe, some success. The Film Festival has made an important contribution to the cultural and social life of the city. It has also promoted the good image of Cork abroad. 1990 has been a wonderful year for Irish film-making. I would argue that Cork Film Festival plays a modest but significant role within the industry; by serving as a forum for Irish film and by encouraging talent through our award, sponsored by TV3, for Best Irish Short-film. In recent years the festival has grown in strength and in reputation. This would not have been possible without the staunch support of many public and private bodies. I should like to acknowledge the role played by the Arts Council and by Cork Corporation in providing the base funding which enables the festival to assemble the necessary budget. In addition let me thank our many sponsors, and in particular, Henry Ford & Son and Murphy’s Irish Stout for their kindness.

Let me also pay tribute to our hard-working staff and volunteers who, have carefully assembled this year’s programme of films and who will work tirelessly throughout the week of the festival. I know that the our programme is representative of the best of cinema. I am sure that you will find much to enjoy and much to debate about. This is the mark of a good festival. Finally I would like to welcome our many visitors to Cork, whether seasoned veterans or first-time directors. We are delighted to have you as our guests and we are confident that you will enjoy your stay with us.

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msuRAnce Whatever you have, cover it with Irish National. A MEMBER OF NEW IRELAND HOLDINGS pic GROUP

THANK YOU We would like to express our sincere appreciation of the following organisations, co . . *<nies aru. whose generous support of Cork Film Festival has enabled us to organise this year's event

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Henry Ford & Son,

Murphy Brewery Ireland Ltd, TV3,

Mother Records

PATRONS

INDIVIDUALS

COMPANIES

Peter Barry, TD Michael P. Bourke D.J. Coleman Maurice Desmond Gene Fitzgerald, MEP Harvey Kenny Clayton Love McCarthy Barry & Joan Murphy Mairin Quill, TD Joe Shinkwin Conall Creedon

Aer Rianta Bank of Ireland Biocon Biochemicals Boeing Software Ireland CAB Motor Co Cork Chamber of Commerce Ferrero Ireland Fitzgerald & O'Leary Frank Murphy & Partners G.J. Moloney & Co Guy & Co Ltd I. D.A. Irish Fher Laboratories Ltd J. W.O'Donovan & Co Ltd James Bruen & Sons Ltd Jurys Hotel New Ireland Assurance Co Ltd

O'Keeffe, Buttimer Martin O'Sullivan P.R. Project Management Ltd Quigley Co of Europe R & H Hall pic Ronan, Daly, Jermyn ASA Marketing Group Signrite Siuicre Eireann CPT Smurfit CorrugatedCases Stokes Kennedy Crowley St.Patricks Woolen Mills Suttons Ltd Tivoli Spinners Ltd Touche Ross & Co Vita Cortex Ltd Waters Munster Glass Western Digital Ireland

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NO BEER COMES NEAR.

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DIRECTOR AND STAFF OF FESTIVAL *

s Left to Right Ruth Riddick, Eddie Noonan, Michael Hannigan, Fran Bergin. Helen Farrell. Kieran O'Connor. Pat Coughlan, 1990 is something of a celebratory year for Cork Film Festival. Since1956, and despite enormous changes in the world of cinema, Cork's festival has survived and, better than that, it has thrived. I believe that we have a festival which Cork can be proud of. We have the richest prize in Europe for the short-film, the world's only competition for contemporary films in B & W and, for the duration of the event, in the one thousand seat Opera House, Ireland's largest cinema Once again we have an eclectic and exciting programme of films, representative of what is happening today in the world of cinema.

FOCUS SECTION Since its inauguration in 1986 we have devoted our 'Focus' section to a young film-maker whose work excites us. Su Friedrich is truly broadening the language of cinema. Her films are visually beautiful and compelling in their content. We recommend them. Su will be in Cork for the duration of the festival to introduce and speak about her work. BLACK & WHITE SECTION Black and White films have a beauty, a style of their own. Last year we announced Cork's intention of instituting a new section for contemporary monochrome films We did question if there were enough film-makers who shared our enthusiasm We need not have worried. From the established Polish director Andrzej Wajda (Korczak) to first time director Keiith McNally (End Of The Night) we have had some wonderful entries ranging from features to documentaries to shorts to animation, to experimental work; all in glorious monochrome.

Our programme is assembled each year from films seen in Berlin and Cannes, but also through submissions to the festival. This year we received an unprecedented number of entries, over four hundred in all. This necessitated a long and difficult selection process but has also resulted in a splendid selection of films. Whether you are a filmmaker, a film buff or simply like to see a good film occasionally, there is much to enjoy. FUNDING An event on the scale of Cork Film Festival cannot be funded on box-office alone. We are grateful to the many public and private bodies without whose support we could not begin to organise the Festival. The Arts Council, our major funding source, has kept pace with our ambition, while Cork Corporation have, this year, thrown their support behind the event with a significant grant. The endorsement implicit in such a grant is as welcome as the money

FESTIVAL CLUB Cork has long been noted for its 'conviviality' .The post-screening discussions at the Festival Club have always been central to the special atmosphere which is Cork. This year will be just as rewarding in this regard, with the festival coming to a fitting and lively end at our closing night Midnight Party in the Imperial Hotel. THANK YOU The festival programme could not be assembled without the eager participation of all of the film-makers who for this week entrust their work and their reputations to us. We are thankful for their generosity and trust. We are also grateful to the many film organisations and film distributors who have given their films for screening before an Irish audience.

IRISH PROGRAMME One of the founding aims of Cork Film Festival was "to present a show-case of Irish film-art to the world". This year's crop is remarkably rich, from Thaddeus O'Sullivan's wonderfully assured December Bride to documentaries -many receiving their world premieres - to the excellent short-films in our Short-film and Black & White sections.

I should also like to pay tribute to our hard-working staff, committed to ensuring that for visiting film-makers, film-going public and representatives of the press, CFF will be an enjoyable and rewarding week.

SHORTS PROGRAMME International interest in Cork's Short-film Competition continues to grow and we are grateful to the European Commission for enabling us to sustain that interest. The entries continue to amuse and amaze us. We have assembled a truly pleasurable selection. Those screening in the Opera House and in the eight special programmes in Triskel have much to commend them.

Finally I wish to express our gratitude to our loyal audience without whose interest and support the whole excercise would be meaningless.

MICHAEL HANNIGAN Director 7

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35th Cork Film Festival We bring you the best of everything

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INFORMATION

TRISKEL

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film

Festival-goers are obliged to become members of the 35th Cork Film Festival Association in order to purchase tickets for admission to screenings. The membership fee is £1. Membership is open to those over 18 years of age. Membership is non-transferable and card must be produced when buying tickets for screenings. Members may also be asked to produce card together with ticket, when entering the cinemas. Members may purchase admission for one guest for each screening. Members are advised that seats must be occupied ten minutes before a programme begins, otherwise we cannot guarantee that seats will be held.

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Festival Films all year round

TICKET PRICES

Individual Screenings:

Eat a Bowl of Tea

Opera House: 8.30pm & 11.30pm, £3.50 & £3 (concession) 4.00pm & 6.00pm, £2. Triskel Arts Centre: £2 & £1.50 (concession) Triskel Arts Centre Shorts Programme: £1 Capitol Cineplex: £2 & £1.50 (concession)

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Weekend Tickets: Valid all screenings Friday 12th -Sunday 14th : £20 Season Tickets: Valid for all screenings: £35 and £30 (concession) Special Season Ticket for Couples: £60 pair

Patron Tickets: Companies: £125 per pair Individuals: £100 per pair

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ADVANCE BOOKING Tickets for all screenings in the Opera House may be booked in advance. Box Office hours for advanced booking: 2.00pm to 7.30pm.

Telephone bookings with credit card: Tel: (021) 270022.

The Cook, the Thief, his Wife and her Love’’

Tickets for Triskel Arts Centre and Capitol Cineplex screenings available at the door.

Club membership £1 per annum I

Every THURSDAY-FRIDAY*SATURDAY*SUNDAV

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

Admission: £2.50 £2.00 (concession)

TRISKEL Arts Centre

off South Main Street, Cork

Telephone: 021 -272022

All inquiries to Information Desks in Opera House foyer or to Triskel Arts Centre. Telephone inquiries to: (021) 272022. 9

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DIAMOND x FREIGHT^ I INTERNATIONAL FREIGHT FORWARDERS

CORK AIRPORT • CORK • IRELAND Tel. 353 21 311333

Fax 353 21 312601

Say it with

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14WM Cork : 106 Oliver Plunkett St., Dublin : Royal Hibernian Way and 30 Mary St. (Free gift cards available)

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■_______________________________________ __________ _________________________________________________________________________________________________________

COR! SUN

A HOUSE

OCTOBER, 1990

OFFICIAL OPENING

8.30 «■

NIKITA

FESTIVAL OPENING SPONSORED BY HENRY FORD & SON LTD.

France

1989

Luc Besson 114 minutes Colour

Subtitled

Producer: Dan Weil, Leading Players: Anne Parillaud, Jean-Hughes Anglade, Tcherky Karyo, Jeanne Moreau,Script: Luc Besson, Photography: Thierry Arbogast, Editing: Olivier Mauffroy, Music: Eric Serra, Export Agent: Palace Pictures, 16/17 Wardour Mews, London W1F 3FF, England.

A new thriller from Luc Besson, already a massive success in France, it echoes the stylish underworld surrealism of Subway, Nikita (Anne Parillaud), sentenced to life for killing a cop, is offered a second chance; this time as a government assassin. Despite the fact that she prefers blowing up policemen to working for them, she executes her task with cool efficiency. Until...she falls in love with a laid-back supermarket cashier, played by Jean-Hughes Anglade (Betty Blue), who is unaware of her clandestine activities. Visually stunning, stylish and sexy. Piccadilly Film Festival Catalogue

"Nikita is the story of a woman who has done something that can no longer be undone and who tries to free herself from it, to look ahead, to prove her worth and start afresh. But, in life, one always has to pay for one’s actions. And no one can really put the meter back to nought. Nikita is a film about the colour black. After The Big Blue I just felt like it. What I always liked about film noir was the consistent attitude of the heroes. They were people for whom death had a quite different meaning than it does for us. People who were afraid of nothing whether it be of being killed, or of themselves killing others. For the first time, I was keen to construct a film around a story. Before, there was always a certain universe I wanted to film, and I invented stories which would allow me to bring this universe onto the screen. With Nikita it was the other way round. I was sitting in a plane listening to Elton John’s Nikita on the walkman. Then I closed my eyes and thought up the story of a woman with the name Nikita.”Luc Besson

NIKITA will be preceded by the screening of THE FIRST PHOTO OF MINE EVER TAKEN, Director Milenko Jovanovic and THE PRESENT, Director Horst Wieschen . 11

de-Lacv Mouse 74 OLIVER PLUNKETT STREET CORK, IRELAND Telephone (021)270074

CORKS LEADING ENTERTAINMENT VENUE

Wishes the 35th Cork Film Festival the best of luck and continued success. de-Lacy House > a luxurious Lounge Bar With Meals Served Daily plus The Best of Live Acts

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’ HOUSE I OCTOBER, 1990

OFFICIAL CLOSING

8.3C

CYRANO DE BERGERAC Jean-Paul Rappeneau France 1990 135 minutes Colour

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Subtitled SPONSORED BY MURPHY BREWERY IRELAND LTD.

Leading Players:Gerard Depardieu, Anne Brochet, Vincent Perez, Jacques Weber, Roland Berlin, Philippe Morier-Genou, Pierre Maguelon, Josiane Stoleru, Script: Jean-Paul Rappeneau, Jean Claude Carriere, Photography: Pierre Lhomme, Editing: Noelle Boisson, Music: Jean-Claude Petit, Export Agent: President Films, 2 Rue Lord Byron, 75008 Paris, France, English subtitles by Anthony Burgess.

Cyrano has been in love with his cousin, Roxane, since childhood but has never dared to tell her. He thinks that his very long nose makes him look like an ugly freak whom no woman could ever possibly love. Admittedly, Roxane dreams of loving a man who is both witty and handsome. She thinks she has found her ideal the day she meets Christian. Alas, Christian believes himself an utter fool: he is incapable of speaking to women. Cyrano offers his help. He will prompt Christian with his lines and write love-letters for him, and thus the pair of them the one under the cover of the other - will win Roxane over. For Christian, the situation becomes unbearable... "The most exuberant and exhilarating movie on show at Cannes this year - Jean-Paul Rappenau’s vigorous, superbly crafted new treatment of the Rostand classic, Cyrano de Bergerac. The eponymous poet-adventurer is played with great passion and panache by the marvellous Gerard Depardieu. The screenplay, as in the original play, takes the form of rhyming couplets, and in a masterstroke, the producers commissioned Anthony Burgess to translate the text in sub-titled English-language, rhyming couplets". Michael Dwyer, The Irish Times

CYRANO DE BERGERAC will be preceded by the presentation of Awards and the screening of the Award-Winning Film from the EUROPEAN SHORT FILM COMPETITION. 13

Opera House Saturday, C

Opera House Monday, Oct 8th 18.00

AN ANGEL AT MY TABLE

ANGUISH

Jane Campion

ANGUSTIA Bigas Luna

New Zealand/1990/35mm/158 minutes/Colour

Spain/1987/35mm/90 minutes'

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Producer: Bridget Ikin, Leading Players: Kerry Fox. Alex Keogh, Karen Fergusson, Irus Chum. K.J. Wilson, Mehna Bernecker. Andres Binns. Script: Laura Jones. Photography: Stuart Dryburgh. Editing: Veronika Haussler. Music: Don McGIashan, Export Agent: New Zealand Film Commission. P.O. Box 11-546 Wellington. New Zealand.

Producer: Pepon Coromina, Leading Players: Zelda Rubinstein, Michael Lerner, Talia Paul, Angel Jose. Script: Bigas Luna. Photography: Josep Mana Civil, Editing: Tom Sabin, Music: J.M. Pagan. Export Agent:, Alco. 7400 Beverly Boulevard. Apt. 210. Los Angeles. California 90036. USA.

"Being a New Zealander, I grew up with Janet Frame's fiction - her chilling and poetic first novel, Owls Do Cry, and the prevailing legend of Janet as New Zealand's 'mad writer’. We all knew of her supposed schizophrenia. Many believed her writings were inspirations of her madness. But the autobiographies painfully and truthfully unravel this myth... Janet's fresh exploration of her childhood and life opened up my own, stimulating many painful and funny memories that somehow under Janet's courage and beam of honesty no longer seem so bad or so embarrassing." Jane Campion

"Anguish is funny, grotesque and scary as hell, the ultimate audience participation movie. Imagine this if you will: a suburban cinema is playing a film about a clumsy lab technician in an eye hospital who, under the hypnosis of his dear Momma (the baleful Zelda Rubinstein from Poltergeist) carves out the eyes of patients who complain about his creepy bedside manner. Sitting watching the film is a young girl who, disturbed by the movie goes to the Ladies which she discovers is full of murdered cinemagoers. Meanwhile, in the film the crazed intern has entered a similar cinema and terrorises the auditorium while simultaneously another madman stalks the audience watching the movie, in turn watched by you in the darkened cinema. We dare you to turn around in your seat, whatever you do don't drop your contact lenses in the aisle, and come prepared for the most heart-stopping experience since the Roumanian penalty shoot-out. For one night only WE WANT YOUR EYES." Ian Breakwell

Janet Frame has called Jane Campion's three-part television adaptation of her autobiographies 'delightful' and it’s not difficult to understand why. Its portrait of a sweet natured, imaginative, painfully embarrassed girl and young woman who became a great writer is a highly sympathetic and admiring one. There are passages of fierce identification with Frame’s pain - her last sight of her sister Myrtle, her subjection to shock treatment, for example that have a simpler, more acute emotional impact than anything Campion has done before.

ANGUISH is being screened in conjunction with the launch of SEEING IN THE DARK, the first film book written by members of the audience. The book is published by Serpents Tale and edited by Ian Breakwell and Paul Hammond. The book's 100 writers, including a number of Irish contributors, illuminate the picture palace - where food was popcorn and sex began in double seats - with a bizarre and hilarious collection of movie tales.

Like all of Campion’s work and much of Frame’s, Angel is characterised by arresting perceptions of the absurd and the beautiful in the ordinary. Beautifully shot it also displays a keen, often eerily accurate eye for the New Zealand past.

"The outstanding revelation of the Venice Festival... Magisterial"

Ian Breakwell will introduce the screening of ANGUISH

David Robinson The Times Winner Grand Jury Prize Venice 1990

Triskef

ct 9th 17.00

Triskel Wednesday, Oct 10th 17.00

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BARGAINTOWN

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David Jaszai

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Germany/1989/16mm/70 mlnutes/Black&White

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Producer: Michael Haddad, Leading Players: Matthew Weiss, Charles Zeleny, Melissa Hoffman, Brian Thomas, Script Michael Haddad, Photography: Joseph Coriarty, Editing: Lucia Mendez, Music: Charles Zeleny, Export Agent: Andalesque Productions, 6019 Sunset Boulevard, Apartment 307, Los Angeles, CA 90057, USA.

Producer: David Jaszai, Photography: David Jaszai, Editing: David Jaszai/ Judith Klinger, Export Agent: Bayerischer Rundfunk, Funkhaus, Amullstr 42, 8000 Munchen 2, Germany.

Marshall (Charles Zeleny) is an unsuspecting temporary worker who is assigned in for an absent employee at a seemingly normal law office. Once there, however, he stumbles onto a world so dark, so inherently evil, that he knows he must put an end to it...whatever the cost.

Bargaintown, the name of a carpet shop on Dublin’s Liffey Quays, inevitably summons echoes of Mad Max 111, Beyond Thunderdome and that movie’s post-apocalyptic vision of Bartertown. Dublin's own Bargaintown, and the idea of Dublin as a "Bargaintown", a town devoted to bargains, rather than to the preservation of the fabric of the city, constitutes both the physical and the idelogical focal point of Jaszai and Klinger's concerned and affectionate documentary.

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Jaszai, who lived in Dublin's inner city for some years, has, with Klinger, created a remarkable documentary film in which quay-dwelling Dubliners, are allowed to speak for themselves, some of them hilariously and at great length, others laconically and sadly, about the gradual and insidious decay of their environment, about their love for the quays and about bureaucratic indifference to their plight. The quays, and the people, are stunningly photographed in luminous black & white, with the melancholy beauty and strange glamour of the derelict buildings and their dispossessed inhabitants underlining the tragedy of the situation.

Jaszai and Klinger, looking at Dublin with the unbiased eyes of Europeans and the unabashed camera lenses of dedicated documentary makers, have found a different city from the one we know. Their Dublin, their Bargaintown is worth watching, and worth preserving.

Director David Jaszai with be present to interduce the film.

Triskel Saturday, Oct 13th 17.00

Opera House Thursday, C

BEHIND THE MASK

BOOM BOOM

>.h 16.00

Frank Martin

Rosa Verges

lreland/1990/16mm/85 mlnutes/Colour,Black &Whlte

Spain/1990/35mm/92minutes/C

Producer: Chris Mmko, Photography: Deidre Noonan. Editing: Frank Martin. Joe Boatman, Export Agent: Activision. London. England

Producer: Rosa Romero. Benoil Lamy, Script: Jordi Bellran/Rosa Verges. Editing: Susana Rossberg. Photography: Josep Maria Civil, Export Agent: Arsenal Films. S.A., Ronda Sant Pere 46. 5e- 08010 Barcelona. Spam.

After 20 years of violent conflict in the North of Ireland this is the first documentary on the Irish Republican Army (IRA) as seen through the eyes of activists from the present campaign.

Barcelona one hot summer evening. Sofia, an attractive but temperamental dentist, and Tristan, a handsome shoe shop owner, are determined, after the failures in their private love lives, not to fall in love ever again. Although they live in the same apartment building, they have never met or even seen each other.

It records on video the opinions and experiences of the men and women who have carried the struggle for Irish Independence into the present day.

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One day, one of Sofia’s patients, Angel, moves into Tristan’s apartment. Recognizing Sofia, he invites her to the cocktail bar where he works. When Sofia arrives, a comedy of errors has forced Angel to leave and Tristan to take his place. Tristan offers Sofia a very special ‘bloody mary’ which, drunk by both, acts as a love potion with immediate results.

It aims, not to represent the familiar landmarks of the history books but to examine the personal motivations, actions and sacrifices behind those events, tracing the common experience of the guerrilla army - defence of their people, taking up arms, combat, a life ’on-the-run’, imprisonment, political education and the constant risk of violent death.

Surprised by the effects, Sofia runs away while Tristan tries to chase her and injures himself. Her lost glove will finally bring him to discover that the mysterious and sensual woman is none other than his neighbour.

In an atmosphere of saturation surveillance; silence, invisibility and anonymity are the weapons of survival for the IRA.

Now for the first time this silence is broken as former leading IRA members speak openly and give us the view from Behind The Mask.

Director, Frank Martin, will be present to introduce the film.

Triskel

Oct 13th 15.00

BRI

. MAGIN ARY LANDSCAPES

Dun Englan

i6mm/40 minutes/Colour,Black & White

Trlskel Wednesday, Oct 10th 15.00

BROKEN MEAT Pola Rapaport USA/1990/16mm/50 mlnutes/Black & White

Producer: Duncan Ward, Photography: John Mathieson, Jeremy Briggs & Rex Dunbar, Editing: Duncan Ward & Annabel Lee, Music: Brian Eno. Export Agent. Duncan Ward Filmmakers Ltd., 162 Hilgrove Road. London NW6 4TH. England.

Producer & Editing: Pola Rapaport, Leading Players: Alan Granville, Robert Attanasio, Susan Reber, Photography: Wolfgang Held, Music: Vincent Attanasio. Stuart Kollmorgen. Export Agent: Rapaport/Held Productions. 307 Spring Street. New York, NY 10013. USA.

Brian Eno is a diverse artist. His role as a musician and producer for some of the most intelligent and influential pop musicians of the seventies has been eclipsed in the eighties by his own work as composer, video artist and creator of sculptural installations using light.

Nihilist, comic, and right-on-target with his iconoclastic trashing of sensitive issues of politics and philosophy, the poet Alan Granville, 52, and his work are the stars of this stylized film. His writing has been compared to that of William Burroughs and Charles Bukowski. Granville has experienced homelessness, drug addiction, mental illness and poverty, and he presents them all in a humorous way that cuts through a viewer's protective isolation from this underworld life. He succeeds in touching us on emotional, intellectual and philosophical levels.

IMAGINARY LANDSCAPES brings together Brian Eno’s work in sound, vision and light, combining them in such a way that they illuminate one another and explain the development of Eno's ideas. The film creates a vivid pictorial commentary expressing Eno’s music in visual terms, based on landscapes and images that have shaped Eno’s life as an artist. Eno discusses, in a refreshingly concise way, the central problems of his work. He reflects on how, in his native England, the diversity of his work was unacceptable despite his consistent popularity among the general public. Being pop star, composer of electronic music, video artist and sculptor proved too much for the British artistic establishment, but in American and Europe his chameleon qualities were seen as innovative and were encouraged. Finally, the film creates a visual profile of a peculiarly modern artist who is at the cutting edge of technological change and popular taste.

Triskel Tuesday, Oct 9th 15.00

Triskel Thursday, Oct 11th

THE CARROT AND THE STICK

COMMON THREADS: STO:

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Susi Arnott

Robert Epstein, Jeffrey

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England/1990/16mm/44 minutes/Colour

USA/1989/16mm/75 minutes/C

Producer, Photography & Editing: Susi Arnott, Export Agent: N.F.T.S., Beaconsfield Studios, Station Road. Beaconsfield, Bucks. HP9 1LG, England.

Script: Jeffrey Friedman, Robert Epstein, Photography: Dyanna Taylor, Jenu de Segonzac, Editing: Jeffrey Friedman, Robert Epstein, Deborah Hoffman, Export Agent: Telling Pictures/The Couturie Co. 347 Dolores St. Suite 307, San Francisco, CA 94110. USA.

When they retired from selling insurance and teaching, John and Irene Brown volunteered to work overseas under a British Aid programme.

The number of AIDS deaths increases daily. We are nowhere near wiping out the illness. In the USA, hundreds of people got together to make a statement about their grief for friends and relatives and also demonstrate against the lack of action on the part of the relevant government departments who only hesitatingly provide insufficient funds for medical and social support.

They were sent to expand a marketing project aimed at subsistence gardeners in the Highlands of Papua New Guinea, where economics has traditionally depended more on group rivalries and loyalties - the ‘wantok’ system.

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An ever-growing patchwork quilt, covering the hills around the White House in Washington, formed an impressive demonstration which made clear the deadly threat the illness represents. Each segment of the quilt stands for the fate of an AIDS victim. Relatives, friends and others talk in interviews about their confrontation with AIDS; some of them are infected with the virus and some have nursed others suffering from AIDS.

But Isaac Kunao, a local farmer, has already learnt some lessons about capitalism for himself....

Director, Susi Arnott, will be present to introduce the film.

Common Threads makes an appeal for solidarity. It is a film against repressing and forgetting the illness; a cry for help. Awards: Academy Award Best Documentary 1990.

Operc

'.fursday, Oct 11th 20.30

Triskel Sunday, Oct 7th 13.00

. ER BRIDE

DIEGO RIVERA: I PAINT WHAT I SEE

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Mary Lance

Sullivan

USA/1989/16mm/58 mlnutes/Colour & Black & White

Ireland,Er:c;iand/ l990/35mm/90 minutes/Colour

I Producer: Mary Lance & Eric Breitbart, Leading Players: Julio Medina, Rosana De Soto, John Hutton, Script: Eric Breitbart, Photography: Eric Breitbart. Nancy Schreiber. Emiko Omori, Miguel Ehrenberg, Editing: Sara Fishko, Music: Brian Keane, Yomo Toro, Export Agent: CINE, 1001 Connecticut Avenue. NW. Suite 1016, Washington, DC 20036, USA, Awards: Best Biographical Film : Biennial of Films on Art, Paris, CINE Golden Eagle, Bronze Apple-National Educational Film & Video Festival.

Producer: Jonathan Cavendish, Leading Players: Donal McCann, Saskia Reeves, Ciaran Hinds, Patrick Malahide, Brenda Bruce, Script: David Rudkin, Photography: Bruno de Keyzer, Music: Jurgen Kneiper, Export Agent: B.F.L Productions, 29 Rathbone Streeet, London, England.

Set at the turn of the century on the rural Ards Peninsula in the north of Ireland, December Bride stars Saskia Reeves as Sarah, a servant girl who comes to live on a small farm with Andrew Echlin and his two sons Frank and Hamilton. After a strict religious upbringing, Sarah is grateful for the move to a new home, recognising the chance of breaking away from a background where poverty is regarded as a form of virtue. The death of the old man in a boating accident, when he sacrifices his life to save his new ‘daughter’ signals a new era, and Sarah draws close to the brothers. Sharing domestic and sexual happiness with them both, she gives birth to a child - the father of whom is never established. To the scandal of her god-fearing neighbours Sarah refuses to marry either of the brothers, thus beginning a long trial of strength between an independent, strong-willed woman, and the unforgiving Presbyterian community.

Diego Rivera: I Paint What I See is the first biographical film on the famed Mexican artist, tracing his life from his childhood in Guanajuato, through his Cubist period, his leading role in the Mexican mural renaissance, his fame as a muralist in the USA, and his later years. It explores Rivera’s life and work, including his stormy, 25-year relationship with Frida Kahlo, and the destruction of his famous mural at Rockefeller Center. The film was shot on location in Mexico and the US and includes a remarkable collection of archival film and photographs, much of which has not been seen publicly before. Rivera was a larger-than-life figure. In the 1930’s, his fame spread from Mexico, where he had been painting politically-oriented murals, to the US. Although he was a well-known Communist, he was invited to paint murals at the Pacific Stock Exchange, the Detroit Institute of Arts and at the new Rockefeller Center. Using Rivera’s own words, the film brings to life the difficulty he faced in the transition from private, studio artist to public and political artist, and the conflicts that arose from that point onward.

Director, Thaddeus O'Sullivan, will be present to introduce the film.

Opera House Wednesday, Oct 10th 18.00

Triskel Tuesday, Oct 9th 13.

END OF THE NIGHT

FOR YOUR OW

Keith McNally

Noemie Mendelle

USA/1990/35mm/108 mlnutes/Black&White

England/1989/16mm/50 minutes

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Producer: Ngoc Ngo. Leading Players: Eric Mitchell, Audrey Matson. Nathalie Devaux, Sam Bress, Mark Mikesell, Philippe Petit, Darroch Greer, Mercedes Tomasino. Script: Keith McNally. Photography: Tom Dicillo, Editing: Ila Von Hasperg, Music: Jurgen Knieper, Export Agent: In Absentia Productions Inc . 225 Lafayette St. suite 1002. New York NY. 10012, U.S.A.

Producer- Steel Bank Films, Script Philip Myall, Photography Janet Tovey, Editing. Penny Florence. Music: Neil Sorrell, Export Agent: Steel Bank Films. Brown St. Sheffield Si 2BS, England

End Of The Night is the story of a married man whose inability to cope with his wife’s pregnancy leads to an obsession with a complete stranger.

Children who are victims of abuse in all its guises are also victims of an enforced silence about their sufferings. Through interviews and dramatisation of specific memories from the point of view of the child, adults recall and regain an insight into their childhood.

Fired from one job and walking out on another, Joe Belinsky's life unravels further when, troubled by the impending birth of his child, he is suddenly afflicted with a mysterious loss of hearing. Unable to find a cure for this, his obsession with the stranger intensifies to the point where his actions result in consequences from which there appears to be no escape. Director, Keith McNally, will be present to introduce the film.

Triskel F'.

Opera House Friday, Oct 12th 23.30

7.00

FRZ

HEAVY PETTING

Matt Germ.’

Obie Benz j:tes Colour/Subtitled

USA/1988/35mm//80 minutes/Colour

Producer. Sudwestfunk Baden-Baden/AHary-Film Munich. Leading Players Jan Kurbjuweit, Nicole Ansari, Ben Hecker. Daniela Lunkewiiz, Sabine Gutberlet, Matthias Klausener. Walter Spiske. Script Jan Jager, Photography Immo Rentz, Editing: Monika Kretschmann, Music Peter Ludwig. Export Agent. Allary-Film, Milchstr 27. 8 Munchen 80, Germany.

Producer Obie Benz, Carol Noblilt. Leading Players: David Byrne, Sandra Bernhard. Allen Ginsberg. William S. Burroughs, Abbie Hoffman, Laurie Anderson, Spalding Gray. Zoe Tamerlaine. Judith Malina, Josh Mostel, Ann Magnuson, Photography. Sandi Sissel/ Dyana Taylor, Editing: Josh Waletzky/ Judith Sobel, Export Agent Channel 4. 60. Charlotte St., London, England

As a young soldier Franta experiences a war that destroys all hopes and life - before he has really had any chance to live. The memories of Mascha, his young wife, blend with the pitilessness of his surroundings. He loses his gentleness and becomes like the war; cold and insensitive. During one onslaught he is badly injured in the groin and looses conciousness. When he awakes in the military hospital, the others laugh about him, about the fact that his masculinity has been shot off. When his young wife, whom he loves, comes to take him home, he doesn’t tell her what is the matter with him. Desires and longings oppress the man who is no longer a man. The story of Franta’s path to salvation begins...

This very funny exploration of America’s weird and often addled attitudes toward sex juxtaposes stock footage culled from various archives with interviews of both celebrities and "normal" people (expert witnesses all) on the sundry paths they followed toward sexual maturity. Director Obie Benz mounts a relentless collage of high school and beach blanket movies, sex education films from the fifties, commercials, government propaganda documentaries, and anything else he could find relating to sex, and then backs it all up with a rock 'n' roll oldies soundtrack that is both fabulous on its own and particularly telling in counterpoint to the visuals. And then there are the interviews: William S. Burroughs and Allen Ginsberg reminiscing about adolescent sex and what their parents told them ( or didn't tell them); David Byrne recounting the ‘‘bases" - first, second, third, home run! - and describing what happens once you get a hand inside a brassiere; Sandra Bernhard being her typical straight-ahead self. Many others relate their hilarious tales, so that in the end we are left with a rather joyous examination of that goofy time when sex seemed to be the only thing on our minds ( as if anything’s changed).

"The best feature I've seen so far, Mathias Allary's Franta, is a visually stunning account of a First World War German soldier returning home emasculated. The picture is presented as if imagined by an Expressionist painter of the times or a Neo-Expressionist of today, and reality, dream and painting merge in an astonishing way. It makes its 29year-old Munich based director a strong contender for the Charles Chaplin Award. Philip French, The Observer

I•

"The jury was also rightly impressed by the West German Franta, with which Mathias Allary proved himself an outstandingly original new talent with a stunning visual sense." Derek Malcolm, The Guardian

Triskel Sunday, Oct 7th 17.00

Opera House Wednesday, Oct

20.30

HIDDEN LIVES - LISTENING TO PAIN

JUDOU: SECRET LOVES, K

M PL AC

Louis Marcus

Zhang Yi-Mou

lreland/1990/16mm/53 minutes/Colour

China,Japan/1990/35mm/95 minut.

Producer: Louis Marcus. Script: & Editing Louis Marcus. Photography Robert Monks. Export Agent: Louis Marcus Productions, 12 Fortfield Drive. Dublin 6.

Producer: Zhang Wen-Ze. Yasuyoshi Tokuma Leading Players: Gong Li. Li Bao Tian, Li Wei Script Lui Heng Photography Gu Chang-Wei Editing: Du Yuan. Music Zhao Ji-Pin Export Agents. UCORE S A Tel 1 47 42 75 56 Fax 1 42 66 25 71

The Samaritans run a 24-hour listening service for the lonely, the despairing and the suicidal. It is utterly confidential. But role play simulations of typical calls, performed for training purposes, reveal the variety and intensity of secret pain within people. Samaritan volunteers explain how their technique of listening, caring and non-judgemental, gives comfort to many.

A Chinese mountain village in the 1920's. A young peasant girl is bought by the sadistic, elderly owner of a dye-factory and suffers under the expectation that she will give birth to his male heir. Taunted and tortured, she finds comfort in a growing affection for the old man's nephew, and their love is consummated in a stunningly-realised moment of passion set among the sensuously coloured cloths of the factory. She bears his child, bur their lives are blighted as the boy grows to maturity not knowing his true father and resenting the poisoned interplay between the uneasily cohabiting trio.

Director, Louis Marcus, will be present to introduce the film.

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Reminiscent of Balzac or James M. Cain, this mesmerising melodrama concentrates on the complicated emotional ties that bind people to each other, and the unavoidable malevolence of fate. Faultlessly crafted and breathtakingly beautiful, with a rich, human core. Edinburgh Festival Catalogue

Triskel Tu

JUST

17.00

Opera House Tuesday, Oct 9th 20.30

KORCZAK

MARIO

Greg Si New Zeaic >

Andrzej Wajda . ninutes/Colour

Poland,West Germany/1990/35mm/115 minutes/Black & White

. * *

Producer R Zeigler, J Morgenstern. Leading Players: Wojtek Pszonrak. Ewa Dalkowska, Piotr Kozlowski, Marzena Trybala, Script: Agnieszka Holland. Photography: Robby Muller. Editing: Ewa Smal, Music: Wojciech Kilar, Export Agent Palace Pictures.16/17 Wardour Mews. London W1V 3FF, England

Producer: Greg Stitt. Leading Players: Mark Hadlow. Prm Barry Leah Cameron, Noel Appleby, Script- Michael Heath/Greg Stitt, Photography Leon Narbey, Editing. David Coulson, Export Agent New Zealand Film Commission, P.O. Box 11 546 Wellington, New Zealand

Kevin Stiles is a repressed individual, who has one great defence against the depressing realities of life. He "gets out of it" on the romantic arias of 50's singing star Mario Lanza. Unfortunately, it’s an obsession which threatens to overwhelm his very existence.

"A noble testament on events in Poland in 1940, this is the story of Polish Jewish doctor, writer and educator Janusz Korczak who became such a legend that associations in 25 countries were named after him. Wajda’s film will ensure that he's remembered by a wider audience.

An off-beat comedy-drama, which humorously blends identity crises, fast food, domestic disputes, romance, suburban neuroses, opera and sex in an ironical look at everyday life in the suburbs.

Agnieszka Holland's script reveals how the Jewish people of Warsaw, the rich and the poor, the old and the young, gradually come to understand what is happening to them under Nazi occupation. It is a reality that intrudes from the opening scene, when Dr. Korczak is told by an embarrassed official that his popular radio talks, loved by children, will have to stop because he is Jewish. The doctor's incredulity gives way to anger and a determination to help his fellow Jews, and especially the children, to carry on living 'normally'. We last see him leading 200 children through the streets of the Warsaw ghetto like a Pied Piper, a boy holding a flag with the star of David, as they troop towards the train Korczak now knows will take them to gas chambers. It is a rhetorical, emotional ending heightened by stirring music and not surprisingly brought the Cannes Festival audience to its feet in an ovation. Audiences everywhere will probably react in the same way. Korczak is destined to become one of the most prestigious offerings of the 1990 international art-house circuit. John Francis Lane,Screen International

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Opera House Friday, Oct 12th

Triskel Sunday, Oct 7th 15.00

LETTER TO THE NEXT GENERATION

LONGTIME GOH

Jim Klein

Norman Rene

NIC

USA/1989/35mm/90 minutes/Colo-.

USA/1990/16mm/75 minutes/Colour

IlMW1 Producer: Sian Wlodkowski, Leading Players Bruce Davidson. Mark Lamos. Campbell Scott. Stephen Caffrey, Dermot Mulroney. Patrick Cassidy, Script. Craig Lucas. Photography Tony Jannelli. Editing: Katherine Wenning. Music. Greg DeBelles. Export Agent Palace Pictures, 16-17 Wardour Mews. London WIV 3FF. England. Awards US Film Festival, Audience Award

Producer: Heartland Productions'Susan Wehlmg, Photography: Don Lenzer, Editing: Jim Klein. Sound: J.T.Takagi/John Dildine, Export Agent Heartland Productions. 800 Livermore, Yellow Springs 45387, USA

Twenty years ago, demonstrations protesting the Nixon admistration’s widening of the war in Southeast Asia erupted across the nation. On May 4th 1970, during a campus demonstration at Kent State University in Ohio, students protesting the invasion of Cambodia were fired upon by the National Guard. Four students, two demonstrators, two bystanders - were shot dead.

Longtime Companion takes its title from the euphemistic phrase often used in obituaries to describe the surviving lovers of those lost to AIDS. The film is a powerful drama that takes an honest look at the impact of AIDS on the gay community. Although Longtime Companion addresses the realities of living with AIDS, it is a life-affirming film that portrays families and friends creating support systems for each other in times of need.

Filmmaker Jim Klein (Seeing Red, Union Maids, etc.) returned to Kent State and used this benchmark event to gauge the attitudes of today's college students and their professors toward activism, ambition, racism, getting ahead and having fun.

It is an uplifting tale of courage and personal heroics; a chronicle of people who face an unknown and frightening opponent with love, hope and friendship. "The best American movie this year - funny, touching and vital." Rolling Stone Magazine

In the process, Klein ponders the present, and forces those who lived that past - and those coming of age today - to ask the question, "What about the future?"

"Outstanding! In the hands of writer, Craig Lucas and director, Norman Rene, Longtime Companion is simply an excellent film with a graceful, often humorous script and detailed, affecting performances." Variety

Director, Jim Klein hopes to be present to introduce the film.

Winner of the 1990 Audience Award at the US Film Festival

Triskel Sur

7.00

MAKH.

DAUNTLESS ONE

CRAWFORD GALLERY CAFE !

Barry R England

ios Colour

■■ LK

For Coffee, Tea and Homemade Cakes

Lunches served 12.30-2.30 p.m.

Pre-Theatre Dinner from 6.30 p.m. on Wed., Thurs., Fri. with live classical music. We are situated next to the Opera House Producer International Defence & Aid Fund. Photography. Bernard Mwanza, Editing Lynda Fowke, Export Agent: IDAF . 64 Essex Road. Islington, London N1 8LR, England

TELEPHONE 274415 for reservations

Archbishop Trevor Huddleston’s name has become synonymous with the battle against racial tyranny in Southern Africa. Much of his inspiration derives from his experiences while living and working in Johannesburg’s black townships between 1943 and 1956. Relentless in opposing apartheid he became a champion of the oppressed. They called him Makhalipile after a bold warrior who was adopted by another people when their own leaders were lost or captured.

COME AND SEE US

In 1955 the ANC conferred upon Trevor Huddleston the Isitwalandwe (Hero) Medal in recognition of his outstanding contribution to the liberation struggle.

This film is about his life and work and about his continuing commitment to the destruction of apartheid. It includes interviews with Oliver Tambo, President of ANC, Desmond Tutu, Archbishop of Capetown, Helen Joseph, Patron of the UDF, Sir Shridath Ramphal, Commonwealth Sec General, Abdul S. Minty, Hon. Sec. AAM, Hilda Bernstein, a life-long friend and Jonas Gwangwa, a member of the original Huddleston Jazz Band.

40 Paul Street, Cork. 273555 and Douglas Uillage, Cork. 892415 RESTAURANT WINE BAR TRADITIONAL PIZZAS FRESH HAND-MADE PASTAS GRILLS - FISH - OMELETTES FULL WINE LIST

OPEN: 12 noon - 11.30 p.m. Sundays: 5 p.m. - 11 p.m. 25

Opera House Sunday, Oct 14th 18.00

Opera House Saturday, Oct 13th

THE MATCH FACTORY GIRL

METROPOLITAN

Aki Kaurismaki

Whit Stillman

Finland/1989/35mm/70 minutes/Colour/Subtitled

USA/1989/35mm/98 mlnutes/Colou

Producer, Script & Editing: Aki Kaurismaki, Photography. Timo Salmmen, Music: Reijo Taipale. Export Agent: Villealfa Filmproductions Oy. Vainamoisenkatu 19A, SF-00100 Helsinki. Finland.

Producer. Whit Stillman. Leading Players. Carolyn Farina. Edward Clements. Christopher Eigeman. Taylor Nichols. Script Whit Stillman. Photography John Thomas. Editing Christopher Tellefsen, Music: Mark Suozzo, Export Agent Mainline Pictures. 37 Museum Street. London WClA 1LP, England.

With this film Aki Kaurismaki completes his 'Proletarian Trilogy', which began with Shadows in Paradise and Ariel. Perhaps only ha If-jokingly, Kaurismaki has said that he made this "piece of junk" for the critics, endeavouring to out-Bresson Bresson in austerity. In fact he demonstrates that nothing surpasses simplicity, morally as well as stylistically. He has done away with every unnecessary element, including every bit of non-essential dialogue. His dialogue ellipses are so clear that he can dispense with every linking device in developing his story, and does not even need to show its outcome.

Metropolitan is a drily satirical comedy of manners and attitudes among ‘the Park Avenue Elite’, a group of debutante students living on the Upper East side of Manhattan who meet almost nightly at Sally Fowler's apartment, decked out in ball gowns and expensive evening dress. The soiree seems to be the setting for mere social chit-chat and the group includes breezy social climbers, demure young maidens and worried intellectuals but what binds them together, apart from their social exclusivity, is the half-acknowledged fear that their class is under threat. And beneath the exchange of gossip and witticism, the doubts and foibles of their inner selves are revealed, a process that’s accellerated by the sudden appearance of gilded socialist Edward Clements. Edward lives in a different part of town, he espouses different ideas-but he also seeks acceptance due to a romantic friendship with true-blue Serana.

Iris is a factory worker who is exploited by the whole world. But Kaurismaki does not refer to her employer but rather to those who are closer to home: her mother and her stepfather who pocket her salary, and later the man who Iris, deluded by dime novels, takes to be her Prince Charming. Kaurismaki portrays the imbalance of this relationship in all its horrible and grotesque forms. Nevertheless, Iris is not the girl simply to succumb to her fate.

"Very witty and assured"Michael Dwyer, The Irish Times

Opera He

MY 2

Oct 11th 18.00

Opera House Friday, Oct 12th 20.30

n URY

THE NASTY GIRL

AZ EN Ildiko Hungary

DAS SCHRECKLICHE MADCHEN Michael Verhoeven

. minutes/B&W/Subtltled

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

* *

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Producer- Norbert Friedlander, Leading Players Dorotha Segda. Oleg Jankovski, Paulus Manker. Peter Andorai, Gabor Mathe, Script. Ildiko Enyedi, Photography: Tibor Mathe. Editing Maria Rigo, Music Laszlo Vidovszky, Export Agent. Hungarofilm Vallalat, Bathori ut 10, 1054 Budapest, Hungary

Producer Michael Senltleben, Leading Players: Lena Siolze, Monika Baumgartner, Michael Gahr, Script: Michael Verhoeven, Photography. Axel De Roche, Editing: Barbara Hennings. Music: Mike Herting/Elmar Schloter, Export Agent Sentana Filmproduktion Gmbh, Munich.

Punctuated with songs, titles and mystic visions, Ildiko Enyedi’s film is set at the turn of the century but actually opens in New York City in 1 880, with brilliant de monstration of electric light by Thomas Edison, presaging the technological wonders of the coming age. It’s also the moment that Dora and Lili are born in Budapest, twins who are soon orphaned and reduced to begging in the snow. Benefactors separate them and twenty years later they are physically identical-and completely unlike in every other way: Dora has become a seductive femme fatale and confidence trickster while Lili is a bomb throwing anarchist. Unknowingly, both board the Orient Express on New Year's Eve 1899 and in the course of a journey that takes in the Siberian wastes and the jungles of Burma, both become involved with the mysterious Z, a man confused and unaware in his love for two women.

"Just in time for all the German reunification hoopla, along comes nasty old Michael Verhoeven with a viciously funny film accusing his fellow west Germans of being a bunch of incorrigible hypocrites who find no difficulty in being Nazi stooges yesterday, liberal-minded democrats today and God only knows what tomorrow.

His plot is based on the true story of a teenage girl in Bavaria a few years back who wanted to write an essay on the Nazis’ impact on her town. She quickly became the object of scorn from townspeople who had a surprising lot to conceal. Lena Stolze as pic’s ‘Nasty Girf deftly handles her character's development from winsome girlhood to maturity. A strong supporting cast convinces the audience that loving friends can become bitter foes when cornered.

Awards: Camera D'Or, Cannes 1989 The audience laughs from start to finish, primarily because Verhoeven's biting screenplay rings true. The girl’s questions about the past are met with the polite evasion and bristling condescension every enquiring German knows well." Variety

Awards: Silver Bear for Best Director Berlin 1990.

Triskel Friday, Oct 12th 17.00

Opera House Tuesday Oct 9th

PROPHET SONGS

RETURN HOME

Alan Gilsenan

Ray Argali

lreland/1990/16mm/65 minutes/Colour

Australia/1989/35mm.'87 minutes c

Producer: Martin Mahon. Editing: Martin Duffy. Photography Peter Dorney. Export Agent: Yellow Asylum Films Ltd . 6 Montague Street. Dublin 2. Ireland.

Producer Cristina Pozzan. Leading Players Dennis Coard. Frankie J. Holden. Ben Mendelsohn, Micki Camilleri. Script Ray Argali. Editing: Ken Sallows.Photography Mandy Walker, Export Agent: Australian Film Commission. 2nd Floor, Victory House. 99 Regent Street. London. England

"I do not believe there is a more difficult task in this world than living on faith, hope and love - we have to make a leap into the darkness, or more precisely into the invisible. It is not easy. It is like pain or rather death, you never become accustomed to it. Faith is a trial, a tremendous trial and no-one can get us out of it...not even God himself." Carlow Caretto, The God Who Comes

In Peturn Home at last we have a genuine "buddy movie", a sensitively told, understated story about male relationships. You won't find any glorified machismo or instant solutions here. Noel McKenzie is a bored, successful, Melbourne insurance executive recently divorced. On a whim, he decides to go back to his hometown, a beachfront suburb, to visit his older brother. Steve, along with his wife, runs an old gas station but the family is barely getting by and he is stuck in"the good old days," resistant to the inevitability of change. During his stay, Noel strikes up a friendship with Gary, a young mechanic with girlfriend problems; though their music tastes dramatically diverge, the older man grows fond of the teenager and becomes his confidant. All the while, he slowly rediscovers the charm and leisurely ways of local life. What seems simple on the surface is elevated by real, sympathetic characters who begin transcending male roles( boss-employee, big brother-little brother) by, for once, listening to and helping each other (and themselves). There is no room for melodrama, as the low-key, naturalistic mood and splendid acting subtly fuel the film’s power and believability. First-time director Ray Argali takes no false steps in telling a quietly moving story about people starting to get a hold, however small, on their lives.

There are 100,000 priests worldwide who have left the formal ministry of the Catholic Church. This film is the story of six of them. In a world where faith is a voice crying in the wilderness and our spirituality has been colonized by a bureaucratic empire, they are six men singing Prophet Songs.

"Do not dwell on the past Or remember the things of old. Look I am doing a new thing It springs forth now Do you not see?" -Isaiah 45: 18

"An extremely impressive new film that rings true in every detail". Variety

Director, Alan Gilsenan, will be present to introduce the film.

"Quite simply, it is one of the finest Australian films made in the 1980's". Cinema Papers

WORLD PREMIERE

Opera Ho

Triskel Sunday, Oct 14th 17.00

14th 16.00

A RUSTLING OF LEAVESJNSIDE THE PHILIPPINE REVOLUTION

Bruc

Nettie Wild Canada/1988/16mm/112 minutes/C- - lour

Producer Bruce McDonald, Leading Players Valerie Buhaglar, Gerry Quigley, Larry Hudson, Don McKellar, Shawn Bowring, Mark Tarantino, Script: Don McKellar. Photography: Miroslaw Baszak, Editing Mike Munn, Music: Nash the Slash and others. Export Agent. Cinephile, 508 Queen St West. 3rd Floor, Toronto. Ontario. Canada M5V 2B3

Producer & Script. Nettie Wild, Photography: Kirk Tougas, Editing: Peter Wmtomck, Music. David Byrne & Talking Heads, Joey Ayala, Salvador Ferreras. Rob Porter. Export Agent: Films Transit - Jan Ro Fekamp, 402 Notre Dame St East. Montreal, Quebec, Canada H2Y 1C8, Awards: Most popular film - Berlin Film Festival. Prix Du Public - “Salute to the Documentary", National Film Board of Canada, Red Ribbon - American Film Festival Chicago, Genie Nominee - Best Canadian Feature Documentary.

Roadkill is a ‘rock’n’roll road movie’ about a girl called Ramona. Her boss, a rock promoter, sends her into the wilds of northern Ontario to cut short the mangled tour of his renegade rock band ‘The Children of Paradise'. After a bungled beginning she finds herself stranded in Sudbury without the band, without her bag and without money. Ramona's search for the band and for herself crosses the careering paths of four ambitious men: Bruce, an outlaw movie director who is searching for a bang-up ending to his obsessive documentary; Matthew, a disillusioned rock star on a spiritual quest; Russell, a loner trying to break into the competitive field of serial killing; and Luke, a boy who wants to be a man.

Shot over eight months, the camera captures characters whose stories chronicle the three points of a political triangle: the Legal left, the illegal (armed) Revolution, and the enemy which threatens them both - the armed Reactionary Right.

Rebel priest Father Navaro and the communist New People's Army, are fighting an armed revolution in the mountains. Kumander Dante, founder of the rebel army, is released from prison. He decides to give Mrs. Aquino’s new democracy a chance and runs for senator. Radio Deejay Jun Paia is the voice of the Anti-Communist crusade. He fashions himself after Nazi propagandist Josef Goebbels and broadcasts threats to use vigilante death squads on underground guerrillas and leftwing activists alike.

By the end of her strange journey Ramona figures out how to give these men what they want. Ultimately, they get only what they deserve. As for Ramona, she finds her independence, a new identity, and she learns how to drive.

In the mountains the vigilantes are infiltrating Father Navaro’s region. At the same time the election campaign brings Dante to Davao City, once an NPA stronghold, now firmly in the hands of death squads and Jun Paia. Father Navaro must also confront the vigilantes in a grim battlei for hearts and minds when he leads a "People’s Court" trial of a teenage guerrilla fighter accused of defecting to the government and informing on the revolutionaries. Dante returns to Manila and is defeated at the polls. Four weeks later, he is ambushed. With five bullets in his back, he survives.

"It's called Roadkill beause in a lot of ways it is about rock mythologies. Much of it is centered around the idea of the rock Martyr theme, the idea that you’ve got to make it. The singer in the band she meets is on that trip”. "A vibrant, original, and wickedly weird film"

Playback

"This just may be the best-ever rock 'n' roll movie...Valerie Buhaglar is Ramona, a fallen angel with perfect bones and heaven's eyes who moves like a vision of slightly confused mercy." Montreal Gazette

A Rustling Of Leaves poses the key question facing the revolutionaries and the Filipino Left: Should the people's movement continue the guerrilla war, or do they dare enter legal politics and reveal the hidden faces of a revolution? Edited with the tension of a drama, and using original music and animation, A Rustling Of Leaves spins these elements into a powerful story, accessibly told by a filmmaker who cares deeply for her subject.

"A cheeky and successful raspberry in the face of all that conservatism holds hear." L.A. Times

Triskel Sunday, Oct 14th 15.00

Opera House Wednesday Oct •

THE SCANDAL OF ULYSSES

SIDEWALK STOf

Ian Graham

Charles Lane

lreland/1990/16mm/52 mlnutes/Colour

USA/1989/35mm/97 minutes/Blacl.

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Producer & Script Charles Lane Editing Anne Stei./Charles Lane. Photography Bill Dill, Music Henry Gaffney. Export Agent Oasis Releasing: 66 Margaret Street. London. England

Producer: Bruce Arnold. Script. Bruce Arnold, Photography: Ciaran Tanham. Editing: Arthur Keating & Anne Gielty. Export Agent. Bruce Arnold. Roundtable Productions. Rosney House. Albert Road. Glenageary. Co Dublin.

One of the real surprises of last year's Cannes Film Festival was Charles Lane's Sidewalk Stories, a silent, lowbudget black and white film which evokes the great silent comedy tradition and combines it with the immediacy of the nightly news. Lane, an actor-writer-director from New York, came up with the idea for the film last November when he ran into a homeless person after watching the Sugar Ray Leonard boxing match. The encounter, he said, reminded him of how deaf we are to the pleas of the homeless. That night, he conceived the story about a homeless street artist who adopts an abandoned child and tries to keep her safe while he searches for her mother.

From well before its first publication, James Joyce’s masterpiece, Ulysses, was a source of scandal, its appearance in both the United States and Britain prevented by obscenity prosecutions or the fear of them. First printed by a Frenchman, and published by an American living in Paris, it had a chequered history. Now. half a century after Joyce’s death, the book is once more the centre of controversy. Attempts since 1984 to secure a definitive text, and at the same time renew copyright for a further fifty years, have provoked a world-wide conflict among Joyce scholars, publishers, readers, students, and the ordinary lovers of Joyce's writing, who want to read the book as Joyce intended them, which was for its wit. ‘There is not one single serious line in it,’ he said, in 1922. Today, argument rages over every comma, dash and full-stop. This film examines the controversy, interviews the main protagonists, including the editor of Ulysses: The Corrected Text , Hans Walter Gabler, his main critic, John Kidd, the trustee of the Joyce Estate, Clive Hart, and Stephen James Joyce, the writer’s grandson and now head of the family.

Lane shot the film in two weeks in February, showed a rought cut to a Cannes official in March, and was awarded with a standing ovation at its world premiere in May. Working with cinematographer Bill Dill, Lane has created some stunning black and white imagery for Sidewalk Stories. Sometimes the camera is in fluid motion, other times the camera remains static for minutes at a time, the characters moving in and out of the frame. Going against convention. Lane has used close-ups very sparingly, coming up with other, more subtle ways to generate emotion. There's also a certain lightness in the film, a sugar coating if you will, which provides a way for the audience to find their way in. But once in, Lane nails them with the heavier issue and his response to why he chose to make a silent film: "We don't hear the homeless anyway.” Toronto Festival of Festivals programme, 1989

Director, Ian Graham and producer writer, Bruce Arnold, will be present to introduce the film. WORLD PREMIERE

Opera He

SIL

Oct 13th 18.00

Triskel Saturday, Oct 13th 15.00

SOFT ON THE INSIDE

. ;tes/Colour

lreland/1989/16mm/60 minutes/Black & White

David Scotland

Katy Radford

. ;

Producer. Paddy Higson, Leading Players lam Glen, Anne Kristen. Tom Watson, Script Bill Beech, Photography Denis Crossan, Editing Justin Kirsh, Music. Bob Last & Calum McNair. Export Agent B F I. Productions, 29 Rathbone Street, London. England

Producer Katy Radfora & Lisa Stephenson, Editing: Julian Rodd, Music: Andy Sheppard & The Rhythmical Personages. Export Agent: Hill Production Company. The Hill. Woburn Road. Millisle. Co. Down. Ireland

Soft On The Inside is a record of 12 days in November 1989 when saxophonist Andy Sheppard brought together a group of musicians from around the world to rehearse, perform and cut the album of the title. Featuring a band comprising 15 'Rhythmical Personages', including Han Bennink, Chris Biscoe, Mamadi Kamara, Pete Maxfield, Ernst Reyseger and Gary Valente, Soft On The Inside shows the stresses that occur during rehearsals, the humour which creeps into performances and the friendships which spring up between musicians on the road. Taking its cue from the four pieces composed and arranged by Sheppard, the film falls into the same number of interdependent episodes: Soft on The Inside, Rebecca's Silk Stockings, Carla Carla, Carla, Carla...and Rave Trade, a confident performance finale.

Silent Scream takes the viewer into the mind of fiercely intelligent prisoner Larry Winters as he spends his final hours as an inmate of the Barlinnie Special Unit. Utilising the notion of Winters having a television in his head, the film flicks through channels and time periods in an imaginative attempt to convey his life through a mixture of memories, arresting images, fragments of emotion and feverish agitation.

A life prisoner for the senseless slaying of a Soho barman, Winters high LQ. and restless creativity expressed itself in writing, poetry and drawing. A challenge to an inflexible system, his drug-dependency conveniently quelled a potential rebel and allowed him to escape into a startling world of his own.

"Radford's unerring eye and easy style let each musician unwind his own personality, unembarrassed by her attentions, .(she) places the music in the foreground as her chief protagonist, with electrifying results. An irresistible film". ID Magazine

Awards: British Film Of The Year - Edinburgh 1990, Silver Bear - Best Actor Berlin 1990. l

Director, Katy Radford, will be present to introduce the film.

Triskel Tuesday, Oct 9th 13.00

Triskel Tuesday, Oct 9th 15.00

SPINSTER

TEATRO!

Jessica York

Ruth Shapiro,Ed Burke,P

a Yat

England/1989/16mm/52 mlnutes/Colour

USA,Honduras/1989/16mm/58 min

olour

Producer: Steel Bank Film Co-Operative. Photography. Janet Tovey. Editing Angela Martin. Music- Philipp Wachsmann, Export Agent Steel Bank Films, Brown Street. Sheffield S12 2BS. England

Producer. Ed Burke/Ruth Shapiro. Photography Tom Sioel/Reuben Aaronson. Editing Peter Kinoy. Music Wendy Blackstone. Export Agent Ed Burke, 2424 McGee Avenue, Berkeley. CA 94703. USA

A gentle and enquiring programme in which women of all ages and different situations, who are living without men or children, speak for themselves. Young women describe the continuing pressure on them to get married, which prevents singleness ever seeming like an equal option to be freely chosen. They talk about the uncertainty of not knowing whether the marriage and motherhood they expect will happen to them or not, because the assertiveness they are now expected to have in their working lives is not followed through into their sexual lives, where responsiveness is still the norm.

This multi-award winning film explores the realities of life in the Latin American country best known as a haven for the Contras. In Honduras, the quintessential “banana republic," illiteracy and malnutrition are a way of life and political opposition is stifled Yet here, a grassroots theatre company led by a Jesuit priest travels the backroads of Honduras to bring powerful and inspiring messages of social justice to people who have never before seen a play. The founder of Teatre la Fragua, charismatic Jack Warner, is a man of the theatre, the Church and the people. We follow him and his band of actors to remote villages and discover the heart of Honduras - people eager to regain control of their lives which have been torn apart by centuries of foreign intrustion.

Older women talk with great wit about living with the stereotype of faintly ridiculous failure which is conjured up by the word ’’Spinster". They talk about different family values which led them to accept without questioning a life at home looking after one relative after another. Women who have achieved considerable worldly power and have had varied and interesting careers still harbour a secret preference for marriage and motherhood. Although there are now more positive images of singleness such as the "Independent Woman", these still bear more relation to male fantasy than to womens real lives which remain marginalized in a coupling culture.

In a country that expects its people to be silent, Teatro la Fragua offers them an opportunity to stand and be heard! Awards: Blue Ribbon - American Film Festival 1990, Silver Hugo - Chicago International Film Festival 1989, Bronze Apple - National Educational Film Festival 1990. Director, Ruth Shapiro, will be present to introduce the film.

Triskel T’r

Triskel Friday, Oct 12th 15.00

17.00

THROUGH THE WIRE

tef

Nina Rosenblum

Dan W USA/1989

USA/1990/16mm/77 minutes/Colour

;oiour

Producer Nma Rosenblum/Alexandra White, Narrator, Susan Sarandon, Script Angelo Corrao, Carlos Norman. Nina Rosenblum. Photography: Nancy Schreiber/ Haskell Wexler. Music: Nona Hendryx, Export Agenr. Daedalus Productions Inc., 356 West 58th Street, Apt 1017 New York. NY 10019. USA

Producer- Dan Weissman, Script. Zuzana Justman, Photography Ervin Sanders, Editing: Mark Simon, Music Robert Dauber, Export Agent CINE. 1001 Connecticut Avenue. NW. Suite 1016, Washington. DC 20036. USA

In 1986 several "children of Theresienstadt" meet in Prague. This is the starting point for a film which brings together a collection of quotes from diaries, children's drawings, excerpts from documentaries and propaganda films.

A secret political prison unit in America? In 1986, a controversial high security unit was opened in the basement of the federal prison in Lexington, Kentuckey. Its occupants- three female prisoners - received sentences of unprecedented length for non-violent, politically motivated crimes.

Helga Kinsky was 12 years old when she arrived in Theresienstadt with her father. Her diary began on 17th January, 1943 and ended on 23rd October, 1944, when she was deported to Auschwitz. During this film, she and nine others describe the incredible contradictions of life in this "model" ghetto. In Theresienstadt things were supposed to look "normal", it was open for inspections by the Red Cross and cultural events were organised. The Nazis put Jews in charge of the camp who tried to protect the children; they were taught lessons, printed their own newspaper and even put on an opera entitled "Brundibar".

Held in isolation in basement cells for almost two years, kept under 24-hour video surveillance and sexually humiliated by daily strip searches, the women deteriorated psychologically and physically, suffering from drastic weight loss, hallucinations, eye damage, heart disease and cancer. After months of investigation by human rights groups, including Amnesty International, the High Security Unit was brought to the attention of the 1988 United States/Soviet Union Summit and to the United Nations in Geneva. A Federal court case charged the Bureau of Prisons with violation of the prisoners’ constitutional rights: a Federal Judge ruled that the prisoners’ treatment did not meet " elemental standards of decency." The unit was shut down. In September 1989, this ruling was overturned. Now, 16 new prisons are being constructed, many containing control units modeled after Lexington’s Female High Security Unit. Celebrities, including narrator Susan Sarandon, advisor Edward Asner and musician Nona Hendryx, contributed to this unique production.

Hardly any of these children were to survive. The ghetto was purged before the inspection and 7,500 people were deported to Auschwitz. After the inspection in 1944, Kurt Gerron, an actor who was also interned, made a "documentary" propaganda film in Theresienstadt called The Fuhrer gives the Jews a city. This film was an attempt by the Nazis to influence the Red Cross and international opinion. Scenes from this film are juxtaposed with the survivor's memories. After the film's completion Gerron was transported to Auschwitz with the directive "return not desired", where he was sent to the gas chamber. "Distinguished...there are many moving stories told here, all lovingly brought together by the filmmakers." Variety

With music, home movies, interviews and archival footage, Through The Wire provides a penetrating look at the personal stories of the women prisoners and uncovers a shocking trend of abuse in America’s penal system.

"Riveting...a loving homage to people who participated in one of the more bizarre and moving chapters of the holocaust." The Northern California Jewish Bulletin 33

Opera House Monday, Oct 8th 16.00

Triskel Sunday, Oct 14th 15.00

TIME OF THE SERVANTS

TO MAKE IT LIVE: MAINIE JE

CAS SLUH

Godfrey Graham

Irena Pavlaskova

lreland/1990/16mm/52 minutes/Cc

TT18f

’44

Czechoslovakia/! 989/35mm/115 minutes/Colour/Subtitled

I ■■■-WS

Producer & Script. Bruce Arnold, Photography: Godfrey Graham. Editing: Arthur Keating, Music’ John O'Connor, Export Agent: Roundtable Productions. Rosney House. Albert Road. Glenageary, Co Dublin, Ireland

Producer: Barrandov Film Studio, Leading Players. Ivana Chylkova, Karel Roden. Jitka Asterova. Script: Irena Pavlaskova. Photography: S A. Brabec, Editing: Boris Halm. Music: Jiri Chlumecky/Jin Vesely, Export Agent. Ceskoslovensky Filmexport. Vaciavske nam. 28. Praha 1. CSFR.

The painter, Mainie Jellett, was the leader of the Modern Movement in Irish Art from the early 1920s until her death. She was the first person in these islands to exhibit abstract paintings, eight years before the acknowledged English master of abstract art, Ben Nicholson, and she had a European reputation, exhibiting with the main Paris modern art salons from 1922 onward. Her life as an artist in Ireland was surrounded by controversy, and by battles between academic and modern views of painting. Yet she shaped the minds and artistic inspiration of a generation, founded Irish Living Art, and brought to Irish painting a flavour of internationalism which liberated it from its essentially English traditions.

A story about a young woman who destroys people and breeds evil by her selfishness and yen to dominate those around her. At the begining of the story, the principle heroine, Dana, is going through a crisis caused by her emotional disappointment. Looking for help, she turns to her friends, Lenka and Milan, but gradually begins to blackmail them with her troubles. Through a trick and intrigues, she makes Milan marry her in the end. It is her first great betrayal, which marks all her subsequent life. Her best friend, the young woman Lenka, was her first victim. Dana is changing into a charming and self-confident woman who gradually reveals her real qualities. She wants to manipulate people and demonstrate her power to herself, thus remedying her inferiority complex. She takes charge of Milan’s life and his professional career while also avenging herself on him for her previous humiliation felt when she had asked him for compassion and help and received them. The submissive Milan suffers, but gradually reaches a decision. However, Dana is determined not to lose any part of what she has obtained.

This is the story of her life and art, cut short tragically early, in the dark middle years of the second world war. She said once: 'The surface is my starting point; my aim is to make it live'. This film tells how she did this and what effect her work and life had on her generation. Director, Godfrey Graham and producer writer, Bruce Arnold, will be present to introduce the film.

WORLD PREMIERE

Opera House

Triskel Saturday, Oct 13th 13.00

ct Sth 16.00

TONG

TROUBLE THE CALM

A JOLT Jan Roe Cederbe

EART OF BORNEO iusenstjerna,Bjorn ri

Sweden/198

?s/Colour/Subtitled

David Fox England/1989/16mm/52 minutes/Colour

-4

■

Producer. Roed Krusenstjerna Film AB. Script Jan Roed & Fredrik von Krusenstjerna, Photography Jan Roed. Editing Michal Leszczylowski & Carina Hellberg, Music: Brian Eno & Harold Budd. Export Agent Igeifilm Gmbh, Fnedensallee 7, D- 2000 Hamburg 50.

Producer Noeleen Grattan, Leading Players Charles Haughey, Tony O’Reilly, Michael Smurfit. Script & Editing David Fox. Photography: Maxim Ford. Music Antony Sprung, Export Agent: Faction Films. 28/29 Great Sutton Street. London ECi VODU. England.

In the interior of Borneo, in the 1 60-million-year-old rainforest -the oldest in the world- live the Penans, the last tribe of nomadic people in Borneo. They live there without money and without clocks to measure passing time.

A Shannon Airport billboard welcomes disembarking investors: "Ireland - a country more sympathetic to business, more committed to interests". The Free State's readiness to put out the red carpet to attract foreign capital has filmmaker David Fox waxing poetic and polemical.

For the past five years a European has lived there among them. Naked except for a loin-cloth, like the Penans themselves, he hunts with a blowpipe and poisoned arrows. His closest friend is a black gibbon that follows him everywhere in the jungle. Many stories are told about this European in the towns on the coast.

His Trouble The Calm is a highly personal and imagistic vision of the Irish past and present, nagging away at the supposed "betrayal" of Ireland’s republican tradition in the name of a new enterprise culture: as the multinationals fly in, the unemployed ship out. Director, David Fox, will be present to introduce the film.

He is from Switzerland and his name is Bruno Manser, but the Penan people call him Lakei Penan: the Penan man. He is described as the Raja Of the Penans. Some people say that he is carried through the jungle on a bamboo throne. There are only a few thousand nomadic Penans. They live in groups of from twenty to fifty persons. They live by hunting and a diet of sago-palm gruel, made from the trunks of sago palm trees and rich in starch. They are completely dependent on the rain forest for their existence and survival. Half of Borneo’s rain forests have already been cut down. If nothing is done to stop it, all of Borneo’s hitherto unspoiled rain forest will disappear within ten years. This is a catastrophe that spells the end of the Penans, and of the indiginous rain forest which has existed for 160-million years.

Tong Tana is a film about the Penans of Borneo and Bruno Manser. About civilization and the rain forest. About one of the greatest ecological catastrophes of our time.

Opera House Saturday, Oct 13th 16.00

Triskel Wednesday, Oct 10th 15

TWIN PEAKS

WALDO SALT: A SCREENWRITER’S

David Lynch USA/1989/35mm/94 minutes/Colour

JR?

Eugene Corr/Robert HillmE USA/1989/16mm/56 minutes/Colour

Producer: David J. Latt. Leading Players: Kyle MacLachlan. Michael Ontkean, Richard Beymer, Joan Chen. Piper Laurie, Script: David Lynch/Mark Frost. Photography: Ron Garcia. Editing. Dwayne Dunham. Music: Angelo Badalamenti, Export Agent: Lynch/Frost Productions

Producer. Robert Hillmann/Linda Remy. Script Eugene Corr/Linda Remy. Editing. Michael Chandler. Photography. Robert Hillman, Export Agent’ Waldo Productions Inc . 2600 10th Street, Berkeley. CA 94710. USA

This wonderfully subversive new feature from writer director David Lynch (Eraserhead. The Elephant Man. Blue Velvet) comes self-described as Blue Velvet meets Peyton Place, and, indeed, all the best elements of these two American classics are abundantly evident in Twin Peaks.

Waldo Salt traces the personal and career journey of this extraordinary screenwriter from his beginnings as a young writer, through the blacklist period and into the tremendously creative time of Midnight Cowboy (1969), Serpico (1973), The Day of the Locust (1975), and Coming Home (1979). Using film clips and interviews with people such as Jon Voight, John Schlesinger, Jerome Hellman, Dustin Hoffman, Robert Redford, and Waldo Salt himself, the film probes the subtle art of his writing and the joy he found in the collaborative process of filmmaking. It was at the Sundance Institute that filmmakers Eugene Corr (Desert Bloom) and Robert Hillman (Fire on the Water) met Salt, meetings which inspired this film.

The setting is a fictional northwestern logging town, but its real location is within the American collective unconscious. As with Blue Velvet, Lynch deftly peels away the veneer of apparent normalcy of life in middle America, revealing the corruption that may reside in even the most seemingly wholesome of hearts.

Laura Palmer, the most popular girl in town - the high school Homecoming Queen, no less - has been brutally murdered. F.B.I. special agent Dale Cooper (Lynch's perennial alter-ego Kyle MacLachlan) arrives in town to investigate the murder. In the course of his inquiry, he unearths much about the town and its denizens that perhaps had been better left buried.

Director, Eugene Corr, will be present to introduce the film.

Lynch and his co-writer Mark Frost have woven a labyrinthine web that would do any self-respecting black widow proud; their densely textured and visually stunning mystery is loaded with (mixed metaphors be damned) more red herrings than a soviet fishing trawler. It will have you on the edge of your seat for much of its running time, but be forewarned: no matter what your expectations may be, the ending of Twin Peaks will surely pull the rug out from under your feet.

Twin Peaks is a feature-length pilot for the cult U.S TV soap opera. This may be your only chance to see it on the big sscreen. Vancouver Film Festival Catalogue

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ESTI COR

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•f

SUNDAY Oct 7th 20.30

OFFICIAL OPENING 20.30 THE FIRST PHOTO OF MINE EVER TAKEN (20sec) YUG THE PRESENT (18m) IRL NIKITA Luc Besson (114m) FR

FRIDAY Oct 12th 16.00

MONDAY Oct 8th 16.00 18.00 21.00

TIME OF THE SERVANTS Irena Pavlaskova (115m) CZ AN ANGEL AT MY TABLE Jane Campion (158m) NZ THE BUS (5m) FR WILD AT HEART David Lynch (135m) USA

TUESDAY Oct 9th 16.00

18.00

20.30

FATHERLAND (18m) YUG TONG TANA Jan Roed (88m) SWED IMAGINE (8m) FR FAREWELL WALTZ (12m) GER RETURN HOME Ray Argali (87m) AUS THE UNTOUCHABLE (6m) FR IN THE EXILE OF THE DROWNED TIGERS (10m) GER KORCZAK Andrzej Wajda (115m) POL

18.00

20.30

23.30

16.00 18.00

20.30

18.00

20.30

TRIPLICITY (16m) USA SIDEWALK STORIES Charles Lane (97m) USA A CHILD’S DREAM (5m) USA SIGNATURE (13m)GB END OF THE NIGHT Keith McNally (108m) USA DOOR TO DOOR DELIVERY (9m) FR UHLOZ(13m) FR JU DOU: SECRET LOVE, HIDDEN FACES Zhang Yl-Mou (93m) CH/JAP

THURSDAY Oct 11th 16.00

18.00

FOR EVER (7m) GER EYE LEVEL (13m) SP BOOM BOOM Rose Verges (85m) SP QUEIMADA (4m) FDR PICTURES FROM THE MEMORY (13m) YUG MY 20TH CENTURY lldike Enyedi HUN (100m)

CIRCLE (6m) YUG PAPERCHASE IN BERLIN (1 5m) GB A CASUAL WALTZ Svetlana Proskurina (95m) USSR EXCITING LOVE STORY (7m) YUG MOTHER, MOTHER (30m) USA LONGTIME COMPANION Norman Rene (96m) USA NEIGHBOURHOOD (9m) GER LADIES COFFEE PARTY (1 5m) GER THE NASTY GIRL Michael Verhoeven (92m) GER FOR THE PLEASURE (6m) FR DUET (12m) GER HEAVY PETTING Obie Benz (80m) CAN

SATURDAY Oct 13th

WEDNESDAY Oct 10th

16.00

EXTERIOR DAY FOREST (5m) A GRAND DAY OUT (23m) GB DECEMBER BRIDE Thaddeus O Sullivan (90m) IRL

23.30

SPUD (30m) USA. TWIN PEAKS David Lynch (94m) USA PARIS-MARSEILLE (5m) FR DEADSY (5m) GB SILENT SCREAM David Hayman (86m) GB DOWN WITH ETERNITY (6m) FR LIFTED (15m) USA METROPOLITAN Whit Stillman (98m)USA SNAIL’S PACE (4m) NZ ANGUISH Bigas Luna (90m) SP

SUNDAY Oct 14th

SUNCHILD (20m) MOR ROADKILL Bruce McDonald (80m) CAN 18.00 HOW TO MAKE AN ANIMATED FILM (9m) YUG GLYCERINE TEARS (23m) USA MATCH FACTORY GIRL Aki Kaurismaki (70m) FIN OFFICIAL CLOSING 20.30 Awards Ceremony followed by screening of European Short -film Competition winner CYRANO DE BERGERAC Jean-Paul Rappeneau (135m) FR

16.00

N D AR i

K E L

A R

S 17.00

SUi

11.00 13.00

15.00

17.00

Y Oct. 7th Shorts Programme 1 UNKNOWN SECRETS Daniel Keller (29m) USA DIEGO RIVERA: I PAINT WHAT I SEE Mary Lance (58m) USA GOING UP Gary Pollard (30m) USA LETTER TO THE NEXT GENERATION Jim Klein (75m) USA HIDDEN LIVES: LISTENING TO PAIN Louis Marcus (53m) IRL MAKHALIPILE Barry Feinberg (54m) GB

MONDAY Oct Sth

11.00 13.00

17.00

Shorts Programme 2 (British) Media Show Programme 1: CINEMA (56m) Programme 2: POLITICS (66m) Programme 3: ADVERTISING AND TELEVISION (49m) There will be a 15 minutes break between programmes SWING Joachim Bode (8m) GER FRANTA Mathias Allary (95m) GER

15.00

17.00

Shorts Programme 3 (British) FOR YOUR OWN GOOD NoSmie Mendelle (50m) GB SPINSTER Jessica York (52m) GB THE CARROT AND THE STICK Susi Arnott (44m) GB TEATRO! Ruth Shapiro, Ed Burke, Pamela Yates (58m) USA THE ASSIGNMENT Michael Haddad (48m) USA JUST ME AND MARIO Greg Stitt (54m)NZ

11.00 13.00

15.00

17.00

11.00 13.00

15.00

17.00

15.00

Shorts Programme 6 (US B &W) . Su Friedrich Focus: Programme 3 SCAR TISSUE (6m) BUT NO ONE (9m) SINK @R SWIM (48m) FOR THE SAKE OF LOVE Solveig Anspach (9m) FR THROUGH THE WIRE Nina Rosenblum (77m) USA PROPHET SONGS Alan Gilsenan (64m) IRL

SATURDAY Oct 13th

11.00 13.00

15.00

17.00

Shorts Programme 4 (British B&W) Su Friedrich Focus: Programmel COOL HANDS, WARM HEART(16m) DAMNED IF YOU DON’T (42m) , BROKEN MEAT Pola hapaport (50m)USA WALDO SALT: A SCREENWRITER’S JOURNEY Eugene Corr (54m) USA

Shorts Programme 5 (Irish) Su Friedrich Focus: Programme 2 GENTLY DOWN THE STREAM (14m) THE TIES THAT BIND (55m) DANNY BOY Daniel Cross (15m) CAN COMMON THREADS Robert Epstein, Jeffrey Friedman (75m) USA CRANES Olaf Olszewski (12m) Pol TEREZIN DIARY Dan Weissman (88m) USA •

FRIDAY Oct 12th

WEDNESDAY Oct 10th

11.00 13.00

SLIPPAGE Patti Bruck (30m) USA BARGAINTOWN David Jaszai (70m) GER

THURSDAY Oct 11th

TUESDAY Oct 9th 11.00 13.00

CENTRE

5 FEMINIST MINUTES Various (80m)CAN WHITEFRIAR STREET SERENADE Seamus Carraher (52m) IRL TROUBLE THE CALM David Fox (52m) GB BRIAN ENO: IMAGINARY LANDSCAPES Duncan Ward (40m) GB SOFT ON THE INSIDE Katy Radford (60m) IRL BEHIND THE MASK Frank Martin (85m) IRL

SUNDAY Oct 14th 11.00 13.00 15.00

17.00

Shorts Programme 7 (Irish, DLCAD) Shorts Programme 8 (Irish) TO MAKE IT LIVE Godfrey Graham (52m) IRL THE SCANDAL OF ULYSSES Ian Graham (52m) IRL A RUSTLING OF LEAVES Nettie Wild (112m) CAN

Please note: Starting time of WILD AT HEART is 21.00 For details of Shorts Programmes see page 42. For schedule of Italian Season in Capitol Cineplex see page 70; for Schools Programme see page 73.

KjilVnK k

Best Wishes to

CORK FILM FESTIVAL ’90 from

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HITE re: mus ( id/1990

h 13.00

Opera House Monday 8th 21.00

TREET

WILD AT HEART David Lynch USA/1990/35mm/135 minutes/Colour

Colour

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Producer: Irish Co-Op Films, Leading Players: Whitefriar Residents Association, Script: Seamus Carraher, Photography Art O'Laoghaire. Editing: Emer Reynolds, Music Keith Donald & Moving Hearts, Export Agent: Irish Co-Op Films, 11 Ormond Quay. Dublin 1.

Producer: Steve Golin, Monty Montgomery. Joni Sighvatsson, Leading Players Nicolas Cage. Laura Dern. Willem Dafoe. Isabella Rossellini. Harry Dean Stanton. Diane Ladd. Script. David Lynch. Photography: Fred Elmes, Editing. Dwayne Dunham. Music Angelo Badalamenti. Export Agent: Palace Pictures. 16/17 Wardour Mews. London. England.

The film is set in the heart of Dublin's inner city and sets out to explore the reality of life for over 2,000 of Dublin's people in the wake of recession, government cutbacks and a haphazard development programme involving both the state and private enterprise.

David Lynch's funny, violent, erotic, profane and visually astounding Wild At Heart is probably the most anarchic and insolent Cannes Grand Prix winner in history. This is the ultimate road movie, with Nicolas Cage and Laura Dern as a sex-crazed low-life couple crossing the South, with an insanely obsessive mother (Dern's real-life mother, Diane Ladd) in pursuit, supported by a variety of killers. Variety, proclaiming that the film confirmed Lynch as "a thoroughly original American filmmaker", wrote:

Whitefriar revolves around a group of residents who, dismayed at the deaf ears of outsiders, set out to bypass the traditional system of clientilism and represent their people's needs, hopes and grievances to the external powers directly.

"Other filmmakers have poked beneath the US underbelly but rarely has the demimonde of losers, hard-cases, shamans, conmen and crazies been lit up with such incandescent heat. In Wild At Heart, Lynch controls such extraordinary cinematic power that his most bizarre and incongruous over-reachings mesmerize...

It is a portrait of Dublin life in one of its oldest communities. But it is also a picture that tries to penetrate beneath the surface to explore conditions and causes, their development or deterioration and how they can be affected by people coming together to effect policy that shapes their lives. In this way it is a film about action, the need for it, its direction and the problems and the hopes involved.

"Few actresses could have brought off the insouciant, uninhibited sexual cyclone Lula. Raped at 13, witness to her father’s murder, battling the black magic spell of her witchy mother who planned that murder with her mobster lover, Lula is one screwed-up but beautiful girl."Cage, who has overacted in other roles, can't possibly do so in the anything-goes Lynchian universe. He's born to the roll of the rock'n’roll macho man Sailor, a tough guy with a tender heart 'who never had any parental guidance.' Together they hit their own yellow brick road in a love story unlike any since Bonnie and Clyde.”

In Whitefriar we get a close up of a Dublin not witnessed by many in the more affluent suburbs, and it becomes, through the active participation of its subjects, as one Whitefriar resident put it "a picture of the large fish in the small pond" in its echoing of the tensions and contradictions of an Ireland contemplating the European integration of 1992.

Director Seamus Carraher will be present to introduce the film.

"Outstanding photography, editing, sound and special effects contribute significantly to this tapestry of human extremity". - Edinburgh Film Festival Catalogue

Best Wishes to

CORK FILM FESTIVAL ’90 from

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HITF RE

Opera House Monday 8th 21.00

’3th 13.00

TREET

WILD AT HEART David Lynch

mus ( id/1990'i

USA/1990/35mm/135 minutes/Colour

s/Colour

!. iiis Esir .'C UNLUDt

9.-’-

Producer Irish Co-Op Films, Leading Players Whitefnar Residents Association, Script Seamus Carraher, Photography Art O'Laoghaire, Editing Emer Reynolds. Music Keith Donald & Moving Hearts, Export Agent- Irish Co-Op Films, 11 Ormond Quay. Dublin 1

Producer. Steve Golin, Monty Montgomery, Joni Sighvatsson, Leading Players. Nicolas Cage. Laura Dern, Willem Dafoe. Isabella Rossellini. Harry Dean Stanton. Diane Ladd. Script. David Lynch. Photography: Fred Elmes, Editing. Dwayne Dunham. Music: Angelo Badalamenti. Export Agent: Palace Pictures. 16/17 Wardour Mews. London. England.

"Few actresses could have brought off the insouciant, uninhibited sexual cyclone Lula. Raped at 13, witness to her father's murder, battling the black magic spell of her witchy mother who planned that murder with her mobster lover, Lula is one screwed-up but beautiful girl."Cage, who has overacted in other roles, can't possibly do so in the anything-goes Lynchian universe. He's born to the roll of the rock'n'roll macho man Sailor, a tough guy with a tender heart 'who never had any parental guidance.' Together they hit their own yellow brick road in a love story unlike any since Bonnie and Clyde."

In Whitefriar we get a close up of a Dublin not witnessed by many in the more affluent suburbs, and it becomes, through the active participation of its subjects, as one Whitefriar resident put it "a picture of the large fish in the small pond” in its echoing of the tensions and contradictions of an Ireland contemplating the European integration of 1992.

Director Seamus Carraher will be present to introduce the film.

"Outstanding photography, editing, sound and special effects contribute significantly to this tapestry of human extremity". - Edinburgh Film Festival Catalogue

SHORT FILM PROGRAMME AND EUROPEAN SHORT FILL competition PROGRAMME 6 (American B ') INTIMATE CONVERSATIONS, del Gum i ISA. 13m PAR KING, George Spyros. US 24m THEY BROUGHT THEIR OWN OFFEE. :sadsky, USA, 9m 122 WEBSTER, Daniel Robin. Pat Baum, U DECONSTRUCTION SIGHT, Dominic Ang 13m SECRET RAGE, Sheila M. Sofian, USA. 3m HOLDING MARGIE’S HAND. Jill Goldman, USA,

Cork Film Festival has long championed the art of the short-film and remains one of the few international festivals to include a full short-film programme. The number of entries grows each year and this year’s programme contains a greater number of titles than ever before. These will be screened accompanying features in Cork Opera House.and in eight programmes in the Triskel Arts Centre. Admission to the screenings is £1. We are grateful, once again, for the support of the European Commission for our European Short-film Competition. A special trophy and cheque for 10,000 ECUs will be awarded to the director of the winning film. Eligible films are those which have originated in a member state of the Council of Europe, which have a running time of 30 minutes or less and have been completed since July 31st 1989.

PROGRAMME? (Irish, DLCAD programme) ICARUS, Johnny White. IRL. 12m CORKSCREW. Ben Yeats. IRL, 12m SEA, Richard West, IRL, 12m SAINTS AND SCHOLARS, Eamonn Manning, IRL, 15m ALL MY LOVELY BOYS. Fiona O’Doherty. IRL. 20m MISADVENTURE, Laura Curley. IRL. 19m ONE MAN WOMAN, Joe Tanham, IRL, 13m

The festival's wish is that the prize money be devoted to having the winning film subtitled or dubbed into other Community languages, thus aiding the film in reaching a larger audience.

PROGRAMME 8 (Irish) AWAKENING, Don McClave, Michael Dunne, IRL, 15m GREAT DIVE, SHAME ABOUT THE SWIM, Anthony Hughes, IRL 10m MEMORANDA, Mortimer O’Sullivan, IRL, 10m HEARTSTRINGS. Seamus Kelleher, IRL, 16m COLD FOR JUNE, Harry Purdue. IRL, 40m

The Gus Healy Trophy and a cheque for £1,000, sponsored by TV3 will be presented to the director of the best Irish short-film in competition. PROGRAMME 1 UNTITLED 1987, Barry J. Hershey, USA, 6m SEA STORY. David S. USA, 6m LLAW, Penelope Buitenhuis, GER, 9m CROFTON RD. SE5, Gerd Gockell, GER/GB, 5m NO NO, NONNO, Monica Pellizzari, AUS, 27m DELTA DUSK, Stev'nn Hall, CAN, 33m

From paperclips to laser printers ...

O'Brien

PROGRAMME 2 (British) WE'RE NOT A NUCLEAR FAMILY ANYMORE, Kayla Parker, GB, 14m OUT TO LUNCH, Leeds Animation Workshop, GB, 12m THE BODY BEAUTIFUL, Ngozi Onwurah, GB, 23m IMAGINARY, Moira Sweeney, GB, 18m SERPENT RIVER, Sandra Lahire, GB, 30m

Office Systems The Business Centre

PROGRAMME 3 (British) THE CONVERSION OF ST. PAUL, Bob Blagden, GB, 18m STILL DARK, Spiro Kyriacou, GB, 25m FIRE AND STEEL, Martin Dunkerton, GB, 20m THE FOLLOWER, Linda Hassani, GB, 29m

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PROGRAMME 4 (British B & W) NEXT TO GODLINESS, Anne Frederique Dujon, GB, 7m SALVATION GUARANTEED, Karen Ingham, GB, 21m WHEN I WAS A GIRL, David Yates, GB, 19m THE BIG SQUEEZE, Peter Jones, Paul Searle, GB, 11m FLAMES OF PASSION, Richard Kwietniowski, GB, 18m TROJANS, Constantine Giannaris, GB,Greece, 30m

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PROGRAMME 5 (Irish) JACK'S BICYCLE, John Moore, IRL, 9m DA CAPO, Peter Gahan, IRL, 14m NO FLOWERS, Alan Archbold, IRL, 16m LONDON CALLING, Peter Mulryan, IRL, 26m THE SCHOOL BUS, Ted Sheehy, IRL, 12m STEPHEN, Johnny Gogan, IRL, 18m

Clontarf St., Cork 'Phone: 021 270666 Fax: 272 991

ALL MY F

a O’Dor

lr<

•:d/1990/16.

ELY BOYS

THE BIG SQUEEZE Peter Jones,Paul Searle

ics/Colour

England/1989/16mm/11 mlnutes/Black & White

Producer. Script & Editing: Fiona O'Doherty, Leading Players. Rosaleen Linehan. Andrew Connolly. Export Agent: Dun Laoghaire College of Art & Design. Dun Laoghaire, Co. Dublin. Ireland

Producer: Peter Jones. Paul Searle, Leading Player: Michael Wilder Photography: Clare Williams, Greater London Arts. Coriander Building, 20 Gainsford St . London SE1 2NE, England.

Moira is the last inhabitant of a remote island off the Donegal Coast. She has become obsessed with her own isolation. She finds the body of a young airman washed up on the beach. She nurtures him back to life, believing she has found a young lover.

Short, surreal horror about bloodsucking worms and an old man's paranoia! Awards: Best Short, Piccadilly Film & Video Festival 1990.

THE BODY BEAUTIFUL

AWAKENING

Ngozi Onwurah

Don McLave,Michael Dunne

Eng land/1990/16mm/23 minutes/Colour

lreland/1989/16mm/14 minutes/Colour

Producer: Brian Doolan, Don McLave. Michael Dunne. Leading Players: Gerry McGrath. Fiona Dwyer. Niall O'Keeffe. Enda Cahil. Martin Rogers.

Producer: Lin Solomon, Leading Players: Madge Onwurah. Sian Martin, Maureen Douglas. Brian Bovell, Script: Ngozi Onwurah. Photography: Peter

Script: Don McLave, Michael Dunne & Michael Ennis. Photography: Cian De Buitlear, Editing Oliver Fallon, Music: Barry Bourke, Barry Farrell, Brian Clohissey, Print Source: Apparent Pictures Film Production, 50 Belcamp Grove, Clonshaugh, Dublin 17, Ireland.

Collis. Editing: Liz Webber. Music: Tony Quigley. Export Agent: BFI Productions. 29 Rathbone Street. London. England.

Awakening is the story of Peter Connors, an ordinary young man who's membership of a paramilitary organisation involves him in an execution. The film explores the far reaching implications of this and poses questions about the profound effect it has on his life and on that of his family.

Based on the real life story of the filmmaker and her mother. The Body Beautiful is an honest exploration of the multi-layered emotional tapestry that interweaves a mother-daughter relationship.

THE BUS

CIRCLE

LE BUS Christophe Jacrot

KRUG Kresimir Zimonic

France/1989/35mm/5 minutes/Colour

Yugoslavia/1989/35mm/6 Mine

^lour

/l Producer Zagreb Film, Script Kresiniir Zimonic. Pnotography. Rade Pazameta. Music Neven Franges. Export Agent Zagreb Film. 70 Vlaska. 41000 Zagreb. Yugoslavia

Producer- Christophe Jacrot, Script. Christophe Jacrot, Photography: Yves Pouffary, Music. Scoop. Export Agent. Douek Productions. 21 Rue de Mangnan. 75008 Pans. Franco.

The animated efforts of an embryo to become an articulated creature The male creature is helped by the female creature to achieve maturity However, creatures opposed by sex, devour each other in the spatial chaos and direct tneir mythological game toward the eternal repetition and formal search for substantial meaning

The Bus shows how 36 passengers turn into cows

A CHILD’S DREAM

COLD FOR JUNE

David Ehrlich

Harry Purdue lreland/1990/16 mm/40 minutes/Colour

USA/1990/35mm/5 minutes/Colour

i Animation: David Ehrlich, Music: Normand Roger & Denis Charirand, Export Agent: David Ehrlich, RR 1, Box 50. Randolph, Vermont 05060, U.S.A.

Producer Denise Hevey.Suzanne Nicell, Leading Players:Colette O’Connor. Eamon Rohan. Liz Bono, Martin Dunne. Sharon Twomey. Thomas McLaughlin, Script. Harry Purdue, Photography: John Moore, Editing: Paul Fitzgerald. Music: Daragh Connolly, Export Agent: Sinead Lemass. 4 Castlewood Terrace. Rathmines, Dublin 6. Ireland.

Six Vermont schoolchildren were each asked to design an environment with its own physical and biological laws. Inspired by the children’s designs, animator David Ehrlich created over 2500 full-colour drawings that were then underlit in multiple layers to create a brilliantly coloured series of tableaux from nature in continual organic transformation.

A short story about creatures of habit and the consequences of a disrupted routine. 'It comes on like a surreal version of sex, lies and videotape by the makers of Glenroe" Film Base News

THE CONVF SION OFST. PAUL E

Blagden

nd/1990/16

CRANES Olaf Olszewski

Colour/ Black & White

Poland/1989/16mm/12 minutes/Black & White

■ r. ■

i Producer Vicky Liconsh, Phillippa Giles, Leading Players Tom Radcliffe, Judy Sweeney. David Hargreaves. Rita Wolf. Script Robert Flynn. Photography: Paul Woolston. Editing Mike Bloore, Export Agent BBC Television.Wood Lane. London W12 7RJ. England

Producer Anna Zielmska, Script Olaf Olszewski. Pnotography: Krzystof Miller, Editing Anna Gajewska, Zygmunt Dus. Export Agent: Anna Ziehnska. U1 Annn Werwonej 104 M 6. 40-160 Katowice, Poland.

Paul, a talented young jazz trumpeter dreams of escape from narrow-minded Dundee when suddenly his path is cleared by a dramatic and violent confrontation

A documentary film about the life and work of a group of blind women

CORKSCREW

CROFTON ROAD SE. 5

Ben Yeats

Gerd Gockell

lreland/1990/16mm/12 minutes/Colour

Germany,England/1989/16mm/5 minutes/Colour

Producer. Script & Editing: Ben Yeats. Leading Player: Agnes Burnelle. Print Source: Dun Laoghaire College of Art & Design. Dun Laoghaire. Co. Dublin.

Producer & Script. Gerd Gockell. Editing: Robert Synovatz. Export Agent: London Filmmakers Co-op, 42 Gloucester Ave. London NWt, England.

Josie works, millions don’t, so I guess she’s lucky. story, day in day out, until one day..

Experimental animation. Hundreds of photographs exploring the reality of movement.

The same old

DEADSY

DA CAPO Peter Gahan

David Anderson

lreland/1990/16mm/14 minutes/Colour

England/1989/35mm/5 minu

Producer:Joelle Grospelier, Leading Players: Tom Vaughan, Deirdre Donnelly, Angela Harding, Donnacha Crowley. Jason Lane. Script: Peter Gahan, Photography: Pat Redmond & Brigid Fitzgerald. Editing. Joan Reidy, Music: Fergus Kelly. Export Agent: Joelle Grospelier. 87 Upper Rathmines Road, Dublin 6. Ireland.

Producer Barnaby Spurrier, Animation David Anderson, Script' Russell Hoban.Production Company Redwing Film Company. Tel 071 -7346642.

■lour

A graphic interpretation of Russell Hoban's narration of man's fascination with weaponry and the sexual power of military aggression

A glimpse of a young boy's perception of the world as adulthood intrudes into his life, interweaving film with his dreams, fantasies and reality

DECONSTRUCTION SIGHT

DANNY BOY

Dominic Angerame

Daniel Cross

USA/1990/16mm/13 minutes/Black & White

Canada/1989/16mm/15 minutes/Colour

■ F

Producer, Photography, Editing: Daniel Cross, Export Agent: Daniel Cross, 4752 Rue Cazelais, Montreal, Quebec H4C 1E5, Canada.

Producer, Script, Editing, Photography: Dominic Angerame, Music: Kevin Barnard & Mactha Burns, Export Agent: Canyon Cinema, 2325 3rd Street. Apartment 338. San Francisco. CA 94107. USA

This is history without narrative, without the passing of years, an abstract summation of what happens when human beings move stuff around and make something of it. grow tired of what they've made and demolish it using other things they've made, and then start all over again.

Danny Boy is a story about addiction. It documents Danny Clavin. 25 years old, born and raised in Montreal, Quebec. Danny has been living on the streets of Montreal since he was 10 years old with his dog Rex.

DOWN WITH ETERNITY

DELTA DI s ?’nn Hall c

ia/1989/16:.

A BAS L’ETERNITE Philippe Rony

les/Black & White

France/1989/35mm/6minutes/Colour

Producer. Myra Diamond/Victona Independent Motion Pictures. Leading Players: Hairiette Colle, Gmette St Germain, James Di Salvio, Lois Hammerich. Script: Stev’nn Hall, Photography: Tony Popleratis/Stephame Seidle, Editing Stev’nn Hall, Music: Michelle Hamelin, Export Agent Victoria Independent Motion Pictures, 3410 St Antoine, Montreal. Quebec Canada H4C 1A8

Producer Films Coute Que Coute. Leading Players. G Leefev/Zoe Chauveau. Script & Editing P. Rony. Photography: J.P.Torraille, Music: Alain Rosenfeld. Export Agent Films Coute Que Coute, 41 Rue du Temple. 75004 Pans. France.

Delta is a tired woman living with her mother and son in the small town of Ivy Lea It is 1950. When her niece, Mary, arrives she discovers a listless family engaged in guilt, anger, and hope, and a secret that has been locked away in an upstairs room for almost five years.

Love is perhaps affected by the distortions of time.

DOOR TO DOOR DELIVERY

DUET

LIVRAISON A DOMICILE Philippot Claude

Spiro Taraviras Germany/1990/35mm/11 minutes/Colour

France/1990/35mm/10minutes/Colour

Producer: Spiro Taraviras/Munich Film & Television School. Leading Players: Undine Brixner, Paul Weismann, Johannes Rapp. Gisela Von Tschirnhaus. Script: Barbara Schramm. Editing Kaya Piper. Photography: Klaus Naumann. Music: Remer Mike Walter, Export Agent: Franz Kroll. Internationale Transpose. Stemmetzstrasse 4. 8011 Landsham. B.R. Deutschland.

Producer: Neuf De Coeur Productions. Leading Players: Charles Schmitt. Francoise Berlin, Daniel Tonachella, Daphne Victor, Script: Philippot Claude, Photography: David Joel. Editing: Darnois Hugues, Music: Esposito Giani, Export Agent: Neuf De Coeur Productions, 19 Rue Washington, 75008 Paris, France.

In the twilight of their lives stamped with good citizenship, an elderly couple strike up a hymn to their love of the civil service.

A man wakes, gets up, gets ready trying not to wake up his wife and leaves his house. Parallel to it. a woman gets up from bed. gets ready trying not to wake up her husband and leaves her house. What is more obvious than that each of them left their own house because of the other?

EXCITING LOVE STORY

EYE LEVEL

UZBUDLJIVA LJUBAVNA PRICa

A LA ALTURA DE LOS OJC

Borivoj Dovnikovic Yugoslavia/1989//35mm/7 minutes/Colour

Miguel Angel Sanchez Sebastia; Spain/1990/35mm/13 minutes/Cc

Producer: Zagreb Film, Script: Borivoj Dovnikovic, Photography: Valerija Radanovic, Music: Davor Rocco. Export Agent: Zagreb Film, Vlaska 70. 4-1000 Zagreb. Yugoslavia.

Producer. Juan Pulgar Bravo. Leading Players: Rosa Morales, Juanjo Artero, Pilar Puente. Script Miguel Angel Sanchez Sebastian. Photography: Jose Pedro Trenas. Editing Mariano Tourne, Music: Tamara Honstetter. Export Agent: Juan Pulgar Bravo. C/Valdernbas 24 60 C 28007, Madrid, Spain

We are following on the screen the exertion of a little man to reach his love. He is led by the instinct and her voice. He will reach her notwithstanding obstacles of the nature and of the environment. The love will win.

A photo-booth falls in love with a girl It shows its love taking some photos of her when she was a child She comes back but her boyfriend advises her to forget it Little by little she becomes obsessed by what has happened

FAREWELL WALTZ

EXTERIOR DAY FOREST FORET EXTERIEUR JOUR Marc Salmon

ABSCHIEDSSWALZER Dagmar Brendecke

France/1988/35mm/5 minutes/Colour/Subtitled

Germany/1989/35mm/12 minutes/Black & White

Producer: Marc Salmon. Leading Players: Audre Obadia. Jean Clement. Vincent Chateau, Script: Marc Salmon. Photography: Ghislam Vidal, Editing: Pierre Didier. Music: Jean Yves Peter, Export Agent: Medium 5.

Producer: Dagmar Brendecke, Leading Player: Christiane Reiff, Script: Dagmar Brendecke/Bernhard Frey. Photography: Hans Rombach, Editing: Regina Fischer. Export Agent: Dagmar Brendecke Filmproduktion. Xantener Str. 18. 1000 Berlin 15. Germany.

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

Farewell Waltz tells the story of one day. the story of a woman and the story of farewell, of a parting.

Three times,

THE FIRST PHOTO OF MINE EVER TAKEN

FATHERLAND OCEVINA m: iko Jova Yu

avia/1989

uites/Colour

Milenko Jovanovic Yugoslavia/1990/35mm/20 seconds/Colour

Producer: Kontakt Film, Script: Milenko Jovanovic. Photography Zoran Jovanovic, Editing: Spaso je Jovanovic, Music: Paganke, Export Agent: Kontakt Film, 11.000 Beograd, Vojvode Stepe 198, Yugoslavia.

Producer: Kontakt Film, Script: Milenko Jovanovic, Photography: Zoran Jovanovic. Export Agent: Kontakt Film. 11.000 Beograd. Vojvode Stepe 198, Yugoslavia.

This is the first authentic document on the genocide of the Serbian population in the autonomous region of Kosovo.

A snapshot of childhood!

FIRE AND STEEL

FLAMES OF PASSION

Martin Dunkerton

Richard Kwietniowski

Eng land/1989/16mm/21 minutes/Colour

England/1990/16mm/18 minutes/Black & White

Producer: Cheryl Farthing, Leading Players: Richard Seymour. Don Greig, Script: Richard Kwietniowski. Editing: Peter Webber. Photography: Oliver Curtis. Music: Startled Insects. Export Agent: BFI Productions. 29 Rathbone Street. London. England.

Producer: Film School, Royal College of Art Queensgate, Leading Players: Lynne Verrail, Miles England, Tim Moran, Miranda Pleasance, Mark Moody, Export Agent: Film School Royal College of Art, Queensgate, South Kensington, London, England.

This pocket-sized re-working of Brief Encounter restores the melodramatic tradition with its high contrast black and white cinematography, emotive score and steamy railway station setting, but drastically alters everything else in a way that Noel Coward’s unconscious would have approved of. Aimed fairly and squarely at the heart, Flames Of Passion broadens the meaning of an Awayday.

Michael Nolan, born and bred in the steel city of Sheffield, returns from the Falklands, wounded and mentally scarred. Shrouded by the emotive nationalism of war, he and his family struggle to reconcile their guilt.

THE FOLLOWER

FOR THE SAKE

Linda Hassani

PAR AMOUR Solveig Anspach

England/1990/16mm/29 minutes/Colour

& Whit

France/1985/16mm/10 minutes

. f

....

■

Producer. Jane Caldwell. Leading Players: John Paul Morgan, Roderick Smith, Paul Bradley. Script: Cary Odes/Linda Hassani, Phoiography Keith Taylor, Editing: Liz Webber. Music. David Arnold, Export Agent. N.F.T.S , Beaconsfield Studios. Beaconsfield, Bucks. HPQ 1LG, England.

Producer. FEMIS, Phoiography: Jean Rene Duveau, Editing: Anne Riegel, Export Agent: FEMIS, 13 Avenue du President Wilson, 75016 Pans, France 21-year-old Maria killed her lover, a butcher, when he told her he was leaving Imprisoned in a French women's jail, she reveals the motives for her crime

London 1998. The government has privatised charity through the initiation of a tax dependence scheme. ' From the plates of the rich directly to the mouths of the poor. No middleman required.' Santi, unemployed and homeless, becomes the 'follower' of Jonathan Bingley, an upwardly mobile property developer

FOREVER

FOR THE PLEASURE

FUR IMMER Martin Enlen

POUR LE PLAISIR Nadia El Fani

Germany/1990/35mm/7 minutes/Colour

France/1989/35mm/6minutes/Colour

Producer: Planete Double. Leading Players: Catherine Le Prince, Michket Krifa, Script: El Fani Nadia, Photography: Yves Agostini. Editing: Chantal Piquet, Music: Martin Saint Pierre. Export Agent: Planete Double. 80 Rue Du Bae, 75007 Paris. France.

Production Company: Weltvertrieb Im Filmverlag Der Autoren GMBJ, Leading Players. Kerstin Gerlach, Oliver Deska, Lukas Ammann. Script: Martain Enlen. Phoiography: Martin Peglav, Editing Rainer Standke, Export Agent: Weltvertrieb. Im filmverlag Der Autoren GMBH. Rambergstrasse 5. 8000 Munchen 40. Germany.

Two girls make a life-size male sculpture in an artist's gallery. Later that night they have a visitor...

A short story about an everlasting love and children's vow of faith.

G YCEPT Mi us

FEARS

A GRAND DAY OUT Nick Park

ael Mine ?89/35mm

Black&White

England/1989/35mm/23 minutes/Colour

Producer: N F T S., Script & Photography. Nick Park, Editing: Rob Copeland. Music Julian Nott, Export Agent. N.F.T.S., Beaconsfield Studios. Station Road. Beaconsfield. Bucks. HP9 1LG, England.

Producer. Michael Miner, Leading Players Anne Galjour, Donald Grant. Le’sha Kennedy, Libby Osborne, Noel Philips, Fred Romagnola. Alex Shorf Script- Michael Miner, Photography- Mark Alberaing, Editing: Edie Set Icnioka, Export Agent Reel Shop Productions, 2650 Jones Road. Suite 17. Walnut Creek, California 94596

Wallace and his sophisticated dog Gromit, have to decide where to go for their annual picnic With a homemade rocket and large appetite they head for the moon, hoping to find it made of cheese. Their moon-tasting arouses the anger of the moon's resident, mechanical caretaker In the conflict that ensues, the earthlings unwittingly help the robot fulfil its dreams.

A sequence of surreal, unexplained images and gestures, reminiscent of a Last Year at Marienbad designed by Salvador Dali The cool monochrome photography is occasionally lit by flashes of dense colour and negative white on black, and the voiceless musical soundtrack combines old silent-movie soundtracks with Beethoven's Ode to Joy

GOING UP

GREAT DIVE, SHAME ABOUT THE SWIM

Gary Pollard

Anthony Hughes

USA/1989/16mm/30 minutes/Colour

lreland/1990/16mm/10 minutes/Colour

I $

Producer: Gary Pollard, Editing: William Haugse/Einar Westerlund. Photography: Gary Pollard/Mike Frisino, Export Agent: CINE, 1001 Connecticut Ave, NW. Suite 1016, Washington, DC 20036, USA., Awards :Oberhausen International Film Festival International Critics Award. Cine Golden Eagle.

Producer. Anthony Hughes/Gerald Murphy, Leading Players: Gerald Murphy, Mark Lawlor. Script & Editing: Gerald Murphy. Anthony Hughes, Photography: Anthony Hughes. Music: Anthony Hughes. Print Source: Anthony Hughes. 15 Old Mill Court. Malpas Street. Dublin 8.

Going Up presents the construction of a New York city skyscraper as a work of art. Over a period of eighteen months, eight time lapse cameras recorded the growth of the skyscraper from various wide angles, while on location up to five cinematographers captured the drama of high steel construction in detail via slowmotion. real time and pixilated cinematography.

A young adult standing at the edge of a seafront pier reflects on a series of recollections and imaginings. He traces a transition from an apparently secure childhood to the development of a sexual consciousness and it's coinciding relationship to a quest for spirituality. The actual role of memory in this search is also examined Finally, he walks away, unchanged; confronted with the challenge of living in the reality of the present.

HEARTSTRINGS

HOW TO MAKE AN ANIMATED F

Seamus Kelleher

KAKO NAPRAVITI CRTAMI Zlatko Grgic

Yugoslavia/1989/35mm/9 minute

lreland,USA/1990/16mm/16 minutes/Colour

Producer- Seamus Kelleher. Leading Players: Seamus Kelleher, Pat Thounsand. Donna Garland. Script: Seamus Kelleher. Photography: Fortunato Procopio, Editing: Tim Kramer. Music: Seamus Kelleher. Export Agent: Seamus Kelleher. 115 East 82nd Street, Apt. 2A. New York. NY 10028, USA.

Producer Zagreb Film, Script: Zlatko Grgic. Photography Rade Pazameta, Music: Ozren Depolo, Export Agent Zagreb Film, Vlaska 70, 41000 Zagreb, Yugoslavia

Over the past several years the homeless problem in New York has gotten totally out of hand. There are now one hundred thousand people living on the streets. This documentary traces the stories of six women and their children

How to make an animated film. Very difficult11

HOLDING MARGIE’S HAND

ICARUS

Jill Goldman

Johnny White lreland/1990/16m m/12 minutes/Colour

USA/1989/16mm/23 minutes/Black & White

■

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Producer: Jill Goldman. Script: Blair Tefklin, Photography: Nina Menkes. Editing: Fabienne Rawley, Export Agent: Jill Goldman. 130 S Vista Street L.A. 90036, California. USA.

Producer, Script & Editing: Johnny White. Leading Players: Hugh O’Connor, Pat Jeffares, Eamonn Clancy. Pascal Perry, Photography: Shane O’Neill, Richard West, Print Source- Dun Laoghaire College of Art & Design. Dun Laoghaire, Co. Dublin. Ireland.

Holding Margie's Hand is an intimate, comic look at the expectations, delights, and disappointments of friendship. What really goes on when two girls hang out?

The year is 1956, Jimmy Hill, the only son of aging parents must grow up. When his father is hospitalised he transfers his anxiety onto his last gift, Icarus a flightless budgie. Icarus's flight becomes synonomous with the loss of childhood, for Jimmy, like Icarus must learn to fly.

IN THE EXILE OF THE DROWNED TIGERS

IMAGINA M E

ra Sweer. :nd/1989/90

ninutes/Colour

IM EXIL DER ERTRUNKENEN TIGER Gi Brenig Germany/1988/35mm/10 minutes/Black&White

Producer: Moira Sweeney, Leading Player Michael Maziere, Script. Photography & Editing: Moira Sweeney. Export Agent: Moira Sweeney, 103 Shepherdess Walk. London N1 7QA. England

Producer: Gi Bremg. Script: Gi Brenig. Photography: Henri Alekan, Editing Nanna Relia, Music Augustyn Bloch. Export agent: Gi Brenig. An der Elisabethkirche 10. 53 Bonn 1. West Germany

Fragments of countrysides, objects, houses, interior spaces and outer worlds, but also almost bodily gestures of tenderness between camera and people. A dream-reality is created, the mosaic of a life, a diary of, electrical shadows, pure form of cinema.

She guards her experiences and wears them like the tiger wears its fur Events from different times intermingle without a trace, and perhaps at this very moment she experiences the love scenemaybe right now the sleep.

INTIMATE CONVERSATIONS

IMAGINE

Lindel Gum

Jean-Pierre Delattre

USA/1990/16mm/13 minutes/Black & White

France/1990/35mm/8 minutes/Colour

Producer: Lindel Gum, Leading Players: Jan Bargman/Sandra Bargman, Photography: Brady Lewis. Editing: Lindel Gum & Robert Colucci, Export Agent: Lindel Gum. 7420 Pennfield Place. Pittsburgh. PA 15208-2527, USA.

Producer: Les Films Opium, Leading Players: Claudine Wilde/Piero Von Arnim, Script: Jean-Pierre Delattre, Photography: Klaus Peter Weber, Editing: Catherine Eyrolle, Export Agent: Les Films Opium, 21 Rue Jussieu, 75005 Paris, France.

Intimate Conversations is a documentary focusing on the relationship of a woman in her early 50‘s to her 25-year-old daughter. The film is starkly shot: only the faces of the two women are shown in order to focus attention completely on this intensely personal examination of their lives — their connection to each other and their growth within that relationship.

Berlin. For the first time, a camera goes into the no man's land, between East and West. A single frame shot to tell thirty years of history shows the story of a man and a woman who are in love but are separated by a wall of absurdity.

JACK'S BICYCLE

LIFTED

John Moore

Salome Brezine

lrGland/1990/16mm/9 minutes/Black & White

USA/1989/35mm/15minutes/Col

je. \ ■

■

Producer Denise Hevey, Leading Players Darren McHugh. Clive Geraghty. Maire Hastings, Joe Jossers, Rita Clancy, Jim Cox. Tom McLaughlin, Script John Moore. Photography Harry Purdue. Editing: Paul Fitzgerald, Export Agent: Sinead Lemass. 4 Castlewood Terrace, Rathmines. Dublin 6. Ireland

Prooucer Scott Frank. Lead-ng Players Paul Gleason, Erika Anderson, Lana Clarkson. Script Herschel Weingrod. Photography Henry Vargas, Editing: Annamana Szanto, Music Al D< Meola, Export Agent Scott Frank. 6363 Sunset Blvd. Suite 930, Hollywood. CA 90028, USA

When the world was torn apart by war, Ireland had an emergency. Jack had an emergency too. he needed a new bicycle This is the story of one boy's cunning, determination and moral ingenuity.

Lifted, set in a crowded tram station during a single night, explores a dramatic and darkly comedic series of events in which irony seems to be the master of at least one man's fate Paul Gleason stars as a self proclaimed man-of-the-world/travelling-salesman whose eye for the ladies produces unexpected results

LADIES COFFEE PARTY

LLAW

KAFFEEKLATSCH Sabline Eckhard

Penelope Buitenhuis Germany/1990/16mm/9 minutes/Black & White

Germany/1989/35mm/15 minutes/Colour

Producer: Renee Gundelach, Leading Players: Gudrun Genest, Edith Teichmann, Edith Schollwer, Klaramaria Skala, Sabine Bethmann, Script: Sabine Deitmer, Photography: Raoul Coutard, Editing: Galip lyitanir. Export Agent: Movie Export. Adolf-Martens-Str. 2 A. 1000 Berlin 45, Germany.

Producer:Jurgen Bruning .Leading Players: Ines Berthel. Frank Mahr, Terry Ewasiak, Michael Beckmann, Script & Photography Penelope Buitenhuis. Editing & Music: P. Builenhms & Michael Beckmann, Export AgentUurgen Bruning Lucksuer Str. 3. 1000 Berlin 36, Germany.

Five widows are remembering the lives and deaths of their deceased husbands over a cup of coffee, cakes and a glass of port. Each of them has developed during their lives, unknown facilities

The film was conceived as an abstract diary combining archive footage, documentary material and metaphorical images all connected to the events surrounding the Berlin wall

■

LONDON

LING

MISADVENTURE

Pete Mulryan Irel?

990/16mn

Laura Curley lreland/1989/16mm/19 minutes/Colour

s/Colour

Producer & Script: Peter Mulryan. Leading Players Brendan Coyle, Christopher Mellows. Photography John Loader, Editing. Jim Duggan. Export Agent: RTE. Donnybrook, Dublin 4. Ireland

Producer & Editing: Laura Curley. Export Agent: Dun Laoghaire College of Art & Design. Dunlaoghaire. Co Dublin, Ireland

The true story of a young Irish man living the high life in London at the expense of the British taxpayer!

Set in a garage Misadventure revolves around Joe, an eighteen year old boy who regards this as his sanctuary. Images from the world outside invade his safe-hold and as the night progresses, he discovers that what has passed ultimately decides his future.

MEMORANDA

MOTHER, MOTHER

Mortimer O’Sullivan

Micki Dickoff

Ireland, Eng land/1990/16mm/10 minutes/Colour

USA/1989/35mm/30 minutes/Colour

kt Producer: Mortimer O'Sullivan, Leading Players: Roswitha Gerlitz, Dorothy Gould. David O'Sullivan, David Richter, Script: M.O'Sullivan, Photography: Seamus McGarvey/Don Buckley, Editing: Lol Sargent/Mike McDowell. Music Peter Falkner. Export Agent. Mortimer O'Sullivan, 18a Gwendolen Avenue, Putney, London SW15.

Producer: Micky Dickolf, Leading Players: Polly Bergin, Piper Laurie, Bess Armstrong, John Dye, Script: Ian Praiser, Photography: Joao Fernandes, Editing: Penelope Shaw, Music: Henry Mancini/Cris Williamson, Export Agent: Mother, Mother Productions. 1244 South Hayworth Avenue. Los Angeles. CA 90035, U.S.A.

Through her diary a woman reflects on the thoughts, obsessions and day to day rituals of her married life.

Mother, Mother explores the complex relationship between a young man with AIDS and his estranged mother and their inability to understand or accept each other's lives. Mother and son are at a stalemate of their own making; both will go to great lengths to justify their blind anger and stubborn resistance to change.

NEIGHBOURHOOD

NO FLOWERS

NACHBARSCHAFT Sabine Eckhard

hel.md I9J0 I6nim/I7 mini

Alan Archbold Jour

Germany/1989 35mm 8 minutes Celom

Producet: Patrick O Donoghue, Leading Players’ Oliver McGuire. David Herlihy, David Nolan. Caroline Rothwell, Script. Patrick O Donoghue/Alan Archbold. Photography: Liam O Neill. Editing Sheila MacDowell, Music: Brian O Donoghue. Export Agent: Patrick O Donoghue .180 Merrion Road. Ballsbridge. Dublin 4. Ireland

Producer Renee Gunde'ach. Leac-ng Payes Exeyn De er-ea Moritz. Frank Strecker. Anton Rattinger. Sene*: Sab ne De :-"er. Photography Raoul Coutard. Ed f^g Ga'p h :,v' -. Expo1: Age-”. Mox e Expoit, Adolf-Martens-Str. 2A. 1000 Be-'”' 45 Ge-ma-'y Several tenants of an apartment house in Berlin are report’ng to an invisible person behind a camera cn an occurrence sxh'ch took place the evening before in a neighbouring apartment

On the eve of his wife's funeral, a middle aged farmer feels himself coldly distracted from his returning family As grief slowly takes hold of each of them, relationships become strained eventually forcing his son to confront him

NO, NO, NONNO!

NEXT TO GODLINESS

Monica Pellizarri

Anne - Frederique Dujon

Australia/1990/16mm/27 minutes/Colour

England/1990/16mm/30 minutes Black and White

►

’soft

■

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■i.

Producer: Anne-Frederique Dujon. Leading Players: Harry Landis, William whymper. Script: Anne-Frederique Dujon/Russell Taylor. Photography: Clio David. Editing: AF Dujon. Export Agent: Anne- Frederique Dujon. 116 Junction Road. London NIG 5LB, England.

Producer Monica Pellizarn. Leading Players’ Carmine Mirto, Angelo D'Angelo. Nicoletta Boris, Script Monica Peliizarn. Photography: Brendan Young. Editing: Duncan Sinclair. Music: Glenn Tabuteau. Export Agent: Monica Pellizzari. 85 Cary Street. Leichhardt 2040. New South Wales Australia

A short film about the nature of confession set in a public convenience. A Catholic priest on a call of nature encounters the toilet cleaner and the parallels between their roles emerge The toilet cubicle is the modern-day confessional and its priest - the cleaner - washes away people's forbidden desires, expressed in the form of grafitti on the walls.

The story of a displaced Italian grandfather living in suburban Australia who dreams of returning to his birthplace of Naples. Nonno s mischiefs cause problems for all the family, especially his daughter-in-law Anna. His only real ally in life is Nick, his teenage grandson whom he involves in a self-made plot to save his aging friend Gennaro from a fate worse than death.

MAN

Joe

nham

Ireln

990/16mm

MAN

OUT TO LUNCH Leeds Animation Workshop England/1989/16mm/12 mlnutes/Colour

■)s/Colour

Producer. Script & Editing: Joe Tanham, Print Source Dun Laoghaire Coliegel of Art & Design, Dun Laoghaire. Co. Dublin, Ireland.

Producer. Script & Photography Leeds Animation Workshop. Editing: Angela Martin. Music- Anthea Gomez. Export Agent: Leeds Animation Workshop. 45 Bayswater Row, Leeds LS8 5LF, West Yorkshire. England

Bernie is enjoying her last few days at work before her retirement She will miss the girls when she leaves, after almost twenty-nine years on the assembly line, they have become almost family But Bernie is looking forward to spending more time with her Tommy

Set in a cafe. Out To Lunch shows a series of incidents between women and men which will be familiar to us all At the different tables we see women listening while men expound their opinions. Men take up all the space and time they need while women apologise for getting in their way Different incidents concern black women, women who are fat, and lesbians, but they all share the common appearance and behaviour.

122 WEBSTER

PAPERCHASE IN BERLIN

Daniel Robin,Pat Baum

Gaby Stratmann,SimonBahlsen

USA/1990/16mm/12 minutes/Black & White

England/1990/35mm/15 minutes/Black&White

Producer: Daniel Robm/Pat Baum, Photography & Editing: Daniel Robin. Export Agent: Daniel Robin, 230 Drake St., San Francisco. USA.

Producer: Gaby Stratmann,Simon Bahlsen, Leading Players: Neil Farrelly, Katherine Sandy, Anna Clementi, Randy Rupley, Script: Gaby Stratmann, Photography: Simon Bahlsen, Gaby Slratmann, Editing: Gaby Stratmann. Simon Bahlsen, Music: Simon Bahlsen, Export Agent: London International film School.

‘Representation of the subject, a heroin addict, artist and close friend is dealt with in a non-objectifying manner. We conceived a film that explores the personal lifestyle of an individual; a portrait that continually opens up for the spectator' —filmmakers statement.

Sam an English musician comes to Berlin looking for Isabella, who left him. She dosen t want him to find her but she wants him to look for her. His odyssey through the city becomes a search for the past and the future for both of them.

PAR KING

PICTURES FRO[ THEr

George Spyros

SLIKEIZ SJECANJa Nedeljko Dragic

USA/1989/16mm/24 minutes/Black&White

es/Co1

Yugoslavia/l989/35mm/13 .

■ ■Fm'- • BEfej/i’-

MORY

I ■

■

Producer Zagreb Film. Script Nedeljko Dragic. Photography: Rade Pazameta. Music Tomica Si movie. Export Agent: Zagreb Film, Vlaska 70, 41600, Zagreb, Yugoslavia.

Producer: George Spyros, Leading Players: Colleen Cavanagh, Vince Vaughn, Tom Dwyer, Script: George Spyros, Photography: Matthew Mindlin. Editing: George Spyros, Export Agent: Standing In A Lake Film Productions, 492 13th street, Brooklyn, N.Y. 11215-5207, USA.

This is the story of a life in stirring times between 1940 and 1960 Like in a dream, the author remembers pictures of early childhood and of the end of the youth

Anthony is Molly's best friend until she is whisked away by Buckley's Irish accent in this fast-paced reworking of the John Hughes teen film. The lip-sync and editing style of music videos is employed to underscore this story of the inevitable distance between people and their own pasts.

THE PRESENT

PARIS - MARSEILLE Pierre Vinour

Horst Wieschen

France/1990/35mm/4 mlnutes/Colour

lreland/1990/16mm/18 minutes/Colour

Producer: John O'Donnell, Leading Players: Ger O'Leary, Cecil Sheehan. Maire Chinsealach, Don Foley, Joe Pilkington, Script: Horst Wieschem Editing: Chris Dickens, Horst Wieschen. Photography: Cian De Buitlear’ Export Agent: John O'Donnell, 32 Bingham Road. Winton. Bournemouth.’ Dorset. England.

Producer: Lou Films, Script: Pierre Vinour/Pascal Mieszala, Photography: Eric Weber, Editing: Toby Trotter. Music: Cyrille Dufay, Export Agent: Lou Films. 20 Rue Ernest Lacost, 75012 Paris, France.

Driving from Paris to Marseille...

Gorumna Island, Ireland. A red parcel arrives from the heart of London. It quickly becomes the centre of curiosity and intrigue by the Islanders as we follow its journey and encounter many amusing moments along the way.

QUEIMADA Me

us Werni

Gei

ny/1989/90'

SALVATION GUARANTEED Karen Ingham

tninutes/Colour

England/1990/16mm/21 minutes/Black & White

/ / '•

JESUS

DIED TO SAVE YOU FROM HEll

~~TT --<5

ft-

I.-i . -i.■

Producer: Theo Hinz, Script. Markus Wernig/Ralf Hertwig, Photography Klaus Merkel B.V.K., Editing Markus Wernig, Music. Moritz V Oswald/Ralf Hertwig, Export Agent: Weltvertrieb Im filmverlag Der Autoren, Rambergstr, 5, 8000 Muenchen 40, Germany.

Producer James Morgan, Leading Players: Pamela Blake, Patricia Ede, Mark Caven, Script & Editing: Karen Ingham. Photography: Roger Hewins. Music Jan Kopinski, Export Agent. B F.l. Production, 29 Rathbone Street, London. England.

Oueimada deals with the topic of the destruction of the tropical rain forest, in an abstract and symbolic way. The film shows the whole cycle of destruction, from the original idyllic scenery up to the imminent apocalypse

An evangelical road movie cum melodrama with the video vicars planning the route

SAINTS AND SCHOLARS

THE SCHOOL BUS

Eamonn Manning

Ted Sheehy,Cathal Black

lreland/1990/16mm/15 minutes/Colour

lreland/1990/16mm/12 minutes/Colour

Produced, Script & Editing: Eamonn Manning. Print Source: Dun Laoghaire College of Art & Design, Dun Laoghaire, Co. Dublin, Ireland.

Producer: Cathal Black, Leading Players: Michael MacAulilfe, Ruth McCabe & the children of Roundwood National School, Script: Ted Sheehy, Photography: Donal Galligan, Editing: Geraldine Creed & Brendan MacCarthy, Music: John Dunne. Print Source: Ted Sheehy. 15 Tubbermore Road. Dalkey, Co. Dublin, Ireland.

Fr. Ryan has presided over his North County Dublin parish for the past twenty years. A priest from the old school, he has resisted change resolutly. But the pressure from his local bishop to do something about his dwindling congregation forces him to take some extraordinary measures.

The man who drives the school bus offers his young passengers a fairytale travelogue. But the reality of his life and his memories is somewhat different...

SEA

SECRET RAGE.

Richard West

Sheila M.Sofian

lreland/1990/16mm/13 mlnutes/Black & White

USA/1990/16mm/3 minutes/Bla'

Producer, Script & Editing. Richard West. Print Source: Dun Laoghaire College of Art and Design. Dun Laoghaire. Co. Dublin, Ireland.

Producer & Script Sheila M Sofian, Music: Maureen Spranza. Export Agent: Sheila M. Sofian, 24817 Walnut Street. Apt 9, Newhall. California 91321. USA

Cleggan is a small fishing village on the Connemara coast. Life has not changed much in the village's long and tragic history. Fishing is a way of life, and an accepted death for the inhabitants The turbulent seas of the North Atlantic wrapped in myth and legend decree the fate of the men who brave her.

Secret rage animated in black and white

White

SERPENT RIVER

SEA STORY

Sandra Lahire

David Silberberg

England/1989/16mm/30 minutes/Colour

USA/1987/16m m/5 minutes/Colour

V I

Producer: Channel 4/ Arts Council of Great Britain. Script, Photography & Editing: Sandra Lahire. Music: Paul Battah/Warren Smith, Export Agent: British Council, 11 Portland Place. London WIN 4EJ. England.

Producer: David Silberberg, Leading Player: R.A. Silberberg. Script: R.A. Silberberg, Photography: Harrod Blank/David Silberberg, Music: David Silberberg, Export Agent: D. Silberberg, 5725 Idlewild Avenue. Livermore, California 94550. USA.

Serpent River is a small settlement in Northern Ontario, surrounded by virgin forests and white-water streams, but also dominated by the buildings, quarries and slag-heaps of the Rio Tinto Mining Company which originally gave birth to the town. Yet even these brooding blots-on-the-landscape are made to seem insignificant compared to the lingering damage that's caused by the product the company mines: radioactive uranium ore; leaching into the water, contaminating the air. crackling its way into every pore.

Becky tells a maritime tale, and then she swims away.

60 I!

SIGNATURE Mar*

i Pick

Engl.'

l990/35mn

SNAIL’S PACE Grant La Hood ites/Black & White

New Zealand/1989/35mm/4 minutes/Colour

4 £ • •

Animation: Martin Pick, Producer: Richard Bell, Music: Bruce Gilbert, Export Agent B.F.I. Production, 29 Rathbone Street. London, England

Producer Grant La Hood. Script: Grant La Hood, Photography: Richard Block, Editing. John Gilbert. Music: Michele Scullion, Export Agent: New Zealand Film Commission, P.O.Box 11 546 Wellington, New Zealand. A common garden snail sets off on an epic adventure to claim a faraway lettuce. Many difficulties await him but nothing will stand in the way of his lunch.

A young VDU clerk works in a suffocatingly ugly and dirty modern London where he is terrorised by abusive beggars, a bullying boss and the boredom of his work.

SLIPPAGE

SPUD

Patti Bruck

John Wentworth

USA/1990/16mm/30 minutes/Black & White

USA/1990/35mm/30 minutes/Black & White

= Producer: Patti Bruck, Photography & Editing, Patti Bruck, Music: Edgard Varese, Export Agent: Patti Bruck, 2425 6th Street, Boulder, Colorado 80304, USA

Producer: John Wentworth, Leading Players: Tuck Miligan, Maria Martinez, Kay Tomburg, Frank Avila. Script: John Wentworth, Photography: Phedon Papamichael. Editing: Zach Staenberg, Music Don Davis, Export Agent: John Wentworth, 6351 Primrose Avenue, Hollywood, California 90068, USA.

Slippage is an experimental documentary film exploring the situations of three sisters, their expectations of marriage and motherhood and the reality they have experienced. The film addresses the pressures to adhere to roles dictated by a culture that is neither comfortable with nor encourages individuality, and how those pressures are most fully exerted in the institution of marriage. The film addresses issues of alienation within the nuclear family, the problems of aging, and the struggle for identity and self empowerment.

Spud is the story of a group of space travellers who have the misfortune to run out of fuel and land on our planet. They become involved in a difficult domestic situation with tragic consequences for all concerned.

■

SUN CHILD

STEPHEN

Driss Tahiri

Johnny Gogan

Morocco/1990/35mm/20 minutes

lreland/1989/16mm/18 minutes/Colour

□r

Producer. Sanm Fassi Fihri, Leading Players. Bradley Cole. Souad Arrudou. Hassan Foulane, Script Dnss Tahn & Gilles Laurent. Photography Pascal Ridao, Editing Sylvie Quester. Music- Sami Gozlan. Export agent: DrissTahri. Moroccan Productions and Services. Casablanca. Morocco

Producer: Johnny Gogan/Siobhan Gibbons. Leading Players. Donal O’Kelly. Jack Lynch. Pat McGrath. Paul O'Hanrahan. Photography: Donal Gilligan. Editing: Brendan McCarthy/Geraldme Creed. Music. Terry Cromer/Vinny Murphy. Export Agent: Film Base. 6 Eustace Street. Dublin 2

Locusts are about to swarm a small village in the deep south of Sahara Tom Newside, a young American is a specialist in pesticide He is welcomed at the airport by Sami, an old and friendly guide. The attitude of Sami, his way of talking and arguing, is so different from Tom Newside's way of thinking, that the atmosphere becomes tense. Sami is wounded Tom leaves truck and guide to go looking for help. Tom finds people who's life is so strange and curious A strange and quiet woman explains to him that 'these men are praying for the sun to rise'.

Stephen Roche’s victory in the Tour de France catches the imagination of his native city. For Stephen Hurley, out of work and in trouble, the news sets his black and white reality alight and draws him into a psychotic colour chrome fantasy of travel and pursuit.

STILL DARK Spiro Kyriacou

SWING

England/1989/16mm/25 minutes/Colour

Joachim Bode Germany/1990/16mm/8 m in utes/Black&White

Producers: Spiro Kyriacou & Alvin Leong. Leading Players: Martha Parsey. Alex Wright. Neale Goodrum, Anne Bennetts, Script: Spiro Kyriacou. Photography: Alvin Leong. Editing: Spiro Kyriacou, Music: Various, Export Agent: Spiro Kyriacou, 2 Oak Avenue. Chorlton, Manchester M21 2BB. England.

Producer: Joachim Bode, Script: Joachim Bode, Leading Players: Bernd Laulfer, Photography: Davoud Kanani. Editing. Behzad Beheshtipour. Music: Rainer Gob. Export Agent: Joachirri Bode, Rhemstahl 17. D-3502 Vellmar, West Germany. Awards: First Prize: No Budget Festival, Hamburg 1988. Swing tells a kind of Sisyphus-story which intention points beyond the shown. In a desert-like nowhereland. a person tries to swing in the air on a children’s swing, apparently a children’s game, but nevertheless an enterprise bound to fail.

Young Cathy and Paul live with their parents in a gloomy suburban house. The image of a windmill attains a special significance for Cathy, as her father’s mysterious illness worsens, and the general decay and claustrophobia of the city-scape take hold.

THEY BROUGHT THEIR OWN COFFEE

TROJANS

Alex F sadsky

TOWES Constantine Giannaris

USA/19'

'6mm/9 mil

ck & White

England,Greece/1989/16mm/30 minutes/Black & White

a I /' I 1 \ V*

Producer- Electra Films, Leading Players: Cyril Epstein. Rupert Cole. Script & Editing: Constantine Giannaris, Photography: James Welland/Duncan Reekie. Export Agent: Electra Films. 85 Richmond Road. London E8. England

Producer Marjorie Franklin, Animation Alex Prisadsky, Music Alex Prisadsky. Export Agent: Alex Prisadsky. 4333 Holden St Apt 54, Emeryville. California 94608. USA. A largely animated film composed of white lines against a black background

An interpretation of the life and work of Konstantin Kavafy, a poet who lived in Alexandria in the 19th century. His work imaginatively combines motifs from Greek history with eroticism.

TRIPLICITY

UHLOZ

Jack Leustig

Guy Jaques

USA/1989/35mm/16minutes/Black & White

France/1989/35mm/13 minutes/Colour

Producer: Jack Leustig/ Roberta Grossman, Leading Players: Jason Beghe, Peter Allas, John Cardone, Douglas Seale, Joyce Hyser, Script: Jack Leustig, Photography: Mark Walton, Editing: Larry Renick, Music: Jan Prostick, Export Agent: Jack Leustig, Seed On the Breeze Productions. 1173 N. Ardmore Ave., Los Angeles, CA 90029, USA.

Producer: Tagreb Films, Leading Players: Myriam Mezieres, Mado Monn, Script: Guy Jacques. Photography: Jerome Robert, Music: Francois d' Aisme, Export Agent: Tagreb Films. 20. Rue Mathurin Renaud. 93000 Bobigny, France.

Three young men, Dan, Corky and Angelo, find themselves in a strange dark place - a black and white world, clearly a step away from reality. There they are confronted by an Old Man who asks them to recall their eventful night out together. They travel back, with some reluctance, to that night and to an encounter with a girl they met in a bar and a fight in a speeding car....

Uhloz is the story of the adventures and misadventures of two children on Christmas Eve.

UNKNOWN SECRETS: ART AND THE ROSENBERG ERA

THE UNTOUCH/ L’INTOUCHABLE Michael Gauthier

Daniel Keller USA/1990/16mm/29 minutes/Colour & Black & White

France/1989/35mm/6 minutes/Bla

Producer: Daniel Keller. Charles Light, Rob Okun. Script: Charles Light, Rob Okun, Photography: Daniel Keller. Editing: Daniel Keller, Music: Patty Carpenter/ Richaro Corey, Export Agent: Green Mountain Post films, P.O. Box 229'37 Ferry Road. Turners Falls. MA. U.S A.

Producer: SAVEC. Editing- Claude Cobast. Photography Francis Promer. Music Pierr Johvet. Export Agent. Umfrance Films, 4 Villa Bosquet, 75007 Pans.

Commies, Atom Spies. Fellow Travellers. For more than forty years these, and other phrases, helped keep the Cold War alive Now, we are told, the war is over. For those who wish to understand the origins of the Cold War. Unknown Secrets: An and the Rosenberg Era provides a dramatic introduction.

A single word on an imperfect form and all of life turns upside down Would it not be easier for her and those around her to confront the inescapable or indeed is it chance that directs her close to this narrow path7 Yes. turn the page before it gets known but for what hope, because she has become untouchable.

White

WE’RE NOT A NUCLEAR FAMILY ANYMORE

UNTITLED 1987

Kayla Parker

Barry J. Hershey

England/1989/16mm/5 minutes/Colour

USA/1989/16mm/6 minutes/Colour

I 4'

Producer: Kayla Parker, Script: Joanna Parker. Kayla Parker. Photography & Editing: Kayla Parker. Export Agent: London Filmmakers Co-op. 42 Gloucester Ave., London NW1 8JD, England.

Leading Players: Peggy Hickey, Script: Barry Hershey, Music: Phil Pelletier, Export Agent: Barry Hershey. 900 Tanglewood Drive, Concord. MA 01742. USA.

An animated autobiography about childhood.

Untitled 1987 challenges our common perception of reality, and, through cinematic means, suggests the possibility of a deeper and more profound reality. This meditive film poem explores the mystic’s vision of the oneness of all through the use of camera, music, movement, color and light.

WH M I W" Davi:

ates

Englai

89/90/16:

\ GIRL

Opera House Friday, Oct 12th 16.00

LATE ENTRY iiutes/Black & White

A CASUAL WALTZ Svetlana Proskurina USSR/1989/35mm/95 minutes/Colour

■

■ ■

Producer: David Yales. Leading Players Katy Smith. Peter Woollaston, Scnpc David Yates, Photography: Haydn Denman/Rob Giles Editing Paul Innman, Export Agent: David Yates, 7 Compass Close, Cowley. Oxford 0X4 5XS, England.

Producer; Lenfilm Studios Production, Leading Players: Alla Sokolova, Tatyana Bondareva, Alexei Serebryakow, Script: Pavel Finn, Photography: Dmitry Mass. Music Vyacheslav, Export Agent: Sovexportfilm, 14. Kalashny pereulok Moscow, 103869, USSR.

When I Was A Girl tells the story of Anne , a child growing up in a Whiltshire town after the Second World War. An atmospheric, period drama, it details the key moments which make up the child’s life; her parents continual fighting, the death of her father, and the gradual awakening of her own sexuality.

The film features the drama of an aging woman. Her daily life is full of petty worries and void of holidays, without a right to hope, without a hope for the future, without any expectations of happiness. She lives in a silent conflict with her own loneliness and someone else's youth. A sequence of events follows.

The woman’s apartment becomes a dwelling-place of noisy lodgers with some stormy relations, of people coming on business trips, of her former beloved who marries her former girl-friend... It's a casual waltz, with everyone dancing out of time, in a mismatched couple - forming a general circle of those who are right and those who are guilty, of "executioners’ and ‘victims’.

Awards: Golden Leopard, Locarno Film Festival 1990.

FOCUS ON SU FRIEDRIC ■ Innovative and adventurous, Su Friedrich is at the vanguard of the 'new wave' of filmmakers who have sought to broaden the scope and appeal of experimental filmmaking while still retaining the excitement associated with the cutting edge of cinema.

Programme 2

GENTLY DOWN T ;E SI

^AM

1981,14 min

Programme I

COOL HANDS, WARM HEART 1979, 16 min Shaving armpits and legs, braiding and cutting off hair, applying make-up: normal private rituals undergone by millions of women daily. Su Friedrich casts these activities in an entirely different light, revealing them as acts which smack of bizarre sado-masochism - the everyday acts of violence that women have accepted as part of their attempts to refashion their nature into the cleaned-up, pared-down image of glossy magazine mannequins.

DAMNED IF YOU DON’T 1987,42 min

More personal than her earlier films, Gently Down The Stream is structured around dream fragments, recollected and transformed for the film medium in the form of fourteen vignettes that reflect conflicts about sexuality, religion and personal relationships.

THE TIES THAT BIND 1984, 55 min

"Terse, eloquent and direct, this quasi-narrative film essay about women, religion, sexuality and convent life is certain to shock the literal-minded. But if you’re curious about recent feminist debates about women’s sexuality or just in an adventurous frame of moviegoing mind, you should find this brief work to be well worth your attention.

"Filmed in crisp, stark black and white, Damned If You Don't begins with a dissection of the 1947 Michael Powell and Emeric Pressburger film Black Narcissus, a romantic drama about a group of British nuns trying to establish a convent in the Himalayas. The conflict in that film between what Friedrich describes as the ‘good nun' and the 'bad nun' suggests that certain aspects of religion are intertwined with sexual needs. This suggestion is underlined by Friedrich in her film, in the ‘dramatic’ segment wherein a young novice is seduced by a beautiful young woman artist. This is clearly volatile material, but Friedrich handles things with great care, interested neither in cheap sensationalism nor in taking cheap shots at the Catholic Church." David Ehrenstein, LA Herald Examiner “Sweetly passionate, genuinely innovative" The Village Voice

The Ties That Bind presents the compelling story of an 'ordinary* woman (the filmmaker’s mother) living through the extraordinary times of Nazi Germany. However, instead of making a traditional documentary, Friedrich chose to use her own cinematic techniques (such as words scratched directly onto film, and wild-sound interviews) to explicate rather than illustrate the text and to create a conversation between the images and the sound-track. Juxtaposing images of Friedrich’s mother’s daily activities with stories of her past, newspaper headlines, most relating to Nazism and present day footage of West Germany, the film becomes more than an interview of a mother by a daughter - it is a profound search for the definition of history and a challenge to our own responsibility for the present.

Progi

MME 3

SCA

TISS\

1979,

fin

■wcord shot through with mthropolo{ A kind ,;ue observes the striking ntent, Sea; polemic /etween womo n walking on shaky, spiked contrast pedestals with a tentative but graceful gait and the heavy, dark solidity of men who stand and watch from their fixed position of security and supposed dominance.

BUT NO ONE 1982, 9 min Based on a single powerful dream, this film organises a set of images from Friedrich’s own neighbourhood around a poetic text (the words scratched directly onto the film emulsion) which contains the content of the dream, placing the dream into a context of Friedrich’s own world.

SINK OR SWIM

Artist's Statement "I would like to think that the films speak for themselves, but it might be useful to explain how and why I choose to experiment so much with the form and structure. I studied art history and then worked for four years as a black-andwhite photographer, which gave me a profound respect for the expressive power of static, single and silent images. When I began making films, it was a thrill, and a great challenge, to record motion and to create unpredictable relations between images but my eye for silent, singular images held sway, as did my love for the particular beauty of black and white. I certainly admire many narrative and documentary films, but instead of creating or reproducing a familiar world, it’s been more exciting to collect an odd assortment of images, both scripted and shot from real life, and to edit them so that unfamiliar environments, states of mind and rhythms can emerge. Moreover, by using black and clear leader, by writing on the surface of the film, by reprinting and manipulating images, and by the disjunction of sound and image, one is never entirely seduced by 'the world within the film'; one is always, reminded that each film is an artificial construction of a series of disparate images which are forced to peaceably coexist and communicate with each other. The artist as diplomat?

"Despite my interest in extending the language of film, I find that people tend to pay more attention to the content perhaps out of a long-standing, misguided notion that women, unlike men, are more concerned with content than with form. In my case, each film does begin with an obsession about a particular issue (personal appearance, ‘bad’ dreams, political guilt, and sacrilegious desires), and it's been a great relief to discover that one can become much stronger by articulating one’s fears, anger, desires or hope. But the challenge comes in trying to push film beyond its usual narrative capacities, so that those issues can be most precisely conveyed, so that the form takes as many risks as the content.

1990, 48 min

"Experimental film is usually considered a poor cousin to ’real’ filmmaking, and I’m often asked whether this work is just a prelude to making narrative features. Perhaps people aren’t as eager to be challenged by experimental films as they are glad to be entertained by narratives, but each style has its limitations and rewards, and each deserves respect as a separate but equal art form. I’ve certainly learned as much about the human mind and heart through seeing experimental films as I did growing up on features.”

Through a series of twenty-six short stories, a young girl recounts the events that shaped her childhood and formed her adult perceptions of fatherhood, family, work and play. The stories are told in a simple, direct manner, but are full of ambiguity, confused loyalties, and an apprehension of danger and loss. "I can think of no more corrosively moving refutation of ‘the law of the father’ than ... Sink Or Swim . Summoning her nerve, Friedrich rather fearlessly refines her earlier researches into unexplored areas of memory, dream and desire. Sink Or Swim shows how, with a few sudden, powerful strokes, the supposedly submerged familial past, can overtake and threaten to drown our supposedly buoyant familiar present. Friedrich’s film provides a stunningly sensual exploration of the discontinuous interrelationships between voice and image. This exploration effectively dispels the patriarchal force latent or perhaps not so latent - within the representations of memory" Ernest Larsen

Su Friedrich

■

THE MEDIA SHOW The Media Show is U.K. Channel 4’s prestigious weekly arts and media magazine programme. Its thoughtful, irreverent journalism, lively one-hour format and high production values have established the series internationally as one of the best programmes of its kind in the world.

The programme makes essential viewing for those interested in the world of film, television, the press, music industry and advertising and offers a 'behind the scenes look at these industries. The programme has built its excellent reputation on its incisive, intelligent reporting, its sense of fun, and the wide range of creative work it covers.

Media Show Producer, Jane Root, will be present to introduce the screenings. Programme 1: Cinema

DAVID LYNCH In American movies, nasty things often lurk beneath the calm surface of the American small town. With the help of David Lynch (Blue Velvet, Twin Peaks), Joe Dante (Gremlins) and David Thomson (Suspects), The Media Show probes behind the white picket fences - and discover that it all starts with It's A Wonderful Life.

SPIES Trench-coats, attache cases, secret rendezvous on park benches - no other literary genre has proved so perfect for television adaptation as the spy thriller and no other has so consistently held audiences' attention. Filmed before the revolutions in the East, The Media Show looks at the success of spy dramas and ask where their future lies now that Glasnost has removed a reliable enemy from the plot.

THE BIG MAN The phenomenon of Scottish machismo is explored by looking at the filming of William Mcllvanney’s novel The Big Man. The show talks to Mcllvanney and Billy Connolly who stars in the film and Jimmy Boyle (once dubbed 'Scotland's most violent man') and asks 'will the media stereotype of the Glaswegian 'hard man’ survive in the 90’s?

CHILEAN ELECTIONS A report on the advertising agencies who successfully ousted Pinochet last December - and the story of how the political film-makers turned ad-men survived during the bleak years of repression.

BODY HORROR Horror movies never go out of fashion, they’re just adapted to mirror each new generation’s fears. The latest trend in these image conscious times is ‘Body Horror’. The threat is no longer external but comes from within the body itself providing a field day for make-up artists and special effects designers. The Media Show talks to David Cronenberg (The Fly), John Carpenter (The Thing) and Clive Barker (Hellraiser) about the trend that started with John Hurt’s upset stomach in Alien.

Programme 3: Advertising & Television

BENETTON A report from London, Italy and America on the international controversy stirred up by two new posters in the immensely successful multi-racial Benetton advertising campaign. Accused of being both too reactionary and too progressive, the advertisements were withdrawn at a cost of millions of pounds. FRIENDS OF THE EARTH & INFINIT ADS In an effort to reach the unconverted, charities and environmental lobbying groups have had to join forces with those bastions of consumerism; advertising agencies. Following the making of Friends of the Earth’s first commercial, The Media Show talk to the key figures on both sides of this unlikely relationship. We also look at the advertising for the Nissan Infinity. Having decided that the 'Greed is Good’ era has passed, these ads eschew the use of the word 'ad’, preferring 'Zen-spot' as the aim is to make the viewer relax, and feel at one with nature (and sell cars).

EPK’S Film studios have come up with a novel way of sparing their stars from an endless stream of dreary interviews and trivial chat shows - the Electronic Press Kit. A neat video package of clips, behind-the-scenes action and sanitised star interviews allows even the most modest programme to feature those big names. The Media Show talks to Dudley Moore, Danny De Vito, Mel Gibson...

Programme 2: Politics HIDDEN AGENDA Ken Loach’s powerful and controversial thriller set in Northern Ireland makes serious allegations about real-life treachery at the heart of the British Government. Despite the fact that the film had to be made in virtual secrecy. The Media Show gained exclusive access to the set and asked the director, the writer, the producer and the stars why they felt that this film had to be made.

MP’S MEDIA TRAINING On the eve of the introduction of television cameras to the House of Commons, The Media Show, sits in on a media training session for four MPs. How are they being taught to dress, stand and speak? What effect will this have on the democratic process? Will the public tune in or switch off?

GERMANY _ The week before the Berlin Wall came down, The Media Show crew filmed secretly in the East. Talking to Berliners from different backgrounds, they were able to discover the role television played in this popular uprising and what East Germans really think about their window on the West.

fE FEMINIST MINUTES An invitat women to their min response women w awarded Feminist A

Film Board to Canadian would "tell us what is on provoked an enormous film community but from ..elds. Sixteen women were ,000 and five ?els of film each. The Five ites programme is is the result. 'torn the C; mt propos. id in their not just fr ig in a vair

FAMILY SECRETS Kim Blain,Lorna Boschman One woman reflects on a fishing trip with her grandfather, but from this tranquil scene, the terrible recollection of sexual abuse resurfaces.

NEW SHOES Ann Marie Fleming Gaye, a woman in her early 30's, sits at a kitchen table, sipping tea, and tells us about her first great love and the bizarre conclusion of their romance. ESCAPADES OF THE ONE PARTICULAR MR. NOODLE Sook Yin Lee A comedy of obsession and assimilation - The Peking Opera meets Tupperware. The true account of a firstgeneration Chinese Canadian's attempt to fit into the white middle-class suburb of Lyn Valley, B.C. in 1966.

SHAGGIE Janice Cole Marlene Moore was incarcerated in juvenile facilities at the age of thirteen. She spent the next twenty years behind bars. In 1988, Marlene ended her life at Kingston’s Prison for Women. She was 33 years old. Known as Shaggie to her friends, Marlene made headlines in the mid eighties with a sensational trial that branded her as 'Canada's most dangerous female offender.' Despite efforts by her friends to erase that label, it haunted her to her grave.

A LETTER FROM VIOLET Elaine Pain Dedicated to the memory of Violet McNaughton, a Saskatchewan pioneer who was instrumental in changing that Province's legislation in 1916 to allow women the right to vote.

RHEA Angela Gagnon,Jennifer Kawaja A film that examines the definitions of women and earth as providers of life - definitions imposed on them by a patriarchal society.

TOO TOUGH Marie Annharte Baker Based on the two poems "Hooker Moon" and "Penumbra", Too Tough is a visual eulogy to urban Native women living on the streets.

LET'S RAP Alison Burns "Women speak your mind!" says one of the rap singers in Alison Burn's film collage heralding the views and blues of Canadian women of all ages and races.

WE'RE TALKING VULVA Shawna Dempsey Structured much like the average rock video, Shawna Dempsey's film has a slight twist; the lead singer is a lifesized, dancing, rapping vulva. The vulva represents "Every Woman" - she shops for groceries, works on a construction site, visits the hairdresser, banks, tobaggans and plays in her band, "Bad Tribe".

THE UNTILLED STORY Cathy Quinn,Frances Leeming Using stock footage, puppetry, and real-life clips, Leeming and Quinn draw an analogy of women as flowers who need nurturing by positive female role models.

PETIT DRAME DANS LA VIE D'UNE FEMME Andree Pelletier Rebecca is thirteen. She just got her period and she's not happy. She locks herself in the bathroom and refuses to become a woman. The whole family - one at a time - tries to reason with her through the bathroom door.

NO CHOICE Chrlstene Browne No Choice is about reproductive choice and poverty, and how the two issues relate. The decision to have an abortion is difficult at the best of times, but for women in poverty the issue is rife with complexities.

MINQON MINQON: WOSQOTMN ELSONWAGON SHIRLEY BEAR: RECLAIMING THE BALANCE OF POWER Catherine Martin Shirley Bear a Maliseet artist living in New Brunswick, discusses the spiritual energy that fuels her creativity. In her paintings, she re-interprets the ancient petroglyphs (Indian rock carvings) and the Maliseet way-of life before the European conquest.

EXPOSURE Michelle Mohabeer The film focuses on women to have been marginalized and alienated by racism and homophobia.

PROWLING BY NIGHT Gwendolyn Gwendolyn, a part-time prostitute and stripper in Toronto, documents the harassment faced by sex trade workers in their crusade to promote safe sex.

COME INTO MY PARLOUR Mary Lewis An animated short which explores the myths and meanings of spinsterhood.

ITALIAN SEASON In response to the astounding success of Guiseppe Tornatore’s recent Cinema Paradiso, we felt it timely to recall the rich tradition of Italian cinema from which Cinema Paradiso derived its magic. Our short Italian season comprises six features spanning five decades and ranges from De Sica's neo-realist masterpiece The Bicycle Thieves to last year’s Moscow Prize-winner, Maurizio Nichetti’s parodic LadriDiSaponette(The Icicle Thief).

er. His i. which he believes he killed his s in a psychiatric hospital and his mo. has bec< drug addict, rMarcello — reacts ‘ by ’lurr. , g towards ■i ality, ling a marrying an ‘ordinary’ middle-class girl and b Fascist agent. Using his honeymoon as a cover, , agrees to go to Paris, rendezvous with the thug Managniello (Gastone Moschin) and kill his exiled former university teacher, the anti-fascist Quadri. The film abandons linear time for a fragmented, hallucinatory exploration of fascism, sexuality and betrayal.

All screenings take place in the Capitol Cineplex Monday 8th to Saturday 13th October at 15.00 in Screen 6.

Thursday 11th

Monday 8th

THE NIGHT OF SAN LORENZO

BICYCLE THIEVES

LA NOTTA DE SAN LORENZO Dir: Taviani Brothers, Italy ,1981, 107 mins LP: Omero Antonutti, Margarita Lozano Subtitled

LADRI DI BICICLETTE DirVittorio De Sica, Italy, 1948, 90 mins LP: Lamberto Maggiorani, Enzo Staiola, Lianella Carell, Gino Saltamerenda Subtitled

"On the Night of San Lorenzo, the night of falling stars when wishes come true, a woman recalls for her loved one another such night long ago when a group of peasants fled the Nazis through the Tuscan countryside and exploding shells shot through the sky instead of stars. The Taviani Brothers have transformed this story from their own childhood into a collective epic handed down orally through the decades but wildly embellished in the retelling". Time Out

A working-class Italian, out of work for some time, has the bicycle stolen which he needs for a new job. With his son, he spends his Sunday wandering around Rome looking for it.

"Bicycle Thieves is a wholly satisfying film in that De Sica has so simplified and mastered the mechanics of the job that nothing stands between you and his attention..... The story of that heartrending search after the stolen bicycle is now too familiar to bear retelling....The ironies, oddities, and heartbreaks of this adventure in the modern jungle connect with the experience of any town-dweller who has been isolated at some time by misfortune, great or small, and finds his familiar world suddenly hostile and strange...a superlative exercise in screen realism." Screen International

Friday 12th

IDENTIFICATION OF A WOMAN IDENTIFICAZIONE DI UNA DONNA Dir: Michelangelo Antonioni, Italy,France, 1982 LP: Tomas Milian, Daniela Silverio, Christine Boisson Subtitled "Very much the film of an elder statesman arrogantly conscious of being the most ‘modern’ director of his generation. It is a contemporary love story - based upon a film-maker's chance encounters with two women...Visually this is perhaps Antonioni's most beautiful film to date, effortlessy fleshing out familiar themes around the difficulties of establishing relationships in our times. But there is much more. Most notably, a refreshing irony prevents the hardened art house punter from wallowing in nostalgia and the metaphysics of ‘portentious messages’." Time Out

Tuesday 9th

LA STRADA Dir: Frederico Fellini,Italy, 1954, 107 mins LP: Giulietta Masina, Anthony Quinn, Richard Basehart Subtitled

La Strada, one of the true masterpieces of modern cinema,is a serio-comic tragedy in which Fellini presents many levels of emotion and contrasting images. Its abiding message is that everyone has a purpose in life, a philosophy manifested through the lives of the three leading characters. Gelsomina is the self-sacrificing doe eyed simpleton (love) who becomes the chattel of Zampano, the animalistic circus strong man (brutality). The catalyst in their fatal relationship is II Matto, the Fool, whose prescience helps the ignorant Gelsomina to see her own value as a human being (imagination). On one level the story is a fable, a variation on Beauty and the Beast, with Gelsomina, whose beauty is within, loving the beast. On another level it is a religious allegory in which the Fool, says Fellini, represents Christ. It is also an unprepossessing story of life's rejects, for whom Fellini has always shown compassion, struggling with their own solitude. This juxtaposition of realism, fantasy and spirituality makes La Strada unique.

Saturday 13th

THE ICICLE THIEF LADRI DI SAPONETTE Dir: Maurizio Nichetti, Italy 1989, 98 mins. LP: Maurizio Nichetti, Caterina Sylos Labini, Heidi Komarek Subtitled

"Launched as "the first commercial interupted by a film", Icicle Thief seems like a slap in the face for [Italian TV] who recently showed De Sica’s masterpiece Bicycle Thieves with a dozen advertisement breaks. Here an average Italian family is distractedly watching a stereotypical black & white classic in which Maurizio Nichetti discards his familiar Groucho Marx moustaches to play the impoverished working-class hero straight. The confusion sets in when, after a power cut, a woman in a typical TV commercial (shot in colour) gets involved in the neo-realist hero’s life. The real director - Nichetti, now with his moustache - has a hard time trying to separate the medium from the message. And like the family in the film, the audience cannot tell one from the other, though at least they are having a good time." Screen International

Wednesday 10th

THE CONFORMIST IL CONFORMISTA Dir: Bernardo Bertolucci,Italy, 1970, 108 mins LP: Jean-Louis Trintignant, Stefania Sandrelli, Dominique Sanda Subtitled Bertolucci’s haunting film is set in Fascist Italy during the 30’s. During his childhood Marcell Clerici (Jean-Louis Trintignant) was involved in a homosexual incident during

Best Film Moscow Film Festival 1989

SEMINARS In what ha. seminars f< participant film-maker

n a particu1 ■ Irish film c 'd below ar-. I delegates.

The semin;

•/ill be held in the Lecture Theatre of the Crawford Municipal Art Gallery.

.<ble year for Irish cinema, Cork Film Festival and Film Makers Ireland present a series of riity, learning from recent experiences and exploring opportunities now available. While the ned at time of going to press, we intended to allow ample time for contributions from visiting

Friday 12th FEATURE FILM PRODUCTION IN THE 90’S 11.00 Keynote address by Simon Relph (Director, British Screen)

Panel:

IRISH FILM-MAKING IN AN INTERNATIONAL MARKET Chair: Alan Gilsenan (Chairperson, Film Makers Ireland) Simon Relph James Hickey (Film Lawyer, Amorys Solicitors, Executive Member of F.M.I.) Jane Gogan (Producer, Hard Shoulder, Clash Of the Ash)

12.45

Break for Lunch

14.00 Chair: Panel:

THE DOCUMENTARY: ART OR POLITICS Colum Kenny (Lecturer in Communications, D.C.U., Editorial Consultant - Playback Magazine) Louis Marcus (Director - Hidden Lives) Alan Gilsenan (Director - Prophet Songs) David Fox (Director - Trouble The Calm) Seamus Carraher (Director - Whitefriar Street Serenade)

11.15

Seminars Sponsored by Mother Records

The seminar will be followed by the World Premiere of Prophet Songs at the Triskel Arts Centre

Saturday 13th 11.00 Chair: Panel:

FUNDING OPPORTUNITIES FOR YOUNG FILM MAKERS Nicolas O'Neill (Film Critic - Sunday Press) Paul Freaney (Film Officer - Arts Council) Angelie MacFarlane (Co-ordinator First Film Europe), Jonathan Curling (European Script Fund) Martha O' Neill (Chairperson - Film Base) Johnny Gogan (Director - Stephen)

12.45

Break For Lunch

14.00 Chair: Panel:

THE NECESSITY OF CINEMA Mick Hannigan (Director - Cork Film Festival) Thaddeus O'Sullivan (Director - December Bride, The Woman Who Married Clark Gable) Bob Quinn (Director - Budawanny, Poitin, Caoineadh Airt Ui Laoire) Pat Murphy (Director - Maeve, Anne Devlin)

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OE CORK FILM

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Midnight Closing /<

CTV

at 11.30 I’M on Sunday October 14th in the Imperial Hotel

h.aturing £5 Ian Richards and the Soulmasters

& AIB

COMMUNIT f SPIRIT At AIB, we’re changing the way

we think, how we do things. Now we know that the needs of

our customers should be our first

concern. That good sendee should go deeper than a smile. So we react faster,

respond sooner, anticipate more.

Now each one of us is committed

to each one of you. Whether you’re young or not so young. Whether

you’re a farmer or a housewife, a shopkeeper or a factory owner.

Now everyone in Cork can expect more of us at AIB. So call to

your local AIB Bank branch, we all want to help and one of us will.

Because you bring out the best in us.

AIB Bank

YOU BRING OUT THE BEST IN US

HOOLS PROGRAMME Cork Film comprehe schools. Tl specially st and also to

> introduce this year a ival is pic program1 estival screenings for mity for students to view ovides an t d features, films and work on video ■ and discuss i; .• films with their directors.

SNAILS PACE/New Zealand/4 minutes A common garden snail sets off on an epic adventure to claim a faraway lettuce. THE BUS /France/ 5 minutes The Bus shows how 36 passengers turn into cows I IMAGINE /France IB minutes A single shot tells thirty years of history and the story of a man and woman who are in love but are separated by a wall of absurdity. UHLOZ /France/13 minutes The story of adventures and misadventures of two children on Christmas Eve. QUEIMADA /Germany/4 minutes Oueimada deals with the topic of the destruction of the rain forest in an abstract and symbolic way. LADIES COFFEE PARTY /Germany/15 minutes Five ladies are remembering the lives and deaths of their husbands over a cup of coffe and cakes. Each of the women developed during their lives, unknown facilities.... A GRAND DAY OUT /England/23 minutes Wallace and his sophisticated dog Gromit head for the moon hoping to find it made of cheese. Their moon-tasting arouses the anger of the moon’s resident mechanical caretaker.

Admission is L1 per student, per show. Booking is through teachers ana by application only. For further information please contact Schools Programme Co-ordinator, Kieran Walsh at Tel: 272022 Programmes will take place in the Capitol Cineplex at 11.00 from Monday 8th through Friday 12th October.

Monday 8th ACROSS THETRACKS Sandy Tung

A fast-paced story of emotional rivalry, Across TheTracks deals with the effect that reform school has on a young man and his family once he is released. Billy was sent to reform school after being implicated in a car theft with a friend. On his return home, his mother is overjoyed, but Billy is now an outsider, especially to his brother, Joe, who is a track star at the local high school.

Suitable for Second Level students

When Billy can't find an outlet for his energies, he decides to try out for the track team at a rival high school. Billy's friend Louie, however, is luring Billy back into his old ways. He tries to convince Billy to sell drugs, and when Joe hears about it he confronts his brother, opening up a conflict that is eventually played out on the running track.

Friday 12th LANTERN HILL Kevin Sullivan

Suitable for Second Level students. Tuesday 9th Selections from THE MEDIA SHOW The Media Show is a weekly arts and media programme on Britain’s Channel 4. It covers an enormous range of media related subjects and has an excellent reputation for the quality of its reporting, its sense of fun and irreverent journalism.

Media Show producer, Jane Root will introduce a number of segments exploring advertising, television and film.

Suitable for Second Level students Wednesday 10th IRISH SHORTS PROGRAMME

At the height of the great depression, 12 year old Jane Stuart is compelled by her mother’s illness to stay with her wealthy grandmother. Exiled to a private school, Jane discovers that her father, whom she had assumed was dead, is really alive and working as a writer on Prince Edward Island. Shortly thereafter, her mother receives a letter from the father, in which he demands that Jane come and live with him on the island, where she was born.

THE SCHOOL BUS /12 minutes The man who drives the school bus offers his young passengers a fairytale travelogue but the reality of his life and his memories is somewhat different. STEPHEN /16minutes For Stephen Hurley the news of Stephen Roche's victory in the Tour De France sets his black & white reality alight and draws him into a colour chrome fantasy. LONDON CALLING /26 minutes The true story of a young Irishman living the highlife in London at the expense of the British tax paynr! The directors of the above films will be present to introduce and talk about their films.

Despite considerable protests from her grandmother, Jane's mother sends her away to her father for several months. When Jane finally gets to meet him, she discovers that he is not the xe-wielding ogre that she had been expecting; instead, he is a kind man who is genuinely interested in the welfare both of herself and her mother. Jane secretly resolves to reunite her estranged parents despite the constant interventions of her forbidding grandmother and her sweetly conniving Aunt Irene. With the help of mysterious seer Hepzibah and a comical little guttersnipe named Jody, and by summoning a hitherto unsuspected inner strength, Jane achieves her dream.

Suitable for senior cycle Second Level students.

Thursday 11th International Shorts Programme A specially selected programme of short-films from around the world The selection is colourful, thoughtful and often comic. Guaranteed entertainment.

Suitable for primary level students.

■

TITLES IN COMPETITION BLACK AND WHITE SECTION Fire And Steel Flames of Passion Follower, The For The Pleasure For The Sake Of Love Forever Grand Day Out, A Great Dive, Shame About The Swim Heartstrings Icarus Imaginary Imagine In The Exile Of The Drowned Tigers Jack's Bicycle Ladies Coffee Party Llaw London Calling Memoranda Misadventure Neighbourhood Next To Godliness No Flowers One man Woman Out to Lunch Paperchase In Berlin Paris - Marseilles The Present Queimada Saints and Scholars Salvation Guaranteed School Bus, The Sea Serpent River Signature Stephen Still Dark Trojans Uhloz Untouchable, The When I Was a Girl

This year Cork Film Festival introduces a special section for contemporary films shot or made in black & white. The section is competitive with awards for best Short, Best Feature and Best Cinematography. Eligible films are those which have been completed since July 31st 1988; are made in B & W or which, in the opinion of the selectors, demonstate a significant use of B&W. Short-films Big Squeeze, The Conversion of Saint Paul, The Cranes Deconstruction Sight Delta Dusk Farewell Waltz Flames of Passion Glycerine Tears Holding Margie’s Hand In The Exile Of The Drowned Tigers Intimate Conversations Jack’s Bicycle Llaw Next To Godliness 122 Webster Paper Chase in Berlin Par King Salvation Guaranteed Sea Secret Rage Stephen Signature Slippage Spud Swing They Brought Their Own Coffee Triplicity Trojans Untouchable, The When I Was a Girl

i l!

Features and documentary features Assignment, The Bargaintown - Dublin, Liffey Quays Broken Meat End Of The Night Icicle Thief, The Korczak My 20th Century Roadkill Sidewalk Stories Soft On The Inside

IRISH SHORT FILMS IN COMPETITION All My Lovely Boys Awakening Da Capo Heartstrings Icarus Imaginary Jack's Bicycle London Calling Memoranda Misadventure No Flowers One man Woman Present, The Saints and Scholars School Bus, The Sea Stephen

EUROPEAN SHORT FILM COMPETITION All My Lovely Boys Awakening Big Squeeze, The Body Beautiful Bus, The Conversion of Saint Paul, The Corkscrew Crofton Road SE5 Da Capo Deadsy Door To Door Delivery Down With Eternity Duet Eye Level Farewell Waltz

ACKNO

-EDGEMENTS I

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

HANG ON IN THERE!

Ms. Anne O'Sullivan, Director and staff of Triskel Arts Centre Mr. Gerry Barnes,General Cork Opera House

1990/ Cork/ 3-DZ Vegetarian Cuisine/ Colour

Manager, and staff of

Nuala Fenton and staff of Crawford Municipal Art Gallery Mr. Fred Hill, Manager and staff of Capitol Cineplex Mr. John T. Stewart, European Commission, Dublin Office

Brendan Cotter,Theo Dorgan, Paddy Gaggin, Ray Wynman, Cork Film Services; Charlie O'Connor, Barry Humphries, Ernst & Young; Jim Davis,Jim Davis & Co. Ltd.; Leo Ward, Abbey Films Ltd; Mick Healy, Dave O’Donoghue, Mojos; Catherine Mulvihill;Kevin Holland; Peter Fitzgerald, John Brown., Geraldine McCarthy, Eddie Noonan, David Merriman.

A cliff-hanging classic, the vegetarian restaurant makes Greenaway look bland. Just across the river from La Strada (the Grand Parade), the Co-op is open from 10am daily for breakfast, lunch, dinner or just a coffee. Also featuring a Wholefood Shop and a delicious cameo appearance by a wide range of books, cards and other paraphernalia.

Marta Rigau, Rosa Romero, Arsenal Film; Robert Beeson, Andi Engel, Artificial Eye Film Co.; Liz Reddish, Sue Bruce-Smith, Kate Mellor, BFI Production; Dawn Stanley, Channel Four; Czechoslovak Film; Liz Ellicott, Dee & Co. Ltd.; Liz Wrenn, Electric Pictures; Heather Denman, Film Four International; Finnish Film Foundation; George Ayoub, Handmade Films; Simon Field, ICA Projects; Ngoc Ngo.ln Absentia Productions Inc.; Kim Lewis Marketing; Debby Trutnick, Lynch/Frost Productions; Tony Bloom, Mainline Pictures; Lindsay Shelton, Rhys Kelly, New Zealand Film Commission; Pamela Hare-Dukes, Oasis Releasing; Daniel Battsek, Emma Chapman, Palace Pictures; Jan Roed.R & K Film Ltd.; Futaba Ueki, Uncore S.A.; Aki Kaurismaki, Villealfa Filmproductions Oy; Contemporary Films, Tony Kirkop, Bridie Thompson, Metro Films.

'Lovely view...' Helen Lucy Burp 'A contribution to the great debate...' Henry Root 'A great wan an’wan...’ Cork Examiner

Elaine Burrows, British Film Institute,Fiona Healy, Australian Film Commission, London;Victoria Treole, Mary-Anne Scully, Australian Film Commission; Roger Shannon, Alison Gumley, Birmingham Film & Television Festival; Robert Turnock, Ken Churchill, British Council; Gill McGreal, Canada House, London; Richard Calkins,CINE; Roisin Hogan, Anne O'Leary, Dun Laoghaire School of Art and Design; Bob Hawk, Film Arts Foundation, San Francisco; Helen Thwaites Film Australia; Rosa Bosch, London Film Festival; Huguette Parent,National Film Board of Canada; Lindsey Shelton,Rhys Dyson, New Zealand Film Commission; Jean Lefebvre, Pauline Kijek, Telefilm Canada; Christine Gendre, Unifrance International Film; John Tracey, Rory Forde, US Embassy, Dublin; Patsy Murphy, Joe Chalmers, Film Base; Jane Root, Jack Samte-Rose, Wall to Wall Television; Su Friedrich; Barbara Hathaway, National Film & Television School,Sorley Macdonald, Tony Jones, Cambridge Film Festival. We would also like to thank our advertisers for their support; our volunteers for their tremendous help; and, in particular, all the film-makers represented in the Festival for allowing us to screen their work.

INDEX ACROSS THE TRACKS ALL MY LOVELY BOYS ANGEL AT MY TABLE, AN ANGUISH ASSIGNMENT. THE AWAKENING BARGAINTOWN - DUBLIN, LIFFEY QUAYS BEHIND THE MASK BICYCLE THIEVES BIG SQUEEZE. THE BODY BEAUTIFUL BOOM BOOM BRIAN ENO: IMAGINARY LANDSCAPES BROKEN MEAT BUS. THE BUT NO-ONE CARROT AND THE STICK.THE CASUAL WALTZ. A CHILD'S DREAM. A CIRCLE COLD FOR JUNE COMMON THREADS CONFORMIST. THE CONVERSION OF ST. PAUL. THE COOL HANDS. WARM HEART CORKSCREW CRANES CROFTON ROAD SE.5 CYRANO DE BERGERAC DA CAPO DAMNED IF YOU DON'T DANNY BOY DEADSY DECEMBER BRIDE DECONSTRUCTION SIGHT DELTA DUSK DIEGO RIVERA: I PAINT WHAT I SEE DOOR TO DOOR DELIVERY DOWN WITH ETERNITY DUET END OF THE NIGHT EXCITING LOVE STORY EXTERIOR DAY FOREST EYE LEVEL FAREWELL WALTZ FATHERLAND FIRE AND STEEL FIRST PHOTO OF MINE EVER TAKEN. THE FIVE FEMINIST MINUTES FLAMES OF PASSION FOLLOWER. THE FOR THE PLEASURE FOR THE SAKE OF LOVE FOR YOUR OWN GOOD FOREVER FRANTA GENTLY DOWN THE STREAM GLYCERINE TEARS GOING UP GRAND DAY OUT. A GREAT DIVE. SHAME ABOUT THE SWIM HEARTSTRINGS HEAVY PETTING HIDDEN LIVES: LISTENING TO PAIN HOLDING MARGIE'S HAND HOW TO MAKE AN ANIMATED FILM ICARUS ICICLE THIEF. THE IDENTIFICATION OF A WOMAN IMAGINARY IMAGINE IN THE EXILE OF THE DROWNED TIGERS INTIMATE CONVERSATIONS JACK'S BICYCLE JUDOU: SECRET LOVES. HIDDEN PLACES JUST ME AND MARIO KORCZAK

LA STRADA LADIES COFFEE PARTY LANTERN HILL LETTER TO THE NEXT GENERATION LIFTED LLAW LONDON CALLING LONGTIME COMPANION MAKHALIPILE MATCH FACTORY GIRL MEDIA SHOW. THE MEMORANDA METROPOLITAN MISADVENTURE MOTHER, MOTHER MY 20TH CENTURYY NASTY GIRL. THE NEIGHBOURHOOD NEXT TO GODLINESS NIGHT OF SAN LORENZO. THE NIKITA NO FLOWERS NO. NO. NONNO' ONE MAN WOMAN 122 WEBSTER OUT TO LUNCH PAPERCHASE IN BERLIN PAR KING PARIS-MARSEILLE PICTURES FROM THE MEMORY PRESENT. THE PROPHET SONGS QUEIMADA RETURN HOME ROADKILL RUSTLING OF LEAVES SAINTSAND SCHOLARS SALVATION GUARANTEED SCANDAL OF ULYSSES. THE SCAR TISSUE SCHOOL BUS. THE SEA SEA STORY SECRET RAGE SERPENT RIVER SIDEWALK STORIES SIGNATURE SILENT SCREAM SINK OR SWIM SLIPPAGE SNAIL'S PACE SOFT ON THE INSIDE SPINSTER SPUD STEPHEN STILL DARK SUNCHILD SWING TEATRO' TEREZIN DIARY THEY BROUGHT THEIR OWN COFFEE THROUGH THE WIRE TIES THAT BIND, THE TIME OF THE SERVANTS TO MAKE IT LIVE - MAINIE JELLETT 1897-1944 TONG TANA TRIPLICITY TROJANS TROUBLE THE CALM TWIN PEAKS UHLOZ UNKNOWN SECRETS UNTITLED 1987 UNTOUCHABLE. THE WALDO SALT: A SCREENWRITERS JOURNEY WE'RE NOT A NUCLEAR FAMILY ANYMORE WHEN I WAS A GIRL WHITEFRIAR STREET SERENADE WILD AT HEART

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The shape of success* ♦. Every car is a compromise, a finely-judged balancing act that takes things like power and price and size and style and somehow conjures them into something that’s more than the sum of its parts.

Get the balance wrong and you’re left with a costly embarrassment. Get it magically right and you produce a Sierra or a Fiesta. Here at Ford recently, we seem to have been getting it pretty well right....the right range of cars and commercial vehicles....the right kind of dealers....the right edge in technological innovation. In short, the quality of products and services today’s driver demands. It all adds up to a spirit of success. And it’s a spirit that, we’re glad to say, more and more Irish motorists seem to be catching....!

Fiesta • Escort • Orion • Sierra • Granada • Transit

It was a French idea, or so the / story goes. And for an overheated B IIS army fighting in France in 1917, it ■ was a lifesaver. W The T-Shirt joined the Army. W

But what was regulation for ■ decades became rebellion when ■ adopted by Brando. Oozing body heat and 1 rampant, raw appeal. 1 Sullen and sweaty in a Streetcar.

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

IT’S A DIFFERENT STORY.