1 10 537 https://corkfilmfest.ucc.ie/files/original/e6ef009bf6b9efd344efc77a4d8148c4.pdf 17797235f84f782d368446510fb36bec PDF Text Text 35 L ' - ' “****• ’ ■ - IV! •■<■’ 7 t h 14th Cork Opera House Octo b e r Triskel Arts Centre 19 9 0 Capitol Cineplex 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 �1 EXIT & I -foUw qIi^^51"8 6hr Supe qq a ro\\. from only fc^7 tr Sexvice Same Day FILMS IN BY 10.30 a.m. BACK BY 4.30.p.m. 55 PATRICK ST. CORK PH. 2749 35 ■ �CHA HENNESSY 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. u i 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. INSURANCE IN IRISH NATIONAL INSURANCE HEAD OFFICE 9-10 Dawson St Dublin ? Phone (01) '76881 Telex 304601NIC El Fax 77616) Branches Nationwide W A A inshimational msuRAnce Whatever you have, cover it with Irish National. A MEMBER OF NEW IRELAND HOLDINGS pic GROUP 3 i �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 /iduals GRANT AIDED BY Tb< Bnb<b Couxi •oo«oo« o *o*o *o oo««»oo by tw Art* Council oo»»«oo o*o*o*o •00*00* The Arts Council, Cork Corporation, The European Commission, RTE, San Fancisco, The Ireland Funds, Briitish Council SPONSORED BY 8BW► i Henry Ford & Son, i 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 4 _ �I. K; - • NO BEER COMES NEAR. i. /A.-: . JP ��r DIRECTOR AND STAFF OF FESTIVAL * . I 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 film- maker, 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 �LONG VALLEY BAR BEST DRINKS ■& BEST SANDWICHES IN IRELAND ☆ BEST OF COMPANY Like the 35th Cork Film Festival We bring you the best of everything Best wishes from HUMPHREY and RITA MOYNIHAN — 8 �I 'l BC Ma. INFORMATION TRISKEL ;3H1P 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. /club 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) 1 J 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 I I 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. i 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 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 7\ 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 i �I i Good (^&&k *1 DIAMOND x FREIGHT^ I INTERNATIONAL FREIGHT FORWARDERS CORK AIRPORT • CORK • IRELAND Tel. 353 21 311333 Fax 353 21 312601 Say it with A ''Jx^oiW^ The Famous Belgian Chocolates I 14WM Cork : 106 Oliver Plunkett St., Dublin : Royal Hibernian Way and 30 Mary St. (Free gift cards available) , > ->•»' ■. p ■ . ■_______________________________________ __________ _________________________________________________________________________________________________________ �J 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 Why not drop by for a visit DOUGLAS INSURANCES GENERAL BROKERS LIMITED Morris House, Douglas West, Cork, Ireland. Telephone (021) 362697/362124 Contact Peter Kirwin Phone: (021) 362697, 362291 or 362309 Fax:(021)362124 Insuring the continued success of the CORK FILM FESTIVAL 12 �cor sur ’ HOUSE I OCTOBER, 1990 OFFICIAL CLOSING 8.3C CYRANO DE BERGERAC Jean-Paul Rappeneau France 1990 135 minutes Colour •tf-’ 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 h 23.30 ANGUSTIA Bigas Luna New Zealand/1990/35mm/158 minutes/Colour Spain/1987/35mm/90 minutes' .our 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 14 �Triskef TH! □NMENT Mich usa/; Triskel Wednesday, Oct 10th 17.00 ct 9th 17.00 t/48 minutes/Black & White BARGAINTOWN David Jaszai ;!ad Germany/1989/16mm/70 mlnutes/Black&White ¥ Xl uwq»wv| “ ■ UMBPELUn. 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. ''"ACADIAN 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. 15 i �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. jr/Subtitl 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. 16 �Triskel BRI Dun Englan Oct 13th 15.00 Trlskel Wednesday, Oct 10th 15.00 . MAGIN ARY LANDSCAPES BROKEN MEAT Pola Rapaport i6mm/40 minutes/Colour,Black & White 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. 17 �Triskel Tuesday, Oct 9th 15.00 Triskel Thursday, Oct 11th THE CARROT AND THE STICK COMMON THREADS: STO: ROM i Susi Arnott Robert Epstein, Jeffrey ad mat 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. JILT 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. 18 �Operc DE Tha Triskel Sunday, Oct 7th 13.00 '.fursday, Oct 11th 20.30 DIEGO RIVERA: I PAINT WHAT I SEE . ER BRIDE 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. 19 �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 O' SB-. • '• our 4 ¥. X vi l\- X] I . 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. 20 �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 I• 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 21 �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. our/ Sul 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 22 �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 23 .L hi II l|! �Opera House Friday, Oct 12th Triskel Sunday, Oct 7th 15.00 LETTER TO THE NEXT GENERATION LONGTIME GOH Jim Klein NIC Norman Rene 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 24 �Triskel Sur MAKH. 7.00 CRAWFORD GALLERY CAFE ! DAUNTLESS ONE Barry R England ios Colour ■■ LK I 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 30 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. Producer, Script & Editing: Aki Kaurismaki, Photography. Timo Salmmen, Music: Reijo Taipale. Export Agent: Villealfa Filmproductions Oy. Vainamoisenkatu 19A, SF-00100 Helsinki. Finland. 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 26 �Opera He Oct 11th 18.00 n URY MY 2 Opera House Friday, Oct 12th 20.30 THE NASTY GIRL GM AZ EN Ildiko Hungary DAS SCHRECKLICHE MADCHEN Michael Verhoeven . minutes/B&W/Subtltled Germany/1989/35mm/94 minutes/Colour/Subtitled * * I k * . 4 * < I. > V • < ■q V. * 1 -?■ $ ■■ 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. 27 �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 0 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 28 I �Opera Ho Triskel Sunday, Oct 14th 17.00 14th 16.00 RC 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 29 �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. •6.00 Hie IE i; 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 30 �Opera He SIL Oct 13th 18.00 Triskel Saturday, Oct 13th 15.00 AM 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. f "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 I Director, Katy Radford, will be present to introduce the film. 31 �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. 32 �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 ’44 Godfrey Graham Irena Pavlaskova TT18f lreland/1990/16mm/52 minutes/Cc Czechoslovakia/! 989/35mm/115 minutes/Colour/Subtitled I ■■■-WS r 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 34 i �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 I AG 11 ■ d 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. 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. -4 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. 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. He is from Switzerland the Penan people call He is described as the say that he is carried throne. Director, David Fox, will be present to introduce the film. and his name is Bruno Manser, but him Lakei Penan: the Penan man. Raja Of the Penans. Some people through the jungle on a bamboo 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. 35 �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 36 L �- of Cork >R TWE FUTURE — TOOAY •liXitttive, customer orientated port, superbly situated to meet the challenges and opportunities of Europe following completion of the Internal Market in 1992. Only the PORT OF CORK offers: ■ RINGASKIDDY DEEPWATER TERMINAL IRELAND'S LARGEST PUBLIC PORT FACILITY. ■ SCHEDULED LIFT-ON LIFT-OFF AND ROLL-ON ROLL-OFF SERVICES TO EUROPE. ■ SHORTEST DIRECT CROSSING TO EUROPE. ■ LARGEST PORT RELATED INDUSTRIAL LANDBANK. ■ FREEPORT FACILITIES. PORT OF IRFEAJNI) Cork Harbour Commissioners, PORT OF CORK - GOOD FOR IRELAND - A MAJOR ASSET FOR CORK Custom House Street, Cork, telephone: 021-273125 Tele*: 75848 Fa*: O21-27M84 Lee Press Ltd (C16 na Laoi Teo.) SOUTH TERRACE, CORK. T Telephone: 021-271272 □ □ □ □ □ LITHO LETTERPRESS RUBBER STAMPS POSTERS TYPESETTING □ □ □ □ □ 37 PROCESS COLOUR CATALOGUES BOOKS MAGAZINES PHOTOCOPYING �ESTI COR O P E R •f s j 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 I 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 �I 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 CITY TRAVEL The Agency for the discerning traveller WHY NOT VISIT THE LOCATIONS OF YOUR FAVOURITE FILMS? “OUT OF AFRICA”... “ROOM WITH A VIEW”... “DR. ZHIVAGO”... WHEREVER YOU GOCITY TRAVEL promises best service and competitive fares. Travel 34 OLIVER PLUNKETT STREET, CORK, IRELAND Tel. 021-273621 /021-271339 Telex 75537 AppIeCentre Horizon 8 s § <D <u AppIeCentre Horizon offers the full range of Apple solutions. Call us to find out how you can grasp the Apple Advantage today. □ □ □ □ □ □ □ 1 <U! Macintosh Computers Scanners & Laserprinters Application Software Bureau Services Training Courses Offices Nationwide Professional Support AppIeCentre Horizon, Lower Road, Cork. Phone: (021) 502428 Authorised Dealer 40 �T skel Saturc' 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 [ li ■ .JU UNIE ;•< 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 41 �* Best Wishes to CORK FILM FESTIVAL ’90 from CITY TRAVEL The Agency for the discerning traveller WHY NOT VISIT THE LOCATIONS OF YOUR FAVOURITE FILMS? “OUT OF AFRICA”... “ROOM WITH A VIEW”... “DR. ZHIVAGO”... WHEREVER YOU GOCITY TRAVEL promises best service and competitive fares. Travel 34 OLIVER PLUNKETT STREET, CORK, IRELAND Tel. 021-273621 /021-271339 Telex 75537 xcot^e to AppleCentre Horizon AppleCentre Horizon offers the full range of Apple solutions. Call us to find out how you can grasp the Apple Advantage today. □ □ □ □ □ □ □ 1 Macintosh Computers Scanners & Laserprinters Application Software Bureau Services Training Courses Offices Nationwide Professional Support AppleCentre Horizon, Lower Road, Cork. Phone: (021) 502428 TU 40 Authorised Dealer �T :skel Saturd 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. 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 41 �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 Copiers I c ix I or t til i iro c :cz>i t 11 or St irocicJors Dictation Systoins Sqc i f ir icj Worcj Processors I ’rojoc Iors 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 □ 22 , !■ J “J 111 -I J 4I J jjl 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 42 �ALL MY F lr< •:d/1990/16. ELY BOYS THE BIG SQUEEZE a O’Dor 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. 43 �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 44 �THE CONVF SION OFST. PAUL E F CRANES Blagden nd/1990/16 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. Josie works, millions don’t, so I guess she’s lucky. story, day in day out, until one day.. Producer & Script. Gerd Gockell. Editing: Robert Synovatz. Export Agent: London Filmmakers Co-op, 42 Gloucester Ave. London NWt, England. Experimental animation. Hundreds of photographs exploring the reality of movement. The same old 45 �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. ■lour Producer Barnaby Spurrier, Animation David Anderson, Script' Russell Hoban.Production Company Redwing Film Company. Tel 071 -7346642. 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. 46 �F 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? 47 �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. 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 Producer: Zagreb Film, Script: Borivoj Dovnikovic, Photography: Valerija Radanovic, Music: Davor Rocco. Export Agent: Zagreb Film, Vlaska 70. 4-1000 Zagreb. Yugoslavia. 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, 48 �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 I 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. 49 �THE FOLLOWER FOR THE SAKE Linda Hassani PAR AMOUR Solveig Anspach England/1990/16mm/29 minutes/Colour & Whit France/1985/16mm/10 minutes i I . 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. 50 �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. 51 �HEARTSTRINGS HOW TO MAKE AN ANIMATED F Seamus Kelleher KAKO NAPRAVITI CRTAMI Zlatko Grgic M Yugoslavia/1989/35mm/9 minute ur lreland,USA/1990/16mm/16 minutes/Colour V - 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 ■ ’a 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. 52 �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 I 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. 53 �JACK'S BICYCLE LIFTED John Moore Salome Brezine lrGland/1990/16mm/9 minutes/Black & White USA/1989/35mm/15minutes/Col je. \ ■ f ■ 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 54 �■ 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. 55 �1 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 ■ p ■ * r •* & ’ i i ■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. 56 �Oh Joe Ireln MAN MAN OUT TO LUNCH Leeds Animation Workshop nham 990/16mm 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. 57 �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’- F 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. 58 �QUEIMADA SALVATION GUARANTEED Werni Me us Gei ny/1989/90' 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 I I i 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... 59 �r I SEA SECRET RAGE. Richard West Sheila M.Sofian lreland/1990/16mm/13 mlnutes/Black & White USA/1990/16mm/3 minutes/Bla' White 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 SERPENT RIVER SEA STORY Sandra Lahire David Silberberg England/1989/16mm/30 minutes/Colour USA/1987/16m m/5 minutes/Colour V I 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* Engl.' SNAIL’S PACE Grant La Hood i Pick ites/Black & White l990/35mn 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. 61 ■ �SUN CHILD STEPHEN Driss Tahiri Johnny Gogan Morocco/1990/35mm/20 minutes lreland/1989/16mm/18 minutes/Colour 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 Stephen Roche’s victory in the Tour de France catches imagination of his native city. For Stephen Hurley, out of work in trouble, the news sets his black and white reality alight draws him into a psychotic colour chrome fantasy of travel pursuit. □r 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'. the and and and 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. 62 �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* CD o o 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. 63 I �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 White 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. 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. 64 �WH M I W" Davi: Englai \ GIRL Opera House Friday, Oct 12th 16.00 ates 89/90/16: 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. 65 �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. 4 41 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. 66 �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 67 Su Friedrich I I ■ i �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. 68 �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. 69 �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, Marcello reacts by ’lurr. , g towards r- —‘ ■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 70 �SEMINARS In what ha. seminars f< participant film-maker The semin; n a particu1 ■ Irish film c 'd below ar-. I delegates. .<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 •/ill be held in the Lecture Theatre of the Crawford Municipal Art Gallery. 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) •A OE CORK FILM JUFESTIVAL ——■ -- » f 1 *1 <><:« Oil I II 1 «»<><> h ■> Midnight Closing /< CTV Sunday October 14th Hotel h.aturing £5 Ian Richards and the Soulmasters at 11.30 I’M on in the Imperial 71 i �& 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 ival is pic program1 ovides an t d features, ■ and discuss i; .• > introduce this year a estival screenings for mity for students to view films and work on video 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. 73 �■ 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 74 �.1 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. 75 �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 Page 73 43 14 14 15 43 15 16 70 43 43 16 17 17 44 67 18 65 44 44 44 18 70 45 66 45 45 45 13 46 66 46 46 19 46 47 19 47 47 47 20 48 48 48 48 49 49 49 69 49 50 50 50 20 50 21 66 51 51 51 51 52 21 22 52 52 52 70 70 53 53 53 53 54 22 23 23 76 70 54 73 24 54 54 55 24 25 26 68 55 26 55 55 27 27 56 56 70 11 56 56 57 57 57 57 58 58 58 58 28 59 28 29 29 59 59 30 67 59 60 60 60 60 30 61 31 67 61 61 31 32 61 62 62 62 62 32 33 63 33 66 34 34 35 63 63 35 36 63 64 64 64 36 64 65 41 41 �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 Ji �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. i 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. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Programme Content Source A related resource from which the described resource is derived Cork Film Festival Collection Publisher An entity responsible for making the resource available University College Cork Date A point or period of time associated with an event in the lifecycle of the resource 1956- Rights Information about rights held in and over the resource <a rel="license" href="http://creativecommons.org/licenses/by/4.0/"><img alt="Creative Commons License" style="border-width: 0;" src="https://i.creativecommons.org/l/by/4.0/80x15.png" /></a><br />This collection is licensed under a <a rel="license" href="http://creativecommons.org/licenses/by/4.0/">Creative Commons Attribution 4.0 International License</a>. All rights reserved. Please credit <a href="https://corkfilmfest.org/">Cork International Film Festival</a> &amp; provide a link back to this site. Format The file format, physical medium, or dimensions of the resource PDF Language A language of the resource English, eng; Irish, gle Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1956- Cork, Ireland Description An account of the resource A selection of programmes from the Cork International Film Festival. Subject The topic of the resource Cork Film Festival Programmes Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1990 Cork Film Festival programme content Subject The topic of the resource Cork Film Festival, Festival Staff, Mick Hannigan, Ruth Riddick, Eddie Noonan, Fran Bergin, Helen Farrell, Kieran O’Connor, Pat Coughlan, <em>Su Friedrich, </em>Vittorio De Sica, Simon Relph, Alan Gilsenan, Jane Gogan, Louis Marcus, Thaddeus O’Sullivan, Pat Murphy Creator An entity primarily responsible for making the resource University College Cork, Cork Film Festival Source A related resource from which the described resource is derived Cork Film Festival Collection Publisher An entity responsible for making the resource available University College Cork Rights Information about rights held in and over the resource <span>This item is licensed under a </span>Creative Commons Attribution NonCommercial-NoDerivatives 4.0 International (<a href="https://creativecommons.org/licenses/by-nc-nd/4.0/">CC BY-NC-ND 4.0</a>) licence<span>.&nbsp;Please credit the&nbsp;</span>Cork International Film Festival Archive<span> and provide a link back to the site.</span> Language A language of the resource English, eng Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Cork, Ireland Description An account of the resource <p>This is a PDF of the 1990 festival programme. The 1990 cover, designed by Kieran O’Connor, is of a photographic gritty realist scene comprising a large silver film reel against a concrete distressed-coloured grey/blue-black background. The programme is introduced by the festival director Mick Hannigan and includes an image of himself and staff including Ruth Riddick, Eddie Noonan, Fran Bergin, Helen Farrell, Kieran O’Connor and Pat Coughlan. The opening film was <em>Nikita</em> (Luc Besson, 1989) and the closing film was <em>Cyrano De Bergerac</em> (Jean-Paul Rappeneau, 1990).</p> <p>Festival notes include <em>Focus on Su Friedrich</em> (page 66); <em>The Media Show</em>; <em>Five Feminist Minutes</em>; and Italian Season which accompanied the screening of <em>Bicycle Thieves</em> (Vittorio De Sica, 1948), <em>La Strada</em> (Frederico Fellini, 1954), and other Italian films. A series of seminars were held that year and included contributions from Simon Relph, Alan Gilsenan, Jane Gogan, Louis Marcus (<em>Hidden Lives-Listening to the Pain</em> [1990] was shown that year), Mick Hannigan, Thaddeus O’Sullivan, and Pat Murphy.</p> Date A point or period of time associated with an event in the lifecycle of the resource 1990 Contributor An entity responsible for making contributions to the resource Mick Hannigan, Kieran O'Connor Relation A related resource <a href="https://corkfilmfest.ucc.ie/items/show/78" target="_blank" rel="noopener">1990 festival poster</a> <br /><a href="https://corkfilmfest.ucc.ie/items/show/616" target="_blank" rel="noopener">1990 programme cover</a> Format The file format, physical medium, or dimensions of the resource PDF Type The nature or genre of the resource Programme Alan Gilsenan Eddie Noonan Festival Staff Fran Bergin Helen Farrell Jane Gogan Kieran O’Connor Louis Marcus Mick Hannigan Pat Coughlan Pat Murphy Ruth Riddick Simon Relph Su Friedrich Thaddeus O’Sullivan Vittorio de Sica https://corkfilmfest.ucc.ie/files/original/77eb6d16bd130f7bcfc105a65024b387.pdf 5892326f5b01d5572a100851c3215433 PDF Text Text r CORK FILNv FESTIVAL 34 1-8 October CORK OPERA HOUSE and Triskel Arts Centre Information: Tobin Street, Cork, Ireland Tel. (353 21)271711 Fax. (353 21)273704 Grant Aided by: Art» Counci j Cork Corporation Cork Enterprise Board RTE FEILE SCANNAN CHORCAI �The people of Cork bring out the best in us I Understanding the needs of our customers, and responding to them, is what everybody at Allied Irish Bank aims to achieve. We know we have some way to go before we can really understand and respond to all our customers needs. But we’re working every day to continuously improve the service we provide for you. We aim to be the best, not simply to satisfy our own ambitions, but for our customers’ sake. It’s the needs of the people of Cork that bring out the best in us. (X? Allied Irish Bank You bring out the best in us. �CHRiSSIE AHERNE, LORD MAYOR I am delighted once again to extend a warm welcome to everyone attending the 34th Cork Film Festival For thirty four years now, the Film Festival has been an integral part of the civic and cultural life of our city. Our lives have been immeasurably enriched by those thousands of films from the four corners of the world which the Festival has brought to life in our midst, and I would hope that our many visitors over the years have taken away with them fond memories of the riches they have experienced here as our guests. One of the oldest film festivals in the world, Cork has long enjoyed a reputation for conviviality. This reputation has been earned not only by the Festival organisers, but by the people of Cork, a people with a proud tradition of hospitality. I trust that our many guests this year will enjoy the experience of being taken to our hearts. 34th CORK FILM FESTIVAL PRESIDENT The Lord Mayor of Cork, CLLR. Chrissie Aherne. CHAIRMAN Charles Hennessy EXECUTIVE COMMITTEE Michael Gleeson Liam Kinsella Tiernan McBride Michael O'Connell A.J.F. O'Reilly Robin O'Sullivan Aidan Stanley R. Declan Scott DIRECTORS Theo Dorgan Michael Hannigan ADMINISTRATOR Fran Bergin PRINT TRANSPORT Helen Farrell John Halpin RECEPTION Anne Kennedy ACCOMMODATION Helen Guerin PROJECTIONISTS Declan Lynch Eddie Noonan Ray Wynman TRANSPORT Donal O’Sullivan PRESS Kieran Cronin Robert McDonald DRIVERS Tony Connolly Jonjo Murphy Paddy Murray Jim Sorenson RADIO COMMUNICATION EQUIPMENT Southern Electronics THE TRISKEL TEAM Vai Bogan Mary Buckley John McDonald Robert McDonald Ger O'Riordan Anne O'Sullivan Tony Sheehan Pat Kearney Kieran Walsh Mark Hathaway Mary McCarthy COVER DESIGN AND POSTER Graphiconies FREIGHT AGENTS Dellar Freight ACKNOWLEDGEMENTS The assistance of FAS is gratefully acknowledged AUDITORS Arthur Young and Company PRINTED BY Lee Press Ltd., 20 South Terrace, Cork 1 �This is not the biggest ad in the programme but then we’re not the biggest photo shop in Cork QUALITY Cameras Binoculars Film Accessories Processing JUST THE BEST BACK BY4.30. p.m. Ph.02274935 �CHARLLo -NNESSY Chairman 1 For thirty four years now the Film Festival has been a vital part of the cultural life of our city and country. We would like to think that the continued growth of interest in, and appreciation of, cinema in Ireland has been in some way forwarded by the energy and commitment of all who have worked on the Festival since its inception. In recent years we have deliberately sought to encourage as best we could the young film-makers on whom the future of the Irish film industry must depend. We have been rewarded with some memorable screenings, and more so by the enthusiastic participation in the Festival of so many talented young people. With this perspective in mind, I must particularly pay tribute to Warner Home Video and TV 3 who have come forward with funding for awards to Irish film-makers. Their generosity, and their principled commitment to indigenous talent, is warmly appreciated. As our Directors have elsewhere noted, it has been a particularly good year for film internationally. We are proud to present festival audiences with the strongest line-up of films for many years, and happy to welcome to Cork the directors, producers, distributors and actors associated with many of our presentations. PATRONS Individuals and Companies who contribute to our Patron Scheme play a significant part in keeping the festival's finances healthy. In return for a donation of £100, Patrons receive a pair of Season Tickets and invitations to the Festival receptions.lt has proved a popular way of showing support for the Festival and the backing of our Patrons is greatly appreciated. If you would like to become a Patron of the Festival please contact our office. The following list is complete at time of going to print. I I Individuals Clayton Love Jnr. Mr. Peter Barry TD Garry Nixon Gene Fitzgerald, M.E.P. Dermot Gleeson Joan Costello Peter Fleming Rosemary Manning Mrs. Vera Owens Joe Shinkwin Conal Creedon Companies AIB Corporate & Int. Division Allied Irish Banks Ballyclough Cooperative Creamery Ltd Bank of Ireland Biocon Biochemicals Ltd C.A.B. Motor Co. Ltd. Coras Trachtala Cork & Limerick Savings Bank E.G.Pettit & Co. Ferrero Ireland Ltd. Fitzgerald & O'Leary, Solicitors G.J.Moloney & Co. Guy & Co. Ltd Horizon Computers Irish Civil Service Building Society Irish Fher Laboratories Ltd Irish Steel J.W.O'Donovan & Co. Ltd Kelly Barry & Associates M. J. Horgan & Son Murray O'Laoire Architect Murphy Brewery Ire. Ltd Nat Ross New Ireland Assurance Co. O’Flynn Exham & Partners O'Keeffe Buttimer Martin J. Brendan O’Herlihy, Solicitors P.W. Keane & Co. Ltd Project Management Quigley Company of Europe R&H Hall Pic Smurfit Corrugated Cases Ltd St. Patricks Woollen Mills Ltd Touche Ross United DominionsTrust GRANT AID The Festival is grant-aided by the following: The Arts Council, Cork Corporation, Cork Enterprise Board, San Francisco Sister City Committee, European Commission, The British Council, Co-operation North SPONSORS Dr. A.J.F.O’Rellly Allied Irish Banks pic Henry Ford and Sop Ltd Warner Home Video TV 3 ■ * �□ Best Wishes to CORK FILM FESTIVAL ’89 from CITY TRAVEL The agency for the discerning traveller WHY NOT VISIT THE LOCATIONS OF YOUR FAVOURITE FILMS? "ROOM WITH A VIEW" OUT OF AFRICA" ...."Dr. ZHIVAGO"... WHEREVER YOU GO - CITY TRAVEL promises best service and competitive fares. Travel 34 OLIVER PLUNKETT STREET. CORK. IRELAND Tel 021-273621 / 021-271339 Telex • 75537 THE USER FRIENDLY Port of Cork CORK HARBOUR COMMISSIONERS Custom House Street, Cork. Ireland Tel. (021) 273125. Telex ’5H-iH. Fax (021) 276h«4. 4 �■ ERECTORS AND STAFF OF FESTIVAL B• LEFT TO RIGHT. FRAN BERGIN. THEO DORGAN. JOHN HALPIN, EDDIE NOONAN. KIERAN OCONNOR, MICK HANNIGAN There are debts to be acknowledged as we launch this Festival, the 34th since its inception. The oldest of these is to the men and women who had the courage to start the whole mad business in the first place, and after that to all those who kept it alive. More proximately, we owe thanks to all those who have worked with us on this Festival, for their energy and cheerfulness and sheer, unremitting hard work. The Festival is the result of team-work, and it has been a pleasure to work with the team who put this together. It is a pleasure also to acknowledge with thanks all those who have contributed to the Festival’s financing, either by way of direct grant or sponsorship, or through the funding of the Festival's awards. It is particularly important to record the Arts Council’s support this year, not just because it is our major financial lifeline but also because it signifies recognition of what we have always argued, that film festivals are an essential and integral part of the cultural life of the nation. Insofar as funding a proper National Film Corporation goes, this perception has yet to gain ground with the government, and the talents and skills of our film artists and technicians continue to be shamefully under-used. The Arts Council, we recognise, is attempting to hold the line, but it would be absurd to expect them to shoulder the entire burden of supporting a native film industry. For that we need a properly constituted agency, and the sooner the better. We owe thanks also to the many hundreds of film-makers and distributors, national film agencies and producers who have made their films available to us. In the end, though, our greatest debt is to those who have gifted us with the products of their imaginations, the film-makers themselves. Long after the final credits have rolled in the Opera House and Triskel, what will remain, we hope, will be those magic moments of cinema that make it all worthwhile. THEO DORGAN i i There is, by now a certain shape to the Cork Film Festival, a particular style. In programming the festival we deliberately cover a wide range of film culture. While the core of the festival is a strong programme of feature films from throughout the world, we are committed to providing a platform for other expressions of film art. Cork’s is one of the few international festivals to champion the art of the short film. This would not be possible without the continuing support of the European Commission which this year enables us to offer a prize of 10,000 ECU's. The quality of this year’s Short Film Programme is exceptionally high and, to encourage greater attendances, screenings are free to those holding Festival Membership Cards. The documentary form enables film makers to engage with a wide range of political, social and artistic issues. Some excellent examples of the documentarists’ can be seen throughout the festival at the Triskel Arts Centre. Having in the past, introduced particular film makers' work to an Irish audience, it is a source of satisfaction to us to be able to present their latest films. In ‘86 the festival’s closing film was Deny Arcand’s THE DECLINE OF THE AMERICAN EMPIRE, this year we open with his magnificent JESUS OF MONTREAL. In ‘86 also, we screened Jane Campion’s work. We are pleased to include her first feature film SWEETIE in ‘89. Having premiered Ronan O’Leary’s RIDERS TO THE SEA in ‘87, we now present the first public screening of the compelling, FRAGMENTS OF ISABELLA. Last year’s winner of CFF's European Short Film Competition was Mike Leigh. This year we include his wonderful satire HIGH HOPES. Another previous prizewinner Hartmut Jahn is again in competition with THE DESTRUCTION OF EUROPE. We welcome the many film makers who have travelled to Cork from the US, Canada, the USSR, Germany, France, the Netherlands, Scotland, England.Wales and from throughout Ireland. 7o Belfast film maker John T Davis, the first Irish subject of our ‘Focus' section we offer a special welcome back. MICHEL HANNIGAN 5 �Creativity is one of our greatest native attributes. At Bank of Ireland we are moulding a service equipped to support the expression of that talent in every field. Bankwhat can we do for you? tf*Ireland. Now, �I BOOKING INFORMATION MEMBERSHIP Festival-goers are obliged to become members of the 34th Cork Film Festival Association in order to purchase tickets for admission to screenings. The membership fee is £1. Membership is open to those over 18 years of age. Membership is non-transferable and card must be produced when buying tickets for screenings. Members may also be asked to produce card, together with ticket, when entering the cinemas. Members may purchase admission for one guest for each screening. Members are advised that seats must be occupied ten minutes before a programme begins, otherwise we cannot guarantee that seats will be held. TICKET PRICES Season Tickets: £35 and £30 (concession), valid for all screenings at Opera House and Triskel. Membership is included in the cost of a Season Ticket. TRISKEL FILM CLUB 1 Dark FESTIVAL FILMS 'ALL YEAR ROUND Eyes B? r 4-. Salaam • Bombay! ! Individual Screenings: Opera House: £3.50 and £3 (concession) Triskel Arts Centre: £2 and £1.50 (concession) i. K * Special Season Ticket for Couples - £60 pair ‘ Special Opera House Only - Individual screenings 2pm and 4pm Monday 2nd October - Friday 6th October £2 only * Weekend Tickets - Valid Friday 6th through Sunday 8th for all Films - £20 ADVANCE BOOKING Tickets for all screenings in the Opera House may be booked in advance. Box Office hours for advanced booking: 10.30am to 7.30pm. Telephone bookings with credit card: Tell. (021) 270022 Tickets for all screenings in Triskel Arts Centre will be available at the door with the exception of season ticket holders who may book in advance. i I CONCESSION RATES are available to those with appropriate ID - unemployment card, pension book, student card. Apply to Information Desks in Opera House or Triskel for details. Shorts Programmes in Triskel are free to Festival Membership Card holders. SMOKING IS NOT ALLOWED IN THE CINEMAS I All inquiries to Information Desks in Opera House foyer or to Triskel Arts Centre. Telephone inquiries to (021) 272022. ! I Distant Voices, THURSDAYS, FRIDAYS, SATURDAYS AND SUNDAYS 8pm On the Black Hill ADMISSION £2.50 £2.00 (cone) Club membership £1 per annum Au Revoir Les Enfants TRISKEL ARTS CENTRE Tobin Street,off South Mam St. 7 �CRAWFORD GALLERY CAFE! CHOCOLATES QUALITY and VALUE Lunches served 12-2.30 p.m. Available at CORK: 106 Oliver Plunkett St. (opp. G.P.O.) DUBLIN: For Coffee, Tea and Homemade Cakes. Royal Hibernian Way and 30 Mary St. Bollymoloe Pre-Theatre Dinner from 6.30 p.m. on Wed., Thurs., Fri with live classical music. We are situated next to the Opera House. (next to Marks & Spencer) TELEPHONE 274415 for reservations D.K.O. Trading Ltd. 106 Oliver Plunkett St. Tel: 021-276970 COME AND SEE US Lee Press Ltd (C16 na Laoi Teo.) SOUTH TERRACE, CORK. Telephone: 021-271272 □ □ □ □ □ 8 LITHO LETTERPRESS RUBBER STAMPS POSTERS TYPESETTING T PROCESS COLOUR CATALOGUES BOOKS MAGAZINES PHOTOCOPYING �CORK OPERA HOUSE OFFICIAL OPENING SUNDAY 1ST OCTOBER, 1989 8.30 p.m. JESUS OF MONTREAL 1989 J6sus de Montreal Denys Arcand Canada Colour 118 minutes I *>■ I . a Producer Leading Players Johanne-Marie Script Photography Editing Music Production Company Print Source I I Roger Frappier, Pierre Gendron Lothaire Bluteau, Catherine Wilkening, Tremblay, Remy Girard Denys Arcand Guy Dufaux Isabelle Dedieu Yves Lafferriere Max Films Productions inc., Telefilm Canada Taken with the idea of staging The Passion According to St. Mark, the most famous story in the world, and playing the part of Jesus, Daniel sets off in search of actors who are willing to drop everything and follow him. He finds Constance, Martin, Mireille and Rene and has no trouble taking them away from a hostile working environment. While researching his subject, Daniel makes startling discoveries on the life of Christ, discoveries that hold a powerful fascination for him. The show takes place on a hot and muggy summer night. Grandiose, provocative and disturbing, it proves upsetting to its audience, questioning their deepest beliefs and naive faith. Who,then,was Jesus? Every night, an increasingly unorthodox audience makes its way to the entrance to the sanctuary on the hill. Mingling with the faithful are artists, esoteric disciples, young people in search of a powerful experience and hard-nosed reporters convinced that they have discovered the “show" of the summer. Some perceive Daniel as the prophet of a New Age or of the Apocalypse, some as a rising star on the Montreal entertainment horizon, while others see him as a lucid young man waging a desperate struggle against the system. " We ask ourselves, and we will continue to ask for a long time, the same old questions: who are we, where do we come from, where are we going...Therefore, we are trying, as does Jesus/Daniel, to find a kind of code of ethics, a moral doctrine, in the midst of endless contradictions..." Denys Arcand i JESUS OF MONTREAL will be preceded by the screening of THAT’S ALL RIGHT, Director Billy McCannon (4m) and SUNDAY, Director John Lawlor (10m) 9 �LONG VALLEY BAR BEST DRINKS * BEST SANDWICHES IN IRELAND * BEST OF COMPANY I Like the 34th Cork Film Festival We bring you the best of everything Best wishes from HUMPHREY and RITA MOYNIHAN 10 �CORK OPERA HOUSE OFFICIAL CLOSING SUNDAY 8th OCTOBER, 1989 8.30 p.m. EAT A BOWL OF TEA 1989 Executive Producer Producer Leading Players Script Photography Editing Music Production Company Print Source i I Lindsay Law, John K. Chan Tom Sternberg Victor Wong, Lee Sau Kee Yuen Yat Fai, Lau Siu Ming Judith Rascoe, based on the novel by Louis Chu Amir Mokri Richard Candib Mark Adler American Playhouse Artificial Eye Ltd Wayne Wang USA 102 minutes Colour From the 1880's until after the Second World War, The United States operated an immigration policy designed to exclude Asian immigrants and reduce the extant Asian-American population. No Chinese immigrant could become an American citizen, and from 1924 no Chinese woman could enter the country even if her husband or father was a US citizen. Thus, the male-female ratio in the Chinese-American community nationwide was about 25:1. This created what was in effect a bachelor society, wherein most of the Chinese men had no idea what it was like to be married. Described as ‘a comedy about sex, marriage and grandchildren’.'Eat A Bowl Of Tea' deals with what happened when these laws were repealed after the War. Ben Loy (Russell Wong) brings a bride. Mei Oi( Cora Miao) back from China. The couple anticipate a life of wedded bliss together but nothing in their experience has prepared them for what lies ahead: everyone’s watching and waiting for children, while Ben Loy tries to hold down a big job and please his wife and his father at the same time. It all proves too much for Ben Loy, and he becomes impotent. The marriage begins to fall apart. Mei Oi takes a secret lover and becomes pregnant. Everybody celebrates until the rumour gets out that Ben Loy was not the father. . . after much scandal, fighting and separations, however,the couple are reunited and leave New York to begin a new life in San Francisco. EAT A BOWL OF TEA will be preceded by the presentation of Awards and the screening of the Award-Winning Film from the EUROPEAN SHORT FILM COMPETITION j 11 �Opera House Saturday, Oct 7th 14.00 Opera House Sunday Oct 8th 13.c ARIEL CAMP THIAROYE Aki Kaurismaki Ousmane Sembfcne, Thierno Faty Sow Finland/1989/ 35mm/ 73 minutes/ Colour/ Subtitles Senegal/1988/ 35mm/152 minutes/ Colour/ Subtitlos Producer Leading Players Script Photography Editing Production Company Pont Source Aki Kaurismaki Turoja Pajala, Susanna Haavisto, Man Pellonpaa Aki Kaurismaki Timo Salminen Raija Talvio Villealfa Filmproductions Oy The Finnish Film Foundation Producer Leading Players Script Photography Editing Music Production Company Print Source When the mine where his father has worked all his life closes down, Taisto (Turoja Pajala) drives south through a winter landscape to Helsinki, looking for work and a future. But life in the capital is uncertain with the constant threat of violence and the insecurity of employment on the docks. When he parks his car in a restricted area one day, Taisto meets Irmeli (Susanna Haavisto) for whom life as a traffic warden is only one form of employment in an unending struggle to make ends meet as a single parent. Taisto and Irmeli take an instant liking to each other and he gets on well with her ten year old son: but life is even less of a joke if you are trying to establish a family, and a single, justifiable mistake puts Taisto on the wrong side of the law. In prison he finds himself sharing a cell with Mikonnen (Matti Pellonpaa), an old lag whose gruff, uncommunicative exterior conceals a vast capacity for friendship and trust. It is the beginning of an unpredictable series of events as Taisto takes to a semi-incompetent life of crime from which he seeks a possible avenue of escape for himself and Irmeli. “A darkly humorous, unclassifiable film... that begins like a Wenders road movie and develops into a terse, laconic thriller with an unexpected but satisfying ending." Cambridge Film Festival Catalogue 12 Mamadou Mbenge Ibrahima Sane, Sigiri Bakara Ousmane Semb^ne, Thierno Faty Sow Ismail Lakhdar Hamina Kahena Attia- Riveill Ismaila Lo SNPC (Dakar), ENAPROC (Algiers). SATPEC (Tunis) Metro Pictures Camp Thiaroye was a transit camp in West Africa where ’trailleirs', or colonial African troops who had fought for France in the War were sent before repatriation to their native villages. In the camp, the food is foul and the conditions worse. The racist and perfunctory treatment of the trailleurs by the white officers, and the appalling conditions of the camp (little better than the concentration camps that some of the trailleurs had just left), rankles with the inmates of the camp, whose five years in the European Theatre have heightened their political awareness. The last straw is the attempt by the French military to cheat the trailleurs out of their back-pay. In desperation, they kidnap the General and hold him hostage. The French appear to capitulate, but tragedy strikes... �Ope: ^>day Oct 5th 20.30 Triskel, Wednesday Oct 4th 16.00 •> CEl CHARLOTTE’S DIARY Ann Turner Puck Goosen Australia/ 1988/ 35mm/ 103 minutes/ Colour Netherlands/1988/ 16mm/ 40 Minutes/ Colour (• * Executive Producer Leading Players Producer Script Photography Editing Music Production Company Print Source I I Bryce Menzies Rebecca Smart. Nicholas Eadie, Maryanne Fahey, Victoria Longley Timothy White Ann Turner Geoffrey Simpson Ken Sallows Chris Neal Seon Films Kim Lewis Marketing It’s the start of the summer holidays and Celia Carmichael turns nine years old. Her world is made up of best friends and arch-enemies, story-book monsters and oaths of everlasting loyalty. Her closest friends are her Granny and her pet rabbit, Murgatroyd. Then, one day, Granny dies. In the deep of the night the monstrous Hobyahs, frightening demons, start climbing in the window. In the day, Celia’s father pays the next-door neighbour Alice an unusual amount of attention. Life is beginning to change. Celia's familiar world of backyards, blood-brothers and blissful innocence is about to end. Set in Melbourne, Australia, in the 1950's, the mood echoes with personal observation, and director Anne Turner works with subtle, understated eloquence to reveal Celia’s heart and a world seen through the frighteningly clear windows of a child's eyes. When Celia’s next-door neighbours are hounded out of town for their political beliefs and her beloved rabbit is taken by the Government in a State-wide muster, her world is threatened and Celia learns that she must either give in or fight back. She fights. In a chilling climax, she draws on the strength of her fantasies to strike out against the forces of bigotry and repression which threaten all that she holds dear. Her innocence surrendered, Celia is corrupted into adulthood. "By any measure Celia is a remarkable film. It is also a striking debut for Ann Turner..." SCREEN INTERNATIONAL Producer Scrip Photography Editing Print Source Roy Dames tPuck Goosen Stef Tijdink, Jules van de Steenhoven Teun Pfeil MusicChopin Roy Dames Film-en Videoproducties ! Charlotte is a 53-year old metalworker. In 1985 she began the hormone treatments and psychological counselling that are the preludes to the operation that would complete her transformation into a woman. Three years later that operation took place. The film follows Charlotte as she goes about her business both before and after the operation. The camera captures her daily life as she struggles to cope with her new identity. One striking image, that of Charlotte ( who is still working in heavy industry ) removing her gloves and protective overalls and changing into women's clothing, exposes the extent to which we have been conditioned to regard certain occupations as being the preserve of one sex or other. Her diaries, which provide the basis for this rivetting documentary, reveal the anguish and self-doubt faced by someone who ’stands between men and women’, feeling comfortable with both but belonging to neither. �Triskel, Thursday Oct 5th 16.00 Triskel, Tuesday Oct 3rd 16.00 CHINA DIARY COMRADES AND FRIENDS Jinhua Yang Nick Godwin, Suri Krishnamma China/USA/1989/ 16mm/ 51 minutes/Colour Britain/ 1989/ 16mm/ 54 minutes/ Colour A, > Producer Script Photography Editing Music Print Source Jinhua Yang Jmhua Yang Zhang Xuku Jinhua Yang Li Feng. Tony Cummings Jinhua Yang A film that would be fascinating even without the topicality that recent events have thrust upon it, ‘China Diary’ is a journal of the return to China of Jinhua Yang, after five years of studying in the US. Her astonishment at the changes that have been wrought in her absence echoes throughout the film. She reels from an individually-owned beauty parlour to a radiator factory and a rural hotel now owned by The peasants". She encounters the richest peasant entrepreneur of a small town living in a house with catalogue-ordered Louis XIV furniture, all with its plastic slipcovers intact. Even more suspect in Yang’s eyes is a swimsuitjudged beauty contest - once unthinkable - into which she is press-ganged as a judge due to her status as visiting celebrity, “is this real beauty ?” she worries. No, but it’s real capitalism. “If you want to . . .understand some of the ferment behind the tragedy we’ve all been watching on television, try “China Diary". It"s riveting." I 14 Executive Producer Producer Photography Editing Print Source ‘( National Film and Television School Nick Godwin Nick Godwin Ewa J. Lind N.F.T.S.Beaconsfield Studios In early 1988 Tony Benn announced that he was challenging Neil Kinnock for the leadership of the British Labour Party, with Eric Heffer standing as his deputy. The party leadership was, furious, claiming that once again, Benn was damaging Labour’s hopes for recovery. Benn had almost no chance of winning but he argued that the campaign would regenerate the socialist debate and challenge the rightwards drift of the party, which had now been in opposition for nine years. ‘Comrades and Friends’ follows Benn’s campaign and explores his radical arguments for democratic socialism. With almost unlimited access, the filmmakers were able to observe a side of political life usually ignored by journalists and commentators. The film also becomes a portrait of one of the great veterans of the British Labour movement, a man variously seen as the paradigmatic “loony leftie", and one of the most gifted politicians and orators of our time. �Opera /iday Oct 6th 18.00 Triskel, Saturday Oct 7th 16.00 CONQUEST OF THE SOUTH POLE DEREK JARMAN - YOU KNOW WHAT I MEAN Gillies MacKinnon Laurens C. Postma Scotland/ 1989/ 16mm/ 90 minutes/ Colour 1988/ Britain/ 16mm/ 52 minutes/ Colour a Executive Producer Producer Leading Players Script Photography Editing Music Production Company Print Source John Kelleher Gareth Wardell Steven Rimkus, Laura Girling, Leonard O’Malley, Gordon Cameron Gareth Wardell, based on a play by Manfred Karge Sean Van Hales Steven Singleton Guy Wolfenden Jam Jar Films Liberty Films This fast-paced and energetic film concerns five young men in their early 20’s facing the soul­ destroying tedium of permanent unemployment who, finding their existence aimless and boring, decide to re-create Roald Amundsen's heroic expedition to the South Pole. Their route out of the misery and boredom of their lives will be through the gate of the imagination. Through a series of humorous and comical escapades, they gradually acquire all the paraphernalia, including ski equipment, huskies and penguins, needed for their epic journey. The only problem is that their adventure is confined to their home town, Leith, the Port of Edinburgh. The group act out their roles as Norwegian explorers among the docks, ships, warehouses, cranes and ice-stores of their own backyard. Producer Script Photography Editing Music Print Source 1 Philip Bartlett Laurens C. Postma Nick Beek- Saunders, Diviio Ringressi Hussein Younis Andre Shapps. Simon Turner YO-YO Films This film celebrates the life and work of one of Britains most gifted and controversial film-makers. From his first film, ‘Sebastiane’, with its acres of naked flesh and a script in Latin, Jarman has been outstandingly successful in raising the hackles of the Whitehouse Brigade. His films, ‘Jubilee’ and ‘The Last Of England' caused endless patriotic outrage in England when they appeared, and his recent ‘Caravaggio’ elicited a strongly homophobic reaction, as does most of what he makes, writes, and says. Combining the body of Jarman's work with originallyshot material, Laurens C. Postma has created a startling poetic image of an extraordinary filmmaker’s life. ‘Directed with brilliant agitation' The Guardian Gradually, what started out as a bit of fun begins to take on real meaning for them until, after a series of confrontations, they walk the 175 kilometres to their Pole. Based on Manfred Karge's stage play, the film opens out into a determinedly cinematic, humorous and unsentimental view of wasted lives and the resilient human spirit. 15. I Vi I �Triskel, Wednesday Oct 4th 16.00 Triskel, Sunday Oct 1st 13.30 EAT THE KIMONO AN EMPTY BED 20th Century Vixen Mark Gasper England/1989/16mm/ 60 minutes/ Colour USA/1988/ 16mm/ 56 minutes/ Colour 1 ■ Producer Featuring Script, Photography & Editing Music Print Source ! 20th Century Vixen Hanayagi Genshu 20th Century Vixen, Traditional Japanese Music, HanayagiGenshu 20lh Century Vixen Hanayagi Genshu is no ordinary dancer. She has shocked the traditional elements of Japanese society with her avant-garde performances and her radical politics. When, in 1980. she stabbed the leader of Japan's most renowned dance school as a protest against the corrupt hierarchies which operate in Japan’s cultural world, she achieved instant notoriety and served eight months in prison. ‘Eat the Kimono’ shows the strength of a woman prepared to flout all the conventions of her culture. In denouncing Emperor Hirohito while he was still alive, she made herself the target of right-wing death­ threats, but this has not deterred her from her campaign against the legacies of the Imperial System. From the makers of the controversial 'Fireraiser’ which was shown at last year’s festival. Executive Producer Producer Leading Players Script Photography Editing Music Print Source Awards Edward B. Via Mark Gasper, Victoria Larimore John Wylie, Mark Clifford Smith,Thomas Hill Mark Gasper Oren Rudavsky Gloria Whittemore Glen Roven The Yankee-Oriole Company Houston Film Festival: Bronze Plaque Atlanta Film and Video Festival: Honourable Mention A day in the life of Bill Frayne, a gay man in his sixties, living alone in Greenwich Village. During the course of this typical day, Bill encounters objects, people and places which stir and revive ghosts from the past. Unfolding non-sequentially, the film mirrors Bill Frayne's memory processes by connecting random thoughts and events into a full picture of his life. The dialogue is sparse and pointed, allowing the story to be told through an expressive collage of images.A sensual and evocative work, “An Empty Bed" deals honestly with aging and being gay in contemporary society. In a world where youth is put on a pedestal, ‘An Empty Bed’ is unique because of its full, well-rounded portrayal of people retired from the workplace and left to fend forthemselves. Rarely for films dealing with gay life, ‘An Empty Bed’ does not focus on promiscuity, cruising, pederasts or AIDS. By treating Bill Frayne as a human being who happens, as an aspect of his personality, to be gay, the film exposes the unconscious reaction to gay people (even by people who support gay rights) as somehow ‘other’. What comes across most strongly from the film is how normal Bill is. His position, his life, could be that of anyone in contemporary society. �Open. ■ . ?.y Oct 16.00 FRAGMENTS OF ISABELLA Opera House, Saturday Oct 7th 23.30 HEATHERS Ronan O’Leary Michael Lehman Ireland/1989/ 35mm/ 77 minutes/ Colour USA/ 1989/ 35mm/102 minutes/ Colour PW v 4 Executive Producer Producer Leading Players Script Photography Editing Music Print Source Noel McKeown Ronan O'Leary, Michael Scott Gabrielle Reidy Ronan O'Leary,Gabrielle Reidy, Michael Scott From the book by Isabella Leitner Walter Lassally Gerald Hambling Carl Davis Vattington Ltd Isabella Leitner, a young Hungarian girl (played with extraordinary quality and sensitivity by young Irish actress Gabrielle Reidy ), was the first survivor of the Holocaust to reach the safety of the United States in 1945. She had witnessed the death of her mother and youngest sister at the hands of the Nazis, the break-up of her family, and the persecution of the Jewish race in Europe. Her horrific experiences in Auschwitz during the last year of the war shaped her life forever. i I Thirty years later, in 'Fragments of Isabella’, she introduced the rest of the world to her personal loss, with all the poetry and feeling of a great writer. Her story, nominated for a Pulitzer Prize, is a testament to the will of the human spirit to survive and endure. In a performance which calls to mind irresistibly that of Falconetti in Dreyer's 'The Passion of Joan of Arc', Gabrielle Reidy searingly captures the agony, indomitable strength of will, which was Isabella Leitner's personal experience of the Holocaust. OFF is proud to present the World Premiere of this Irish film. Executive Producer Leading Players Script Photography Editing Music Print Source Christopher Webster Winona Ryder, Christian Slater,Shannen Doherty, Lisanne Falk Daniel Waters Francis Kenney Norman Hollyn David Newman New World Pictures r School is an arena fraught with vengeful competition, a peer-pressure cooker wherein getting ahead is more important than geting along. Looks, money, a great wardrobe, and an insatiable hunger for power, are what it takes to climb to the top. At the apex of this seething morass of greed and envy are the 'Heathers’, an elite quartet, three of whom are called Heather. The fourth member, Veronica, is extremely popular and much envied. But she is also profoundly unhappy about her situation. Founder and queen bitch of the group is Heather No.1, who has a devastating comeback for every occasion. This super-smart black comedy about high school politics and teenage angst leaps into life when Veronica decides, in the best interests of all concerned, to murder Heather No. 1 and make it look like suicide. "Daniel Waters' enormously clever screenplay blazes a trail of originality through the dead wood of the teen comedy genre...brilliantly insolent and irreverent insights into school-age caste systems, power structures and social rituals..." VARIETY "The best surprise from America was 'Heathers’... a teen movie to end all teen movies...one-third black comedy, onethird ironic parody and one-third thriller, [Heathers]. . bites at the conventions of its genre until real blood flows along with the tears of laughter." Derek Malcolm THE GUARDIAN “No amount of production sheen or acting skills seems excuse enough for the film’s scabrous morality or its unprincipled viciousness." LOS ANGELES TIMES k 17 �Opera House, Tuesday Oct 3rd 18.00 Triskel, Tuesday Oct 3rd 13.30 HIGH HOPES IN FADING LIGHT Mike Leigh Amber Films England/1988/ 35mm/112 minutes/ Colour England/ 1989/ 35mm/104 minutes/ Colour Executive Producer Producer Leading Players Script Photography Editing Music Production Company Print Source J Tom Donald Simon Channing-Williams, Victor Glynn Philip Davis. Ruth Sheen Edna Dore, Philip Jackson Mike Leigh Roger Pratt Jon Gregory Andrew Dixon Portman Productions lor Film Four International Palace Pictures. Dispatch rider Cyril Bender (Philip Davis)lives in a tiny London flat with park gardener Shirley (Ruth Sheen) and her splendid collection of cacti (including one nicknamed 'Mrs. Thatcher’ because it pricks one in the backside as one goes out the door). Normally loving and good-humoured, the couple is going through something of a mid-life crisis: should they have a child? Shirley wants to, but Cyril reckons that until his minimum demands of a world where everyone has enough to eat, a job and a decent place to live, are met, then he can't regard the world as a fit place to bring up children. Added to this are Cyril’s mixed feelings about his responsibility to his aged mother. When Cyril's neurotic sister, Valerie, and her womanising husband throw a surprise 70th-birthday party for Mrs. Bender.it ends in dismal, squabbling failure but things appear to turn out for the best as, with Mrs. Bender asleep in their bed, Cyril and Shirley make love in the spare room - and this time, for once, not for recreational purposes... “The [New York Film] festival’s only memorable discovery" New York Times Produced and executed by Leading Players Script Music Print Source Amber Films Joe Caffrey. Maureen Harold Dave Hill, Brian Hogg Tom Hadaway Alasdair Robertson, Ray Stubbs The Waterboys Amber Films Eighteen year old Karen Olsen comes to North Shields looking for her father, Alfie, a Grimsby fishing boat skipper who Idft his wife and daughter six years previously. She finds him in somewhat straitened circumstances, with the owner of the boat threatening to sell him out and the generally moribund state of the fishing industry a constant source of worry to him. Karen’s arrival and subsequent joining of father and crew on a fishing trip engenders hostility and suspicion both on board and on shore. She is faced with accusations of sexual misconduct and ancient maritime superstitions about women on ships. Eventually she comes to realise that her father doesn’t match up to her expectations, that she is alone and has to take control of her own destiny. 'In Fading Light’ tells a tale of epic proportions: high seas, the struggle for survival, and emotional conflict - told with an almost documentary realism that rejects melodrama in favour of acute observation and quirky humour. Amber's experience in the integration of actors with ’real life’, combined with 20 years of documenting working lives in the North-East of England, lends this film a unique authenticity. These qualities, in tandem with stunning visuals and the closely-observed tragic/comic dialogue, come together in a film that not only tells a deeply moving story but gives us a profound experience of another way of life. �Triskc •H 15.00 IRISH WAYS Arthur MacCalg France/ 1989/ 16mm/ 53 minutes/ Colour Opera House, Thursday Oct 5th 18.00 THE LEGEND OF THE HOLY DRINKER Ermanno Olmi Italy/ 1988/ 35mm/125 minutes/ Colour Producer Photography Editing Sound Production Arthur Mac Caig Jean-Marc Pillas Dominique Greussay Frederic Gremeaux CompanyTeleconcept/F. Productions Producer Leading Players Continental media present the conflict in the North very differently to the style in which Irish and British television, operating under severe legal constraints, can function. Including interviews with members and former members of the IRA, and footage of an IRA unit on patrol in a housing estate, this documentary will have an edge of unfamiliarity for Southern audiences. The producers describe the film as 'a voyage into a European War' -- a perspective which has led to charges of glamourisation and romanticisation. 'Irish Ways' shows the armed conflict as so many hundreds of millions have seen it on the continent, and indeed around the world. Audiences have the opportunity to interrogate this version, and to match it against our own, received domestic images. i " ’Irish Ways' is a voyage into a European war: the conflict in the North of Ireland which has opposed Irish nationalists and the British army for the past twenty years nbw. It is a war seen from the interior, through the eyes and the emotions of various protagonists, men and women, directly implicated in the Irish troubles. Here for the first time, members of the I.R.A., past and present, and unmasked, talk of their experiences." From the Production Notes. Script Photography Editing Music Print Source Awards Roberto Cicutto, Vincenzo de Leo Rutger Hauer, Anthony Quayle Sandrine Dumas. Dominique Pinon Ermanno Olmi, Tullio Kezich from the novel by Joseph Roth Dante Spinotti Ermanno Olmi Stravinsky Artificial Eye Golden Lion, Venice 1988 Silver Ribbons 1989 - Best Italian Film. Best Screenplay Italian ‘Oscars' 1989 ■ Best Film, Best Director Based on a novel by the Austro-Jewish writer, Joseph Roth, ‘Legend of the Holy Drinker' is set in Paris in an indeterminate era, neither 1930’s nor the present (photographed with a superb, dream-like aura by Dante Spinotti). Rutger Hauer plays Andreas, an ex-miner who has served a prison term for murder and now lives down and out on the city streets. A mysterious stranger (Anthony Quayle) gives him 200 Francs on condition that he repay it the following Sunday at a church containing the statue of St Therese of Lisieux. A series of chance encounters with old acquaintances threaten to prevent Andreas from fulfilling his promise, but each time the money is spent, he wakes up after sleeping rough by the Seine to find that the banknotes have miraculously returned to his wallet. People he knew in his former days reappear, mysteriously transformed: the woman whose husband he killed is now wealthy and sophisticated; a fellow miner is now a world famous boxer and he treats Andreas to a stay in an expensive hotel where he meets a beautiful dancer from a bizarre theatrical troupe. These interludes, through which Andreas strays bemusedly, are alternated with scenes in his usual drinking place, a decrepit and crumbling bar. 'Convincing, moving and beautiful' Sight and Sound 19 1 i �Opera House, Friday Oct 6th 23.30 Opera House, Thursday Oct 5th LENNY LIVE AND UNLEASHED JO LET’S GET LOST Bruce Weber USA/1989/ 35mm/119 minutes/ Black and White Andy Harries England/1989/ 35mm/ 94 minutes/ Colour Producer Leading Players Script Photography Editing Music Production Company Print Source Martin Auty, Andy Harries Lenny Henry, Robbie Coltrane, Jeff Beck Kim Fuller, Lenny Henry Peter Sinclair Gerry Hambling Steve Nieve Palace Pictures/, Sleeping Partners Palace Pictures The British comic Lenny Henry is best-known to Irish audiences from his television appearances, but television is a notoriously sanitised medium. This film provides a rare opportunity to catch the kind of material that would be banned from BBC 1, although the vulgarity is never gratuitous or in bad taste. Mind you, Richard Pryor, a Henry hero brilliantly caricatured here, might not be too taken with Lenny's “That time I set fire to myself I got enough material for six shows", while macho Eddie Murphy, caught in an hilarious spoof, would certainly not be amused at Henry's deadly-accurate guying of his foul-mouthed, crotch­ grabbing mannerisms. I When Henry finally takes the stage as himself, clad in baggy trousers and large yellow jacket, he has exorcised the presence of the people with whom he is most likely to be compared, and from then on the show is entirely his inimitable own. 1 I The movie features all of his best-known creations: Theophilus P. Wildebeeste, soul singer extraordinaire, Dental Virtue the evangelist preacher, and Low Down Finger-Lickin’ Hound Dog Smith (in a blues duet with Jeff Beck), among others. He combines sketches with an extended monologue containing - among other things - a wild Prince impersonation, and a remarkable impression of Steve Martin. What comes over best of all is the endless, reckless prodigality of talent and invention that have made Lenny Henry the best-loved British comic of our time. Executive Producer Producer Leading Players Photography Editing Music Production Company Print Source Nan Bush Bruce Weber Chet Baker, Carol Baker, Vera Baker Jeff Preiss Angelo Corrao Chet Baker Little Bear Films Zeitgeist Films A portrait of the great jazz trumpeter Chet Baker, 'Let's Get Lost' visually shimmers with dark chiaroscuro shadows, the filmic equivalents of his music. Baker died at the age of 57 in May 1988 and director Bruce Weber (better known as a fashion photographer) does not shirk from showing us the often squalid circumstances - high living, drugs, association with gangsters (who, among other things, knocked his front teeth in) - that made his tragically early demise inevitable. Weber films his subject and edits his shots like the blues. He cuts in archival footage, where Baker appears in the triumphant bloom of his youth, adored by his fans. He then cuts to images from a recent interview where the man appears terribly aged, wrinkled, worn out. "Weber is able to bring to life a man who looks as if he's been dead for many years.. . the highs and lows of Baker’s career are charted, leaving numerous images etched on the memory long after the plaintive soundtrack of the interviews with friends and lovers have been forgotten" Dylan Jones The Face �Triskel, ■nd i3.30 LIGHTING OVER BRADDOCK: A RUSTBOWL FANTASY Opera House , Friday Oct 6th 16.00 MALPRACTICE Bill Bennett Australia/ 1989/ 16mm/ 90 minutes/ Colour Tony Buba USA/1988 /16mm/80 mlnutos/Colour Producer Leading Players Script Photography Editing Music Sound Production Company Print Source Tony Buba Sal Caru, Sieve Pellegrin .J.Roy, Nr ilk Voslakov, Ernie Spisak, Tony Buba Tony Buba Brady Lewis Tony Buba Steven Pellegrino Susan Howard, John Blick Tony Buba Productions Zeitgeist Films Executive Producers Producer Leading Players Script Photography Music Production Company Print Source Tnstram Mi all, Aviva Ziegler, Bruce Moir Tristram Maili Ca2 Lederman, Bob Baines, Ian Gilmour, Pat Thomson Jenny Amge Steve Arnold Michael Atkinson Film Australia Film Australia Pty Ltd Called "the Faulkner of Allegheny County, the Flaherty of the frozen blast furnaces", Tony Buba has spent fifteen years documenting through film various aspects of his home town, Braddock, Pennsylvania; once a thriving steelmill town, now moribund with the recession in the world steel industry. 'Lightning Over Braddock’ marks Buba's feature debut and his first departure from documentary form. I It’s Saturday morning in a city maternity hospital and a young registrar, Frank Harrison, is the only doctor on duty with full obstetrics training . Coral Davis goes into labour with her third child. The baby is slow in coming and the fcetal heart monitor shows signs of distress. When Harrison is called away to an emergency, Margaret Beatty, the experienced midwife, knows exactly what ought to happen; but when Harrison returns, he has other ideas... Buba himself is the central character in this ambitious leap into surrealism, mixing fact with fantasy (and incorporating sequences from his own earlier films into the scripted narrative). A very funny, foul-mouthed street hustler named Sal (from Buba's earlier film, Sweet Sal) competes with striking steelworkers and the filmmaker himself for star billing, against the backdrop of a decaying steeltown , accompanied by such musical treats as "Braddock City of Dreams" and "Death of the Iron Age Cafe". 'Malpractice' is an emotional portrayal of a family’s efforts to come to terms with the result of medical malpractice; and a mother’s need to find out the truth. "When Tony Buba gets to the Pearly Gates, if St. Peter isn’t there to pass judgement, Saccho and Vanzetti will let him in for sure." KAY ARMATAGE With an impending medical tribunal hearing, Frank Harrison realises that he too must face the truth and the judgment of the law. Most of the characters in this dramatised documentary are portrayed by actors, but some of the hospital staff play themselves, and the members of the legal profession in the film are all portrayed by practicing solicitors and barristers. The findings of the tribunal are not scripted , but are determined by the presentation of the case. �FT Opera House, Tuesday Oct 3rd 16.00 MANIKA-MANIKA '\ri spAjlpih pA/iAC THE GIRL WHO LIVED TWICE France/1989/ 35mm/ Colour 1g caOairhc c) 1779 28/29 souch imp surccc. coi?h. ceL (021)277949 Producer Leading PLayers Script Photography Music Print Source Raoul Katz Julian Sands, StGphane Audran Ayesha Dharker, Jean-Philippe Ecolley Francois Villiers, Brian Phelan Alam Levant Naresh Sohal Labrador Films S.A. In a small coastal village, on the edge of the Indian Ocean, ten-year old Manika announces that she has had a previous existence, that her husband was a rich Brahmin, and that she died giving birth. Her teacher, Father Daniel, is an Irish Jesuit priest who has only recently been appointed to his post and whose new ideas have already earned him the disapproval of his superiors. He tries to reconcile Manika to a more immediate reality. music nijjhclq - 6ai? pood dAllq CAR ISCCACh 6cibh pAilce ROlmh Ct PRE-SCHOO^ The child, seeking her own form of truth runs away and makes the dangerous journey to Nepal in the hope of finding the husband from her former life. Father Daniel is sent to find her, but their mutual curiosity persuades him to help her reach her destination. In Nepal, she recognises a number of places from her former existence, and confides in Father Daniel her husband’s name. This, combined with her very adult reasoning, disconcerts Father Daniel, who cannot reconcile the compelling evidence for reincarntion that Manika represents with his own religious faith. When they finally meet the husband, who belives that reincarnation is not only possible but entirely natural. Father Daniel experiences a terrible crisis of faith. He retreats to a hermitage in the Himalayan foothills, run by Sister Ananda, where he tries to resolve his internal conflicts. Will he be able to return to his mission and take up his duties? Will Manika stay with the man she believes is her husband? Will she ever return to the fishing village where her parents anxiously await her? Which path will they choose? j., Lil 22 ___ mIooIM 24 SULLIVANS QUAY CORK Tel. 021 317660 RESTAURANT LUNCHES & EVENING MEALS + Teas, Coffee & Snacks • Wine Licence BOOKSHOP New & Secondhand Books, Magazines, etc. NATURAL FOOD STORE Whole Foods, Fresh Fruit & Organic Vegetables. Local Dairy Produce, etc. RESTAURANT: 10 - 9 Monday - Saturday SHOP: 10 -6 Monday - Saturday, Late opening to 8 p.m. Thursday & Friday. UNWAGED DISCOUNT — A WORKERS' CO OP �Ope: ■ ■ 32, Monday Oct 2nd 16.00 MELANCHOLIA Andi Engel England/Wost Germany/ 1989/35mm/ 87 minutes/ Colour Triskel, Friday Oct 6th 16.00 MY NAME IS BERTOLT BRECHT - EXILE IN USA Norbert Bunge, Christine Flscher-Devoy West Germany/1989/ 16mm/ 95 minutes/ Colour Producer Leading Players Script Photography Editing Music Production Company Colin McCabe Jeroen Krabbe, Susannah York Ulrich Wildgruber, Jane Curnelt Andi Engel Denis Crossan Christopher Roth Simon Fisher Turner British Film Institute, in association with Lichtblick Filmproduktion GmbH In this gripping thriller, David Keller, a German veteran of the civil unrest of 1968, is now in his forties, living in London, working as an art critic and drinking more than he should. He is utterly dissatisfied with his life, his work, and the world in general. After the events of '68 were followed by the violence of the '70’s and the resurgence of the Right in the '80’s, he feels that the battle is lost and the only choice available is between orderly and disorderly retreat. Then, one Friday afternoon, he receives a call from Manfred, a friend from Keller's student-radical days. Manfred asks him for once in his life to live up to his political ideals of 20 years ago and to assassinate a Chilean military doctor, a known torturer, who is on his way to London for a conference. But that murder leads him onto a second and then a third killing. . . 'Melancholia' is a film about exile: physical, political and emotional. The London in which the central character lives is a foreigner's London: Hyde Park, Tower Bridge, Victoria Station. Disillusionment has exiled him from the ideals of his past, and the acts of violence exile him from civil society. "At the end of the film", says director Andi Engel,"the guy is really dead, though in strictly clinical terms, he is holed up in a farm in Tuscany." "As a cry against today’s complacency, it’s more than just a thriller, though it works well on that level too. In all, a very promising debut." Producer Photography Editing Music Production Company Print Source Norbert Bunge Norbert Bunge Ron Orders. Arpad Bondy Hanns Eisler ,Song by Sylvia Anders Norbert Bunge Film production Ex Picturis Filmdistribution This film deals with a relatively unknown chapter in the life of Bertolt Brecht: his years of exile in the USA between 1941 and 1947 as a refugee from the Nazis. Arriving in Los Angeles in 1941, he tried to find work in Hollywood as a script writer. He also wrote several poems and plays, some of which appeared in English, such as 'Galileo Galilei', which was written in collaboration with Charles Laughton. Despite this productivity,however, Brecht's years of American exile were a time of misfortune and resignation. The myth of ‘America’, which many German writers of his generation had cultivated, was destroyed by his experience of American reality. The final straw was provided by the hearings of the House Unamerican Activities Committee (HUAC), to which Brecht was summoned in 1947 together with the directors and screenwriters of the 'Hollywood Ten’. Brecht left America the following day. 'My Name is Bertolt Brecht. . .’ uses only first-hand source­ material: Brecht’s diary, his poems, as well as some interviews with close friends and colleagues from the period in question. The film also includes archive material of the 'Galileo' production with Charles Laughton and of the HUAC hearings. "Confirmed Brechtians will be enthralled.. Variety David Stratton Variety 23 'Ti �Opera House, Wednesday Oct 4th 20.30 Triskel, Sunday Oct 8th 16.00 MYSTERY TRAIN 1996 Jim Jarmusch Karl Francis USA/1989/ 35mm/113 minutes/ Colour England/ 1989/ 35mm/ Colour Executive Producer Producer Leading Players Script Photography Editing Music Production Company Print Source Kunjiro Hirata, Hideaki Suda Jim Stark YoukiKudoh, Masatoshi Nagase Cinque Lee, Screamin' Jay Hawkins Nicoletta Braschi, Elizabeth Bracco, Joe Strommer, Rick Aviles, Steve Buscemi Jim Jarmusch Robby Muller Melody London John Lurie JVC, Mystery Train Inc. Palace Pictures The three episodes of MYSTERY TRAIN - linked by their setting in the same seedy hotel where the great comedy duo of Screamin' Jay Hawkins and Cinque Lee is on duty in the lobby - playfully observe strangers in the lost paradise of Memphis, haunted by the ghost of Elvis. A chattering Japanese couple explore the mysteries of a place whose language they do not understand; an Italian widow is conned, sees the local ghost and meets a Jarmusch lady; a wandering Brit (Joe Strummer) holds up a liquor store. The film is more or less the final part of a trilogy formed with 'Stranger Than Paradise' and 'Down By Law'. "’Mystery Train' is in fact itself a trilogy which includes three separate but conected stories, like those Japanese films made up of several ghost stories, or the Italian ones consisting of several romantic comedies...Although the characters never really meet...the episodic form is really just a disguise, and the three stories just separate cars pulled by the same train,a modern, minimalist version of 'The Canterbury Tales.’" Jim Jarmusch " ’Mystery Train’ rides a network of tracks that intersect at a puzzle switch, and it changes routes, passing from one life to another. It's a little bit about the legend of the King, and a bit about the romances and ghost stories and slapstick farces that are occurring to people while you sleep.lt’s about night in the South, refracted through the meditative lens of Robby Muller and echoed through John Lurie's blues-tinged score.’’ Luc Sante 24 Script Leading Players G.F. Newman Keith Barron, Alun Armstrong Gillian Eaton. Dudley Sutton BritainJn the mid 1990’s has become an even more divided and violent nation, with crime, civil disorder and urban terrorism on the increase. Law and order can only be maintained by means of a permanently armed police force, organised into large regional units, and backed up by harsh legislation which gives them wide-ranging powers of arrest and detention. Commander Jack Bentham, is one of the most respected senior detectives in the Metropolitan Province, and it is no surprise when he is brought in to head an internal investigation into the shooting of three radical nurses by the police during a violent demonstration. Bentham is subsequently instructed to take on a second investigation into another series of shootings in the Welsh Province. Gradually he uncovers evidence of a complex web of corruption, sexual scandal and deceit which appears to involve the highest levels in the Establishment. As he doggedly pursues his line of enquiry, key witnesses are murdered and he finds his own life at risk. Strongly reminiscent of events surrounding the Stalker affair, this hard-hitting thriller examines with pace and flair the possible implications of the erosion of civil liberties and the increasing militarisation of the police force in contemporary British society. �Opera •;l 2nd 18.00 Opera House, Wednesday Oct 4 18.00 PAIhii cl? FACES THE PHILOSOPHER Qi Xiao Fu Alex Law Der Philosoph Rudolph Thome Hong Kong/ 1988/ 35mm/118 minutes/ Colour/ Subtitles West Germany/1988/ 35mm/ 84 minutes/ Colour Producer Leading Players Script Photography Editing Production Company Print Source Mabel Cheung, Alex Law Samo Hung, Cheng Pei-pei, Lam Ching-ying, Kam-bo Yeung-ting David Chung Kwong Chi Leung, Timothy Yu Golden Harvest/ Shaw Brothers Golden Communications Ltd Jackie Chan, Sarno Hung and Yuen Biao are three of Hong Kong's most popular movie stars. Their now-legendary climb to stardom began when they were children, indentured to a Peking Opera Academy in the early '60s. ‘Painted Faces' is a lyrical retelling of the ten years that these three spent under the iron thumb of Master Yu, their fierce and dedicated situ at the Academy. Relentlessly drilled in the traditional acrobatics, martial arts and songs of the Peking Opera, all the boys want is to listen to the Beatles, wear bell-bottoms and learn to dance with girls. In spite of their infatuation with Western culture, and their constant disobedience, the three are hammered into fabulous and disciplined artists by the merciless but devoted Master Yu. < 'Painted Faces’ is photographed in stunning, sorribre tones and features a remarkable young cast, including some perfect look-alikes for the future superstars. Director Alex Law has created not only a fond look back at a crucial period of Hong Kong cinema history, but also an elegiac tribute to the dying art-form of the Peking Opera and the beloved Master Yu. Producer Leading Players Script Photography Editing Music Production Company Print Source Rudolf Thome Johannes Herschmann, Adnana Altaras, Friederike Tiefenbacher Rudolf Thome Reinhold Vorschneider Done Volz-Mammarella Hanno Rinne Moana-Film, Berlin Mainline Pictures ■ The naive and virginal young philosopher enters a clothes shop, only wanting to buy a new suit; but the three graces who work in the shop decide to take him up, body and soul. Claiming to be “time agents” who have been searching for him, they seduce him into a four-in-a-bed menage, caring for his every need, nursing him when he is sick,recapturing him when he flees, and finally reconciling him to this cosy arrangement. On the surface, just another male wish-fulfillment fantasy, 'The Philosopher” has intentions that go somewhat beyond this: "I am playing and also I am extremely serious" says director Rudolf Thome. "I know that implies a contradiction. And yet it is the truth. In the film there are also contradictions difficult to solve. If reality is contradictory, we must change our ways of thinking. And if we change our ways of thinking, the meeting with the three goddesses is no longer something as absurd as it first seemed to our Cartesian mind." “[The Director] handles it all with a brisk sense of humour. The actors enter into the spirit of the fun, disrobing regularly for the numerous bed scenes." David Stratton Variety I 25 i �I Opera House, Saturday Oct 7th 16.00 Opera House , Wednesday Oct PLAY ME SOMETHING A PRIVATE LIFE 16.00 Timothy Neat Francis Gerard Scotland/1988/35mm/ 80 minutes/ Colour South Afrlca/England/ 1989/ 35mm/ 95 minutes/ Colour Executive Producer Producer Leading Players Script Photography Editing Music Production Company i Pnnt Source fI Colin McCabe Kate Swan John Berger, Hamish Henderson Margaret Bennett, Tilda Swinton John Berger Chris Cox, Timothy Neat Jean Mohr Russell Fenton Jim Sutherland British Film Institute/ Channel Four/ Scottish Film Production Board British Film Institute 'Play Me Something’ is set in the waiting room of the world’s only tidal airport, in Barra in the Outer Hebrides. Planes land here, on the cockleshell beach, to a timetable dictated by the rising and falling of the tides. A group of travellers are waiting for a delayed flight to Glasgow. The island electrician (Hamish Henderson) arrives by horse and cart to mend the waiting room television. He is a singer and has a 'conspiratorial' relationship with a stranger (John Berger, the distinguished art historian and author, in his first acting role), who arrives in from the beach, sits down with the assembled group and recounts the tale that lies at the heart of this film: a love story, set in Venice .that tells of the meeting of Bruno and Marietta, who meet at a festival organised by the Communist daily newspaper 'L’Unita' on the island of Giudecca. The development of their relationship is presented in a series of black and white photographs, reflecting Berger’s and Neat’s commitment to making a film faithful to the formal distancing from reality you get in the narrative of a storyteller. The result is a blend of documentary realism with a love story told through folk tales, poetry and song which was a deserving winner of this year's best film prize at Barcelona. 26 .... Executive Producer Producer Leading Players Script Photography Editing Music Production Company Print Source Francis Gerard, Roland Robinson Francis Gerard Bill Flynn, Jana Cilliers Kevin Smith, Ian Roberts Andrew Davies Nat Crosby Robin Sales Trevor Jones B.B.C. Enterprises Hobo Film Enterprises 'A Private Life’ documents the true story of Jack and Stella Dupont in their efforts to live an ordinary, private life across the horrific colour bar of Apartheid. They are not political activists - just ordinary people who want to do the decent thing by marrying and raising a family - a right the rest of us take for granted. But Jack is 'white’ and Stella is ’coloured’ and in 1950 the laws of Apartheid stated that for people of different races it was now a crime to marry, live together, or have sexual contact. Jack and Stella’s relationship is against the law and their life together is almost destroyed. The Dupont’s thirty-year fight against this monstrous injustice is echoed in director/producer Francis Gerard's fight to get the film made the way he felt that it needed to be - using a South African cast and filming in South Africa. Finally, with governmental permission to re-enter South Africa and the approval of the African National Congress, , the cameras finally started rolling, granting us this unique opportunity to see what life is really like under Apartheid. �Triske PRC ,6.00 ro KEEP Opera House, Saturday Oct 7th 20.30 ROSALIE GOES SHOPPING Ginny Durrin Percy Adlon USA/ 1988/ 16mm/ 57 mir.utos/ Colour West Germany/ 1989/ 35mm/ 94 minutes/ Colour Producer Leading Players Script Photography Editing Music Production Company Ginny Durrin Marrin Sheen (Narrator). Mitch Snyder Aviva Kempner (Narration) Giny Durrin Reuben Aaronson Marian Hunter The Richard Smallwood Singers Durrin Films Producer Leading Players Script Photography Editing Music Production Company Print Source Percy Adlon. Eleanor Adlon Marianne Sagebrecht, Brad Davis, Judge Reinhold Erika Blumberger Percy Adlon. Eleanor Adlon Christopher Doherty Bernd Heinl Jean-Claude Piroue Bob Telson Pelemele Film Mainline Films The promise is an undertaking by the US government to turn a rundown building into a shelter for the homeless. When it becomes clear that no funds are forthcoming for the project, Mitch Snyder and 11 others decide to go on a hunger strike. From his deathbed 51 days later, Mitch succeeds in his mission. 'Promises to Keep' the latest film from award-winning documentary film director Ginny Durrin combines revealing portraits of bureaucrats, activists and homeless people as they meet in controversial public hearings and confrontations. Narrated by Martin Sheen, it is a powerful indictment both of America's record of caring for its less fortunate citizens and of the insensitivity of bureaucrats everywhere. With her seven children and innocently infatuated husband, a cropduster pilot afraid that he can no longer see well enough to retain his pilot's licence, she lives in Stuttgart, Arkansas, a land of open prairies and bright, childish primary colours. The main pastime of this family appears to be merrily chanting the refrains of TV commercials. Life offers a wealth of opportunities, and Rosalie's gift lies in never resisting temptation. ". . .Worthy of Frank Capra for the way it pits stubborn idealists against an aloof and even vindictive bureaucracy.” Washington Post I 'Rosalie Goes Shopping' features Marianne Sagebrecht, heroine of 'Bagdad Cafe’, as a lady who looks and speaks and smiles like a large soft-centred confection topped with whipped cream, but comports herself as a human computer programmed with implacable greed to stock up on worldly goods. From a little light forgery and manipulation of credit cards, Rosalie moves swiftly on, hacking into the bank’s computer system, going corporate, threatening to go multinational. Everything, more or less, is confided in her priest (Judge Reinhold), who emerges from the confessional and takes to the financial pages. 'Adlon's latest. . . is not so much a satire on consumerism as a fantasy about a barracuda disguised as a cream bun.’ Penelope Houston Sight and Sound 27 �Opera House, Monday Oct 2nd 20.30 Opera House, Tuesday Oct 3rc SIGNS OF LIFE 30 SPLENDOR John David Coles Ettore Scola USA/1988/ 35mm/ 91 minutes/ Colour Italy/France/1988/ 35mm/ 99 minutes/ Colour/ Subtitles p—7 Executive Producer Producer Leading Players Script Photography Editing Music Production Company Print Source Cary Brokaw, Lindsay Law Marcus Viscidi, Andrew Reichsman Beau Bridges, Vincent Phillip D’Onofrio Arthur Kennedy Mark Malone Elliot Davis William A. Anderson, Angelo Corrao Howard Shore Avenue Pictures Virgin Vision There’s a flicker of magic in the fishing town of Easthasset, Maine, and more than meets the eye among the lobster boats and warehouses of her sagging waterfront - love, loss, the insults of age, and the first cry of the newborn. i The juxtaposition of hope and hopelessness, beginnings and endings, and all the contradictory joys and sorrows that make up our experience of the ordinary - are the basis of this charmer of a picture. In one extraordinary 24 hours, the lives of Owen Coughlin and his small group of shipyard workers are turned upside down as the grip of progress (in the form of fibreglass boat construction) tightens around the tiny shipyard that has borne the Coughlin name for generations. 'Signs of life’ is the story of a group of people faced with the end of everything that they knew. But it is also much more. As one man loses his job, another walks side by side with the affable ghost of his father. While a woman seduces her wandering lover in the front seat of his '69 Chevy, a couple of miles away a boy thought dead starts back to life. Throughout Easthasset, the ordinary embraces the magical, amd suggests that there is an order and balance to even our most frenzied days. 'Signs of Life' speaks of the possibilities of hope and renewal. “A heartwarming gem of a film, made in the same vein as ‘Local Hero” Variety . .gifted director John Coles, making his debut, and a superior cast handle (the film] with enthusiasm, skill and determination.. John Griffin 28 Producer Leading Players Script Photography Editing Music Production Company Print Source Mario Cecchi Gori Marcello Mastroianni, Massimo Troisi, Marina Vlady, Paolo Panelli Ettore Scola Luciano Tovoli Francesco Malvestito Armando Trovaioli Cecchi Gori Group, WarnefeBrothers In the small town of Arpino, in Italy, the Splendor cinema is being dismantled, pending redevelopment, watched sadly by its owner, Jordan (Marcello Mastroianni) and usherette Chantal (Marina Vlady). With his father,who ran a mobile cinema, Jordan had travelled about the country providing the musical accompaniment to films like 'Metropolis’. The Splendor was inaugurated in 1937 with a screening of 'Scipione L’Africano' and the enthusiastic endorsement of the Fascist government. Jordan went on to spend two years in the Italian army and two years with the Yugoslav partisans. The Splendor went through many good years after the War, aided in part by the ample figure of Chantal, who had many admirers in the audience, drawing warnings of hellfire and damnation from the priest. With the advent of television, though, attendances began to fall (cheap horror films and the projectionist’s idea of a Soviet season didn’t help). Two staunch regulars remained, however: Cocomero, local film critic, and Signor Paolo, who was in love with Chantal. Even their support could not prevent the Splendor's eventual demise as financial problems mounted and a local industrialist forced Jordan to sell out. He takes ten million Lira off the selling price for the satisfaction of slapping the industrialist’s face. He remembers coming home from the War to find the entire population of Arpino enthralled by the uplifting ending of Frank Capra’s 'It’s A Wonderful Life.’ As he watches his cinema being taken apart, he is startled to see (or imagine) all the townsfolk flocking inside, sitting on seats before they can be removed, singing Auld Lang Syne (in Italian), and recreating the happy ending of 'It’s A Wonderful Life’, a community momentarily united by the rapture of the screen. “An affectionate valentine. . . There is a delicious mood to its nostalgia” International Herald Tribune �Opera Ho Oct 7th 18.00 SWEl Jane Campion Australia/ 1989/ 35mm/ 97 minutes/ Colour Opera House, Friday Oct 6th 20.30 TRAGEDY IN THE ROCK STYLE Savva Kulish U.S.S.R./ 1989/ 35mm/150 minutes/ Colour/ Subtitles Producer Leading Players Script Photography Editing Music Production Company Print Source John Maynard, William MacKinnon Genevieve Lemon, Karen Colston, Tom Lycos Jon Darling Gerard Lee Sally Bongers Veronika Haussler Martin Armiger Arena Film Pty. Ltd. Australian Film Commission Leading Players Script Photography Music Production Company Print Source Kay is frightened of the future and of the present, of life and of death, of loneliness and of love; she’s frightened of trees that wither and die, frightened of shadow and of light, frightened of giving herself up to her dreams and her memories. When a clairvoyant describes minutely the man in her life, Kay, suddenly strong and decisive, sets up home with Louis, the ex-boyfriend of a colleague. After a year of apparent happiness, however, her fears gradually reemerge; she turns away from Louis and begins to withdraw inexorably into herself. That's when her older sister, Sweetie, appears. Sweetie is fat, whining, retarded, given to appalling tantrums. She loses no time in turning Kay’s world upside down with her capricious demands, her voracious sensuality, her enormous appetites and terrifying rages. I Kay struggles gamely with this whirlwind, and with her useless parents, but she cannot escape from Sweetie’s overpowering influence, her thirst for love, her terrifyingly inexhaustible energy. When in the end Sweetie disappears, Kay, now calmer, rediscovers the pleasures of life and of love... Yuri Lazarev. Alexei Shkatov Albert Filozov Savva Kulish Vladimir Klimov, Vladimir Fastenko Oleg Karavaichuk Sergei Kuryokhin Moslilm Studio (U.S.S.R.), Cosmos (France) So vex portfilm On the cutting edge of Glasnost, 'Tragedy in the Rock Style’ has shocked Soviet audiences with its frank sexual content and its (hitherto unheard of) revelations of the use of drugs by Soviet youth. "Before Gorbachev, I just couldn't have done anything like this. . . “ says director Savva Kulish. “ When I first proposed the idea seven years ago they all told me ‘Savva, You’re mad’. Times have changed." The film tells of a teenager, Vitja Bodrov, whose world is torn apart when his father is arrested for corruption. Formerly a student of some promise, Vitja becomes manicdepressive and falls under the influence of a sinister, charismatic, shaven-headed mystic called Kumir. Kumir leads Vitja into a twilight world of drug-addiction, wild orgies and organised crime. In scenes unprecedented in Soviet cinema, the audience is shown in graphic detail intravenous drug use and an orgy which culminates in the on-screen rape of Vitja's step-sister by his 'spiritual master'. Vitja’s tragedy is complete when, following a spectacular car­ chase, he crashes his father’s car head-on into a bridge in a vain attempt to avenge himself on his tormentor. "(The film] is made according to the laws of a classic tragedy, the characters of which die. So in genre it is a tragedy and rock is a musical essence of our time. ...narcoticism is not the main thing. The film tells of spiritual addiction, the victim of which is a boy, betrayed by his own father...” Sawa Kulish I "The scenes of [Vitja’s] degeneration are notable for the extraordinary camera-work, taking on Dali-esque visions." International Herald Tribune 29 ■ . �Trlskel, Saturday Oct 7th 16.00 Opera House, Sunday Oct Sth TWILIGHT CITY . 0 VENUS PETER Reece Augulste Ian Sellar England/1989 / 16mm/ 52 minute*/ Colour Scotland/1989/ 35mm/ 94 minutes/ Colour r ! Producer Script Photography Editing . Music Print Source I I Avril Johnson Edward George Jonathan Collinson Brand Thumin Trevor Mathinson Black Audio Film Collective After thirty-five years of living in London, Olivia’s mother, Eugenia, returns to Dominica, vowing never to return. Ten years later, a letter from her breaks the silence. Eugenia wants to come back. Olivia is a journalist, researching ‘The New London and the Creation of Wealth’. The ‘New London’ ,a fading world of being and unbelonging - Clause 28, 'Invisible Communities’, the homeless and displaced, and voracious 'redevelopment' - has all but annihilated the London of Olivia’s youth. She wonders what she is going to tell her mother. Using a combination of fictional biography, archive footage, and narration, "Twilight City” shifts between being a documentary meditation on the increasingly dystopian effects of untrammelled redevelopment, and a journey through landscapes of disenchantment. Executive Producer Producer Leading Players Script Photography Editing Music Print Source Colin McCabe Christopher Young Ray McAnally David Hayman Sinead Cusack Gordon R. Strachan Ian Sellar, Christopher Rush Gabriel Beristain David Spiers Jonathan Dove Recorded Releasing Ltd. A christening in seawater gives young Peter (9 year old Gordon R. Strachan in a brilliant, touching first performance) an unusual start in life and an insatiable passion for the sea and his grandfather’s fishing boat, the Venus Peter. He imagines his mysteriously absent father to be a ship’s captain, dreaming of his return in a ship so large it will fill the whole harbour; but he finds himself closest to his grandfather (Ray McAnally in one of his last screen roles). Grandfather’s gift of a telescope opens up new worlds to him, and the world of Peter’s imagination merges with the real world of the eccentric inhabitants of the little Scottish fishing town Peter's life is full of events: he almost drowns; a whale is beached on the shore, and Peter tries unsuccessfully to kill it with his grandfather’s harpoon; the tyrannical village teacher suddenly dies, and her young successor stirs Peter’s dormant interest in poetry. He falls in love with her but falls out of love again when he witnesses her, through his telescope, making love with a stranger on Halloween night. Peter’s world is further eroded by the return of his father, who, much to his disappointment, is not a seacaptain but an ordinary businessman, and by the sale of the Venus Peter due to the depletion of the fish stocks. The film ends on an optimistic note as the Venus Peter is driven out of town on a lorry and Peter returns to the sea the carved model of the ship under which he was baptised. "...one of the outstanding debuts of the year, both for its control and its lack of easy sentimentality.” Derek Malcolm The Guardian I ao �(6.00 Triskel, S VOIC )M . ;Oi.. THE ATTIC Debbie Goodstein USA/ 1988/ 16mm' 57 minutes/ Colour Trlskel, Monday Oct 2nd 16.00 WHERE THE HEART ROAMS George Csicsery USA/1987/16mm/81 minutes/Colour I ... Producer Script Photography Editing Music Print Source Awards Debbie Goodstein Debbie Goodstein, Jim Butler Oren Rudavsky Toby Shimin Ken Masur, Russ Landau, The Penguin Cafe Orchestra Siren Pictures Corp. Golden Gate Award, San Francisco 'Voices from the Attic' is a moving personal document of Holocaust remembrance from a second-generation American perspective. Filmmaker Debbie Goodstein and five of her cousins travelled to Poland with their aunt to see for themselves the peasants' attic where their parents and relatives hid during the war. This two year long hell of starvation, claustrophobia, sweltering summers and freezing winters had bled into the collective psyche of the survivors’ children. The young people had all experienced a fascination with attics and experienced a deep subconscious terror when in a small room or subway. The viewer witnesses a partial exorcism of this fear through visiting the places and the people that shaped this traumatic family history. ( Producer Leading Players Script Photography Print Source George Csicsery Barbara Cartland. Janet Dailey, Chelley &Ted Kitzmiller George Csicsery John Knoop New Yorker Films 'Where The Heart Roams’ follows the journey of Chelley Kitzmiller, a Californian housewife - who credits an historical romance novel, 'Sweet Savage Love' with changing her life. The book inspired in her to a consuming passion for the romantic genre that eventually led to 'The Love Train’ - a 3082 mile rail trip organised by Kitzmiller to transport a contingent of romantic novel-addicts from Los Angales to the Romantic Novel Booklovers Convention in New York in 1982, which the 'Queen Of Romance’ and world’s best­ selling novelist, Barbara Cartland (370 novels written, over 400 million copies sold of such heart -throbbers as ‘Velvet Ecstasy) was gracing with her presence. On board the Love Train, apart from the hordes of fans, were several best­ selling romance authors,and a cynical 'Playgirl' reporter. Along the route, the Train stops to meet the fans, who treat them like rockstars, and provide the viewer with an insight into a bizarre publishing phenomenon that counts some 20 million American women among its devotees. While observing all that is about him with a cool and nonjudgmental eye, Csicsery focusses at the same time on some additional elements."...The industry....created another forum for all kinds of societal issues to be debated: questions of sex, feminism, types to male heroes, different behaviours” Highlight of the film is the rendition, by Miss Cartland of “A Nightingale Sang in Leicester Square", her hesitant,86-year-old soprano making flesh the void of loneliness and quiet despair in the hearts of so many women that is filled only by such slush as "Soar and Surrender" or "Passion's Proud Promise"."A fascinating look at an American subculture" Variety 31 �34th CORK FILM FESTIVAL - FULL PROGE ME TRISKEL ARTS CENTRE CORK OPERA HOUSE SUNDAY Oct 1 SUNDAY Oct 1 20.30 OFFICIAL OPENING THAT’S ALL RIGHT B. McCannon IRL (4m) SUNDAY John Lawlor IRL (10m) JESUS OF MONTREAL Denys Arcand CAN (118m) 11.00 13.30 Shorts Programme US and Canada 1 OUT OF THE RAIN P. Beere Briggs US (21m) AN EMPTY BED M. Gasper US (56m) VOICES FROM THE ATTIC D. Goodstein US (59m) PROMISES TO KEEP G.Durrin US (57m) MONDAY Oct 2 MONDAY Oct 2 14.00 Hommage Section CITIZEN KANE Orson Welles US (119m) THE KITCHEN CHILD Joy Perino England (11m) MELANCHOLIA Andi Engels England ( 87m) ONE MAN’S MEAT Lai Ngan Walsh England (11m) PAINTED FACES Alex Law Hong Kong(118m) ANIMATED SELF PORTRAITS (8m) DARK SLIDE OF A TROMBONE H. Toint BEL(14m) SIGNS OF LIFE J. D. Coles US (91m) 11.00 Shorts Programme Europe 1 LIGHTING OVER BRADDOCK T.Buba US (80m) WHERE THE HEART ROAMS G.P.Csicery US (81m) 16.00 18.00 20.30 16.00 13.30 16.00 TUESDAY TUESDAY Oct 3 14.00 ! Oct 3 Hommage Section HIGH NOON, S. Kramer US (85m) GEH KINDE GEH Crispen Reece England (11m) MANIKA MANIKA (THE GIRL WHO LIVED TWICE) F.Villiers France THE HANGOVER Giblets England (11m)HIGH HOPES Mike Leigh England (110m) THE BURDEN G. Breaud France (13m) SPLENDOR Ettore Scola Italy (125m) 11.00 Shorts Programme US and Canada 2 IN FADING LIGHT Amber Films England (104m) COMRADES AND FRIENDS N. Godwin/S. Krishnamma, England, (54m) THE WORLD IS WATCHING P.Raymont CAN (59m) 16.00 18.00 20.30 13.30 16.00 WEDNESDAY Oct 4 WEDNESDAY Oct 4 14.00 11.00 16.00 i■ 18.00 20.30 Hommage Section THRONE OF BLOOD A. Kurosawa Japan (105m) DARK ROOM J.Bernard France(14m) A PRIVATE LIFE F. Gerard South Africa (95m) THE ABDUCTION OF EUROPE Hartmut Jahn F(13m) THE PHILOSOPHER Rudolf Thome FDR (84m) YOUR OPINION PLEASE H. Honigmann NL (12m) MYSTERY TRAIN J. Jarmusch US (113m) 13.30 16.00 Shorts programme Ireland 1 Focus Section SHELLSHOCK ROCK (50m) SELFCONSCIOUS OVER YOU (40m) EAT THE KIMONO 20th Century Vixen England (60m) CHARLOTTE’S DIARY P.Goossen NL (40m) J �>PERA HOUSE HURSDAYC. . 14.00 TRISKEL ARTS CENTRE THURSDAY Oct 5 Hommage Section MANHATTAN Woody Allen US (96m) LET'S GET LOST Bruce Webber US (119m) LALALA HUMAN SEX DUO NO. 1 B. Herbert CAN (8m) THE LEGEND OF THE HOLY DRINKER E. Olmi Italy (125m) PAS A DEUX M. Renault/ G. van Dijk NL (6m) EXTERIOR DAY FOREST M. Salmon FR. (5m) CELIA Ann Turner AUS (103m) 11.00 FRIDAY Oct 6 FRIDAY Oct 6 14.00 Hommage Section WINGS OF DESIRE Wim Venders FDR (128m) MAIDER Arantxa Lazkano Spain (13m) MALPRACTICE B. Bennett AUS (90m) BEYOND REACH D. McArdle IRL (17m) CONQUEST OF THE SOUTH POLE Gillies MacKinnon Scotland (90m ) HINDU KUSH B. Trautmann FDR (11m) TRAGEDY IN THE ROCK STYLE S. Koulish USSR (152m) WORK EXPERIENCE J. Hendrie England (11m) LENNY LIVE AND UNLEASHED A. Harries England (94m) 11.00 Shorts Programme US and Canada 3 Focus Section POWER IN THE BLOOD MY NAME IS BERTOLT BRECHT N.Bunge/C.Fisher-Defoy FDR (95m) 16.00 18.00 20.30 16.00 18.00 20.30 23.30 SATURDAY Oct 7 13.30 16.00 13.30 16.00 Shorts Programme Europe 2 Focus Section ROUTE 66 (120m) CHINA DIARY J.Yang US (57m) IRISH WAYS A.MacCaig FR (53m) SATURDAY Oct 7 THE HILL FARM Mark Baker England (18m) ARIEL A. Kourismaki FIN (74m) BLACKWATER SUMMER L. O’Connor England (29m) PLAY ME SOMETHING T. Neat Scotland ’ (80m) KITCHEN SINK A. Maclean NZ (14m) SWEETIE Jane Campion AUS (97m) 6/4/33 H. Hess IRL (9m) TOUR D’AMOUR V. El-Mer FDR (9m) ROSALIE GOES SHOPPING P. Adlon FDR (94m) DICK J. Mennell US (15m) HEATHERS M. Lehmann US (102m) 11.00 SUNDAY Oct 8 SUNDAY Oct 8 13.30 CAMP THIAROYE O. Sembene/T. Faty Sow Senegal (150m) NIVIS S. Goulet CAN (10m) FRAGMENTS OF ISABELLA R. O’Leary IRL (77m) THE LOUNGE BAR D. McGIashan/H. Sinclair NZ(12m) VENUS PETER I. Sellar Scotland (92m) OFFICIAL CLOSING Awards Ceremony, followed by screening of the prize-winning Short Film. 11.00 NORTHERN LIGHTS Programme 1 NORTHERN LIGHTS Programme 2 1996 K. Francis Wales 14.00 16.00 18.00 20.30 23.30 16.00 18.00 20.30 13.30 16.00 13.30 16.00 Shorts Programme Ireland 2 Focus Section DUST ON THE BIBLE TWILIGHT CITY R.Auguiste England (52m) DEREK JARMAN - You Know What I Mean L.Postma England (52m) NOTE: All films will be screened in the above order. For details on the Shorts Programmes see separate page. ♦ EAT A BOWL OF TEA W. Wang US (104m) 4 33 . *r it r ■ w \ �Trlskel, Tuesday Oct 3rd 16.00 THE WORLD IS WATCHING Peter Raymont Canada/1988/ 16mm/ 60 minutes/ Colour ft; dcLacv Jtcnisc 74 OLIVER PLUNKETT STREET CORK, IRELAND Telephone (021)270074 CORKS LEADING ENTERTAINMENT VENUE Producer Script Photography Editing Music Production Company Print Source i Harold Crooks, Jim Monro. Peter Raymont Harold Crooks. Peter Raymont Dan Holmbereg, Martin Duckworth, Frank Pineda John Kramer Doug Wilde Investigative Productions Inc. Telefilm Canada Who decides what is news? How do they decide? How much of what we see and read is true, or even factual? And what of the men and women in the field; are foreign correspondents allowed to tell all that they see, or are they just mouthpieces for an invisible editorial line? ‘The World is Watching’ examines these issues - the key moral questions of the electronic age - by focussing on several journalists working in Nicaragua during the negotiations surrounding the Arias Peace Plan in November 1987. The filmmakers won unprecedented access to film inside ABC TV News - following a crew on the ground in Nicaragua, while simultaneously documenting the editorial process in the ABC newsroom in New York. Through them, and other journalists on the spot, they examine how the news business works - revealing the inevitable distortions that become part of the process. Journalists criticise their profession from the inside. They question the enormous pressures they face: the deadlines, the demand for sensationalism, and editorial decisions that are made far from the action. "We have to acknowledge that the notion of journalistic objectivity is nonsense," says director Peter Raymont. 'Every time you turn on a camera, you’re expressing a point of view." "A brilliant piece of work, documentary-making of the highest order.’ The Nation “Nothing could illustrate more clearly the extent of news management than ‘The World is Watching’. The Independent Wishes the 34th Cork Film Festival the best of luck and continued success. de-Lacy House > a luxurious Lounge Bar With Meals Served Daily plus The Best of Live Acts Why not drop by for a visit 40, Paul Street, Cork and Douglas Village, Co. Cork. RESTAURANT WINE BAR TRADITIONAL PIZZAS FRESH HAND-MADE PASTAS GRILLS - FISH - OMELETTES FULL WINE LIST 34 OPEN: 12 noon - 11.30 p.m. Sunday 5 p.m. - 11 p.m. �Luxury by the, Lee f ‘or [uTQiry, friendliness and efficiency the Metropole s bars and restaurant can't be beaten. P ‘ rinters Printers and Stationers 41 Paul Street, Cork Tel: (021) 277707 Continued success to the Cork Film Festival COUNTRY CLUB HOTEL I McDonalds Me Donal | TM 4/5 Winthrop Street, Cork Montenotte, Cork City Grade ‘A’ Bedrooms Excellent Restaurant Luxury Lounge Bars For further details Telephone (021) 502922 Tel: (021) 272175 Fax: 272116 Congratulates The Cork Film Festival 1989 OPENING HOURS: Sunday: 10 a.m. to 11 p.m. Mon/Tues/Weds: 11 a.m. to 12 p.rp. Thurs/Fri/ Sat: 10 a.m. to 12 p.m; I �SHORT FILM PROGRAMME AND EUROPEAN SHORT I COMPETITION Europe 1 Cork Film Festival has, since its inception championed the art of the short film and remains one of the few international festivals to include a Short Film Programme.This year we have had an unprecedented number of entries. Of the films selected for screening, some will be shown accompanying features in the Opera House. Others have been grouped into the short film programmes below and will be screened in Triskel Arts centre. The Festival is proud to have the support of the European Commission for its European Shorts Film Competition. This year we are enabled to award a prize of 10,000 ecus to the winning film, which must be 30 minutes or less and originate in a member stae of the Council of Europe. The festival’s wish is that the prize money be devoted to having the winning film subtitled or dubbed into Community languages, thus aiding the film in achieving the maximum possible audience. We are grateful to Mr. Terry Stewart, Director of the EC Dublin Office for his continued support of the competition. The Gus Healy trophy and a cheque for £1,000 will be awarded to the director of the best Irish short in competition. We are grateful to Warner Home Video (Ireland) for their sponsorship of this prize. Admission to the Triskel Shorts Programmes is free to those holding Festival Membership Cards. GRAND NATIONAL. Sue Loughlin. GB. 8m KRAUSE .. . , Christoph Doering, FDR, 12m SAHARA, Francois Loubeau, Fr, 4m THE UNKINDEST CUT, Jim Shields, GB. 10m WATER'S EDGE, Suri Krishnamma, GB, 35m Europe 2 THE WASTED CALL, Tim Rolt, GB, 10m REMORSE, Simon Howard, GB, 13m A PLACE AWAY, Ellie O'Sullivan, 10m GRAN DE CIEL, Manual Sanchez, Fr, 12m LA CHAMBRE, Joelle Bourvier, Regis Obadia, Fr, 9m L'ETREINTE, Joellle Bourvier, Regis Obadia, Fr, 5m THE SOULFUL SHACK, John Roberts, BG, 12m Ireland 1 A COWBOY ON JUPITER. Stephen Kane, 11 m COGITO ERGO PHUQ, Tony Kenny. 10m POOCHERS, Denis McArdle, 17m LEMON, Tony Fitzpatrick, 16m END OF PART 3, lain Keeney, 13m BIG SWINGER, Declan Recks, 15m Ireland 2 THE METAL MAN, Brendan McCarthy, Geraldine Creed, 12m OICHE ST, Steve Woods, 6m SPLICE OF LIFE, Martin Duffy, 15m SUSPICIOUS MIND, Hugh Farley, 18m LONDON SUITE, Vivienne Dick 28m SEMINAR SHORTS PROGRAMME US and Canada 1 I THE AFTERLIFE OF GRANDPA, P.J. Pesce, US 24m AMERICAN EXIT Egidio coccimiglio, Canada 10m A CONSTANT STATE OF DEPARTURE, Lidia zajko, US 11m A LIGHT AND EVERYTHING, T.W. Oliphant Jnr., US 14m OUTRAGEOUS TAXI STORIES, JOE BERLINGER, US 1 I 25m =1 US and CANADA 2 TRACKS, Rupert A. Nadeau, US 22m PARIS X 2, Jay Rosenblatt, US 26m ONE DAY AT A TIME Richard Morasci US 11m SWINGIN' IN THE PAINTER'S ROOM, Greg Mottola, US 14m HIRAEZH, Christine Leahy, US 20m US and Canada 3 MULTIPLY CHOICE, Debbie McGee, Canada, 23m JUST A CARTOON, Jon Minnis, Canada, 6m THUNDER AND LIGHTING, Jonathan Nordlict, US 13m A SHRINE ON THE ROAD, Liam Lockhart, US KYRIE ELEISON, Assad Fouladkar, 25m ■ LOCAL FILM MAKING - CULTURE & COMMERCE The seminar will explore the current state of film funding in Ireland, Scotland, Wales and England and through the MEDIA 92 Programme, and its implications for the nature of the productions which secure funding. Among those participating will be: Penny Thomson, Director of the Scotish Film Production Fund which invested in the three Scottish features showing at the festival, PLAY ME SOMETHING, VENUS PETER and CONQUEST OF THE SOUTH POLE; Cathal McLaughlan, founder member of Belfast Independent Video, director of MOVING MYTHS, screening in the 'Northern Lights" section and currently working as co­ ordinator of the Network of Workshops. Alan Gilsenan, founder member of Yellow Asylum Films, director of 'Eh Joe' and 'The Road To God Knows Where', and Chairperson of the Action Committee for a Single State Agency for Film. The seminar will take place in the lecture theatre of the Crawford Municipal Art Gallery on Friday October 6th at 11.00 am. Admission is free. 36 �TE /-■ URO iON OF AMERICAN EXIT Egldlo Coccimiglio Canada/1988/ 16mm/10 minutes/ Black and White -ie Entfuhrung Europas Hartmut Jahn West Germany-’ 1988/ 35mm/ 13 Minutes/ Colour Producer and Script Photography Editing Music Print Source Hartmut Jahn Carlos Bustamante Inge Schneider Ulrich Bubu Bauer Hartmut Jahn Producer Script, Photography & Editing Music Print Source Christopher Porter Egidio Coccimiglio Frank Sinatra. Mahalia Jackson, The Falcons Egidio Coccimiglio A contemporary reflection on the old European mythology of the abduction of Europe. An experimental mix of film and video, brought to us by the makers of ‘Berlin Blue’, one of the hits of the 1987 festival. A ten-minute poetic documentary that takes the viewer on a nostalgic trip through the ’sixties - a decade full of promise but riddled with contradiction. THE AFTERLIFE OF GRANDPA ANIMATED SELF-PORTRAITS P.J. Pesce USA/ 1988/ 16mm/ 24 Minutes/ Colour Producer Leading Players Script Photography Editing Music Print Source Awards P.J. Pesce Matteo Canmzaro, Frank Vincent Heather Juergensen, P.J. Pesce P.J. Pesce Paul Gibson P.J Pesce Greg Ribot Gobbadosta Productions. 1989 Houston Int. Film Festival Special Gold Jury Prize - Top Student Film A dramatic comedy about the ghost of an old Italian grandfather who, returns to try to seduce his grandson’s girlfriend. International Animators USA/ 1989/ 35mm/ 8 Minutes/ Colour/ Animation Producer Animators from Print Source David Ehrlich USA, Yugoslavia, Estonia, Czechslovakia. Japan International Animators Nineteen animators from five countries join together for a series of animated impressions of themselves 37 �Dll DELLAR FREIGHT LTD. INTERNATIONAL FREIGHT FORWARDERS Unit 4, Ballycureen Industrial Estate Airport Road, Cork. Tel: (021) 311427. Fax: 314107 I DOUGLAS INSURANCES I GENERAL BROKERS LIMITED Morris House, Douglas West, Cork, Ireland. Telephone (021) 362697/362124 i Ii> Contact Peter Kirwin Phone: (021) 362697,362291 or 362309 Fax: (021) 362124 ,-s^i wi Insuring the continued success of the CORK FILM FESTIVAL �EYC \CH BLACKWATER SUMMER 'ills McArdle Chris Dudman l.ind/1989/ 35nm;/ 17 minutes/ Colour Britain/ 1989/ 35mm/ 29 mlnutas/ Colour Executive Producer Leading Players Script Photography Editing Music Print Source Denis McArdle Dave Carey, Mai Whyte, Ger Ryan Denis McArdle Jack Conroy Oliver Fallen Jim Lockhart Denis McArdle Robert, a lonely artist, is haunted by the image of a mysterious woman. He becomes obsessed with capturing this image in order to prove his sanity. Photographed by Jack Conroy, whose credits include work on 'My Left Foot.' BIG SWINGER Producer Leading Players Script Photography Editing Music Print Source Awards Penny Lane, Lance O'Connor Ray Brooks, Sharon Duce, Maya Spiers Chris Dudman Josh Goodswen Giles LLewellyn-Thomas Teresa Flisek Royal College of Art 2nd Academy Oscar, Golden Square Films Award The endless summers of memory, and of childhood. A perfect place on an island in the Blackwater estuary. Suddenly this paradise of the innocent is shattered by tragedy. THE BURDEN Declan Recks Le Fardeau Guillaume Breaud Ireland/ 1989/ 16mm/15 minutes/ Colour France/1988/ 35mm/13mlnutes/ Colour/ Subtitles Producer Leading PLayers Script Photography Editing Music Print Source Declan Recks, Cathy Davis Tom Hickey, Kevin Reynolds Charlie Roberts, Donncha Crowley Declan Recks Liam O'Neill Anne O'Leary, Declan Recks John Rabbitte Declan Recks/Cathy Davis Jimmy is an ex-showband drummer who runs a pirate radio station in a small Midlands town. When the signals from Jimmy’s transmitter start interfering with passing aeroplanes, the authorities send in the heavies to close down the station, but Jimmy isn’t going to give in without a fight... Producer Leading Players Script Photography Editing Music Print Source Dantd Desarthe Malcom Scrannage. David Nataf, Louise Boisvert. Pauline Dairou Nathalie Duong Minh Tam N Guyen Krishna Levy Baobab Production, Dant6 Desarthe Two children try to dispose of their dead mother's body, but problems emerge... 39 �CORK OPERA HOUSE The Premier Venue for Entertainment Plays • Musicals • Concerts Opera • Traditional Music Ballet • Panto Review & Variety Specialists in arranging FESTIVALS PRODUCT LAUNCHES & CONFERENCES CORK OPERA HOUSE pic, Emmet Place, Cork Spacious Bars and Catering Facilities available Programme Information: (021) 276357 Booking Office: (021) 270022 (usual cards welcome) The Opera House is grant-aided by Cork Corporation I WXRNER HOME VIDEO ■ are delighted to sponsor this years “Irish Film Director” Award. T 0 i N i IK X c. a\ ■I tr t.hpsn Irich I ^^-*i**^ Exclusive distributors for these Irish Productions which also include: Charles Haughe/s Ireland, The Dubliners Dublin, The Wolfe Tones and Tim & Judy. Coming Soon: The Irish R.M. and Simply Painting - with E A. Clarke. 40 �TER than Tammu E in/ 1989/35mm/11 !. •uiss/ Colour A CONSTANT STATE OF DEPARTURE Lidia Szajko USA/1989/ 16mm/11 minutes/ Black and White 4 ft <WanTA"’ „ OF r I < Producer Leading Players Script Photography Editing Music Production Company Print Source Deborah Carter Alun Armstrong, Lindsay Duncan Lucy Rivers Lib Stephen Jason Lehel Terry Rawlings Julian Nott Film Four International in Association with British Screen Film Four International Eight-year old Betty is sent to stay with her aunt on a remote Welsh farm while her mother has a baby. Her stepfather tells her that Uncle Stefano is accustomed to eating little girls who misbehave. COGITO ERGO PHUQ Producer, Script, Editing And Photography Leading Players Narrator Print Source Lidia Szalko Peter Chan, Lezlie Vincent Claire Chafee Lidia Szajko Productions A chronicle of the process of coming to terms with the inevitable loss of a relationship between dear friends, one of whom is dying of AIDS. The story is told through interior monologue and illustrated by the unfolding of a series of symbolic images. Tony Kenny . A COWBOY ON JUPITER Ireland/1989/ 16mm/10 minutes/ Colour/ Animation Stephen Kane lreland/1989/ l6mm/11mlnutes/Colour Producer, Animation, Script, & Editing Photography Print Source Tony Kenny Tony Fitzpatrick Tony Kenny Producer Script Leading Players Photography Editing Music Print Source A one-part animated soap-opera about the history of the world, starring Elvis Presley as God. Ben Yeates, Stephen Kane Jacqueline Mulvey, Michael O'Reilly Jr., Joe Hanley, John Kane Joe Tanham, lain Keeney Anne O'Leary. Amanda Sutton, Stephen Kane Barry Nolan Stephen Kane Jessica, a Leaving Cert student,attempts to psycho­ analyse Christie, whose odd ambitions range from being an astronaut to being a cowboy on theArizona Plains. 41 �GRAND PARADE HOTEL an sRoiOBbaaiLe ‘THE VILLAGE’ IMAGINE AN OPEN TURF FIRE TRADITIONAL MUSIC AND SET DANCING IN AN AUTHENTIC OLD IRISH VILLAGE OPEN EVERY NIGHT COME ALONG AND ENJOY YOURSELF If * 'f i a |p- A NEW (OLD) CONCEPT IN IRISH HOSPITALITY For late people, a late bookshop. ■ V; 69, Patrick Street, Cork. Tel: (021) 276522,276002 Open: Mon. - Fri. 9 am. 9 p.m. Sat. 9 a.m. - 7 p.m.. Sun. 12 noon - 7 p.m. 42 �DICK RK E Jo Menell |._ ;hambre Noir Bv lard Jourdain USA/1989/15 minutes/ Black and White Franco/ 1988/ 35mm/ 14 minutes/ Colour/ Subtitles Leading Players Script Photography Editing Music Print Source Berangere Bonvoisin, Jean O’Cotrell, Dems Lavant Nathalie Loubeyre Michel Pasquier Anmck Baly Jean-Christophe Desnoux Austral Film A man. A woman. A fortuitous encounter on the side of the road. Two solitary people who decide to share the night. A journey, a long journey. The search for a place lost since childhood. Words of love, of terror. . . the cry of a man lost in 'the marsh’. THE DARK SLIDE OF A TROMBONE TROMBONE EN COULISSES Hubert Toint Producer Leading Players Photography Editing Music Print Source Jo Menell 1000 men, represented by their penises Jo Menell B. Moel John Cale Jo Menell, Bobo Movies This eye-opening parade of a thousand penises in fifteen minutes, accompanied by comments by one hundred women, is guaranteed to be a revelation to all. "The organs are more various than the creatures on Noah’s ark, and the movie is funny, revealing, wholly unprurient and oddly liberating" Philip French The Observer END OF PART 3 lain Keeney Ireland, 1989,16mm, 12 minutes, Colour Belgium/ 1989/ 35mm/14 minutes/ Colour/ Subtitles Producer Leading Players Script Photography Music Print Source Awards Genevieve Robillard Daniel J&gou. Adrian Brine Victor Gurnicky Walter Vanden Enden Denis Levaillant Atelier Jeunes Cindastes Best Film - Belgium A beautifully-made, surreal fable of the use of tradition - and trombones - as a means of social control. Producer Photography Script & Editing Leading Players Print Source Rachel Galligan Declan Recks lain Keeney Mai White, Jane Snow Arranmore House A story of love and romance; a dinner party shared by two people who once loved each other; a dinner of fine wines, fine foods...and doggie chunks. 43 �FAT FREDDY'S PIZZERIAS PIZZA AND BURGER RESTAURANT CAREYS LANE CORK TEL: 277915 14a FRENCH CHURCH STREET open midday till late phone - (021)272875 for reservations 1 X JI office systems I Our Star Cast [TOSHIBA] Ibfotherl FAX /OFFICk COt-ll US IfMEFAX I / it i tlfCTHONlC IVk'IrtHIII US CAICUI AIOHS/VII WII xl sihh [^PHILIPS, OiCIATlNG SVSIIUS OF F ICI I HHMTUKl 20 COOK ST. CORK TEL.021.270666 FAX. 272091 44 �FOREST h. R I! '■ GRAIN DECIEL Manuel Sanchez £xterleur Join Salmon F France/ 1988/ 35mm/ 12 minutes/ Colour :o/ 1988/ 35mm/ 5 minutes, Colour/ Subtitles Fl j Lv ■ -J r 4 J Producer Leading Players Script Photography Editing Music Print Source Marc Salmon Audr6 Obadia, Jean Clement. Vincent Chateau Marc Salmon Ghislam Vidal Pierre Didier Jean-Yves Peter Medium 5 Producer Leading Players Script Photography Editing Music Print Source Helene Viard Paul Bisiglia, Christophe Waiss Manuel Sanchez Miguel Sanchez Helene Viard Etienne Perruchon Orlando Films Two explorers and a porter are lost in the jungle, Three times, Tarzan the ape-man comes to their aid. An angel falls in a French village. GEH KIND GEH GRAND NATIONAL Crispin Reece Sue Loughlin England/ 1989/ 35mm/11 minutes/ Colour Britain/ 1989/ 35mm/ 8 minutss/Colour/ Animation Producer Leading Players Script Photography Editing Music Production Company Print Source Tina Jamieson Mana Charles, Bernard Spear Elizabeth Counsel, Peter Birell Julie Wassmer Michael Coulter Ian Weil Graham Presket Film Four International in association with British Screen. A Knowledge Production Film Four International After the death of Mendel Baruch, his son Lionel decides to invite some old family friends from New York for a funeral to remember. Producer & Animator Music Print Source Awards Sue Loughlin Peter Bridgman N.F.T.S. Beaconsfield Studios, Annecy 1989: Press Critics’ Prize The build-up to the climax of the Grand National horse race 45 �THE HANGOVER HINDU KUSH Giblets Hindu Kusch Benno Trautmann England/1989/ 35mm/11 minutes/ Colour West Germany/ 1988/ 35mm/11 minutes/ Colour Subtitles Producer Leading Players Script & Editing Photography Animation Music Production Company Prim Source lain Brown Kevin McNally Giblets Denis Crossan Miki Sumpter Mark Bedford. Terry Edwards Film Four International in association with British Screen Film Four International After a riotous party in his flat, Colin wakes to find that he has the world’s worst hangover . . . THE HILL FARM Mark Baker England/1988/ 35mm/18 minutes/ Colour/ Animation Producer Leading Players Script Photography Editing Music Print Source Harun Farocki Peter Fitz Benno Trautmann Igor Luthor Benno Trautmann George Winston, Gene Krupa, Erroll Garner Harun Farocki Filmproduktion Two friends, a book-keeper and a chemist, are working in a nuclear power plant. One night, one drags the other to a bar and makes a bizarre confession : one that involves 56 kilos of plutonium! HIRAEZH Christine Leahy USA/1987/89/ 16mm/ 20 minutes/ Colour X / s i Script Editing Music Awards Print Source Mark Baker Annie Kocur Julian Nott BAFTA Animation Award 1989 Annecy: Grand Prix 1989 Munich Student Festival: Most Entertaining Film 1988 N.F.T.S, Beaconsfield A hardworking farming family is visited by country-lovers. I I 46 Producer, Editing & Photography Leading Players Music Print Source Christine Leahy Alan Stiveil Robert Gitzen Christine Leahy For director Christine Leahy, Alan Stivell, one of the world’s leading Celtic harp players .and a musician at the vanguard of Celtic folk music scene, embodies this complex and quintessentially Celtic emotion, ’Hiraezh’, �N Lh< ' EVER\ THE KITCHEN CHILD Joy Perino England/1989/ 35mm/11 minutes/ Colour T.W. Oliphant Jr. USA/ 1989/ 16mm/ 15 minutos/ Colour Producer Leading Players Producer Leading Players Script Photography Music Print Source T.W. Oliphant Jr. Lauren Unbekant, Charles Staropoli.Geri Ann Rosenberg, Alain Rosenberg T.W. Oliphant jr. Jeffrey Makesovas, T.W. Oliphant Jr. T.W. Oliphant Jr. A tale of intense desire and yearning to be someone or somewhere else. JUST A CARTOON Jon Minnis Canada/ 1988/ 16mm/ 6 minutes/ Colour/ Animation Producer. Animation & Editing Music Print Source Jon Minnis Bowser and Blue Jon Minnis 'She was for real, She could vote, she could feel She could buy things on credit, and think She had elbows and veins and two lungs and a brain And he was just pencil and ink' Script Editing Music Production Company Print Source Peter Jacques Garry Halliday, Annene Badland, Paul Brooke Susan Campbell. Photography David Tattersail Justin Krish Justin Adams, Sheridan Tongue Film Four International in association with British Screen. A Techniques of Persuasion Production Film Four International There is great excitement in the Kitchen at the imminent arrival of a gourmet French Due and his valet. Instead of preparing endless sandwiches, the fat cook can at last practice her culinary art, but she is distracted by a pair of intrusive hands. . . KITCHEN SINK Alison Maclean New Zealand/ 1989/ 35mm/ 14 minutes/ Colour Producer Leading Players Script Photography Editing Music Production Company Print Source Bridget Ikin Theresa Healy Alison Maclean Stuart Drysburgh David Coulson The Headless Chickens Hibiscus Films New Zealand Film Commission A woman re-fashions a monster from the kitchen sink into a man, and finds herself falling for her creation. A dark fable about fear and desire. 47 �KRAUSE, or trying to describe a film is like telling a story about a lunch KRAUSE oder eln beschrlebener Film 1st halt wie ein erzahltes Mittaqessen LA CHAMBRE Joelle Bouvier, R6gls Obadia France/ 1988/ 16mm/ 5 minutes/ Black and White Christoph Doering West Germany/1988/ 16mm/12 minutes/ Colour Producer Leading Players Script Photography Editing Music Print Source Awards Christoph Doenng Luaa Stefanel, Michael Krause Doering/Aschalfenburg S. Schweitert, C. Schweinheim C. Damm Gasi Twist, Ralf Buron Haibach Filmproduktion Audience Prize. 10th Bonn Kurzfilmfestival 1988 1st Prize, 10th International Young Filmmakers' Festival, Montreal A visually compelling drama that juxtaposes experimental and more conventional film genres to startling effect. KYRIE ELEISON - GOD HAVE MERCY ASSAD FOULADKAR USA/ Lebanon/ 1989/ 16mm/ 25 minutes/ Colour Producer Script Photography Editing Music Print Source Marie Descourtieux Laurence Leopold Jacques Bouquin Jo£lle Bouvier, R&gis Obadia Levaillant, Frize L'Esquisse In a room, a woman speaks of fatigue, waiting and the price of desire. LALALA HUMAN SEX DUO NO.1 Bernar Hebert Canada/ 1988/ 35mm/ 8 Minutes/ Black and White 4 ! i i 9 I I = i 2 ii Producer Leading Players Script Photography Editing Music Pnnt Source Assad Fouladkar Samar Zein, Soleyman El- Basha Assad Fouladkar Hassan Nimani Assad Fouladkar Ziad Rahbani. Gillermo GaJlindo Assad Fouladkar A building in Beirut collapses after a bombardment. Its tenants get trapped in the basement. Lacking in food, water, and oxygen, and fearful of gunmen, the tension mounts... 48 Producer Leading Players Script Photography Editing Music Print Source Michelle Ouellette Marc Beland, Louise Lecavalier Edouard Lock Daniel Jobin Gaetan Huot David Van Tieghem Agent Orange c/o An underwater shot reveals the remnants of a ballroom. A man and a woman are standing at one end of the room. The dance begins. . . �Li )N Ton Patrick Irelan LONDON SUITE I I (getting sucked in) 39/ 16mm/ 16 min Vivienne Dick UK/1989/16mm/ ccolour/-28 minutes ,r Producer Leading Players Script Photography Editing Music Print Source Tony Fitzpatrick Mick Lally Tony Fitzpatrick Tony Kenny Anne O’Leary Barry Nolan Tony Fitzpatrick Lonely by choice, a man attempts to repair and return a found model of a church while befriending a snail found in the model. L’ETREINTE Joelle Bouvier, R6gis Obadia France/ 1988/ 16mm/ 5 minutes/ Black and White Producer Leading Players Photography Editing Music Print Source Vivienne Dick Ray Hogan, Tadhg MacSweeney Helen Rutherford G. Woods. M. Duffield, V. Dick V. Dick, C Clear M. Wheeler Mayday Productions I London’s cultural diversity unfolds as expatriate Irish filmmaker, Vivienne Dick portrays her friends, their lifestyles, what they talk about and how they talk. In this kaleidoscopic arrangement of encounters and re­ enactments, equal weight is given to the passionate and the banal. THE LOUNGE BAR The Front Lawn ( Harry Sinclair, Don McGIashan) New Zealand/1988/ 35mm/13 minutes/ Colour Producer Script Pnotography Editing Music Print Source Marie Descourtieux Laurence Leopold Jacques Bouquin Joelle Bouvier, R6gis Obadia Frize. Vivaldi L’Esquisse A man and a woman on the edge of dreaming. . . Producer Leading Players Script Photography Editing Music Production Company Print Source Grant Campbell Harry Sindair, Lucy Sheehan Don McGIashan The Front Lawn Leon Narby John Gilbert The Front Lawn Grant Campbell New Zealand Film Commission Sheltering from a rainy night, a man and a woman meet for the first time. Or is it? What bizarre web of fate links them -u.z 2. to the singer, his song, and his sideburns? 49 t �KS & B-S OUT Cork Film Festival and Radio South FM have a lot in common. the best in Film, the best broadcasting, can dynamic and positive. We both believe in a distinctive Cork identity and we believe it sits comfortably with a sense of excellence. The differences? Well. Cork Film Festival is in its 34th year — Radio South FM is just three months old. The power of the media is a force which should never be underestimated — and, like We just seem like old friends! BROADCASTING ON 96.4 F.M. Horizon Computer Services AppleCentre Z At N Specialist suppliers of all Apple Computer equipment including the new range of Macintosh Ilex computers. We would like to congratulate the Cork Film Festival for organising an excellent festival of film. S E S A x I R A u M A A F__ B s H p X L M S Y o R W Best wishes to the 34th COBK FILM FESTIUBL The AppleCentre also stocks a wide range of Apple Macintosh Software. 63, Lower Albert Road, Sandycove, Co.DubI i n, I r e I and TEL: 01 806 524 Horizon Computer Services AppleCentre Lower Road TeL (021) 502428. Fax: (021) 505429 50 E N E R �M Arai azkano Spain 35mm/13 mini'' MULTIPLE CHOICE ER Debbie McGee • ;.iour Canada/ 1989/ 16mm/ 23 minutes/ Colour I IW... Si •£Producer Leading Players Photography Editing Music Print Source Arantxa Lazkano Coro Pereira. Kandido Uranga Gonzalo f. Berndi Julia Juaniz Malevaje and Astor Piazzola Arantxa Lazkano Producer Leading Players Script Photography Editing Music Production Company Print Source Debbie McGee Lois Brown. Rick Boland.Andy Jones Debbie McGee Michael Jones Petra Valier. Debbie McGee Paul Steffler New And Improved Films Atlantic Independent Media An erotic love game played out by a man and a woman who have been married for several years. Meg Harris, a researcher, is coming to grips with the reality, of poverty . She tries, as usual, to sort out her internal conflicts through compulsive shopping. . . THE METAL MAN NIVIS Simon Goulet Brendan McCarthy Ireland/ 1989/ 16mm/ 12minutes/ Colour Producer Leading Players Script Photography Editing Music Print Source Brendan McCarthy Thom McGinty Brendan McCarthy. Geraldine Creed Brendan Galvin Geraldine Creed Michael Makes Blue Light Productions A magical journey through a boy’s imagination, revolving around a metal figure erected on a cliff in the 1820's in commemoration of a great sea disaster. Canada/ 1988/ 35mm/10 minutes/ Colour Producer Photography Editing Music Print Source Awards Simon Goulet Simon Goulet Simon Goulet Robert M. Lepage Productions Amomak Best Documentary, (Montreal) Best Technique. (Montreal) A lyrical film about snow and snow removal. Contains beautiful close-up, slow-motion footage of snow falling, to a sound-track of diesel engines and snow-blowers. 51 I �OfCHE SI ONE MAN’S ME Steve Woods tire/1988/ 16mm/ 7 ndimdld/ Dalle/ Cartun Lai Ngan Walsh England/ 1989/ 35mm/ 11 minutes/ Colour Producer. Script, Photography, & Editing Music Print Source Steve Woods Ronan Browne Steve Woods Eachtra do bheirt leanai nach dtig leo dul a’chodladh. Beireann cat draoichta go ghleann na real! iad ONE DAY AT A TIME Richard Morasci USA/1989/ 16mm/11 minutes/ Colour Executive Producer Producer Leading Players Script Photography Editing Music Production Company Print Source Stewart Richaros Alison Barnett Sebastian Chee Lai Ngan Walsh Dems Crossan Alan Knight Frank Meagher Film Four International in association with British Screen. A Panda Pictures Production. Film Four International Tung, a young Chinese boy brought up in London, develops a fascination for Western Junk food. OUT OF THE RAIN Pamela Beere Briggs USA/ 1988/ 16mm/ 21 minutes/ Colour Producer Photography Editing Print Source Richard Morasa Freyr Thormodsson, Richard Morasci Richard Morasd Richard Moraso Producer. Script & Editing Leading Players Photography Music Print Source A brief portrait of Paul Carey, a person with AIDS who lives in San Francisco. He discusses the following questions: who most influenced him in dealing with , how his relationship with his sister has changed since his diagnosis, what keeps him going, and what his legacy might be. I I 52 Pamela Beere Briggs Denise Simone, Anna Deveare Smith William McDonald Anne Rasmussen Pamela Beere Briggs In the middle of a rainstorm, two women find hope in a shared cup of tea. �O£ SI Joe E TAXI iAG' •JEES PAS A DEUX Monique Renault, Gerrit Van Dijk Netherlands/1988/ 35mm/ 6 minutes/ Colour/ Animation ..nger USA/ 19S'J I6mm/ 25 minutes' Colour I P iH Producer Photography Still Photography Editing Music Print Source Joe Berlinger Robert Richman Derek Berg, Susan Pollack Bruce Sinofsky Wendy Blackstone Creative Thinking International Producer.Script & Animation Editing Music Print Source Celia & Gernt Van Dijk Germ Van Dijk Skittle Productions, Wim Schroder Cilie Van Dijk ‘Outrageous Taxi Stories’ capitalises on the mystique that surrounds the New York Taxi Driver.The six tales, told by five cabbies and one passenger, range from the bizarre to the ridiculous to the sublime,and are punctuated by unusual photographic images(shot over a two-year period)which pay homage to the New York City Cab Driver. Various stars and celebrities: The Pope, Liza Minelli, Superman, Joan of Arc, dance to the rhythms of our era in an animated waltz extravaganza. PARIS x2 A PLACE AWAY Ellie O’Sullivan Jay Rosenblatt USA/ 1988/ 16mm/ 26 minutes/ Colour England/1989/ 16mm/10 minutes/ Colour i Producer Leading Players Script & Editing Photography Print Source Jay Rosenblatt Hagit Farber. Kris Olsen Martien Lateur Jay Rosenblatt Jay Rosenblatt. Sylvie Carnot Jay Rosenblatt An experimental re-telling of a love-affair through fragments and distortions of memory. The narratives and myths of romantic love are explored against a backdrop of Paris and Hollywood. Producer, Script. Photography. Editing Leading Players Music Print Source Ellie O'Sullivan Filmmaker's Own Family The Chieftans. Mana Scalai Ellie O'Sullivan Eileen, the mother of two illegitimate children, is forced to flee Ireland because of the stigma attached to illegitimacy in this country. In England, Eileen is able to re-establish herself as a 'good ' woman but is unable to avoid the conflict between the role she wishes to play and the role that society expects of her. 53 �SAHARA POOCHERS Denis McArdle Francois Loubeau Ireland/1989/ 16mm/17 minutes/ Colour France/1988/ 16mm/ 4 minutes/ Colour Producer Script Photography Editing Music Print Source Denis Me Ardle Dems McArdle Lawrence Manly Anne O'Leary, Denis McArdle “The Hell Fire Club” Denis McArdle Producer Leading Players Script Photography Music Print Source Arcem Film Loic Bougamvilliers. Groseille Hervd & Francois Loubeau Jean-Claude Riviere VJadimir Matusiak Arcem Film A day in the lives of four 'Poochers’, or scrap merchants, purveyors of a maligned but essential service. Almost at the point of no return, a lost desert travellerfinds refreshment. There's a slight problem, however. . . REMORSE A SHRINE ON THE ROAD Liam Lockhart Simon Howard England/ 1989/ 16mm/13 minutes/ Colour i s' i I Associate Producer Producer Leading Players Script Photography Editing Production Company Pnnt Source Michael Cowan Fiona Ross Daniel Massey.Sarah Swmgler Michael Howard Matthew Savison Adrian Golding Royal College ol Art Simon Howard A man, cocooned in a conservatory, has as his only contact with the world a telephone answering machine. Here, he hears his estranged wife tell him of the disappearance of his child. 54 USA/ 1988/ 16mm/ 21 milnutes/ Colour Producer Leading Players Pnotography Editing Music Production Company Liam Lockhart Glenn Backes. Liam Lockhart, Heidi Metcalf Ara Madzouman Liam Lockhart Ara Madzouman. Mark Metcalf Hollyfox Films A blend of the surreal, mythic and fantastic, involving a young junkie, haunted by the ghost of his dead buddy, who sets out on the road to Mexico to find the site where his friend died and exorcise his spirit. �r SPLICE OF LIFE 6/4 Harry Italy/ In Martin Duffy 39/ 35mm Executive Producer Script Photography Editing Music Print Source ..olour/ Animation Harry Hess Harry Hess Paul Gallagher Philip Cullen Dems Woods Sweetpea Films Ireland/ 1988/ 16mm/19 minutes/ Colour Producer Leading Players Script Photography Editing Music Print Source Emer Reynolds Paul Bennett. David Heap, Jim Bartley, Liz Bono Martin Duffy Breffm Byrne Martin Duffy Fran Dempsey Looking Glass Films An animated delight set in a fantastic two-dimensional landscape. A film editor, bored with his life, decides that it could do with some re-editing to his own liking. THE SOULFUL SHACK SUNDAY John Roberts John Lawlor England/ 1988/ 16mm/12 minutes/ Colour lreland/1988 / 35mm/10 minutes/ Colour Producer Script Leading Players Photography Editing Music Print Source Michele Camarda John Roberts Joanne Dukes, Ainsley Harriott Nigel Kinnings Carole Lyon Julian Wastall N.F.T.S. Beaconsfield Studios A simple, touching, witty tribute to Marvin Gaye, in a Cinderella wrapping. Producer Leading Players Script Editing Music Sound Production Company John Lawlor Anne Brogan, Lisa O’Reilly, David Hood John Lawlor Oliver Fallon John Lawlor. Jacques Leroid Jacques Leroid John Lawlor I I An Irish family of seven are sitting down eating their Sunday dinner. During this traditional repast, on the seventh day, only seven words are spoken-by the seven-year old son. 55 I �SUSPICIOUS MIND THAT’S ALL R Hugh Farley Billy McCannon Ireland/USA/ 1989/ 16mm/ Colour/18 minutes -JT Ireland/ l989/35mm/ 4 minutos/Colour Producer & Script Leading Players Photography Editing Music Production Company Print Source Hugh Farley Charles Barker, Ken Fischer Caroline Magee, John Daniels Tricia Govoni Yogi Cohen John Walsh, Peter Keegan, Flo New York University Film Department Hugh Farley. New York, July 1945. The first G.I.’s are returning from the European theatre after the capitulation of the Nazis. Among their number is Frank Burgess. Within a week of his return full of hope for a quiet life, Frank suddenly finds himself accused of a murder he didn’t commit, and at the centre of a sinister conspiracy. . . SWINGIN’ IN THE PAINTER’S ROOM Producer Leading Players Script Photography Editing Music Print Source Billy McCannon. Brendan Galvin Hugh Linehan M.ck Lally. Selina Gunnery Billy McCannon, Brendan Galvin Brendan Galvin Susan Gill Elvis Presley Billy McCannon A couple relive old memories on the rainy night that Elvis dies. THUNDER AND LIGHTNING Jonathan Nordlicht USA/ 1989/ 16mm/ 13 minutes/ Animation/ Colour Greg Mottola USA/ 1988/ 16mm/14 minutes/ Black and White Producer Leading Players Script Photography Print Source Greg Mottola Andy Brown, Agnes Boucher, Greg Mottola John Inwood Greg Mottola, A comedy about a smug young New York artist who is throwing a party for himself to celebrate the fact that he has just secured his first gallery show. 56 Producer. Pnoiography & Editing Script Print Source Awards Jonathan Nordlicht Lillian Nordlicht Jonathan Nordlicht. Director's Choice award. Nashville Tennessee Sinking Creek International Film Festival. Honourable Mention Rochester International Film Festiva The Hopi Indian Creation Myth describes four worlds. ■Thunder and Lightning' recounts the travels of Kowitoma through these worlds. The symbolic animal characters that he meets appear repeatedly in Hopi Legend: especially the Legend; figure of Coyote, the Trickster. 57 �TOU THE UNKINDEST CUT AP. Jim Shields Veit El-M West Gorm i89/35mm'9 i ! . - England/ 1988/ 16mm/17 minutes/ Colour . Colour/Subtitles pf------ « A i Producer Leading Players Script Photography Editing Music Print Source Gunter Fenner Dominique Horowitz. Beate Jensen Veil El Mer Janucz Reichenbach Rolf Wolkenstein Junj Panfilowitsch Lustspiellilmproduction Shy Anton is obsessed with a stranger: Babette, an unusual way of making contact with her. . . Producer Leading Players Script Photography Editing Print Source He finds Gary Smyor Peter Gluckstein, David Miller, Ann Firbank Gary Smyor Christine Lloyd-Fitt Ann Kocur N.F.T.S. Beaconsfield Studios A Jewish Comedy. TRACKS THE WASTED CALL Rupert A. Nadeau Tim Rolt USA/ 1988/ 16mm/ 22 minutes/ Colour England/ 1989/ 16mm/ 10 minutes/ Colour * 1 I i Producer Leaoing Players Script Photography Editing Music Print Source Rupert A Nadeau Carlo Michael Mancini. Victoria Veiiux. Rupert A Naaeau Mark Gerard Kevin Tent Jon Huck Charging Rhmo Productions A Tale of Love, Death, and Vacuum Cleaners. A vacuum cleaner salesman kills his wife and her lover, and with their bodies in tow. makes tracks across the country, keeping up a running monologue with his silent companions as he travels. Producer Leading Players Script Photography Eamng Music Print Source Tim Roll Nick Herren. Nella Mann Phyllis King David Scott Revel Fox Ivor Culler Rapid Eye Movies Why is Elsie driven to eating flies? Why won’t the sausage fit into Ronnie’s mouth? And why will the 6:30 down train interrupt the sago pudding? A tantalising vignette of a couple you need to know more about! 57 I I �WATER’S EDGE YOUR OPINION Suri Krlshnamma HA UW MENING GRAAG Heddy Honigmann England/1988/16mm/ 35 minutes/ Colour Netherlands/ 1988/ 35 mm/ 12 minutes/ Colour' Subtitles Producer Leading Players Script Photography Editing Music Pnnt Source Awards Amanda Partridge Dudley Sutton, Leza Webb, David Knight Ashley Pharoah David Kerr Carole Lyon Julian Nott N.F.T.S. Beaconsfield Studios Bilbao 1988: Gold Mikeldi for Fiction Anger 1988: At the bottom of the village pond a World War II Spitfire pilot lies in peace. This is Lucy’s secret until Sarah discovers it and is forced to reveal all to the Vicar. WORK EXPERIENCE James Hendrie England/1989/ 35mm/11 minutes/ Colour Executive Producer Producer Leading Players Script Photography Editing Production Company Print Source Ann Wingate Mary Bell Lenny Henry, Kathy Burke, Neil Pearson, Shelagh Fraser James Hendrie Robin Vidgeon Annabel Ware Film Four International in associationwith British Screen. A North Inch Production. Film Four International Terence Weller cannot get a job because he has no work experience. Can you get work experience without a job? 58 Producer Leading Players Script Photography Editing Music Print Source Rolf Onhel Anneke Blok, Titus Tiel Groenestege Heddy Honigmann Goert Giltay Frans van de Staak Wouter van Bemmel De Nieuwe Ume, Rolf Orthel A young woman called Bonni takes a critical look at her sex-appeal. �■ r FOCL ON N T. DAVIS Our FOCUS section in 1989 looks at the work of one of Ireland’s most gifted filmmakers John T Davis. Davis shot to notoriety in 1979, when his first film 'Shellshock Rock' was banned at the last minute by the then organisers of the Cork Film Festival. The publicity subsequently generated by the actions of the Festival selection committee led to widespread exposure of the film, culminating in its receiving the Silver Award at the New York TV and Film Festival. Shellshock Rock' was followed by ’Protex Hurrah', and 'Self Conscious Over You', forming a trilogy documenting the innocent beginnings of New Wave music in Ireland. Shortly thereafter, Davis embarked on the 2-hour epic documentary, 'Route 66', which achieved, in England, the highest ratings for a TV documentary shown in 1985. Various pop videos (notably Van Morrison's 'Have I Told You Lately That I Love You') and TV documentaries have served to consolidate Davis' reputation. 'Power in the Blood', made last year for the BBC's flagship arts programme 'Arena', has been described by one commentator as possibly the best documentary ever made in Northern Ireland. SELF CONSCIOUS OVER YOU The second of Davis' dynamic documentaries on the Punk music scene in Belfast, 'Self Conscious Over You’ is the record of The Outcast's amazing benefit concert for Terri Hooley's ailing record shop. Much more than just another concert film, however, 'Self Conscious Over You' introduces and comments on the main concert footage with searing images of the social reality of life in modem Belfast; the throb of the music underlining the more painful throb of a society under siege. Placed in this context, the Outcasts' songs assume a power and a relevance that transcends mere pop sensibility, just as Davis' film transcends the conventions of the concert movie genre. The Festival will also be showing some of John T. Davis' acclaimed rock videos, for bands that include Van Mornson and In Tua Nua CFF is proud to have the opportunity of screening the World Premidre of John T. Davis' latest film 'Dust on the Bible'. Its innovative blending of documentary realism and poetic expression, elaborated with his customary visual panache, firmly establishes him as one of Ireland's most talented filmmake SHELLSHOCK ROCK ROUTE 66 Northern Ireland/ 1979/ 16mm/ 50 minutes/ Colour AN ALTERNATIVE BLASTEROM BELTAST Produced, Written Photography Editor Music Print Source John T. Davis John T. Davis, Alwyn James Tommy McConville John T. Davis, Ross Graham The Undertones, The Outcasts Stiff Little Fingers Protex, Rudi, The Idiots, Rhesus Negative DBA Television Ltd The film that initially caused all the stir at the 1979 Film Festival, 'Shellshock Rock' is a dazzling collage of music, interviews and images of the once vibrant Punk scene in Belfast. The guru of Belfast Punk, Terri Hoolcy owner of Good Vibrations Records, and mentor to such luminaries as The Undertones and Stiff Little Fingers, was instrumental in creating a scene in Belfast that was notable for its raw energy, the creativity of its musical approach and, above all, the complete absence of sectarian divisions among its adherents. ". . . kids didn't know anything but bombing, shooting and violence and suddenly here they were doing this." Davis said. "I had to document it.” John T. Davis takes us on an epic musical journey in a cherry-red '68 Chevy Impala along Route 66,thc once great artery,that curved across America from Lake Michigan to the Pacific shores. More than just the quickest way from A to B, Route 66 has entered the popular consciousness as a symbol of the American Dream: "Get your kicks on Route 66". And like the American Dream, it has become tarnished with the stain of disillusionment. Overtaken by the transcontinental superhighways, the inhabitants of route 66 have been bypassed; left in a vast, deteriorated cultural museum, with little left but memories. We get to meet some of the people whose lives have been irrevocably linked with the road: the Greyhound Bus driver of 20 years who said "Ha?mhorroids and ex-wives are the first things you gel on this job," the born-again Reaganite pawnbroker, the prematurely-aged drifter, and of course, the fundamentalists and hot-gospellers whose majority here is much more than a moral one. Much more than a documentary, 'Route 66' is an elegy on the demise of an American myth and an intimate portrait of a depleted hinterland and its people. "I felt transported and educated by the experience" Daily Telegraph "hypnotic and unforgettable. TTtz Guardian 59 = �POWER IN THE BLOOD DUST ON TH - / . J"** 4.- ’ Produced, Written Photography Editing John T. Davis David Barker Sc Merry Vernon Oxford is an ex-Nashville country singer turned fundamentalist preacher. He offers a full service preaching, speaking in tongues, healing over the telephone, and receiving sinners into Jesus. His mission, to go into the heart of the Loyalist enclaves of Northern Ireland and preach the word of the Lord, is the subject of this film. The inspiration for the film was, as Davis says, that "Really, there is no difference between Tulsa, Oklahoma and Northern Ireland", and its catalyst was the burgeoning friendship between the preacher and Wilfie Cummings, a Loyalist prisoner serving life in the Maze prison. I he film follows Oxford into shebeens, mission halls,a pirate radio station m Monaghan, and into the Pnson Officers' Soaal Club in the Maze Prison.He speaks to the experience of many people here, particularly the Protestant working class faithful; a group much maligned and much under-represented by the media 'Power in the Blood' is above all a film about them and their worldview. Observed with candour and sympathy, they are revealed in their true colours: a much richer palette than the standard one of red, white, and blue. BIB r>COD SUJVEQTM WORL ■ CAVE « ONLY BECOTTEf TW WHOSOEVER BFUEVETM WORLD PREMIERE On street corners, in tabernacles, at cattle marts, and in large convention centres, the people of Ulster are reminded in ringing tones of the Day of Judgment - The Apocalypse Only God's chosen people will be spared the anguish of the final conflict. Hellfire and Brimstone in vast quantities will descend upon those not saved, who shall perish in unimaginable agony. Or so the story goes. 'Dust on The Bible' is a film about the people who deliver this message - the laltcrday prophets, burning with Old Testament zeal, whose Ives are devoted to receiving sinners into Jesus before it is too late. At the heart of the film is a collection of testimonials from a range of preachers, bearing witness to their beliefs. As a counterpoint to this stands a semi-fictional everyman character who floats, Candide-like, through the film, and a still, quiet voice reading extracts from the Book of Revelations. All of this set in a landscape which seems to echo the moods of the preachers, creating from what appears to be a set of disparate ideas a coherent, visually striking and highly personal statement. IL ft i JOHN T. DAVIS: FILMOGRAPHY SHELLSHOCK ROCK 1979 SELF CONSCIOUS OVER YOU 1979 PROTEX HURRAH 1979 ROUTE 66 1985 POWER IN THE BLOOD 1989 DUST ON THE BIBLE 1989 An exhibition of black and white photographs from the above films are on display at the Triskel Arts Centre. 60 John T. Davis �ir vIMA BLACK &WHITE CINEMATOGRAPHY . MATTER OF LIFE AND DEATH, the Marius Goring character, having descended to In ■ ell & Press-: r . ear: - from a monochic::. heaven, playfully remarks “we’re starved for technicolour up there" That was in 1946. In 1989 I sometimes fee: then we now have rather too much colour which cannnot match the brilliance and beauty of black and white. One of the perks of programming the festival is the opportunity to indulge an enthusiam for black and white movies. I nope this enthusiasm is shared by our audience. M. Hannigan Woody Allen’s MANHATTAN Movies shot in black & white have a particular style and beauty, a particular aesthetic. The fact that a movie is shot in monochrome can impart a mood , an ambience more effectivly than dialogue or narrative.. In this hommage we look at just a few examples of that art. The selection is necessarily limited and there are many titles we would have liked to include but could not. ‘Citizen Kane’ is one of cinema’s acknowleged masterpieces, regularly topping critics’ polls as the greatest film of all time. Not the least of Orson Welles’ achievements is his collaboration with cinematographer Gregg Toland in combining deep focus photography - made possible by developments in studio lighting and light sensitive lenses with masterful mise en scene to create a stylistically complex and innovative work of art. Technicolor has existed since 1935 yet many film makers, for aesthetic reasons choose to shoot in black & white. Stanley Kramer has been vociferous in his opposition to moves to tamper with his classic ‘High Noon’ by ‘colourizing’ it. Much has been written of the film’s social message and the quality of the editing but the wonderful look of the film on screen is central to its impact. 'Throne Of Blood’, Akira Kurosawa’s 1957 version of ‘Macbeth’, is a treat to look at. The new print which has recently been struck by the British Film Institute restores its splendour. Scorsese in 'Raging Bull’, Copolla in ‘Rumble Fish’, Jarmusch, in 'Down By law’ Spike Lee in ‘She's Gotta Have It’, have all demonstrated the virtues of working with black & white. Woody Allen has repeatedly worked in the medium with his regular photographer Gordon Willis. We take the opportunity of screening ‘Manhattan’, filmed on technicolor and printed on black & white. New York is its star, serenaded by Gershwin and glorious in monochrome. For what is perhaps the most luminous film in recent year’s, ‘Wings Of Desire’, Wim Wenders sought the assistance of one of cinema’s greatest artists, the cinematographer Henri Alakan. In ‘Wings’, Alekan, gives us the experience of the silver screen. We regret that we were unable to secure a good print of Cocteau’s “lunar bright “ ‘La Belle Et La Bete’shot by Alekan in 1946. Five titles can give but a taste of the wealth of black & white material available. This is a seam Cork Film Festival will continue to mine. Also, the 1990 festival will have a special section devoted to contemporary films shot in black & white. In the meantime this year’s programme includes a number of recent black & white films; Bruce Weber's documentary on Chet Baker, ‘Let’s Get Lost’ (those who saw ‘Broken Noses' in ‘88 will not be disappointed); Alison Maclean’s impressive short film ‘Kitchen Sink’, and a number of dance related shorts, ‘La Chambre’, L’Etreinte and ‘LaLaLa Human Sex Duo’. NO 1 �I NORTHERN LIGHTS -Video Work From Bella. & L i i The North of Ireland has become over the past 15 years one of the most photographed, most documented places in the world. For the most part this media coverage is sensationalist, superficial, interventionist and censored. Both Belfast Independent Video and Derry Film & Video Workshop were formed by local people to make an indigenous contribution to media representation of their lives. Both groups are Channel 4 Workshops franchised under the A.C.T.T. Workshop Declaration. The following two programmes, representing a large portion of the groups’ production to date, will be screened in the Triskel Arts Centre. Representatives of Belfast Independent Video and Derry Film & Video Workshop will be present to introduce the screenings. Programme 1, October 8th, 11.00 Belfast Independent Video OUR WORDS JUMP TO LIFE 1989, 52 minutes Usually, when television probes youth issues: unemployment, schools, emigration, it wheels in the experts: politicians, schoolteachers, priests, and perhaps even the token few young people... i i * ■ I 'Our Words Jump To Life’ represents a chance for young people to speak out for themselves about how these issues affect them. The programme unfolds as we follow a young street poet who gobs incisive witty comments at our sacred cows ... ten year olds sing their own song of nothing to do, seven days a week ... a young boy sings of lost innocence in a nursery rhyme with more sinister connotations ... a young graphic artist becomes a character in his own cartoons as he takes to the road to London and relates his experiences of emigrating ... we are taken on a photographic tour of Belfast by a young unemployed photographer who captures images relevant to him, we see him photographing a graveyard where he spent a year of his life on a youth training scheme writing down inscriptions from the gravestones ... four teenagers talk from the street corner where they were brutally gunned down ... and of course there is the obligatory Protestant and Catholic reconciliation wekend ... but with a difference. y Programme 2, October 8th, 13.30. Derry Film & Video Workshop STRIP SEARCHING, SECURITY OR SUBJUGATION 1984, 44 minutes The systematic strip-searching of women prisoners in Armagh Gaol was introduced in 1982, allegedly as a security measure. The practice is directed in particular at remand prisoners, unconvicted of any offence, and at Irish women political prisoners . This documentary contains interviews with ex-prisoners, relatives of prisoners, Church, legal and trade union representativbes, and a leading Irish psychiatrist, all of whom express concern at this process. PLANNING 1985, 23 minutes 'Planning* concerns the redevelopment of the Brandywell and Bogside areas in Derry in the past ten years. It explores the extent to which local people have been involved in planning decisions and in particular at the implications of British Army strategy in local planning. MOTHER IRELAND 1988, 52 minutes Mother Ireland explores the development and use of images and music which personify Ireland as a woman in Irish culture and nationalism. These images and music influence the idealised model of womanhood in Irish society e.g. the archetype of the Irish Colleen or the endlessly devoted Irish mother. It uses this exploration to address the more general question of the perception of women in Irish culture and society, past and present. It approaches the history of Irish nationalism from a unique and enlightening perspective. that of the women’s movement in Ireland since the 1920’s This film was the first to have been banned under the Britishn Government’s recently introduced restrictions on broadcasting reportage on the North of Ireland. MOVING MYTHS 1989, 52 minutes A critical look at at the Protestant and Catholic institutions in Ireland, revealing the experiences of who have been brought up in those traditions but who now regard themselves a athiest. From the Derry priest who left the Church because he disagreed with its teachings on contraception to the Sligo youth worker who was sacked because she tried to empower the young people she worked with, this film listens to the voices of people who have repudiated the dogmas of the various churches. The above videos are available from: i Belfast Independent Video 9 Winetavern Street Belfast BT1 1JQ N. Ireland Tel: 0232 245495 62 Derry Film & Video 1 Westend Park Derry BT48 9JF N. Ireland Tel: 0504 260326 Bernadette McAlliskey who appears in Mother Ireland �acknov edgl ENTS We would like to express our appreciation and thanks to the following people and organisations, without whose help and support - in proving films and services - the festival would not be possible. Harold Johnston, Chairman, and the staff of the Cork Opera House Peter Murray, Curator and the staff of Crawford Municipal Art Gallery Prof. G.T. Wrixon, Chairman and the staff of Triskel Arts Centre Mr. John T. Stewart, European Commission, Dublin Office Mary Dwyer, Marilyn Crichton, Deirdre Roberts of the Royal National Lifeboat Institution, Helen Guerin, Anne O’Sullivan, Aylene Kelleher, Dave O’Donoghue , Nora and Mary of J. W.O’Donovan & Company, Robin O’Sullivan and staff, O’Sullivan P.R. Tim Pearson & Brendan Coughlan, Beamish & Crawford pic; Paddy Gaggin, Cork Film Services; Gay Cox, Jim Hickey, Filmhouse Edinburgh; Joe Wall & Marian Mooney, Irish Rail; Jim Davis, Jim Davis & Co. Ltd.; Murray O’Laoire Architects, Peter Fitzgerald, Dan Joe Coleman, Barry Humphries, Flavien Kiely. Gary Hamilton,AFC, London; Victoria Treole, Mary-Anne Scully, Australian Film Commission; Marilyn Hyndmen, Belfast Independent Video , Roger Shannon, Birmingham Film & Television Festival, Gill Henderson, British Council; Richard Calkins, CINE; Michael Dwyer, Dublin Film Festival; Roisin Hogan, Dun Laoghaire School of Art and Design; Simone Kerkhof, Dutch Ministry of Culture; Bob Hawk, Film Arts Foundation, San Francisco; Helen Thwaites, Film Australia; Finnish Film Foundation; Lindsey Shelton, Rhys Dyson, New Zealand Film Commission; Cathal McLoughlan, Network of Workshops; Penny Thomson,Scottish Film Development Fund; Yevgeni Begenin, Sovexport Film, London; Jean Lefebvre, Pauline Kijek,Telefilm Canada; Christine Gendre, Emile Mantica, Unifrance International Film; Joe Johnson, Rory Forde,US Embassy, Dublin. Pat McCarthy,Amber Films; Robert Beeson, Andy Engels,Artificial Eye Film Co. Gay Robertson, BBC; Kate Mellor, Sue Bruce-Smith,BFI Production; Fiona Keane, John T. Davis, DBA Television, Margo Harkin, Derry Film & Video; Liz Wren, Electric Pictures; Bridget Pedgrift, Film Four International; Finnish Film Foundation; David Shepperd, Golden Communications; Alasdair Nicolson, John Hogart, Hobo Film Enterprises LimitedjKim Lewis Marketing; Raoul Katz, Labrador Films, S SA; John Kelleher, Liberty Film Sales Ltd.; Tony Bloom, Mainline Pictures; Bridie Thomson, Tony Kirkop, Metro Films; Martin Goldthorpe, New World International; Daniel Battsek, Emma Chapman, Palace Pictures; Stan Harte, Premier Releasing; Pamela Hare-Dukes, Recorded Releasing; Noel McKeown, Vattington Ltd.; Mike Southworth,Virgin Vision; Mike Boyce, Warner Bros. Distribution; Nancy Gerstman, Zeitgeist Films. We would also like to thank our advertisers for their valuable support. 63 30 YEARS OF CUBAN CINEMA AN EXHIBITION OF CUBAN FILM POSTERS This exhibition of Cuban Film Posters has been organised, inconjunction with the Edinburgh and Leeds film festival’s to mark the thirtieth, anniversary of the Cuban Revolution and the formation of ICAIC, the organisation responsible for film production and distribution in Cuba. Each poster in the exhibition is an original screenprint made to promote a films release in Cuba. Many of the posters are brilliantly coloured and have established an international reputation for their creators. A limited number of some of these posters have been secured and there will be a unique opportunity to purchase them at the Triskel Arts Centre. The exhibition can be seen at the Triskel Arts Centre from October 1st to 8th �’1 II I I INDEX Page ABDUCTION OF EUROPE. THE AFTERLIFE OF GRANDPA. THE AMERICAN EXIT ANIMATED SELF-PORTRAITS ARIEL BEYOND REACH BIG SWINGER BLACKWATER SUMMER BURDEN. THE CAMP THIAROYE CELIA CHARLOTTE’S DIARY CHILD EATER, THE CHINA DIARY CITIZEN KANE COGITOERGO PHUQ COMRADESAND FRIENDS CONQUEST OF THE SOUTH POLE CONSTANT STATE OF DEPARTURE. A COWBOY ON JUPITER. A DARK ROOM DARK SLIDE OF THE TROMBONE.THE DEREK JARMAN - YOU KNOW WHAT I MEAN DICK DUST ON THE BIBLE EAT A BOWL OF TEA EAT THE KIMONO EMPTY BED. AN END OF PART 3 EXTERIOR DAY FOREST FRAGMENTS OF ISABELLA GEH KIND GEH GRAIN DE CIEL GRAND NATIONAL HANGOVER. THE HEATHERS HIGH HOPES HIGH NOON HILL FARM HINDU KUSH HIRAEZH IN FADING LIGHT IN LIGHT AND EVERYTHING IRISH WAYS JESUS OF MONTREAL JUST A CARTOON KITCHEN CHILD. THE KITCHEN SINK KRAUSE KYRIE ELEISON L’ETREINTE LA CHAMBRE LALALA HUMAN SEX DUO NO. 1 LEGEND OF THE HOLY DRINKER LEMON LENNY LIVE AND UNLEASHED LETS GET LOST LIGHTNING OVER BRADDOCK : A RUSTBOWL FANTASY LONDON SUITE LOUNGE BAR. THE MAIDER MALPRACTICE W MANHATTAN 37 37 37 37 12 39 39 39 39 12 13 13 41 14 61 41 14 15 41 41 43 43 15 43 60 11 16 16 43 45 17 45 45 45 46 17 18 61 46 46 46 18 47 19 9 47 47 47 48 48 49 48 48 19 49 20 20 MANIKA - MANIKA. THE GIRL WHO LiX ) TWICE MELANCHOLIA METAL MAN, THE MOTHER IRELAND MOVING MYTHS MULTIPLE CHOICE MY NAME IS BERTOLT BRECHT- EXILE IN U.S.A. 21 WINGS OF DESIRE WORK EXPERIENCE WORLD IS WATCHING. THE YOUR OPINION PLEASE 49 49 51 21 MYSTERY TRAIN 1996 NIVIS OlCHESf ONE DAY AT A TIME ONE MAN'S MEAT OUR WORDS JUMP TO LIFE OUT OF THE RAIN OUTRAGEOUS TAXI STORIES PAINTED FACES PARIS * 2 PAS A DEUX PHILOSOPHER. THE PLACE AWAY. A PLANNING PLAY ME SOMETHING POOCHERS POWER IN THE BLOOD PRIVATE LIFE, A PROMISES TO KEEP REMORSE ROSALIE GOES SHOPPING ROUTE 66 SAHARA SELFCONSCIOUS OVER YOU SHELLSHOCK ROCK SHRINE ON THE ROAD. A SIGNS OF LIFE 6/4/33 SOULFUL SHACK. THE SPLENDOR SPLICE OF LIFE STRIPSEARCHING. SECURITY OR SUBJUGATION SUNDAY SUSPICIOUS MIND SWEETIE SWINGIN' IN THE PAINTER'S ROOM THAT’S ALL RIGHT THRONE OF BLOOD THUNDER & LIGHTNING TOUR D'AMOUR TRACKS TRAGEDY IN THE ROCK STYLE TWILIGHT CITY UNKINDEST CUT. THE VENUS PETER VOICES FROM THE ATTIC WASTED CALL. THE WATER’S EDGE WHERE THE HEART ROAMS 61 22 23 51 62 62 51 23 24 24 51 52 52 52 62 52 53 25 53 53 25 53 62 26 54 60 26 27 54 27 59 54 59 59 54 28 55 55 28 55 62 55 56 29 56 56 61 56 57 57 29 30 57 30 31 57 58 31 61 58 34 58 �Si 26 Washington St., Cork tel. 02*1 ~ 27 *19 69 LIVE MUSIC THURSDAY TO SUNDAY BAR EXTENSION Doors Open 9.30 Thurs & Fri. 1.30 Sat 12.00 Sun 1.00 ■ �It’s called a mouth organ or / harmonica. j To those in the know it’s a harp. I It started life as a humble tuning 1 instrument. But came into its own with the birth of the blues. Those wailing notes were perfect for plaintive songs of love lost WE and found. And its swirling sweeps Kq reached dizzy heights for jazzy rhythms. It’s part of country and rock, blues and folk. Weaving intricate harmonies and simple melody lines. Distinctive and emotive. It has always been favoured by individuals. Billy the Kid played a W mean harp. And Wyatt Earp died with ? his harp in his breast pocket. It isn’t for everyone. But then, | neither is Murphy’s. ROw ■w 1$ IT’S A DIFFERENT STORY. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Programme Content Source A related resource from which the described resource is derived Cork Film Festival Collection Publisher An entity responsible for making the resource available University College Cork Date A point or period of time associated with an event in the lifecycle of the resource 1956- Rights Information about rights held in and over the resource <a rel="license" href="http://creativecommons.org/licenses/by/4.0/"><img alt="Creative Commons License" style="border-width: 0;" src="https://i.creativecommons.org/l/by/4.0/80x15.png" /></a><br />This collection is licensed under a <a rel="license" href="http://creativecommons.org/licenses/by/4.0/">Creative Commons Attribution 4.0 International License</a>. All rights reserved. Please credit <a href="https://corkfilmfest.org/">Cork International Film Festival</a> &amp; provide a link back to this site. Format The file format, physical medium, or dimensions of the resource PDF Language A language of the resource English, eng; Irish, gle Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1956- Cork, Ireland Description An account of the resource A selection of programmes from the Cork International Film Festival. Subject The topic of the resource Cork Film Festival Programmes Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1989 Cork Film Festival programme content Subject The topic of the resource Cork Film Festival, Fran Bergin, Theo Dorgan, John Halpin, Eddie Noonan, Kieran O’Connor, Mick Hannigan, Ronan O’Leary, John T Davis Creator An entity primarily responsible for making the resource University College Cork, Cork Film Festival Source A related resource from which the described resource is derived Cork Film Festival Collection Publisher An entity responsible for making the resource available University College Cork Rights Information about rights held in and over the resource <span>This item is licensed under a </span>Creative Commons Attribution NonCommercial-NoDerivatives 4.0 International (<a href="https://creativecommons.org/licenses/by-nc-nd/4.0/">CC BY-NC-ND 4.0</a>) licence<span>.&nbsp;Please credit the&nbsp;</span>Cork International Film Festival Archive<span> and provide a link back to the site.</span> Language A language of the resource English, eng Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Cork, Ireland Date A point or period of time associated with an event in the lifecycle of the resource 1989 Relation A related resource <a href="https://corkfilmfest.ucc.ie/items/show/76" target="_blank" rel="noopener">1989 festival poster</a><br /><a href="https://corkfilmfest.ucc.ie/items/show/615" target="_blank" rel="noopener">1989 festival programme cover</a> Format The file format, physical medium, or dimensions of the resource PDF Type The nature or genre of the resource Programme Description An account of the resource <p>This is a PDF of the 1989 festival programme. The cover shows a laughing turquoise blue-faced man against a bright pink-red background. He has bright yellow hair and lips and is wearing a winged-green hat and a green short-sleeved shirt decorated with small black images of film cameras. Programme content includes an introduction by Theo Dorgan and Mick Hannigan. The accompanying image of festival staff standing around an office desk includes Fran Bergin, Theo Dorgan, John Halpin, Eddie Noonan, Kieran O’Connor and Mick Hannigan. <br /><br />Festival films included <em>Jesus of Montreal</em> (Denys Arcand, 1989), <em>Tour D'Amour</em> (Veit El-Mer, 1989) and <em>Fragments of Isabella</em> (Ronan O’Leary, 1989) which received its world premiere that year. The programme also includes notes for <em>Focus on John T Davis</em> – the Irish filmmaker (page 59); <em>Homage to Black &amp; White Cinematography</em> by Mick Hannigan (page 61); and <em>Northern Lights – Video Work From Belfast &amp; Derry</em> (page 62).</p> Eddie Noonan Festival Staff Kieran O’Connor Mick Hannigan Ronan O'Leary Theo Dorgan https://corkfilmfest.ucc.ie/files/original/1819667edb8c17ca2beaa9a082798e2b.pdf b4c634c6983b47dbceb14b618088b0d8 PDF Text Text WHET �SEPTEMBER 8 - 19 OKLAHOMA by Rodgers and Hammerstein Irish Operatic Repertory Company 28-3 DIXIE by Sean McCarthy Storytellers Theatre Company OCTOBER 4-11 12 - 17 DANNY LA RUE Sun. 1 8 TOM PAXTON in Concert 19-21 PHILIPPE GENTY COMPANY from Dublin Theatre Festival 23 - 25 JUST THE TICKET CORK FILM FESTIVAL GUINNESS JAZZ FESTIVAL in association with RTE 27-31 G.U.B.U. 2 by Tony Doherty NOVEMBER 2-7 DANCING AT LUGHNASA by Brian Friel Abbey Theatre 8- 14 CHRISTY MOORE 16-21 GISELLE Cork Ballet Company Sun. 22 TUTTI FRUITI Rock n' Roll Show �MESSAGE BY THE RIGHT HONOURABLE THE LORD MAYOR I ALDERMAN MICHAEL MARTIN, T.D., Is mor an onoir dom mar Uachtaran na Feile failte Uf Cheallaigh a chuir roimh na hafonna agus cuairteoin go leir go Corcaigh i mbliana. Ta suit agam go mbainfidh sibh taitneamh as an tseachtain agus go dtiocfaidh sibh arais ans sa todhchai'. It is a great privilege and honour for me to act as President of the 37th Cork Film Festival. In that capacity I wish all our guests and visitors an enjoyable and fruitful week. The Film Festival is a major annual event in Cork's Festival Calendar. It is a quality Festival and because of this has built up a loyal audience locally, nationally and internationally. Its success to date, along with the Jazz, Folk and Choral Festivals has been instrumental in helping the city to develop into a Festival City of renown. The film industry in Ireland is underdeveloped. I believe it can become a powerful resource for the country, and should receive greater state funding. The Cork Film Festival has helped to keep the industry on the public policy agenda and we in Cork Corporation are delighted to have been of assistance in the past and will continue to do so in the years ahead. Finally I wish to thank the hardworking Festival Committee and the voluntary personnel who have displayed outstanding organisational skills in putting this comprehensive programme together. 37TH CORK FILM FESTIVAL: CREDITS TRANSPORT MANAGER Donal O'Sullivan PRESIDENT The Lord Mayor of Cork, Aid. Michael Martin T.D. PRINT TRANSPORT Helen Farrell Ben Reilly CHAIRMAN Charles Hennessy PRODUCTION MANAGER Joe Chalmers EXECUTIVE COMMITTEE Michael Gleeson Liam Kinsella Tiernan MacBride Dr. Rosmarie Manning Michael O'Connell Dr. A.J.F.O'Reilly David Puttnam R. Declan Scott RECEPTION Margaret Dorgan Una Feely JURY LIAISON Tony Devenyi DIRECTORS Fran Bergin Administration Donal Sheehan Programming FRONT OF HOUSE Tim Crowley Angela Dorgan OFFICE Kieran O'Connor Colette Sheridan SCHOOLS PROGRAMME Fiona Cunningham ACKNOWLEDGEMENTS The assistance of FAS and the Triskel Arts Centre is gratefully acknowledged. EXHIBITION Tony Devenyi PRINTED BY Lee Press Ltd PRESS OFFICER Ruth Riddick PROGRAMME PRODUCTION & GRAPHIC DESIGN Kieran O'Connor RADIO COMMUNICATION EQUIPMENT Southern Electronics Ltd ACCOMMODATION Helen Guerin FESTIVAL TROPHIES Kevin Holland FREIGHT AGENTS Diamond Freight Services LESBIAN & GAY FESTIVAL Maura O'Keeffe PROJECTIONISTS Declan Lynch Eddie Noonan Ben Reilly I CARS Henry Ford & Son 1 AUDITORS D.J. Coleman & Co �t AIB It’s not just A STAGE we’re GOING THROUGH. For several years now AIB ooo Off*ippntor <”»s has been participating in the Arts in Ireland. We have had many happy associations with productions both here and abroad. Through our 'Better Ireland Awards’ project we recognise groups and organisations making significant contributions towards enriching the quality of cultural life in Ireland. And we have a wide-ranging cultural programme planned for well into the future, ensuring that we play our part in the continued success of the Arts. A lot goes on behind the scenes in AIB. AIB You bring out the best in us 2 �For 37 years now the Film Festival has been a vital part of the cultural life of our city and country. We would like to think that the continued growth of interest in, and appreciation of, cinema in Ireland has been in some way forwarded by the energy and commitment of all who have worked on the Festival since its inception. The continued support of both the Arts Council and Cork Corporation have ensured the growth of this international Festival and we are very grateful for this. We are delighted to renew our association with Murphy’s Irish Stout as our main sponsor and would also like to thank Telecom Eireann and Hollywood Video for their sponsorship. We are deeply indebted to our patrons and advertisers for their support; quite simply we could not have brought you this Festival without them. I am particularly pleased that our relationship with our Sister City of San Francisco continues to grow and flourish, and I am happy to welcome to the Festival some of our keenest supporters from that city. We are also indebted to the marvellous corps of voluntary workers who continue to give of their time and talent unselfishly to the art of film and to the advancement of this city. I know that no effort has been spared in assembling a programme of films that will delight, entertain and intellectually challenge our audiences. We are proud to welcome to Cork the directors, producers, distributors and actors associated with many of our presentations and, on behalf of my hardworking Executive Committee and our Directors, I extend to you our audience, a hearty welcome. Charles Hennessy Chairman A Message from Michael Foley, Managing Director, Murphy Brewery Ireland Ltd. The Cork Film Festival has reached its 37th year due to the vision and tenacity of its organisers since its inception. The Festival has achieved an international reputation as a premier cultural event due to the commitment of Charles Hennessy and his executive committee and especially the tireless Directors and staff. * <I On behalf of Murphy Brewery Ireland Ltd. I am delighted to renew our association with the Cork Film Festival as its major sponsor. Murphy’s Irish Stout is a noted sponsor of the Arts including the Abbey Theatre, the Firkin Crane and recently the Shaun Davey Granuaile Suite at Cork Gty Hall. Of all the Arts, film has become the dominant medium of the twentieth century. It is an indication of the vitality of the Cork Film Festival that this year's programme is the most exciting ever. 3 �GRANT-AIDED BY THA ----------------- ■ Grant-aided by the Arts Council I We would like to express our sincere appreciation of the following organisations, companies and individuals whose generous support of the Cork Film Festival has enabled us to organise this year's event. The Arts Council PATRONS Cork Corporation Companies ABC Taxis Allied Irish Bank, pic Aer Rianta • * • ♦ ¥ Alcatel Ireland Ltd * ¥ * Astra Pharmaceuticals Bank of Ireland Barrys Tea Ltd Beamish & Crawford pic Boeing Computer Services Ireland Bord Gais Eireann Bourns Electronics (IRE) Ltd Brookfield Physiotherapy & Sports Injury Clinic Brooks Haughton Ltd James Bruen & Sons Ltd Patrick Buckley & Co C. A.B. Motor Co Ltd Church & General Insurance pic Ciba-Geigy Ireland Ltd Cilag Ltd CMP Dairy Daniel J Coleman & Co Coopers & Lybrand Cork Chamber of Commerce P.J.Crowley Ltd Dairygold Co-operative Society Ltd The European Commission RTE San Francisco Sister City Committee •oo•oo• o•o•o•o o o•••oo ••••••• oo*•too o•o•o•o •00*00* British Council D. O.C. Optical Co Ltd Deloitte & Touche Design Workshop D.F.Doyle & Co Ltd Eagle Oil Fitzgerald & O'Leary General Semiconductor Ireland Grainger Sawmills Ltd Guy & Co. Ltd P.J. Hegarty & Sons M.J. Horgan & Sons IDA Ireland Irish Distillers Ltd Irish Fher Laboratories Irish National Insurance Company Irish Steel Ltd Irish Trade Board Janssen Pharmaceutical Ltd Jardine Insurance Brokers Ireland Ltd Johnson & Perrott Ltd Jurys Hotel Cork Logitech Mac's Meats Kieran McCarthy & Co G. J. Moloney & Co Frank Murphy & Partners Musgrave Ltd New Ireland Assurance No 1 Launderette Kieran O'Callaghan & Co Ltd MAIN SPONSOR I A/SHSTO^ Murphy's Irish Stout SPONSORS TELECOM EIREANN Telecom Eireann Hollywood VideoHollywood Video 4 O'Donovan Cuddy & MacCarthy J.W O'Donovan & Co Ltd O'Flynn, Exhams & Partners Edward O'Mahony & Co O'Sullivan Public Relations Organon La bora tories/Axzo Ove Arup & Partners Ireland Parke-Davis Research Laboratories Penn Chemicals B.V. Pepsi-Cola Manufacturing (IRE) Ltd Pfizer Pharmaceuticals Project Management Ltd Quigley Company of Europe Ltd John Roche & Co Roche Pharmaceuticals Ronan Daly Jermyn Solicitors Sedgwick Dineen Group Ltd Signrite Smurfit Corrugated Cases Southern Fruit Distribution Co Statistical Softwear Ltd Stokes Kennedy Crowley True-Temper Ltd Trustee Savings Bank Turners Cross Motors University College Cork Weir & Ml Young Interiors Billy Wilson Associates Wyeth Laboratories Individuals Thomas Creed Kevin & Allison Cross Don Crewe Gene Fitzgerald, MEP Eamonn & Jane Fleming Harvey Kenny, BL Noel Locke Denis Lyons, T.D. Dr. Gillian McSweeney Dr. Rosemarie Manning Barry & Joan Murphy James O'Drsicoll Liam S. O'Raghallaigh Marie O'Meara Joe Shinkwin Mr and Mrs G. B. Nixon" �. .r RT./CORK ^ELAND’S EUROPORT ONLY CORK OFFERS liw 4 ■ SD3 S i 5L 1 ■ DIRECT CONTAINER AND ROLL-ON ROLL-OFF SERVICES TO MAINLAND EUROPE ■ SHORTEST CROSSING TO THE CONTINENT MORE LINES, MORE SERVICES, - SIMPLY BETTER FR1 PORT»/CORK BUILDING IRELAND’S FUTURE CORK HARBOUR COMMISSIONERS, CUSTOM HOUSE ST., CORK. TEL 021-273125 FAX: 021-276484 TELEX: 75848 Phone: 276433 <3 mm Bow Chow oa CAFE MEXICANA ALLIANCE FRANQAISE DE CORK SPECIALISTS IN FRENCH CORK'S Enquiries: Enterprise House 36, Mary Street Cork Tel: 021 310 677 MEXICAN ORIGINAL RESTAURANT Opening Hours • 12pm til Late 7 Days a week Special Dally Menu • 12pm to 6pm Sunday Lunch • 12pm to 6pm Children’s Menu available • Full Wine Licence 5 �s A fcsswrfihK When you're Hgj| - away from iS' -'--c R '■ mV • 'V > 2V ? 7^-V, -■ ^TSkeswIr “22"? ----------------------------------------------....... »,,j------------------------ I you can divert your phone and enjoy a night at the Opera a House |-A || -j Y. ' < V' y Vj■ & ’ kt - ya e-\ : -iggPy < - < ...... ------ Call Diversion is a helpful new service which allows you to divert calls to another phone when you're not at home.It is available to customers who are connected to digital exchanges. For more information Freefone 1800 500 500. TELECOM EIREANN Call Diversion a PHONEp&zJ service from Telecom Eircann 6 �4 J FT" ’ _____ ______ /o D U C T I O N IRISH SECTION The Festival aims to act as a show case for Irish film. Once again we have the privilege of screening the world premiere of a film by Ronan O'Leary, HELLO STRANGER. There is also a fine crop of new Irish shorts in the Triskel programme, including an exciting selection from the film schools in Dun Laoghaire and Rathmines. FOCUS For many years the Festival has considered devoting a focus section to the work of Michael Apted, one of the most distinguished British film makers of his generation. He has created a notable range of films both for cinema and for television. His work as a documentary film maker, as director for major Hollywood projects and as a producer are all remarkable. The fact that we are screening two of his latest films in the Opera House made this year an ideal opportunity to present a focus on his work. LESBIAN AND GAY FILM FESTIVAL A section of our audience from bygone days! We were delighted with the success of the First Irish Lesbian and Gay Film Festival in 1991. We are very happy to continue our close involvement with and support for an event that has, we feel, a bright future. VISITORS The festival is more than just a series of screenings. The core of the festival lies rather in the creative exchange of ideas nurtured by the open, convivial and relaxed atmosphere for which the city and the festival are widely known. This year we are delighted to welcome a record number of film makers and delegates from all over the world. PROGRAMME We have a strong and diverse programme of features this year and are particularly delighted to present the Irish Premiere of The CRYING GAME, the latest film by one of Ireland's most distinguished film makers, Neil Jordan. This year's record number of over 700 entries for short film and documentaries is testimony to the festival's growing international reputation. It is regrettable that we are only able to screen a fraction of the fine films that we are offered. We hope that you enjoy those we have selected. THANK YOU Michael Hannigan's recent departure from the director's chair marked a major transition in our organization. Michael played a key role in re-vitalizing the festival. He brought a new identity and sense of direction to a long established event at a crucial time in its history. Under his direction the festival has been re-established as Ireland's premier film festival. His commitment to building a professional team and assembling the resources needed to run a major cultural event should bear fruit for many year's to come. We wish him and the Irish Film Centre all the success they so much deserve COMPETITIONS The EUROPEAN SHORT FILM COMPETITION, with a prize of 10,000 ECU's funded by the European Commission, is the main competitive element in the Cork Film Festival. It is the richest prize for short film in Europe. The Festival is very grateful to the European Commission for their continued support of the competition. We are committed to the short film both as an art form in itself and as the seeding ground for new film making talent. The festival could not take place without the generous support of the film-makers, film-distributors and film­ organisations who each year entrust their prints to us. Without this support much of the festival's programme would never be seen by Irish audiences. Cork's BLACK AND WHITE COMPETITION is the only such event in the world and continues to attract world-wide entries from film makers working in glorious monochrome. The festival also provides the GUS HEALY AWARD and prize of £1,000 for the Best Irish Short Film. The unstinting work of the Festival's staff - the furiously paddling legs that keep the whole event gliding serenely forward - must be remembered. The pressure, the deadlines, the attention to detail that is essential in managing such a complex event all demand a level of commitment far beyond the financial rewards the festival can offer. EXHIBITION This year's Exhibition has a special importance for the festival. Over recent years we have worked to collect and preserve archive material relating to the Festival. The idea for an exhibition on the history of the festival arose naturally from this. We are particularly glad to assemble this tribute to the work, the ideals and the achievements of the people who initiated and developed the Festival. . Finally we must thank the people of Cork who form the bulk of our loyal audiences and in particular the generous financial support from Cork business people without which the festival could not happen. SEMINARS We aim to develop the seminar section as an integral part of the festival programme. This year we will deal with current issues in documentary filmmaking and with the perennial topic of low budget films. We are very pleased that the Copenhagen - based Project for the Creative Documentary has chosen to make tneir Irish presentation in Cork as part of the Documentary Seminar. Donal Sheehan Fran Bergin 7 Programming Director Administrative Director �Cinema IS truth twenty- four times a second Jean Luc Godard c on o' Z5 GO r-t rtf TJ on o‘ ZJ Art Memory Cinema * Cinemas ■s Temple Bar Dublin �SKiSi 5 Non MEMBERSHIP [_ S Festival-goers are obliged to become members of the 37th Cork Film Festival Association in order to purchase tickets for admission to screenings. The membership fee is £1. Membership is open to those over 18 years of age. Membership is non-transferable and Membership Card must be produced when buying tickets for screenings. Members may also be asked to produce Membership Card together with ticket, when entering the cinemas. Members may purchase admission for one guest for each screening. Members are advised that seats must be occupied ten minutes before a programme begins, otherwise we cannot guarantee that seats will be held. QJ IJ h The most talked about new TICKET PRICES INDIVIDUAL SCREENINGS: Opera House: 8.30pm & 11.30pm, £3.50 & £3 (concession) 2.00pm, 4.00pm & 6.00pm, £2 2.00pm & 4.00pm screenings free for Old Age Pensioners RESTAURANT IN CORK. Triskel Arts Centre: £2 & £1.50 (concession) Triskel Arts Centre Shorts Programmes: £1 Weekend Tickets: Valid for all screenings Friday 9th - Sunday 11 th: £20 Season Tickets: Valid for all screenings: £35 & £30 (concession) Special Season Ticket for Couples: £60 pair Patron Tickets Companies: £125 per pair Individuals: £100 per pair Lesbian & Gay Screenings: Crawford Gallery: £2.50 & £2 (concession) Triskel Arts Centre: £3 & £2.50 (concession) Check it out ADVANCE BOOKING Tickets for all screenings in the Opera House may be booked in advance. Box Office hours for advance booking: 10.15am - 7pm. Telephone bookings with credit card: Tel: (021)270022. Those booking by telephone must take out Membership before collecting tickets. Tickets for Triskel Arts Centre screenings available at door. CONCESSION RATES Available to those with appropriate ID: unemployment card, pension book, student card. Apply to Information Desks in Opera House or Triskel for details. ISAACS RESTAURANT Me CURTAIN ST. CORK, IRELAND TEL: 021 JOJ 805 All Inquiries to Information Desks In Opera House and Triskel Arts Centre. Telephone enquiries to: (021) 271711. 9 �Your membership card for the Cork Film Festival entitles you to FREE MEMBERSHIP and 2 FREE VIDEO RENTALS at any branch of Hollywood Video Branches at: 20, Pouladuff Rd., 33, Barrack St., 16, Anglesea St., Southern Rd., Me Curtain St., Old Youghal Rd., East End, Ballincollig, Main St., Ballincollig, Grangevale, SC Grange, Main Street, Carrigaline, Douglas Rd., Harbour View Rd., Hollyhill BEST WISHES TO THE 17TH CORK FILM FESTIVAL J1 FROM Er yrr. % ^INK KKHravel n n z While enjoying the Film Festival, why not drop into Clancy’s for a drink FLY TO THE STARS WITH CITY TRAVEL BEST SERVICE - COMPETITIVE FARES i SIS * mo B 15*16 Princes Street 29'30'31 Marlboro Street Phone: 271726 ☆ ☆ 34, OLIVER PLUNKETT ST. CORK, IRELAND TEL: 021 27362/271339 FAX: 011 272 136 TELEX: 755J7 10 �'SWA 3 7 T H 8:30PM CORK OPERA 5 CORK FILM FESTIVAL > “W" ©ala ©gening/ HOUSE 1 I m THE CRYING GAME NEIL JORDAN England/1992/35mm/112 minutes/Colour Executive Producer: Nik Powell. Producer. Stephen Woolley. Leading Players: forest Whitaker, Miranda Richardson, Stephen Rea, Adrian Dunbar. Script: Neil jordan. Photography. Ian Wilson. Editing: Kant Pan. Music: Anne Dudley. Production Company. Palace Pictures, Channel Four Films in association with Eurotrustees and Nippon Film Development and Finance inc. With the partnership of British Screen. Print Source: Mayfair Entertainment, 9 St. Martin's Court, London WC2N 4A), England. Tel: 071 89S 0328, Fax: 071 895 0329. THE CRYING GAME is a tale of love, loyalty, murder and seduction. Jody, a British soldier held hostage in a glasshouse in South Armagh by Fergus and his fellow conspirators, reminisces about his love for the beautiful woman whose photograph he carries in his wallet. In this tense, though intimate atmosphere, Fergus and Jody develop an unlikely rapport that can only have dangerous repercussions. Soon, on the run from his confederates, Fergus is also on a mission to carry out Jody's dying wishes to find Dil the woman in the photograph. Dil has long purple hair and irresistable allure. Hairdresser by day, singer in a bar by night, Dil is innocent of Fergus' past and, as they sip margaritas together, they gradually grow closer. Then there is Dave, Dil's ex from Essex, who's asking for trouble; Jude, a blonde in a brown wig who wants Fergus; and Maguire who wants revenge. Neil jordan draws together his collection of dreamers in a bizarre yet vibrant underworld - moving from the tension and conflict of Northern Ireland to the seedy twilight zone of London. THE CRYING GAME is tough and troubling, yet also filled with warmth, wit, magic and music. THE CRYING GAME will be preceded by JAZZ IN THE BOX, directed by Milan Grozdanic -AlFESTIVAL OPENING SPONSORED BY LWsWvJ 11 MURPHY'S IRISH STOUT �HORIZt^Rf COMPUTER SERVICES AppleCentre Lower Road Cork Telephone ♦ 353 21 ■ 50 74 28 Facsimile ♦ 353 • 50 54 79 BET ASHES CORK FILM FESTIVAL TO THE ...and anyone else you may care to treat Progressive Cuisine using the best of local O'Oduce coc<ea > an maginotive woy to ccn'p'ime''’ our interes’-ng and varied wine list Phoenix Street • (Near the GPO) 5 Minutes walk from the Opera House ♦BOOKING 2773871 ■ PARI Of THE HORIZON COMPUTER GROUP ■ DUBLIN CORK GALWAY • accBank BANKING SERVICES FOR BUSINESS and PERSONAL CUSTOMERS ♦ Home loan and commercial loan package ♦ Keenest car loan rates ♦ Flexible State guaranteed deposits For further details contact: ACCBANK, 41, South Mall, Cork 12 �>Smi j)i£\ 37TH CORK. GALA < < ■ £ BER 8:30PM CORK OPERA HOUSE FILM I FESTIVAL CTOSI NG < m THUNDERHEART MICHAEL APTED USA/1992/35mm/118 minutes/Colour Producer Robert De Niro. Leading Players: Vai Kilmer, Graham Greene, Sam Shepard, Sheila Tousey. Script: /ohn Fusco. Photography: Roger Deakins. Editing: Ian Crafford. Music: James Horner. Production Company: TriBeCa/ Waterhorse. Print Source: Columbia Tri-Star Films (Ireland), Merchants Court, Merchants Quay, Dublin 8, Ireland. Tel: 01 6798234 Fax: 01 6798237. THUNDERHEART deals with the position of the Native American in US society. It depicts events surrounding the investigation of a murder in the Badlands of South Dakota. Vai Kilmer stars as Raymond Levoi, Eastern urbanite and FBI agent, sent to investigate the murder of an Oglala Sioux. There he finds Sam Shepard's cynical FBI agent "Cooch" Coutelle conniving by default with local whites, and Levoi quickly realises that the situation is far more complex than the FBI bosses are willing to allow. Graham Greene plays tribal police officer, Walter Crow Horse who, with Grandpa Sam Reaches (73 year-old Chief Ted Thin Elk making his screen debut), are the instruments through which Kilmer comes to question his commitment to government and state - and to his own Sioux ancestry. His gradual shift from the perspective of Government employee to Native American supporter is a subtle and affecting performance, and the strong team who play the Reservations residents, are wholly convincing as the indomitable group fighting to keep alive their culture in a society that cares little for their customs and values. THUNDERHEART will be preceded by the winner of the European Short Film Competition. FESTIVAL CLOSING SPONSORED BY WsHsiowJ 13 MURPHY'S IRISH STOUT �TRISKEL ARTS CENTRE, SUNDAY 11TH, 16.00 OPERA HOUSE, THURSDAY 8TI AS HAPPY AS LARRY THE BEST INTENTIONS Riju Ramrakha DEN GODA VILJAN Bille August Australia/1991 /16mm/61 minutes/Colour Sweden/1991/35mm/180 minutes/Colour/Subtitles Producer. Riju Ramrakha, Patricia Lhuede. Leading Players: Max Cullen, Tony Harvey, Helen Mutkins. Script: Riju Ramrakha. Photography: Reynold Carlsen. Editing: Fiona Strain. Music: Robert Moss. Print Source: Far Sighted Films, 77, Elliott St., Balmain, NSW 2041, Sydney, Australia. Tel: 61 2 319 6178, Fax: 61 2 555 1937. Producer: Lars Bjalkeskog. Leading Players: Samuel Froler, Pernilia August, Max Von Sydow, Chita Norby. Script: Ingmar Bergman. Photography: jorgen Persson. Stills: Bengt Wanselius. Editing: Janus Billeskov Janson. Music: The Swedish Radio Symphony Orchestra. Production Company: Artificial Eye Film Company. Print Source: Artificial Eye Film Company, 211 Camden High Street, London NW1 7B,T, England. Tel: 071 267 6036. Larry and Bert live in a rundown terraced house in a decaying suburb of Sydney. Bert, a boozer and a gambler, is laid off from his boring job and plans to fulfil his dream of buying a greyhound and winning his fortune on the track. Larry, a schizophrenic, has an intense inner life and a sometimes tenuous grasp on reality. He hears voices, is convinced that he has telepathic powers and has occasional flashes of insight into the nature of God and time. He does admit, though, that occasionally, his mind does play tricks on him. While other people reckon that Larry is away with the fairies, Bert takes him at face value. They share a love of old movies on television and are both convinced that a big win on the Lotto is imminent This is the story of a family and a bygone era played out against the backdrop of a Sweden stifled by a rigid class system and in the throes of a general strike. Henrik, a poverty-stricken young theology student meets a beautiful and vivacious upper-class girl, Anna, who is adored by all, especially her father johan (Max Von Sydow). The pair fall in love, despite the opposition of the real head of the family, Anna's mother. THE BEST INTENTIONS traces the course of their love over a turbulent decade in Swedish history. While directed by Bille August (who won an Oscar in 1989 for his PELLE THE CONQUEROR),THE BEST INTENTIONS has the inimitable stamp of Ingmar Bergman on it. He wrote the script, based on the lives of his parents up to the time of his own birth, and many of the cast and crew were Bergman regulars. In the course of many months of pre-production on what turned out to be the most expensive Swedish film ever made, Bergman and August grew towards a shared vision of the film. What we are left with is a beautiful, epic film, a straightforward but deep tale of the vissicissitudes of love and the vulnerability of the human spirit. Bert buys his greyhound, who becomes like a second son to him. The dog is surprisingly successful at racing and while Larry finds the whole thing incomprehensible, he goes along with Bert just to humour him. Larry develops a crush on jenny, a girl who attends his daily group therapy sessions. She's brain damaged, but you can't have everything. Anyway, she's much less sexually threatening than some of the other people in the group. Unfortunately, Larry learnt all of his ideas about romance from discussions with Bert and from watching old TV movies, and things don't work out as planned. It's enough to put anyone in the nut house - and it does. I "...so gripping that at the Cannes screening that I attended, a good number of the spectators remained in their seats after the film ended, as if they wished the threehour film had been longer...Bille August's direction is sure and subtle...Ultimately, THE BEST INTENTIONS is a risky and successful journey led by a master storyteller into the labyrinth of the human heart." Marcelle Clements Premiere "A fine script and some well-judged performances make this a hugely watchable film." Melbourne Fringe Festival Winner 1992 Golden Gate Award for Fiction, San Francisco Film Festival. please note earlier starting time of this film i 14 �FT '[■ Il JSKEL ARIit-■ ■ ■V 16.00 OPERA HOUSE, SATURDAY 10TH, 18.00 iBROTHEETS CHAIN OF DESIRE Joe Berlinger, Bruce Sinofsky Temistocles Lopes USA/1992/16mm/117 minutes/Colour USA/1992/35mm/IO5 minutes/Colour ' K *■ Producer: Lindsay Law, foe Bedinger. Photography & Editing: Douglas Cooper. Music: Jay Ungar, Molly Mason. Print Source: Jane Balfour Films, Burghley House, 35, Fortress Road, London NWS 1AD, England. Tel: 071 267 5392, Fax: 071 267 4241. Executive Producer: Anant Singh. Producer: Brian Cox. Leading Players: Malcolm McDowell, Seymour Cassel, Linda Fiorentino, Grace Zabriskie. Script: Temistocles Lopes. Photography: Nancy Schreiber. Editing: Suzanne Fenn. Music: Nathan Nimbaum. Print Source: Distant Horizon, 52, Crescent Ave., St. George, Station Island, New York 10301, USA. Tel: 718 816 6732, Fax: 718 273 2766. A year in the life of murder defendant, Delbert Ward, an impoverished dairy farmer accused of suffocating his brother to death, is the focus of this non-narrated cinema verite feature film. Although devoid of scripts, actors and any re-creation whatsoever, the film unfolds like a dramatic fiction feature film. "Who slept with the person who slept with the last person you slept with?" This is the question posed in this comedy of sexual manners, a contemporary reworking of Max Ophuls' legendary LA RONDE. When Alma d'Angeli (Linda Fiorentino), a hot nightclub singer, sleeps with jesus, a married, Hispanic working-class man, they start a chain of erotic entanglements that cross many social and psychological boundaries. The film revolves around Delbert, Bill, Lyman and Roscoe Ward, four elderly dairy farming brothers. These nearlyilliterate bachelor brothers have never left their family farm in Central New York State. Occupying the same dilapidated two-room shack all of their lives, they have led a life that rural farmers might have led 200 years ago. Among those caught in this web of attractions are a renowned television commentator (Malcolm McDowell), his wife, a jaded millionaire, a famous painter, his jealous spouse and many others. The chain comes full circle when at the end, through coincidence and chance encounters, the story brings us back to Alma and the club in which she performs. One night, however, their quiet life was shattered when Delbert's bed-mate, Bill, 64, died in his sleep. The next day, Delbert, 59, was arrested and by late evening, he had confessed to suffocating Bill. Claiming he was innocent, the townspeople rallied behind Delbert asserting that he was coerced into signing a document he could neither read nor understand. They organised bail for him and retained a private investigator and a high profile lawyer to handle his defence. At the end of the three week trial held in March, 1991, Delbert was acquitted but the case raised many questions some of which remain unanswered today. This real-life story is revealed as it unfolded before the filmmakers' cameras. Instant attractions, convoluted strategies of seduction, jealousy, deceit, blackmail and romance are all part of this steamy chronicle of sexual politics in the '90's. ’ A stylish production with a dream cast of cult actors...packs an emotional charge that puts the likes of BASIC INSTINCT to shame." Edinburgh Film Festival ’Alluringly sexy...boasts a strong cast of talented names and promising newcomers.’ Variety "A poignant, riveting piece of Americana." Kenneth Turan, Los Angeles Times Winner, 1992 Sundance Film Festival Audience Award. Winner, 1992 Golden Gate Award, San Francisco Film Festival. ’...funny, intelligent, resonant and skilfully structured...’ Le Journal de Montreal 15 �TRISKEL ARTS CENTRE, THURSDAY 8TH, 1330 OPERA HOUSE, MONDAY 5TH, CHANGING OUR MINDS CHILDREN OF NATURE Richard Kurt Schmiechen Fridrik Thor Fridriksson USA/1991/16mm/75 minutes/Colour lceland/1991/35mm /85 minutes/Colour/Subtitles l Executive Producer: Intrepid Productions. Narrated by Patrick Stewart. Photography: /. Churchill, T. Adair, B. Megalos, C Zheutlin. Editing: Richard Kurt Schmiechen, Cail Yasunaga. Music: Absolute Music. Print Source: Intrepid Productions, 8265, Sunset Blvd, 4204, Los Angeles, CA 90046, USA. Tel: 213 656 5472, Fax: 213 654 6569. In CHANCING OUR MINDS, the Oscar - winning producer of THE TIMES OF HARVEY MILK presents to the world another memorable champion of gay rights, Dr. Evelyn Hooker. Dr. Hooker is the trailblazing psychologist who helped free gay people from the stigma of mental illness. ■ Producer: Fridrik Thor Fridriksson, Wolfgang Pfeiffer, Skule Erikson. Leading Players: Bruno Ganz, Gisli Halldorsson, Sigridur Hagaiin,. Script: Einar Mar Gudmundsson, Fridrik Thor Fridriksson. Photography: Ari Kristinsson. Editing: Skule Erikson. Music: Hilmar Orn Hilmarsson. Print Source: Ex Picturis Distribution, Fididnstr. 40, 1000 Berlin 61, Germany. Tel: 30 691 60 08/9, Fax: 30 692 9575 94. The first Icelandic film to receive an Oscar nomination, CHILDREN OF NATURE tells the tale of an elderly farmer from northern Iceland who decides to go and stay with relatives in the capital. But things don't work out as planned; his young relatives are from a different world and the farmer finds himself in a retirement home. In the 1950's gay love was still illegal and such diverse events as the McCarthy hearings and the publication of the Kinsey report justified the persecution of homosexuals as perverted and sick. For decades, the medical community had been trying to 'cure' homosexuality using appalling methods: lobotomies, electric shock therapy, castration. What Dr. Hooker established was that homosexuality was in no way an illness; her research showed that psychiatric experts could not tell the difference between 'gay' and 'straight' psychological profiles. It is there that he meets his first love, a woman who has now grown old like himself. Together, they decide to revisit the remote Hornstrandir, in the West Fjords, where they both spent their childhood years before their families moved away and they lost touch. They escape from the retirement home and steal a jeep. Finding that their village has been uninhabited for some time, the elderly pair submerge themselves in the idyllic landscape of the region. Nature's beauty is intertwined with childhood memories. The return to their former home leads to a respect for one another and acknowledgement of the coming departure from life. Dr. Hooker's findings sent shockwaves through the American medical community, which culminated in a landmark victory for gay rights: in 1974, the American Medical Association removed homosexuality from its list of mental disorders. "...a quixotic Bonnie and Clyde in a journey of love...stunning photography..." Screen International Now 84, Dr. Hooker recalls her past in vivid detail; how, as child in Colorado she was brought up far from the world of drag clubs and vice raids; how, while teaching at UCLA she was introduced by a friend to the then gay underworld and was implored to study them. How she became a pioneer in the world of psychology and a charismatic champion of human rights. ■ 16 �iRA HOU: TRISKEL ARTS CENTRE, MONDAY STH, 1330 CRUSH DREAMS AND SILENCE Alison McClean AHLAM Fl FARAGH Omar Al Qattan New Zealand/1992/35mm/97 minutes/Colour Belgium/Palestine/1991/16mm/52 minutes/ Colour/Subtitles Producer: Bridget Ikin. Leading Players: Marcia Gay Harden, William Zappa, Donogh Rees, Caitlin Boosley. Script: Alison MacLean, Anne Kennedy. Photography: Dion Beebe. Editing: /ohn Gilbert. Production Company: Hibiscus Film Ltd. Print Source: Metro Pictures, 79, Wardour St., London W1V 3TH, England. Tel: 071 734 8S08/9, Fax: 071 287 2112. Executive Producer: Centre de L'Audio-Visuel a Bruxelles. Script: Omar Al Qattan. Photography: Raymond Fromont. Editing: Greg Harris. Music Riccardo Castro. Print Source: Centre de L'Audio-Visuel a Bruxelles a.s.b.l. Rue Joseph 11, 18,8-1040, Brussels, Belgium. Tel: 02 218 40 80. Fax: 02 217 91 97. "I want a film to have the resonance and the pull of a deep, dark dream, with unsettling shifts of tone from tension and foreboding to ironic humour. CRUSH is a passionate story that deals with strong and often conflicting emotions: love, hatred and guilt." DREAMS AND SILENCE juxtaposes the daily life of a Palestinian woman, a refugee, with the polemics of an Islamic fundamentalist senator. While the military and political conflicts continue between the West and the Arab-Muslim world, and while Arab political movements are renewing their ideological arguments following the Gulf war, the film tries to replace these conflicts and arguments within their more natural framework - that of everyday reality, in order to avoid any sterile abstraction. Thus it confronts the political and social thought of the senator with the problems this woman faces; poverty, limited education, broken dreams of national liberation, limitations on her personal and social freedom as a woman. So speaks Alison McClean of her debut feature; one of the few to occasion impassioned debate at the Cannes Film Festival. CRUSH centres on a teenage girl's developing awareness of her own sexuality and power but is grounded in a powerfully enigmatic performance by Marcia Cay Harden as Lane, a malevolent American femme fatale with a powerful sexual presence, visiting New Zealand. Driving through a desolate volcanic landscape, Lane causes an horrific crash and leaves her journalist friend Christine for dead. While Christine languishes in the hospital, Lane turns her attentions on Colin, the writer to whom Christine was travelling to interview, and his troubled teenage daughter Angela. While distancing itself from the ideals of Islamic fundamentalism, and from the violence of the conflicts between the West and Islam, DREAMS AND SILENCE tries to put forth a more human point of view that casts the problems of the Middle East in a new light. Lane takes Angela out for a night on the town, forging a relationship with her that comes under stress when Lane initiates an affair with her father. Discovering Christine's existence in the hospital, Angela becomes her confidante and starts helping her through her painful recovery. As Angela starts to turn against Lane, she becomes devious and manipulative, using Christine to prove Lane's cruelty to her father. The film culminates in a welter of mixed emotions, double dealing and death. Awards: joris Ivens Award, Amsterdam International Documentary Film Festival, 1991. Official Selection, Festival of Human Rights, Strasbourg, France, 1992. 17 �TRISKEL ARTS CENTRE, SUNDAY 4TH, 1330 OPERA HOUSE, WEDNESDAY^Z' FIT: EPISODES IN THE HISTORY OF THE BODY CAS FOOD LODGmtG Laurie Block Allison Anders USA/1991/16mm/74 mlns/Black & White USA/1991/35mm/102 minutes/Colour ■ A!) Producer: Laurie Block. Narration: Linda Hunt. Script: Laurie Block, John Crowley. Editing: Howard Sharp. Music: Paul Ascenzo. Print Source: Straight Ahead Pictures, Box 395 Conway, MA 01341, USA. Tel: 413 369 4372, Fax: 413 369 4783. Producers: Daniel Hassid, Seth Willenson, William Ewart. Leading Players: Brooke Adams, lone Skye, Fairuza Balk, James Brolin. Script: Allison Anders. Photography: Dean Lent. Editing: Tracy S. Granger. Music: J. Masds, Barry Adamson. Production Company: Cineville and Seth M. Willenson Inc. Print Source: Mainline Pictures, Museum St., London WC1A 1LP, England. Tel: 071 242 5523, Fax: 071 430 0170. Our bodies are a realm that most of us consider to be absolutely personal and shaped by our own experiences; not something to be treated historically. This sharp and entertaining documentary turns this assumption inside out, demonstrating that our ideals of physical perfection are determined by political and cultural considerations rather than by any more objective standards. Each generation so takes for granted its own experience of the body that the memory of how the body was once experienced is lost. This is the story of a family of three women and the men whose lives they touch. The central character is the youngest daughter, Shade, who is poised between the innocence of childhood and the longing of adolescence. Shade maintains her optimism amidst the arid landscape of Laramie, New Mexico, by finding romance in the safety of the local Spanish cinema. Her beautiful but cynical older sister, Trudi (lone Skye), tries the family's patience with her anger and attitude. She buries her sexual secrets behind a tough-girl, promiscuous image. Their mother, Nora (Brook Adams), is a pretty waitress at the Pull-Off Plaza Truck Shop. Frustrated with raising two teenage daughters on her own, she worries they will end up just like her. Historically, it was believed that the human body was the repository of a certain amount of "vital energy". This force was limited and was dissipated by excessive exercise, breast-feeding, fornication and masturbation. In the 1890's, however, a movement promoting physical exercise sprang up in America to counter this notion. A generation of physical education teachers spread the gospel of exercise across America. Reinforced by Nickleodeon images of body builders, working out and the celebration of the body became part of America's psychic furniture. 11 As the family starts to fall apart, Shade takes on a mission: to find a new man for her mother, and track down her long-absent father. Meanwhile she pursues her crush on Darius, a schoolmate who is more infatuated with Olivia Newton John and platform shoes than he is with Shade. Trudi falls for a nice-guy geologist, who reveals a magical realm of glowing rock beneath the desert floor before disappearing, leaving her pregnant, with some difficult choices to make. Along the way, the movement was appropriated by, among others, the Eugenics movement, a proto-fascist pseudo-science that advocated 'proper" breeding practices for the white race and mass sterilisation of all people deemed to be inferior. With the world closing in on f them, things begin to change: Nora takes up with the comical Hamlet Humphrey, Shade finds her dad, finds love with javier, the Latino boy, and makes a magical discovery that brings the power of love back into all of their lives. Utilising a wealth of fascinating archival footage and narrated by actress Linda Hunt, FIT is a vivid, entertaining and very impressive chronicle of America's changing attitude towards the body. TELECOM EIREANN SCREENING SPONSORED BY TELECOM EIREANN 18 �OPERA HOUSE, MONDAY STH, 16.00 HELLO S i! i. THE HOURS AND TIMES Ronan O'Leary Christopher Munch lreland/1992/16mm/61 minutes/Colour USA/1991/35mm/60 minutes/Black & White 1 Executive Producer: Liam Miller. Leading Players: Tim McDonnell, Daniel /. Travanti. O.Z. Whitehead, /an Widger. Script: Truman Capote. Photography: Cedric Culliton. Editing: Patrick Mulvey. Music: Frank McNamara. Production Company: RTE Films. Print Source: RTE Films, Donnybrook, Dublin 4, Ireland. Tel: 01 643111. Producer, Script, Photography and Editing: Christopher Munch. Leading Players: David Angus, Ian Hart, Stephanie Pack, Robin McDonald. Music: Narvaez, J.S. Bach. Print Source:ICA, The Mall, London SW1Y 5AH, England. Tel: 071 930 049. Two men, T.C. and George Claxton, both aged 47, have known each other since prep-school days. They meet once a year for a ritual lunch. T.C. dreads this obligatory meeting as George, a stockbroker, is dull, conservative and predictable, and seems to cling to T.C.'s friendship. The friendship of Brian Epstein and John Lennon has long been the subject of speculation and myth. THE HOURS AND TIMES looks at a memorable holiday which Lennon and Epstein spent in Barcelona in the spring of 1963. More than a holiday, it marked a crucial juncture in both men's lives. While six months had yet to elapse before Beatlemania would fully engulf England (nine months before America), Lennon's first child had just been born and his marriage was beginning to stand the test of burgeoning stardom. But this year, T.C. is shocked to see George's condition; he is wearing dark glasses, looks drawn and gaunt, has lost weight and has become a heavy drinker. Gradually, over a sombre lunch, George tells an indifferent T.C. his tale of woe. At the same time, Epstein, whose affection for Spain was to last up until his premature death in 1967, was poised before the immense dizzying potential that lay just ahead his personal life a whirlwind of exultation and despondency. Within this tense historical context, the story unfolds. It centres around a 12 year old girl whose message-in-abottle he finds one day while out swimming. A secret correspondence develops between the unlikely pair. The girl may or may not be as innocent as she makes out to be. But the girl's parents find the letters and bring in the police to investigate. The film was shot entirely on location in Barcelona amidst landmarks of the great Catalan architect, Antoni Caudi. Much of the action occurs in the Avenida Palace, one of Europe's most majestic hotels. Additional photography took place in Liverpool. George's wife, Gertrude, is reminded of an incident seven years earlier when George was accused of indecent exposure to a young girl. At the time, George's declaration of innocence was believed by his wife and the police. But now, Gertrude believes that George was lying. From that moment on, Gertrude has lived as a stranger in George's house. The question posed concerns George's guilt or innocence. The viewer must decide for himself. Awards: Winner of The Wolfgang Staudte Prize - Berlin Film Festival 1992. Winner of the Special Jury Prize for Artistic Excellence - Sundance Film Festival 1992. Director Ronan O'Leary will be present to introduce the screening. WORLD PREMIERE 19 �I OPERA HOUSE, SATURDAY 10TH, 2030 OPERA HOUSE, TUESDAY 6TH HOW TO BE A WOMAN AND NOT DIE IN THE ATTEMPT INCIDENT AT OGLA W I X Michael Apted COMO SER MUJER NO MORIR EN EL INTIENTO Ana Belen USA/1992/35 mm/89 minutes/Colour Spaln/1991 /35mm/90 minutes/Colour/Subtitles Producer. Andres Vincente Gomez. Leading Players: Carmen Maura, Antonio Resines, juanjo Puigcorve, Carmen Conesa. Script: Carmen Rico-Coddy. Photography: Juan Amaros. Print Source: Overseas Film Croup, 8800 Sunset Blvd, Los Angeles, CA 90069, USA. Tel: 310 855 1199, Fax: 310 855 0719. Executive Producer: Robert Redford. Leading Players: Phyllis Diller, Whoopi Goldberg, Sandra Shamas, /enny Lecoot. Script? Photography: Maryse Albert. Editing: Suzanne Rostock. Production Company Seven Arts. Print Source: Guild Film Distribution, Kent House, 14-17, Market Place, Gt. Tichfield St., London W1N8AR. Tel: 071 323 5151, Fax: 071 631 3568. Carmen is a respected journalist in her 40s - professional, high powered and denied the promotion which is due to her. She gets the rough end of the stick in both her marriage and her career. While Antonio, husband number 3, concentrates his energies on beating the competition in the record business, Carmen stocks the fridge, shampoos the carpet, deals with the laundry and the kids' problems as well as maintaining the home as an oasis of comfort and calm. Like so many other women today, she works like a man but is still saddled with the duties traditionally ascribed to women. Late on the morning of June 16, 1975, FBI special agents, Jack Coler and Ron Williams, allegedly following a red pick up truck, illegally drove onto the Pine Ridge Reservation. A shoot out occurred in which both agents and a Native American were killed. The death of the agents led to the biggest manhunt in FBI history. INCIDENT AT OGLALA is a chilling account of the events of that morning and the subsequent relentless pursuit of suspect Leonard Peltier, uniquely told by the people who lived through them. Narrated by Robert Redford, INCIDENT AT OGLALA is about two standards of justice and the continued struggle of the Native American people to exist with dignity and sovereignty on their own land. Months and seasons pass, marked by a busy round of mishap, jealousy, argument and making up. Feeling overwhelmed by the build-up of problems and duties pulling at her, Carmen contemplates another divorce but does not want to sacrifice her respect and dignity. She works hard to juggle the many roles she is caught in, while trying not to abandon her personal goals. Just when the pressure begins to mount and Carmen feels that she must make a break, she turns to look for the love and support of her husband - in his subtle and indirect ways in hopes that she will find enough strength in him to continue her challenging life. Michael Apted's gripping documentary follows the recent focus on Native American culture and history. Like Errol Morris's THE THIN BLUE LINE (screened at the 34th Cork Film Festival), INCIDENT AT OGLALA is a campaigning film. Its obsessive re-investigation of the evidence and accounts of out-of-court confessions point strongly to the innocence of Peltier, who is still languishing in prison. The hope is that the film will lay the groundwork for a new judicial investigation of the case so that justice, finally, can be done. Michael Apted is the subject of this year's 'Focus'section i 20 �... OPERA HOUSE, WEDNESDAY 7TH, 16.00 .....J HIM THE S@'OL JUICE Alexandre Rockwell Ernest R. Dickerson USA/1991/35mm/93 minutes/Black & White USA/1992/35mm/92 mlnutes/Colour Producers: /im Stark Hank Blumenthal, in association with Alliance Co. Ltd., lapan, Pandora Film, Germany, Why Not Productions & Odessa Films, France, Alta Films,Spain, Mikado Film, Italy. Leading Players: Seymour Cassel, Steve Buscemi, /ennifer Beals, Will Patton. Script: Alexandre Rockwell. Photography: Phil Parmet. Stills: D. Yeandle. Editing: Dana Congdon. Music Mader. Print Source: /im Stark, 366, Broadway H2A New-York, NY 10013, USA. Tel: 212 964 7521, Fax: 212 964 7521. Producers: David Heyman, Neal M. Moritz, Peter Frankfurt. Leading Players: Omar Epps, Khalil Kain, fermaine Hopkins, Tupac Shakur. Photography: Larry Banks. Editing: Sam Pollard, Brunilda Torres. Music Hank Shocklee, The Bomb Squad. Production Company: Moritz/Heyman in Association with Island World. Print Source: Electric Pictures, 22, Carol St., London NW1 OHU, England. Tel: 071 267 8418, Fax: 071 636 1675. IN THE SOUP is loosely based on the director's own experiences as a struggling film-maker in New York. Desperate to make a movie but unable to scrape together enough money to stave off his rapacious Lower East Side landlords, would-be director, Adolpho Rollo reluctantly takes out an ad pitching his 500-page screen opus to the highest bidder. The taker is Joe, a small time crook, who makes Adolpho an offer he cannot refuse even though his motives have very little to do with producing movies. Totally naive, Adolpho finds himself sucked into a world where he makes a perfect accomplice to carry out Joe's various little crimes. JUICE is the first film by Ernest R. Dickerson, Spike Lee's award winning cinematographer. The film opens with Q, Raheem, Steel and Bishop rolling out of their beds heading for school. As usual, they never get there. They spend their days roaming the neighbourhood, shoplifting records and trading insults with rival gangs. All resonably innocent until one day Bishop cracks. Desperate to prove that he has some power and status - juice - he decides to test the limits by holding up a local grocery store. The others go along with him though Q, the aspiring disc jockey, questions his friend's actions and is fearful of the consequences. The incident ends in violence which in turn leads to further violence as Bishop gets more and more out of control, spiralling into a world of paranoia and ultimately using his friends as scapegoats. Gradually, this unlikely pair of opposites are drawn together in a relationship based on mutual admiration. Adolpho thrills to the excitement of joe's petty scams and is magnetised by the zest with which joe lives life. The tough joe takes a shine to Adolpho's charming innocence and even helps him strike up a romance with his next door neighbour. The rap/R&B/hip hop soundtrack is used to explosive effect. Written and compiled by Hank Shocklee (producer of Public Enemy and Ice Cube) and the Bomb Squad, it includes tracks by Eric B. & Rakim, Salt N' Pepa, Naughty by Nature and Big Daddy Kane, to name only a few. The two partners in crime stumble from one caper to another in a joyride that teaches Adolpho a thing or two about life and marks his coming of age as a film maker. With a strong cast of newcomers, and a list of supporting roles that reads like a Who's Who of the rap world, JUICE has been hailed both as an electrifying debut, and as one of cinema's most profound portrayals of Harlem ghetto life to date. Award: Grand jury Prize for Drama, Sundance Film Festival. Producer Jim Stark will be in attendance to introduce the screening. 21 �TRISKEL ARTS CENTRE, WEDNESDAY 7TH, 1330 OPERA HOUSE, WEDN] LAST YEAR IN GERMANY THE LIVING Eh O LETZTES JAHR IN DEUTSCHLAND Dagmar Benke, Jurgen Seidler, Lars Barthel, Beate Schonfeldt Gregg Araki USA/1991/16mm/90 minutes/Colour Germany/1991/16mm/100 mlnutes/Colour/Subtitles Executive Producer: Aufbruch Production. Photography: Lars Barthel. Editing: Eva Will. Music: Peter Unsicker. Print Source: Aufbruch Production, c/o D. Benke, /. Seidler, Courbierestrasse 6, 1000 30, Berlin, Germany. Tel 030 218 65 25, Fax: 030 262 86 23. Producers: Marcus Hu, ]on Gerrans. Leading Players: Mike Dytri, Craig Gilmore, Paul Bartel. Script, Photography, Editing: Gregg Araki. Stills: Michael Matson. Music Cole Coonce. Print Source: Desperate Pictures, 740 S. Detroit, N4, Los Angeles, CA 90036, USA. Tel: 213 857 5963, Fax: 213 937 4500. LAST YEAR IN GERMANY is a long-term observational documentary made by a mixed German team. Between November 1989 and December 1990, the filmmakers document the rapid and radical political changes in Germany and its effect on the daily lives of ordinary people. The film is constructed according to the various political events: from the peaceful revolution to the opening of the wall of 9th November, 1989; the first free elections in the GDR in March 1990, the monetary union in June, the reunification in October and the pan-Cerman elections in December. The first image of THE LIVING END, the sentence "Fuck the World" sprayed onto a wall covered in graffiti, is a fairly accurate description of the frame of mind of Jon and Luke, two HIV positive men. Luke is sexy and lets himself drift. Jon is a confused writer. Both of them are stuck in Los Angeles. The city seems cold and unfriendly, full of serial killers. Jon and Luke meet by chance and begin a stormy love affair. When Luke accidentally shoots a policeman, both find themselves on the run. In San Francisco, somebody they thought was their friend slams the door in their faces. The two men take off on an aimless odyssey, full of sexual excesses, across America. Their only contact with the "real" world are Jon's regular phonecalls to his friend, Darcy, who is more worried about the couple's difficult situation than they are. Against this background of "monumental political upheaval*, the film traces the stories, throughout the same year, of several people from the ex-GDR. These are friends, acquaintances and relatives of the filmmakers; they come from different regions all over the GDR and represent different social classes and age groups. The filmmakers' personal relationships to their protagonists have made possible a close examination of the lives of people whose attitudes have been deeply affected by the historical turmoil. These portraits are also influenced by the various personal stances of the filmmakers. The tension mounts and when a frustrated Luke fires at a cash point which refuses to give him any money, Jon decides he's had enough. He doesn't want to live out a romantic fantasy anymore. When he tells Luke that he has decided to go home, Luke holds his revolver at Jon's chest. During an intense emotional sexual struggle for superiority, things come to their unavoidable end. In addition, the film documents chance observations and encounters with people on a filmic journey right across Germany - both East and West. "Black humour doesn't get much darker than THE LIVING END ...Miraculously, it also has a buoyant, mischievous spirit that transcends any hint of gloom." Janet Maslin, The New York rimes 22 �HOUSE, OPERA HOUSE, FRIDAY 9TH, 18.00 ... LOSER MAN BITES DOG Erik Burke C'EST ARRIVE PRES DE CHEZ VOUS Remy Belvaux, Andre Bonzel, Benoit Poelvoorde Belgium/1992/95 minutes/35mm/ Blacks Whlte/Subtltles USA/1991/35mm/83 minutes/Colour Producer: Steven Deshler. Leading Players: Brendan Kelly, John Salemmo, Bernice DeLeo, Nadine Mirai. Script & Editing: Erik Burke. Photography: John Sheppird. Music: Joey Harrow, Matthew Fritz. Production Company: L.T.M. Inc. Print Source: Steven Deshler, Guerilla Films, 131 W. 82nd. St, Suite 1 New York, NY 10024, USA. Tel: 212 496 7032. Fax: 212 724 1436. Producers, Script: Remy Belvaux, Andrt Bonzel, Benoit Poelvoorde. Leading Players: Remy Belvaux, Andrt Bonzel, Benoit Poelvoorde, Jean-Marc Chenut. Photography: Andre Bonzel. Editing: Eric Dardill, Remy Belvaux. Music: JeanMarc Chenut. Production Company: Les Artistes Anonymes. Print Source: Metro Pictures: 79, Wardour St. London W1V 3777. Tel: 071 734 8508 This punchy, low-rent New York comedy turns the yuppie nightmare genre on its head by taking a lunkheaded nohoper and dropping him into Manhattan glitzery. Hank is at the bottom of the heap - out of work, money and love. Then he wins $200 million in the lottery and everyone wants to know him. Crammed with larger than life stereotypes - hopheads, hustlers and hipsters, LOSER is on the cutting edge, setting a new trend in 'guerilla' filmmaking today. Ben, a smalltime Belgian hit-man who makes his living bumping off little old ladies for their life savings, as well as any others who incur his displeasure, agrees to be filmed by a documentary film crew as he goes about his grisly trade. His one condition is that the film may only be shown after his death. The film crew are first repulsed by what they see, but as Ben explains the nuts and bolts of his trade - the weight ratio of ballast to corpse when submerging a victim, or how to save on the cost of a bullet - they are gradually drawn into their subject's way of life. When not killing people, Ben reveals himself as a confident, complex person with an appreciation of the finer things in life: of poetry, music and gastronomy; willing to divulge his innermost thoughts and reflect on his way of life. Such is his charm and persuasiveness that it is only a matter of time before the documentary crew end up helping him out as he goes about his gory crimes... LOSER treads a narrow line between crackerbarrel humanism and gleeful misanthropy, but mainly it exudes delight at its own cheerful sense of fun." Jonathan Romney, TimeOut Steven Deschler and Brendan Kelly will be in attendance to introduce the screening. By showing the documentary process as it happens on screen, this trio of Belgian filmmakers really force the audience to question where the line ought to be drawn between enjoyment and condemnation of scenes of gang rape or dismemberment. Disturbing and blackly comic in equal measure, MAN BITES DOG is one of the most intelligent and unique oddities to come from the continent in many years. "Reality programming meets HENRY: PORTRAIT OF A SERIAL KILLER...MAN BITES DOG provides clever patter with its splatter. Not for the righteous or the squeamish' Variety 23 �OPERA HOUSE, MONDAY STH, 20.30 OPERA HOUSE, SATURDAY 10TH, 23.30 MARQUIS MY NEW GUN Henri Xhonneux Stacy Cochran France/1989/35mm/83 minutes/Colour/Subtitles L USA/1992/35mm/100 minutes/Colour & Producer: Eric Van Beuren. Leading Players: Phillipe Bizot, Bien de Moor, Gabrielle Van Damme, Olivier Dechaveau. Script: Roland Topor. Photography: Etienne Fauduet. Editing: Chantal Hymans. Music: Reinhardt Wagner. Print Source: ICA Projects, The Mall, London SW1 5AH, England. Tel: 071 930 0493. Leading Players: Diane Lane, james Le Gros, Stephen Collins, Tess Harper. Script: Stacy Cochran. Photography: Ed Lachman. Editing: Camilia Toniolo. Music: Pat Irwin. Production Company: New Gun Inc., Print Source: IRS Media International, 3939 Lankershim Blvd, Universal City, C 91604, USA. Tel: 818 505 0555, Fax: 818 505 1318. MARQUIS is a bizarre and original film, a jokey dramatisation of the "divine" Marquis de Sade's final days in the Bastille - shortly before revolutionary violence destroyed the fortress prison. Inspired by his erotic writings, some of which are illustrated in cartoon form, MARQUIS features a cast of actors masked as animals. The prison governor is a philandering cockerel; the chaplain a camel; the warder a lascivious bisexual rat. De Sade himself is an amiable dreamy-eyed spaniel who engages in extended dialogues - on matters of philosophy and action, art and desire - with his erect and talkative penis. Debbie, a thirty-year old housewife, is married to Gerald, a radiologist in New jersey. During a dinner in their suburban home, Gerald's associate, Irwin and his girlfriend, Myra, announce that they will soon be getting married. By way of a present, Irwin offers his fiancee a diamond solitaire and a revolver. Although Gerald does not find this surprising, Debbie is horrified. A few days later, Gerald comes home from work and offers his own wife a revolver. Debbie is entirely opposed to the idea of this gift but gradually becomes obsessed by it. One evening, Skippy, their young, unreliable and mysterious neighbour appears at the kitchen window and asks Debbie to lend him her gun... "Occasionally surreal, occasionally cartoonish, Topor and Xhonneux’s conception is never less than brilliant, bringing together the virtues of the costume picture lavish detail, rich colour - and the sly wit of masquerade to create a film which is funny, obscene, discursive and wholly unique." Cinema Fantastique, Derby This new black comedy illustrates America's ambivalent fascination with weapons and how the right to bear arms as enshrined in the US Constitution has led to the creation of a society for which the prospect of violent death, even in one's own home, is never too far away. I I SCREENING SPONSORED BY THE SAN FRANCISCO SISTER CITY COMMITTEE 24 �l HOI >AY 9TH, 23.30 OPERA HOUSE, MONDAY 5TH, 18.00 aGHT ON EARTH OTHELLO jim Jarmusch Orson Welles USA/1992/35mm/120 mlnutes/Colour Morocco/1952/35mm/91 mlnutes/Black & White Executive Producer: jim Stark. Producer, jim Jarmusch. Co-Producer: Demtra /. MacBrlde. Leading Players: Winona Ryder, Gena Rowlands, Armin Mueller Stahl, Beatrice Dalle, Roberto Benigni. Script: jlm jarmusch. Photography: Frederick Elmes. Editing: jay Rabinowitz. Music: Tom Waits. Production Company: Locas Solus, Victor Company, Victor Musical Industries, Pyramide, Canal Plus, PAndora Film, Channel Four. Print Source:Electric Pictures, 22, Carol St., London NW1 OHU. Tel: 071 267 8418 Producer: Orson Welles. Leading Players: Orson Welles, Michedl Mac Uammoir, Suzanne Cloutier, Robert Coote. Script: William Shakespeare, adapted by Orson Welles. Photography: George Fanto. Editing: John Shepridge, jean Sacha, Renzo Lucidi, William Morton. Music: Francesco Lavagnini, Alberto Barberis. Print Source: Mayfair Entertainment UK Ltd, 9, St. Martin's Ct. London WC2N 4Al, England. Tel: 071 895 0328, Fax: 071 895 0329. Along with CITIZEN KANE and THE MAGNIFICENT AMBERSONS, OTHELLO is regarded as Welles' greatest film. Very much a labour of love, it is also his most personal. Welles financed it himself, largely on the proceeds of acting jobs, and the production was shot over four years in Morocco, Rome and various other locations across Europe, in a process entertainingly detailed by Micheal MacLiammoir (who played Iago) in his autobiography. The film won the Palme d'Or at Cannes in 1952, but only achieved a limited release in the US, vanishing for years and long presumed lost. The original negatives were found in 1989 and a long process of restoration, including a complete re-recording of the soundtrack commenced. The new print, crystal clear, with sparkling Black & White images is a rare treat, and the Cork Film Festival is proud to be able to screen this new version of a 'lost' masterpiece. NIGHT ON EARTH is a comedy in five sections, each focusing on the brief relationship between a taxi driver and his/her passenger(s) as they drive through the nijht, sharing the space of a car interior, suspended between fixed destinations. The film begins in LA just as the sunset is being replaced by darkness, with the tomboyish Corky (Winona Ryder) driving hotshot Hollywood casting agent Victoria Snelling (Gena Rowlands) to the airport. Victoria tries to convince Corky to audition for a part that she is casting, but Corky determined to become a mechanic, demurs. The location then moves into the night of New York, where a streetwise passenger takes over the cab from his disorientated EastGerman driver, a former circus clown. Paris is next, where the blind passenger (Beatrice Dalle) proves to have a better sense of direction than her driver, then Rome, where Gino (Roberto Benigni) confesses his bizarre sexual antics to his passenger, a horrified - and moribund priest, and finally Helsinki where, as the last sequence ends, the sun again rises, and the winter night fades back into daylight. The five tales are unrelated; all they have in common is that they occur simultaneously, they all feature chance encounters between ill-matched types, and they are suffused with the quirky, deadpan humour that Jim jarmusch has established in MYSTERY TRAIN and DOWN BY LAW as his stock-in-trade. is now in the City Centre Mercier Bookshop Academy Street/ French Church Street Cork 25 �TRISKEL ARTS CENTRE, SUNDAY 4TH, 11.00 TRISKEL ARTS CENT] PAINTING THE TOWN A PLACE OF LcAGE Andrew Behar Pratibha Parmar USA/1991/16mm/80 mlnutes/Colour England/1992/16mm/52 minutes/ Colour/Black & White/Subtitles Producer: Sara Sackner. Leading Players: Richard Osterweil. Script: Richard Osterweil. Photography: Hamid Shams. Editing: Sara Sackner, Andrew Behar. Music Peter Fish. Production Company: Padded Cell Pictures. Print Source: Padded Cell Pictures, 183, Fairview Rd., Ojai, CA 93023, USA Tel: 80S 640 Executive Producer: Debra Hauer. Producer: Pratibha Parmar. Photography: Nancy Schiesan. Editing: Anna Liebschner. Music: Prince, /anet Jackson, Mavis Staple Singers, Neville Brothers. Print Source: Pratibha Parmar, 78, Fonthill Rd., London N4 3HT, England. Tel: 071 281 1310, Fax: 071 281 3809. 8192. A PLACE OF RACE celebrates the political struggles of radical black American women. It focusses on the lives of political activist Angela Davis and poet and activist June Jordan. PAINTING THE TOWN introduces the delightfully eccentric Richard Osterweil, a downtown New York artist who leads a not-so-secret double life as an uptown New York socialite. Supporting himself as a cab driver and a coat checker, he has undertaken an obsessive and hilarious mission to crash parties of the rich and famous. The film looks at the role of black women in the 1950's and '60's, the growth of the Black Power movement and the involvement of black women in radical politics since then. It features the personal views and histories of Davis and Jordan, including their reflections on the position of black people in the United States today. Osterweil's ingenious infiltration of New York high society is recounted by himself with great amusement and elan. Talking direct to camera, he describes the $1000-a-plate dinners, benefits, galas, funerals and posh weddings he gets himself into, listing the celebrities in attendance, rating the hors d’oeuvres and the dips, and revealing the secrets of his gate-crashing success. He has hidden in broom cupboards, adopted false identities, donned elaborate disguises, (at one famous person's funeral he was mistaken for Creta Carbo), and has even had friends pose as paparazzi to surround him at whatever gate he was trying to crash. Angela Davis came to international prominence in the 1970's when the FBI declared her the most wanted woman in the US. Her fugitive status and subsequent arrest and imprisonment made her an indelible symbol of black radicalism in the US and throughout the world. June Jordan is a poet, writer and activist whose work has been an inspiration to feminists worldwide. She is a key figure in the quest of African-American women for justice and an uncompromising advocate of international struggles for freedom and self-determination. Director Andrew Behar and producer Sara Sackner, erstwhile neighbours of his, have filmed a funny, colourful, and eye-opening portait of a man who seems to embody the schizophrenic nature of New York’s, if not America's, celebrity-crazed and class-driven culture. Both sincere and irreverent, Osterweil adores the society life he sneaks into but would rather crash a party than receive a proper invitation to it. A PLACE OF RACE is an intimate account of these two extraordinary women. "An outstanding film in which Parmar manages to turn the documentary genre on its ear long enough to catch and hold the audience's attention." The Guardian A terrific new documentary...the film is lively, wellconstructed, finely edited, musically and visually evocative and it's very smart." Randy Turoff, San Francisco Bay Times i I 26 Sni fi �i V!jl£ 1 --aiFRE, FRIDAY 9TH, 16.00 OPERA HOUSE, THURSDAY 8TH, 16.00 POST MO BULLS PRAGUE Clay Walker Ian Sellar USA/1992/16mm/57 minutess/Black & White England/Scotland/France/Czechoslovakia/35mm/ 87 minutes/Colour Producer: Clay Walker in association with the Independent Television Service. Photography fir Editing: Clay Walker. Co-Producer & Sound: Marianne Dissard. Print Source: Clay Walker, P.O. Box 34321, Los Angeles, CA 90034, USA. Tel: 310 8386273. Producers: Christopher Young, Claudie Ossard. Leading Players: Alan Cumming, Sandrine Bonnaire, Bruno Canz, Raphael Meis. Script: Ian Sellar. Photography: Darius Khondji. Editing: lohn Bloom. Music Jonathan Dove. Print Source: The Sales Co., 62 Shaftesbury Avenue, London W1D 7AA, England. Tel: 071 434 9061, Fax: 494 3293. Political heavy-weights populate this urgent and humorous documentary on the detonative mix of art and politics as embodied in the work of infamous guerilla poster artist Robbie (Zonal, whose images-as-posters have been splattered across the United States' urban streets. Featuring dramatic night-time footage of Conal's guerilla troops disseminating satirical portraits of national and local politicians in the patrolled streets of Los Angeles, San Francisco, New York and Washington D.C., POST NO BILLS documents the process of creating Conal's topical art. Driven by an obsession, Alexander Novak travels to Prague, city of his grandparents, in search of a missing piece of film - newsreel footage of his family - a link to the vanished past. The city's magic immediately casts its spell on Alexander and from the moment of his arrival, nothing goes to plan: when he rushes to the aid of a stray dog, he almost drowns. At the film archive he meets Elena and is immediately beguiled by her open sensuality and unpredictability. After being introduced to one of her greatest passions - wrestling - an affair begins between them. In the foreground is the tension between the artist's creative process and the lures of a desperate notoriety achieved through catering to the news media's craving for controversy. Through Elena, he meets the director of the film archive, Josef (Bruno Ganz). Accepting an invitation to a weekend in the country, he discovers that Elena and Josef are lovers. Back in Prague things go from bad to worse when Elena dramatically announces that she is pregnant (with Alexander the father of the child) and simultaneously produces the lost film. Alexander thinks that his mission to Prague is nearing its conclusion but, unknown to him, it’s only just begun. POST NO BILLS reaches no easy conclusion nor does it offer a final judgment on Conal's work and life. The film centres on a timely poster of L.A.P.D. Chief Daryl Gates in the aftermath of the beating of Rodney King, hinting at the dissociation to be made between Conal and his subject matter but ultimately celebrating the power of his work. Wit, exoticism, complexity, sensuality; these qualities are possessed by Prague the city and PRAGUE the movie in equal measure. Setting out to create a film set in the physical and metaphorical heart of Europe, PRAGUE captures the beauty of its location while retaining a meaningful narrative at its core. 27 �OPERA HOUSE, SATUR1<- TRISKEL ARTS CENTRE, SUNDAY 4TH, 16.00 ■ IE.' SACRED SEX THE REINCARNATION OF KHENSUR RINPOCHE Tenzing Sonam, Ritu Sarin Cynthia Connop England/1991/16mm/62 mlnutes/Colour/Subtltles Australla/1991/16mm/92 minutes/Colour Producers: Tenzing Sonam, Ritu Sarin. Narrated by Ian Holm. Photography: Andrew Carchrae. Editing: Paul Shepard. Music: The Tibetan Institute of Performing Arts, Dharamsala Chaksampa, Berkely, California. Print Source: White Crane Films, 330, Harrow Road, London W9 2HP, England. Tel: 071 266 4259/289 5443, Fax: 071 286 4739 Producer: Ron Tanner, Cynthia Connop. Photography: Tony Wilson. Editing: Suresh Ayyar. Music Nick Palmer. Print Source: Helen Thwaites, Film Australia, Eton Road, Lindfield NSW 2070, Australia. Tel: 02 413 8777, Fax: 02 416 5672. Choenzey is a 47-year old monk living in exile in a monastery in Southern India. His spiritual master, Khensur Rinpoche, a revered high Lama, has been dead for four years. According to Tibetan belief, he will soon be reincarnated. It is Choenzey's responsibility, as his closest disciple, to find the reincarnation and look after him. SACRED SEX grapples with the post-AIDS new-wave sexuality sweeping the western world. It gives an inside view of the people practising it with real-life stories of couples and individuals seeking greater fulfilment in their lovemaking. This documentary is based on the premise that sex is not just something for pleasure, physical release or procreation. It can move onto another sphere. In many ancient civilisations, sex was an integral part of religious practise. The tantric tradition in India and Nepal and Taoism in China both embraced sex as the direct pathway to spiritual enlightment. Pre-Christians in Europe had religions which also encouraged sex, nature and fertility. The film begins in Southern India. News has arrived of a young boy in Tibet who displays unusual qualities. After consulting with the Dalai Lama, Choenzey travels to Tibet (in secret, so as not to arouse the suspicion of the Chinese) to bring the boy out. He turns out to be a charismatic and mischievous four-year old scamp who is unusually attached to Choenzey. Formally initiated as a monk by the Dalai Lama, he is recognised by all as the reincarnation of Khensur Rinpoche, yet he is also a child, full of life and good humour, liking nothing more than to play with his toys (illustrated in some delightful scenes of him playing with his Lego with a group of middle-aged monks). Choenzey formerly, he believes, his pupil, has now become his guardian. Many of these ancient erotic mysteries are beginning to resurface. Sexuality research and experimentation is moving away from the functional orientation of Masters and Johnson into the ecstatic states of extended love­ making, semen retention and meditative sex. The film explores the fun, fantasy and spiritualism of love making. It entertains while at the same time raising questions about our deeply held assumptions about sex and love. Sometimes shocking in its frankness, SACRED SEX is an absorbing, educational, shamelessly entertaining and frequently hilarious exploration of a subject which is of abiding interest to us all, but which rarely gets this kind of refreshingly open treatment. "What makes this film so compelling is that, as much as it's a poignant document of the Tibetan diaspora, it's also a portrait of fatherhood, working best when it allows the Lama's passion to guide the narrative." Village Voice if L ’Touching...in seeking a lost father [Choenzey] becomes one himself." Washington Post 28 I �TRISKEL1 CHURSDAY 8TH, 16.00 OPERA HOUSE, TUESDAY 6TH, 18.00 THE SAME AS YOU SLACKER Alan James Richard Linklater England/1991 /16mm/65 minutes/Colour USA/1990/35mm/97 minutes/Colour K TC: ' ; GYRO SantkicK 5 7J7 7 . Executive Producer. The National Film and Television School. Photography: Alan James. Editing: Ewa J. Lind. Production Company: National Film and Television School. Print Source: National Film and Television School, Beaconsfield Film Studio, Station Road, Beaconsfield, Bucks., HP9 1 LG, England. Tel: 0494 071234, Fax: 04 94 674 042. Producer and Script: Richard Linklater. Leading Players: Richard Linklater, Mark James, Bob Boyd, Terence Kirk. Photography: Lee Daniels. Editing: Scott Rhodes. Print Source: The Feature Film Company. Fax: 071 494 0309 Someone walking beneath the roundabout adjacent to London's Waterloo Station might just catch a glimpse of a ragged group of people drinking cans of beer. If that person's curiosity allowed him/her the time to stop and talk to Cary, Jed, Susie or Nicky, he/she would be irresistibly drawn into this fringe society which lives in a dark but supportive world of its own. An innovative film that builds on the mundane and the extraordinary from fragments of a day in the life of one hundred 'slackers', the new generation of beatniks identified in a recent New York Times report. Capturing some of the flavour of David Byrne's TRUE STORIES mixed with TWIN PEAKS, the film uses real people in fictional situations to create a storyline that is loosely spun from character to character. Instead of confining itself to the conventions of narrative film­ making, SLACKERS gives the impression of real time as it flows from school to street, street to nightclub, person to person and coincidence to conspiracy. The ultimate effect is somewhat akin to free-form jazz. Alan James's documentary reveals the everyday world of London's homeless. This could be anyone's life if they were pushed to the margins of society. It challenges our stereotypes of the homeless and the grotesque images portrayed in the British popular press. A 'seriously ironic' salute to individual liberty, SLACKER is also a testimony to the ingenuity and inventiveness of its film makers in creating such compelling snapshots of ordinary moments in private lives. 29 �TRISKEL ARTSGjI;--- OPERA HOUSE, SUNDAY 11TH, 16.00 STRAIGHT OUT OF BROOKLYN » 1F16.00 SUBMAKDE^E Matty Rich Mark Littlewood USA/1991/35mm/83 minutes/Colour Scotland/1990/16mm/53 minutes/Colour Executive Producers: Lindsaw Law, Ira Deutschman. Producer: Matty Rich. Leading Players: George T Odom, Ann D. Sanders, Lawrence Gilliard Jr., Mark Malone. Script: Matty Rich. Photography: John Rosnell. Editing: Jack Haigis. Music: Harold Wheeler. Print Source: Artificial Eye, 211 Camden High St. London NW1 7BT, England. Tel: 071. 267 6036. Fax: 071 267 6499. Producer Anita Oxburgh. Photography: Mark Littlewood. Editing: Jan Lemon. Music: Tom McKendrick, John Russell. Print Source: Barony Film & Television Productions, 4 Picardy Place, Edinburgh EH1 3JT, Scotland. Tel: 031 SS8 3275, Fax: 031 557 8498. Ray, a black man trapped for years in a low-paying job, blames white people for the fact that he cannot provide his family with even the basic necessities. He takes out his anger and resentment on his long-suffering wife, Frankie. Despite the savage abuse that she takes, Frankie does her utmost to hold the family together. In this richly textured film Mark Littlewood has captured the evolution of a childhood obsession into an exhibition. It tells the story of how artist and sculptor Tom McKendrick has become fascinated by submarines and how they have become a rich and ambiguous image in his work. McKendrick explains his fascination for the submarine and how his background of working in the shipbuilding town of Clydebank has shaped his artistic vision. Denis, Ray and Frankie's son, searches for a quick way out of this desperate situation and into the world of the American Dream which has been denied him for so long. He and his friends plot a high-risk robbery in the belief that this is their easy way "straight out of Brooklyn." The plan has a devastating effect on the Brown family. Through Littlewood's vivid interpretation of Tom McKendrick's art, free from the clutter of artistic jargon, we gain an insight into how an artist works. Matthew Satisfield Richardson wanted to be a filmmaker from the time he was ten years old. Now, at the age of 19, Matty Rich has completed his first film. STRAIGHT OUT OF BROOKLYN, a brutally frank drama based on Matty Rich's own life experiences, was inspired by the traumatic events involving a childhood friend and his aunt and uncle. Tom lives in a world of shapes, colours, textures and sounds and through his and Mark's eyes we are able to see, for example, the shipyards of Clydebank in a fresh light. The layers of paint on a gate evoke the toil of generations and the toll of time, whilst the Kellogg's "baking soda submarine" amusingly evokes Tom's boyhood wonder. Tom's infectious personality means we identify with his enthusiasm and fascination. 30 �OPERA r 9TH, 20.30 OPERA HOUSE, FRIDAY 9TH, 14.00 SWEET EMMA, DEAR BOBE SWOON Istvan Szabo Tom Kalin USA/1992/35mm/92 minutes/Black & White Hungary/ 1992/35mm/90 minutes/Colour/Subtitles -fl Producers: Lajos Ovari, Cabriella Cr6sz. Leading Players: Johanna Ter Steege, Eniko Borcsok, Ptter Andorai, £va Kerekes. Script: Istvan Szabo. Photography: Lajos, Koltai. Editing: Eszter Kovdcs. Production Company: Objektiv Filmstudio. Print Source: Hungarofilm. Bdthori UTCA 10, 11-1054 Budapest V, Hungary. Tel: 116 650. Screening Courtesy of Metro Pictures. Producer: Christine Vachon, Tom Kalin. Leading Players: Daniel Schlachet, Craig Chester, Ron Vawter, Michael Kirby. Script: Tom Kalin, Hilton Als. Photography: Ellen Kuras. Editing: Tom Kalin. Music James Bennett. Production Company: Intolerance Productions. Print Source: Christine Vachon, S2S Broadway, rm. 701, New York, NY 10012, USA. Tel: 212 219 1990, Fax: 212 274 8187. Emma and Bobe, two women from the country, have been working in a primary school in Budapest teaching Russian. However, after the social and political changes, Russian is no longer a compulsory subject in school. In order to keep their jobs as teachers, they attend evening classes in English and the next morning, they begin to teach their pupils what they have only begun to learn themselves. Tom Kalin's brilliant debut feature presents history as you've always dreamt it might be: with the personal, social and political perspectives all refracted through each other, and with a burning sense of the need to know and understand more and better. SWOON is based on the story of Richard Loeb and Nathan Leopold Jr., two wealthy, academically brilliant and utterly amoral 18-year olds from Chicago who became infamous in 1924 for their kidnapping and murder of a young boy named Bobby Franks. The crime was one of many planned by the two youths, the extreme outcome of a long and tangled relationship which revolved around an exchange of sex for criminal activity. The kidnapping was intended to be their 'perfect crime', a culmination of Nathan's obsessive love for Richard and Richard's lifelong fantasies of becoming a master criminal. Since they cannot afford their own apartment and they don't even earn enough to rent a furnished room, the two women have been sharing a room in the teacher's hostel for years. In order to improve their financial situation, Emma cleans the houses of wealthy people while Bobe picks up foreigners in hotel bars whom she persuades to invite her for dinner. A struggle for personal survival, SWEET EMMA...is a touching, heartwarming film, dealing with universal themes that reflect the consequences of the current political changes in Europe. The film reconstructs the murder, investigation, trial and the years that the pair spent in prison, drawing on the language of courtroom testimony, the gestures of melodrama, and the abundance of psychological and pseudo-psychological investigations that were made of the pair. Nominated for a FELIX award for European Film of the Year Shot in the hauntingly stylish manner of avant-garde advertising, this audacious debut is an unpredictable synthesis of the mannered and the real, an unsettling blend of Nietzschean arrogance and mad love. 31 �OPERA HOUSE, SAT] OPERA HOUSE, SATURDAY 10TH, 14.00 THIEF OF BAGDAD THIS BOY'S STORY Michael Powell et al John Roberts England/1940/35mm/102 minutes/Colour England/1992/35 mm/50 minutes/Colour Producer Alexander Korda. Leading Players: Conrad Veidt, Sabu, June Duprez, Rex Ingram, John Justin. Script: Lajos Biro. Dialogue: Miles Malleson. Photography: Georges Perinal. Editing: Charles Crichton. Music Miklos Rosza. Screening courtesy of Central Television Enterprise Ltd, Hesketh House, 43-4S Portman Square, London W1H 9FG, England. Tel: 071 486 6688/612 7323, Fax: 071 486 1707. Producer Michele Camarda. Leading players: Steven and Kevin Arnold, Jennifer Calvert, Simon Adams, Daryl Fishwick, Carl Chase, Arturo Venegas. Script: John Roberts, Andrew Simister. Photography: Cavin Finney. Editing: David Freeman. Music Julian Wastall. Print Source: The National Film and Television School., Station Road, Beaconsfield, Bucks., HP9 1LC, England Tel: 0494 671234, Fax: 0494 674042. The newly-restored print of THE THIEF OF BAGDAD reveals one of the most enduring classics of the cinema in its pristine glory. A hocus-pocus of colour, dashing adventure and special effects, it has been described as STAR WARS meets THE ARABIAN NIGHTS. The plot is pure hokum, centring around an all-seeing eye stolen from a Tibetan temple. The highlight has to be the genie (Rex Ingram) who escapes from the bottle and engages in witty repartee with elephant boy Sabu, whose position as the genie’s master is a precarious one to say the least. Set in the late '60s, the film tells the tale of two young brothers from a broken home, who set out on a mythical journey to Liverpool in search of their football hero, the legendary George Best (who makes a guest appearance). On their way they get lost and robbed, but their unswerving faith in 'Bestie' carries them through to a final, fateful, meeting. Awards: Student Oscars, 1992 winners. The film was made under the most difficult of circumstances. The elaborate special effects, the then-new technicolor process, and the hands of no fewer than six directors at its helm (not to mention World War II, which forced shooting to move from England to the US) meant that it was a wonder that it ever got made at all, let alone became such a spectacular success. It garnered three Oscars, made a star of the delightful Sabu and has endured where many films of more serious intent and elevated tone have not. THE THIEF OF BAGDAD is a must for children of all ages. It is a pure pleasure to watch, hearkening back to the days when the Saturday matinee was a staple of every kid's weekend. Visit Mary Rose Restaurants at the Savoy Centre and Queens Old Castle, for Morning Coffee, Lunch or Afternoon Tea, and enjoy the good food and service we provide. k ; j 32 �O4.00 TRISKEL ARTS CENTRE, TUESDAY 6TH, 13.30 TIME WILL TELL TOGETHER ALONE Declan Lowney P.J. Castellaneta England/1991/35mm/90 mlnutes/Colour USA/1991/16mm/87 minutes/Black & White Producer: Rocky Oldham. Print Source: Theatrical Experience, 56, Bishop's Mansions. Bishop's Park Rd., London SW6 6DZ, England. Tel: 071 371 9441, Fax: 071 371 7977. Producer and Script: P.J. Castellaneta. Leading Players: Terry Curry, Todd Stites. Photography: David Dechant. Editing: Maria Lee. Music: Wayne Alabardo. Production Company: P.J. Party Productions. Print Source: Forefront Films Inc., 507 17 th Street, Brooklyn, New York 11215. Tel: 718 832 4951. Fax: 718 832 4951 TIME WILL TELL is a celebration of the life and music of reggae legend Bob Marley. Without commentary - the only narrative is taken from Marley's own words and music - the film represents the first comprehensive portrait of his multifarious talents. Tracing the evolution of Marley's music from Jamaica to the world's concert halls, the film also gives us a unique insight into Marley the man: his personality, his politics and his religious beliefs. Bryan, a young gay man, feels insecure because of the AIDS epidemic. One evening, he happens to spend the night with a man, 'Bill'. Waking up from a vivid dream, Bryan talks to 'Bill'. Surprised, 'Bill' explains to him that his real name is Brian. This develops into the first of many disputes which continue throughout the night... At the end of the night, when the barriers between the two men have finally broken, they have both made some surprising discoveries - each for himself and both together. All the key moments of Marley's musical legacy are included in the film, with twenty two songs filmed over an eight-year period (1973-80). In addition to the Zimbabwe Independence ceremony material it includes Marley's historic performance at the One Love Peace Concert in Jamaica. The live footage is virtually faultless and the interviews informative and entertaining. "You can see it as a straight musical journey or as a political story, with Marley's growing musical sophistication mirroring his involvement in Third World politics. You can see it as documentary, of one man, or his country, trying to find a way forward untainted by Big Brother politics. You can see it as reggae music or an introduction to the religious and political beliefs of the Rastafari, rejecting Western society (Babylon) and drawn to a mystical past in Ethiopia. Whatever, just see it" Watch it! Ifork House GUESTHOUSE 3 , YORK 0 Director Declan Lowney will be present to introduce the screening. 2 1 ST., 5 0 1 O 5 CORK 5 BEST WISHES TO THE FESTIVAL! 33 �OPERA HOUSE, TUESDAY 6TH, 16.00 TRISKEL ARTS CENTRE, SATURDAY 1330 THE WATERDANCE WE ONLY LIVE ONCE Neal Jimenez, Michael Steinberg ON NE VIT QU’UNE FOIS Miel Van Hoogenbemt USA/1991/35mm/106 minutes/Colour Belgium/1991/16mm/52 Minutes/Colour/Subtitles Producers: Cale Anne Hurd, Marie Cantin. Leading Players: Eric Stolz, Wesley Snipes, William Forsythe, Helen Hunt. Script: Neal Jimenez. Photography: Mark Plummer. Editing: Jeff Freeman. Music: Michael Convertino. Print Source: The Samuel Goldwyn Company, St. George's House, 14-17, Wells St., London W1P 3FP, England. Tel: 071 436 5105, Fax: 071 580 6520. Production Company: Centre de L'Audio-visuel a Bruxelles. Script: Miel Van Hoogenbemt. Photography: Louis Philippe Capelle. Editing: Olivier Van Maidergham. Music Nicolas Thys, Frederic Vercheval. Print Source: Centre de L'Audio-visuel a Bruxelles, (CBA) 18, rue Joseph II, 1040 Brussels, Belgium. Tel: 32 2 218 4080, Fax: 32 2 217 9197. In one cruel twist of fate, novelist joel Garcia (Eric Stolz) finds his carefree existence instantly transformed when a hiking accident leaves him with a broken neck and permanent disability. Attempting to intellectualise the powerful sense of frustration and anger within him, he is wheeled into a physical rehabilitation centre where fellow patients include Bloss, a rough-and-tumble, racist biker bitterly pursuing a lawsuit against the man whom he considers responsible for his accident and a yarn-spinning ladies* man, Raymond (Wesley Snipes), whose brush with mortality came a little too late to save his marriage. No one can avoid growing old, but everyone worries about it, anxious because old age is the harbinger of death and, in the meantime, so often betokens loneliness and dependence. Is there some other way of growing old, of maintaining to the last the quality of one's life? In this film we meet the old: the weathered couples; the solitary men and women whose relationships have worn down or broken apart; and others who have only found love in their twilight years. We are offered a glimpse of their happy moments and their other moments, all so precious because we only live once. The men have nothing in common except their new­ found disability, but a shared understanding of what each is experiencing - expressed from wheelchair fist-fights to a sardonic sense of humour - eventually bonds them into a supportive 'family' unit. THE WATERDANCE is a quasi-autobiographical film from writer and co-director, Neal jimenez. It has a compelling emotional honesty expressing the confusion, despair, sexuality and resolution of men facing a new and difficult life. Physically constrained, the characters in the film unleash a torrent of sharp, tense dialogue cutting into areas with no easy answers: the tensions amongst black, white and hispanic; the real basis of sex and love, and the human potential for redemption. Claire D'Arcy :: J Bnn r b ooi BED & BREAKFAST 7 Sydney Place, Wellington Road, Cork. Telephone 021-5045221504658 34 j �1 TRISKEL ARTS CENTRE, SUNDAY 11TH, 13.30 ESDAY 6TH, 20.30 WILD WHEELS WHITE MEN CAN T JUMP Ron Shelton Harrod Blank USA/1992/35mm/115 minutes/Colour USA/1992/16mm/64 minutes/Colour Producers: Don Miller, David Lester. Leading Players: Wesley Snipes, Woody Harrelson, Rosie Perez, Tyra Ferrell. Script: Ron Shelton. Photography: Russell Boyd. Editing: Paul Seydor. Print Source: Twentieth Century Fox Film Co. Ltd., 5/7 Upper O'Connell St, Dublin 1, Ireland. Tel: 01 743 068, Fax: 01 743 069. Producer: Harrod Blank. Leading Players: Larry Fuente, Dalton Stevens, Jackie Harris, Cene Pool. Script: David Silberberg. Photography: Paul Cope, Harrod Blank, Les Blank. Editing: Harrod Blank. Music: David Mayers. Print Source: Harrod Blank, 1034 1, San Pablo Avenue, El Cerrito California 94530, USA Tel: 510 525-0942, Fax: 510 525-1204. WHITE MEN CAN'T JUMP is a comedy about two basketball hustlers who team up to run a smooth scam on Los Angeles' toughest courts. Directed by Ron Shelton, whose much-acclaimed debut, BULL DURHAM launched the careers of both Kevin Costner and Tim Robbins, the film is about relationships between the races and the sexes, the difficulties in communicating, and, of course basketball, the gritty ballet of the streets, which is as much an urban American ritual as the 4th of July fireworks. A personal exploration into the world of Car Art by filmmaker, Harrod Blank who drives his decorated VW bug across the U.S. in search of other cars modified beyond recognition. He finds 45 of the most bizarre cars anyone has ever seen; a brass hippo on wheels, a car covered with grass and a car shaped like a spaceship, to name but a few. Even more interesting are the people who drive these cars, and what motivates them. For example, one man attached 1400 toy horses onto his Buick to stop himself drinking. Another, suffering from extreme insomnia, covered his car, his suit, his guitar and practically everything else he owned with buttons. Yet another encrusted his Oldsmobile with water taps because Jesus told him to be clean. Sidney Deane meets Billy Hoyle on a public basketball court, where the sport is played as a cross between ritual combat, street theatre and a floating con-game. At first, Sidney thinks the goofy-looking newcomer is an easy mark, until he finds out that Billy's droopy socks and baggy shorts are just part of the con. So he proposes a partnership and Billy accepts. And now they're set to clean out everyone in town, including each other. For Sidney and Billy, the hustle never stops, off court and on. If only they could handle the women in their lives with as much finesse as they handle the ball. Blank's own experiences in his 'Art car', including numerous appearances before uncomprehending Southern magistrates, make for as entertaining viewing as the sundry other eccentrics that populate this engaging and amusing film. Being one of them himself, Blank is never patronising in his attitude towards them, but seeks to make them heard on their own terms. Although Shelton's story is about basketball as an arena where male egos lock horns, there are actually two smart women at its core. As the director once said on the set during production, "my movies are just a bunch of guys messing around while women get on with the real business of life." These cars are not your average hot rods, mere phallic substitutes for emotional inadequacy; they are genuine works of art: extensions of their owners’ personalities, acts of creative expression that are, in a real sense, shrines to the potent myth of the automobile and celebrations of eccentricity and personal freedom "WILD WHEELS is a lot of fun - an auspicious debut for Harrod Blank and a zany ode to offbeat, homegrown American art. In an age of institutionalised blandness, it’s soothing to spend time with Blank and his cheerfully noncomformist car-fetishist pals." San Frandsco Chronide 35 �OPERA HOUSE, WEDNESDAY 7TH, 18.00 YOU, ME AND MARLEY Say it witft Richard Spence England/1992/35mm/85minutes/Colour raline The Famous Belgian Chocolates Producer: Chris Parr. Leading Players: Marc O'Shea, Bronagh Gallagher, Michael Liebmann. Script: Graham Reid. Print Source: BBC Drama, Television Centre, Wood Lane, London W12 7RJ, England. Tel: 081 576 1890, Fax: 081 749 8755. Cork: 106 Oliver Plunkett Street Dublin: Royal Hibernian Way and 30 Mary St. It's Friday night on the streets of west Belfast and 16-yearold Sean O'Neill and his friends listen to Acid House and burn rubber. Joyriding has reached epidemic proportions and the local community wants action. The priests hold a public meeting which is gate-crashed by IRA hard men. The RUC lies in wait. The society that created Sean can do nothing as events spin out of control. (Free gift cards available) This powerful, controversial and hard-hitting drama, featuring Bronagh Gallagher (from THE COMMITMENTS) and written by Graham Reid, was extensively researched in the west Belfast community where it is set. This lends a commanding air of authenticity to the film, which underpins this sympathetic, sometimes humorous look at a disaffected and alienated group of teenagers and the repercussions of their behaviour on their families and society at large. The most relevant film of the year. Awards: Michael Powell award for best British feature film, Edinburgh, 1992, ’Scotland On Sunday' Critic's award. /V 40 Paul Street, Cork. 273555 and Douglas Village, Cork. 892415 RESTAURANT WINE BAR TRADITIONAL PIZZAS FRESH, HAND-MADE PASTAS CRILLS-FISH-OMELETTES FULL WINE LIST OPEN: 12, NOON - 11.30PM SUNDAYS: 5PM-11PM ECON RONAY RECOMMENDATION IL 36 �(WN MICHAEL APTED with STARDUST (1975) produced by the young David Puttnam and starring David Essex.This was followed by THE SQUEEZE (1977) a thriller starring Stacy Keach, and another ambitious Puttnam production, AGATHA (1979) starring Vanessa Redgrave and Dustin Hoffman. The success of COAL MINERS'S DAUGHTER (1980) firmly established Apted's reputation in the USA, winning an Oscar for Sissy Spacek's moving portrayal of country and western singer Loretta Lynn. Since then he has directed internationally working on a series of large scale Hollywood films but also on smaller productions in Britain and on a wide range of documentary projects. He directed CONTINENTAL DIVIDE in 1981 and GORKY PARK (1983). Also in 1983 he made the Channel 4 film P'TANG, YANG, KIPPERBANG for which he received another BAFTA award nomination. FIRST BORN (1984) was followed in 1985 by the Grammy Award winning music documentary BRING ON THE NIGHT which was screened at the Cork Film Festival that year. CRITICAL CONDITION (1987) was followed by GORILLAS IN THE MIST (1988) where Sigourney Weaver's performance as the doomed conservationist earned an Academy Award. In 1989 Apted travelled to the Soviet Union to make a remarkable documentary on the rock­ star Boris Brebenshikov - Russia's answer to Bruce Springsteen. In 1990 he directed CLASS ACTION starring Gene Hackman and also worked on ABC's MY LIFE AND TIMES. Michael Apted's new feature THUNDERHEART will close this year's Cork Film Festival. We are also screening INCIDENT AT OGLALA, the documentary that provides the real-life backround and inspiration for THUNDERHEART. No less than three Michael Apted films are being released in 1992 - INCIDENT AT OCUKLA, THUNDERHEART and 35 UP. We have taken this opportunity to dedicate a section of this year's programme to the work of Michael Apted - a tribute the Cork Festival has planned to make for some time. THE 7 UP SERIES The 7 UP series has been described as 'the most engrossing long-distance documentary project in the history of film'. Starting in 1963 Michael Apted has folllowed a group of 14 British schoolchildren through all the twists and turns of their lives. He revisits the same 14 every seven years to record how their plans and hopes have fared. The stories that emerge are utterly engrossing and extraordinary in the way only real-life can be. Watching the films also raises disturbing questions in the viewer. In speaking to the camera about their lives the participants position the viewer somewhere between a voyeur and a judge. It is hard not to feel that the we are being asked in some way to evaluate these lives. Born in 1941, Michael Apted could be seen as the exemplar of a generation of British filmmakers who made their reputation in television in the 1960zs and moved on to major careers in cinema. He studied law and history at Cambridge before joining the young Granada Television as a researcher. He established a career as a television director and investigative reporter covering a remarkable diversity of work ranging from weekly documentary reports for WORLD IN ACTION to directing episodes of CORONATION STREET. His best known work from 1960's television is the start of the 7 UP series, a unique, long-term documentary project which we are pleased to give our festival audience a rare opportunity to view. Over time the series has become very famous. Apted is the executive producer for Russian and American versions of the same concept. 28 UP, the fourth in the series, won the BAFTA award, the International Emmy and the International Documentary Award in 1988. The series is made for Granada Television. Over the years Apted has accumulated more than 60 separate television credits and two of his television series won BAFTA awards - THE LOVERS for Best Comedy series and FOLLY FOOT for Best Children's Series. Apted himself won Best Dramatic Director for ANOTHER SUNDAY AND SWEET F. A. and KISSES AT FIFTY. 7 UP 1963/42 minutes/Colour 7 PLUS 7 1970/55 minutes/Colour In 1972 Apted made a very successful feature film debut with TRIPLE ECHO, an adaption of the H. E. Bates story starring Glenda Jackson and Oliver Reed. He followed this 21 UP 1977/105 minutes/Colour 35 UP 1991/Colour 37 �e s t i v a I CORK OPERA HOUSE TRISKEL ARTS CENTRE SUNDAY OCTOBER 4TH 20.30 GALA OPENING 11.00 GARGANTUAN John Smith UK (1 m) JAZZ IN THE BOX WHITE BOYS CAN'T DANCE Milan Grozdanic FRANCE (5m) Liz Hinlein USA (11m) PAINTING THE TOWN THE CRYING CAME Andrew Behar USA (80m) Neil jordan UK (112m) 13.30 THE VACUUM Tim Roll UK (1 2 mins) STAR CROSSED LOVERS Irene Werner Stage DENMARK (21 m) FIT: EPISODES IN THE HISTORY OF THE BODY Laurie Block USA (74m) 16.00 THE DISCO YEARS Robert Lee King USA (30m) THE REINCARNATION OF KHENSUR RINPOCHE Tenzing Sonam/Ritu Sarin UK (62m) MONDAY OCTOBER 5TH 14.00 GOODNIGHT, ALDEN 11.00 CHILDREN OF NATURE Fridrik Thor Fridriksson ICELAND (85m) 16.00 SHORTS PROGRAMME 1 1 3.30 Jeff Leighton USA (15m) CHASING THE GRAIL WEEKENDER Daniel Robin USA (22m) NOW THAT IT’S MORNING Tehmina Khan USA (20m) Wiz UK (18m) IN THE LAST PASSAGE Neil Bartlett UK (1 Im) DREAMSAND SILENCE THE HOURS AND TIMES Omar Al-Qattan BELGIUM/PALESTINE (52m) Christopher Munch USA (60m) 18.00 ALL ABOARD! 16.00 MICHAEL APTED PROGRAMME 1 7 UP 7 PLUS 7 11.00 SHORTS PROGRAMME 2 13.30 Patrick Rufo FRANCE (7m) LOVE, JEALOUSY AND REVENGE OTHELLO Orson Welles MOROCCO (91m) 20.30 OMNIBUS Sam Karmann FRANCE (9m) MY NEW GUN Stacy Cochran USA (100m) TUESDAY OCTOBER 6TH 14.00 INCIDENT AT OGLALA Michael Apted USA (89m) 16.00 SPIRIT OF PLACE Oliver Harrison UK (10m) Michael Brynntrup GERMANY (7m) THE WATERDANCE TOGETHER ALONE P.]. Castellaneta USA (87m) Neal jimenez/Michael Steinberg USA (106m) 18.00 MR. CHOCOLATE MEETS MISS MILK 16.00 MICHAEL APTED PROGRAMME 2 21 UP 11.00 Thomas Meyer- Hermann GERMANY (6m) SHORTS PROGRAMME 3 SLACKER Richard Linklater USA (97m) 20.30 WINK Olias Barco FRANCE (6m) WHITE MEN CAN’T JUMP Ron Shelton USA (115m) WEDNESDAY OCTOBER 7TH 14.00 IEAN-LUC GODARD, OVER & DONE Danos FRANCE (8m) THE LIVING END 13.30 Greg Araki USA (90m) MOUTHPIECE Gerard Betts CANADA (3m) ASSASSINS LAST YEAR IN GERMANY Mathieu Kassovitz FRANCE (14m) 16.00 Benke/Seidler/Barthel/Schonfeldt GERMANY (100m) JUICE Ernest R. Dickerson USA (92m) 18.00 16.00 BODY BEAUTIFUL Joanna Quin WALES (14m) YOU, ME AND MARLEY Richard Spence UK (85m) 20.30 HEARTSONGS Sue Clayton UK (11 m) CAS FOOD LODGING Allison Anders USA (102m) 38 MICHAEL APTED PROGRAMME 3 35 UP �TRISKEL ARTS CENTRE CORK OPERA HOUSE THURSDAY OCTOBER 8TH 14.00 WHITE NIGHTMARE 11.00 SHORTS PROGRAMME 4 13.30 WHERE THE COWS GO Mathieu Kassovitz FRANCE (1 1 m) LOSER Erik Burke USA (83m) Maggie Ford UK (15m) KADDISH CHANGING OUR MINDS Serge Zeitoun FRANCE (12m) 16.00 Richard Schmiechem USA (75m) PRAGUE Ian Sellar UK/FR/CZ (87m) 18.00 16.00 ST. MULEKICKER Simeon Hutner USA (5m) CRUSH Alison MacLean NEW ZEALAND (97m) COLOURS 1939 THE BEST INTENTIONS Alexander van Dulmen GERMANY (29m) Bille August SWEDEN (180m) Please note earlier starting time 20.00 THE SAME AS YOU Alan James UK (65m) FRIDAY OCTOBER 9TH 14.00 RESONANCE 11.00 SHORTS PROGRAMME 5 13.30 S. Cummins/S. Hunt AUSTRALIA (1 2m) A PRAYER BEFORE BIRTH SWOON Tom Kahn USA (82m) 16.00 HOW MOVIES ARE MADE Jacqui Duckworth UK (20m) A.J. Hudson USA (4m) IN THE SOUP KHUSH Alexander Rockwell USA (93m) 18.00 Pratibha Parmar UK (26m) WITHIN GRASP A PLACE OF RAGE Veit Helmer GERMANY (7m) Pratibha Parmar UK (52m) MAN BITES DOG Remy Belvaux/Andre Bonzel/Benoit Poelvoorde BELGIUM (95m) 20.30 16.00 SOHO SQUARE SWEET EMMA. DEAR BOBE POST NO BILLS Istvan Szabo HUNGARY (90m) 23.30 SUBMARINE Mark Littlewood SCOTLAND (53m) Mario Cavalli UK (1 Im) Clay Walker USA (57m) THE BEACH Patrick Bokanowski FRANCE (14m) NIGHT ON EARTH Jim Jarmusch USA (120m) SATURDAY OCTOBER 10TH 11.00 LIFE'S A GAS 11.00 Philip Davis UK (11m) THIS BOY'S STORY 13.30 John Roberts UK (50m) 14.00 RELEASE ME Frances Lea UK (26m) THIEF OF BAGDAD STRANGER IN THE FAMILY Michael Powell UK (106m) 16.00 SHORTS PROGRAMME 6 Ewa Cieszewska UK (26m) RESURRECTION Ray Kilby UK (9m) WE ONLY LIVE ONCE SACRED SEX Miel Van Hoogenbemt BELGIUM (52m) Cynthia Cannop AUSTRALIA (96m) 18.00 SEMPER IDEM 16.00 Joachim Bode GERMANY (3m) Anders Sorensen DENMARK (22m) CHAIN OF DESIRE BROTHER'S KEEPER Tern is toe les Lopez USA (105m) 20.30 THE WONDERFUL TALE OF MUSIC joe Berlinger USA (117m) BLACK WIDOW Jesus Delgado SPAIN (16m) HOW TO BE A WOMAN AND NOT DIE IN THE ATTEMPT Ana Belen SPAIN (90m) 23.30 MARQUIS Henri Xhonneux FRANCE (80m) SUNDAY OCTOBER 11TH 14.00 TIME WILL TELL 11.00 SHORTS PROGRAMME 7 Declan Lowney UK (90m) 16.00 13.30 THE KINGS OF SIAM 57TH STREET SERENADE Ged Haney UK (12m) David Dobkin USA (35m) STRAIGHT OUT OF BROOKLYN WILD WHEELS Matty Rich USA (83m) 18.00 Harrod Blank USA (64m) IN UNCLE ROBERT'S FOOTSTEPS Myles Connell USA (24m) 16.00 PUBLIC ENEMY/PRIVATE FRIENDS HELLO STRANGER 20.30 Danny Thompson UK (18m) Ronan O'Leary IRELAND (61 m) AS HAPPY AS LARRY OFFICIAL CLOSING Awards Ceremony and screening of European Short Film Competition winner THUNDERHEART Michael Apted USA (118m) Riju Ramrakha AUSTRALIA (61m) Note: Programme correct at time of going to press. Alterations may occur without notice. 39 �PERSONALITY... CREDIBILITY QUALITY... STYLE ill FOR YOU ON THE RIGHT WAVELENGTH... S3EE OR 892 FM FAI __________________ 7/je l/e/ce ttf'&rk. French Alliance Francais Language New Wave Season, Rare Shorts, All Time Classics. In Association with Nov 6 - Nov 12 The Night is Young ToTo the Hero Delicatessen Au Revoir Les Enfants Nikita Le Cop 2 Cyrano de Bergerac & many more Film Festival Memberships and Tickets available from Capital Cineplex Grand Parade, Cork, Ph : 272216 1992 40 �1 IT FILI ■ GRAMMES AND EUROPEAN SHORT FILM COMPETITION Cork Film Festival is committed to supporting the short film. We believe that it is a specific art form with its own traditions, disciplines and aesthetic possibilities. The short form also allows for experimentation and innovation, thereby enriching the medium as a whole. Also, for many directors, with limited technical and financial resources available, the short is an invaluable stepping stone to feature production. We are confident that in the programmes below our audience will discover exciting new talent. This is true of the Irish films as much as the international. We are delighted that so many short-film directors have decided to travel to Cork for the screenings of their films. We believe that the experience of young directors meeting with their peers from other countries, seeing each others work, and meeting with their audience can be a valuable process which will assist their development as film-makers. Once again we must acknowledge the support of the European Commisssion in funding Cork's Short Film Award of 10,000 ECUs. This is a significant sum which has helped past winners reach a wider audience for their films and helped them advance in their film-making careers. The Cus Healy trophy, sponsored by Fianna Fail, and a cheque for £1,000 will be presented to the best Irish short-film in Competition. PROGRAMME 1 PROGRAMME 5 SHE'S JUST GROWING UP, DEAR lulia Tell, USA, 16m EMPIRE OF THE MOON * J.Haptas/K. Samuelson, USA, 17m Ashley McKinney, USA, 28m ANTHONY'S KITCHEN Brian Cange, USA, 15m THE GENE POOL Loren (f Kerry Weeks, USA, 12m THE WATCHMAN Ron Hagell, GERMANY, 24m FIRST COMES LOVE Su Friedrich, USA, 22m DEATH BY UNNATURAL CAUSES < K. Bellone/L. Rinzler, USA, 20m LITTLE SUCK-A-THUMB David Kaplan, USA, 15m ON HER BALDNESS Wendy Rowland, CANADA, 30m PROUSTS FAVOURITE FANTASY Richard Kwietniowski, UK, 2m SLUGS AND SNAILS Susan Brand, UK, 10m PROGRAMME 2 PROGRAMME 6 CREATURE OF HABIT * Joan Grossman, CANADA, 1 Om * THE COST OF LOVE Richard Kwietniowski, UK, 2m TWIST OF FATE Douglas Kunin, USA, 13m OOZAT Darren Walsh, UK, 6m SHOOTING TO STARDOM Kieron Walsh, IRELAND, 11m THE CHANTER Jon Love, UK, 30m PARADISE FISH BAR Tamsen Carter, UK, 10m THE DADASON RITES Garry Keane, IRELAND, 13m * THE LAST WORD Lee Rooney, IRELAND, 15m NOCTAVE Siochfradha Kelly, IRELAND, 10m MIND'S EYE Paul Giles, IRELAND, 14m BREATH OF LIFE Navin Thapar, UK, 28m GORILLA Kevin McMorrow, UK, 15m LOVE IS A VERY FICKLE THING * Mark Staunton, IRELAND, 3m PRO-CHOICE FILM Tony Kenny, IRELAND, 2m ROUNDABOUT PROGRAMME 3 CAT'S CRADLE ♦ Liz Hughes, AUSTRALIA, 12m DEATH IN THE ARENA M. Ingram/S. Oliveiro, AUSTRAUA 10m THE ILLUSTRATED AUSCHWITZ Jackie Parkas, AUSTRAUA, 13m EVERY LITTLE BREEZE... Maree Delofskl, AUSTRALIA, 24m A LARGER OR SMALLER ROOM Ann! Mokotow, AUSTRAUA, 17m WIRELESS NIGHTS Melissa Juhanson, AUSTRALIA, 12m PROGRAMME 4 NIGHT WINDOW Gunter Heinzel, AUSTRIA, 32m DID YOU DO THE NAPKIN TOPSI? Usa Doyle, CANADA, 7m MONA'S.PETS John David Allen, USA, 32m ROAD TO ALICE Stavros A. Efthymlou, AUSTRAUA, 29m PROGRAMME 7 THE BARBER SHOP Uam O'Neill, IRELAND, 23m BLIND ALLEY Paul Duane, IRELAND, 10m BOOTH Petra Conroy, IRELAND, 10m CHILDREN OF THE TIDE T. FLeming/N. Broderick, IRELAND, 1 Im INTO THE ABYSS Geraldine Creed, IRELAND, 13m TWO WASTERS Eoin McPolin, IRELAND, 21m CONNEELY'S CHOICE Barra de Bhaldraithe, IRELAND, 28m • A* �ALL ABOARD! ASSASSINS EN VOITURE! Patrick Rufo Christophe Rossignon France/1992/35mm/14 minutes/Colour/Subtitles France/1991 /35mm/7 minutes/Colour/Subtitles NOl FL W Executive Producer: Win Productions. Leading Players: Andre Badin, Inger Ekbom, Paul Pinceloup, Lorene Frejek. Script: Patrick Rufo. Photography: Dominique Pinto. Editing: Patrick Rufo. Music. Jean Pascal Gil. Print Source: Win Prockictions, 3, Rue de Duras, 75008 Paris, France. Tel: 43 65 37 70, Fax: 42 86 80 72. Producer: Christophe Rossignon. Leading Players: Marc Berman, Robert Cendreux. Script: Mathieu Kassovitz. Editing: Nathalie Goepfert. Print Source: Lazennec Tout Court, 36 Rue Rene Boulanger, 75010 Paris, France. Tel: 42 03 73 34. Ferrari, Jaguar, Mercedes, Rolls Royce...all the world dreams of such cars - especially the thievesl As has always been the tradition in the family, the elders teach the youngest how to be hitmen. Tonight, the hit is Mr. Vidal and Wagner transmits his knowledge to his younger brother, with blackly humorous results. ANTHONY'S KITCHEN THE BARBER SHOP Brian Cange Liam O'Neill USA/1992/16mm/15 minutes/Black & White lreland/1992/16mm/23 minutes/Black & White i Producer: Kevin Segalla. Leading Players: Joseph Ricca, Steve Roberts, David Eye, Dina Losita. Script: Brian D. Cange. Photography: Don Cornett. Editing: Bob Nichols. Music: Vincent De Selvo, Mark Reynolds. Print Source: Brian D. Cange, 70 Remsen Street, 1-h, Brooklyn, New York, 11201 USA. Producer: Breda Walsh. Leading Players: David Kelly, Peadar Lamb. Script: Liam O'Neill from a story by Joe Pleass. Photography: Shane O'Neill. Editing: Gaye Lynch. Music John Walsh, Peter Keenan. Print Source: Paradox Pictures, 6, Belvedere Place, Dublin 1, Ireland. Tel: 01 366 868, Fax: 01 679 6717. Tel: 718 596 2595. Anthony, a cynical and outspoken non-conformist finds his world starting to crumble in the face of progress as his neighbours celebrate his 65th birthday. This tragic comedy focusses on the plight of the elderly, treated as superfluous, if not downright disposable in modern America. The final hours of an old-fashioned barber-shop - a faded emporium of tonsorial opulence - are the location for this evocative and subtly- keyed drama of revenge and regret. 42 �T BLIND ALLEY H BEAG ■■ LA PLAGE Patrick Bokanowski Paul Duane lreland/1992/16mm/l0 minutes/Colour France/1992/35mm/14 minutes/Colour/Subtitles / II' I 1 TH | Producer: Kira BM Films. Photography: Patrick Bokanowski. Editing: Laure Budin, Dominique Greussy. Music: Michele Bokanowski. Print Source: Unifrance Film, 4, Villa Bosquet, 75007 Paris, France. Tel: 1 4 7 5 3 95 8 0, Fax: 1 47 05 96 55. Producer: Brendan Geraghty, Fiona Keane. Leading Players: Barry McGovern, Niall Toner Jr. Script: Paul Duane. Photography: Shane O'Neill. Editing: St Merry Doyle. Music Niall O'Sullivan, Stephen Pennicks. Print Source: Blind Alley Productions, 75 The Coombe, Dublin 8, Ireland. Tel: 01 546201. Combining live action, animation and special optical effects, THE BEACH creates an imaginary seaside world where ordinary holiday activities take on a surreal twist. A surrealistic thriller about a man facing death-by-video. Barry McGovern plays Roach who in his final moments, becomes aware of the lurking presence of a sinister cameraman throughout the whole of his life. BLACK WIDOW BODY BEAUTIFUL LA VIUDA NEGRA Jesus Delgado Spain/199T/35mm/16mm/Colour/Subtitles Joanna Quinn Wales/1990/35mm/14 minutes/Colour/Animation Producer. Jesus Delgado. Leading Players: Margarita Sanchez, Chema Adiva. Script: Jesus Delgado. Photography: Teo Delgado. Editing: Pablo Blanco. Music: Luis Mendo, Bernardo Faster. Print Source: Producciones Nictdlopes s.l. cjo Don Ramon de la Cruz, 115 2° Izda, 28006 Madrid, Spain. Tel: 1 402 6490. Producer. Les Mills. Leading Players: Menna Trussler, Rob Brydon. Animation, Photography, Editing: Ioanna Quinn. Music: Paul Hornsby, Nory Omar. Print Source: S4C, Parc Ty Gias, Llanishen, Cardiff, South Wales CF4 5DU. Tel- 0222 747 444, Fax: 0222 75 4 444. With a black widow spider on the loose, even safe sex is not without its dangers in this frankly hilarious comedy. Beryl and her friends work in a Japanese-owned factory in Wales. Subjected to constant harrassment over h,er weight by Vince, her narcissistic and loutish supervisor, Bpr.yl plots her deliciously ironic revenge. > K- . 43 �r BOOTH CAT'S CRADLE Petra Conroy Liz Hughes lreland/1992/16mm/10 minutes/Colour Australla/1991/16mm/12 minutes/Black & White I !. k •- V Producers: Susan Walsh, Lorraine Hayden. Leading Players: Brendan Cauldwell, Guy Carlton, Roisin De Freine, Ann Kent. Script: Damien O'Donnell. Photography: Dave Burrows. Print Source: Nora French, Communications Department, College of Commerce, Rath mines, Dublin 6, Ireland. Tel: 01 970 666 Nine minutes in the life of your average local photo­ booth. Award: Best Irish short film - Galway Film Fleadh, July 1992. A poor family cannot afford to pay for a funeral for their dead father. Trudging around the city with his stiffening corpse, they finally find a last resting place for him - in a cinema. BREATH OF LIFE 1 Executive Producers: Luigi Acquisto, Chris McGill. Producer: Jenny Sabine. Leading Players: Helen Rollinson, Ian Nash, Andrea Swifte, Imogen Gough, Paul Bajada. Script & Photography: Liz Hughes. Editing: Melissa Huhanson, Liz Hughes. Music: Paul Schutze. Print Source: Carol Gregory, V.C.A. Film & TV School, John Street, Hawthorn, VIC 3122, Australia. Tel: 61 3 8198328, Fax: 61 3 8198124. THE CHANTER Navin Thapar Jon Love England/l991 /16mm/28 minutes/Colour England/1992/16mm/30 minutes/Colour ■ Producer: Navin Thapar. Leading Players: Moshe Ivgi, Amir Korangi, Tariq Yunus, Avi Nassa. Script: Kulvinder Ghir, Nasser Memarzia. Photography: Jon Felix. Editing: Navin Thapar. Music Nial Walsh, Kent Brainerd. Print Source: Navin Thapar, 212 Malvern Ave. Rayners Lane, Harrow, Middlesex HA2 9HE, England. Tel: 081 426 8832, Fax: 071 494 1187. IH II Producer: Kate Swan. Leading Players: Frazer Morrison, Stephen Craig, Stuart Peebles. Script: Jon Love, Dennis McKay. Photography: Mark Partridge. Editing: Brian Kelly, Jon Love. Music Martin Swan. Print Source: NETS, Beaconsfield Film Studios, Station Road, Beaconsfield, Bucks., HG9 ILG, England. Tel- 0494 671234, Fax: 0494 674042. Set against the backdrop of continuing imprisonment and ill-treatment of political prisoners in the Middle East, BREATH OF LIFE is a harrowing depiction of the emotional bonds formed between six prisoners of conscience who find themselves sharing the same cell. Good luck is not just a matter of being in the right place at the right time - it's knowing that you're there. 44 i: �iiAsr < GRAIL niel Robin SA/1992/16mnj/.l2 minutes/Colour COLOURS 1939 Alexander van Dulmen Germany/1992/16mm/29 minutes/Colour & Black & White Producer, Script, Editing: Daniel Robin. Print Source: Daniel Robin, 1498 Guerrero, San Francisco, GA 94110, USA. Tel: 4 IS 821 4931 Producer & Script: Alexander Van Dulmen. Photography. Guido Frenzel, Hans Feierabend. Editing: Caroline Meier. Music: Georg Lob. Print Source: ARRI, Turtenstr. 91-93, 8000 Munich 40, Germany. Tel: 00 49 3809456. Combining introspection with contemporary social issues, the filmmaker explores her identity as an American jew in the context of her relationship with Israel. Cutting from modern Munich, filmed in grainy Black & White to the ominous pageantry of Nazism at its height in 1939 (from immaculately-preserved Technicolor footage), COLOURS 1939 explores our relationship with a past that is closer to us than we would sometimes care to admit. CHILDREN OF THE TIDE CONNEELY'S CHOICE Tadgh Fleming, Nuala Broderick Barra de Bhaldraithe I reland /1992/16mm/l 0 minutes/Colour lreland/1992/16mm/28 mlnutes/Colour/Irlsh Language Executive Producer Galway Film Resource Centre. Leading Players: Eoghan Fleming, Francio O'Brien, David O'Gorman, Martin Folan. Script and Photography: Tadgh Fleming, Nuala Broderick. Editing: Paddy O'Connor. Print Source: Galway Film Resource Centre, High Street, Galway, Ireland. Tel: 091 66744. Producer: Barra de Bhaldraithe. Leading Players: Brendan Gleeson, Treasa Ni Flatharta, Tomas 0 Ratharta. Script: Barra De Bhaldraithe. Photography. Cion de Buitlelr. Editing: St Merry Doyle. Musk: Donal Lunny. Print Source: Barra de Bhaldraithe, Scanndin Beal, c/o Loopline, 4, Beresford Place, Dublin 1, Ireland. Tel: 01 746303/4 Although the people have never owned the land, they have lived on it, worked on it and died on it - it should be their future. Award: 1st prize, Documentary section, Galway Film Fleadh, 1992. The seal legends of the Atlantic coast are examined in a modern-day Irish-Language drama. A seal woman is robbed of her hoodskin as she basks on the rocks. Without it, she cannot return to sea. 45 �THE COST OF LOVE THE DADASO Richard Kwietniowski Garry Keane England/1991/16mm/2 minutes/Black & White lreland/1992/16mm/13 minutes/Colour, Black & White SOUPS SNACXS RIT! DAIY SPECIA1 SANDWICH! $ i CHIDRP Ml I BL ' ' * Leading Players: Pendle, Rich Crafer, Jarther Taylor, Janet Jones. Script: Richard Kwietniowski. Photography: Frank Passingham. Stills: Tony Caney. Print Source: Alfalfa Entertainments, 225A Brecknock Road, London N195AA, England. Tel: 071 284 0551, Fax: 071 284 0617 Producer. Dun Laoghaire College of Art and Design. Leading Players: Cedi Bell, Padraic Murphy, Felicity Stewart, Jenny Glasgow. Script and Editing: Carry Keane. Photography: Maurice Sweeney. Music: Dee Armstrong. Print Source: Dun Laoghaire College of Art and Design, Kill Avenue, Carriglea Park, Dun Laoghaire, Co. Dublin, Ireland. Tel: 01 2801138. A photo romance featuring a number of activities which may be made illegal in England by Clause 25 of the Criminal justice Bill. A stylishly surreal drama dealing with sexual initiation. A father takes his young son on a dark journey to a brothel. CREATURE OF HABIT DEATH BY UNNATURAL CAUSES Joan Grossman Karen Bellone, Lisa Rinzler Canada/1991/16mm/10 minutes/Black & White USA/1991/16mm/20 minutes/Colour, Black & White Producer Joan Crossman. Leading Players: Nick Misura, Josh Epstein, Jackson Cole, Michael Jocelyn. Script: Neil Williamson. Photography: Joel Pickford. Editing: Christine Brewer. Music: Ray Sicora. Print Source: Vancouver Film School, 400-1168 Hamilton St., Vancouver, BC, V6B 2S2, Canada. Fax: 604-685 5830. I Executive Producer: Firewater Filmworks. Leading Players: Kid Congo Powers, Sally Norvell. Script: Karen Bellone, Lisa Rinzler. Photography: Lisa Rinzler. Editing: Anne Stein. Music: Arto Lindsay, Peter Scherer. Print Source: Firewater Filmworks, 176 Broadway 12F, New York, 100 38, USA. Tel: 212 732 3123, Fax: 212 519 0403. The decline of Mr. Gibbens, a staid middle-aged man who is driven crazy by his memories of being bullied as a schoolboy. A quirky story about power and humiliation. A visually stunning but visceral homage to those living and passing under the shadow of AIDS in a world run amok. It is the story of a woman who, in mourning for her lover, symbolically becomes the mourner for all humankind. Awards: Silver Hugo - Best Experimental Short, Chicago. 46 L �ATM [• I\ A;. :ael Ingn alla/1992/K THE DISCO YEARS T1E ARENA Robert Lee King Sebastian Oliveiro •i/IO minutes/Colour USA/1991/16mm/30 minutes/Colour I' i; Producer: Michael Ingram, Sebastian Oliveiro. Leading Players: Pavane Olivlro, Sebastian Oliveiro, Nicola Cassimaty, Malaki Coles. Script & Editing: Michael Ingram, Sebastian Oliveiro. Photography: Michael Ingram. Music: Igor Stravinsky. Print Source: Michael Ingram, 42 Regent St., Paddington, NSW 2021, Australia. Tel: 612-3615984, Fax: 612-9083151. Producer: Robert Lee King. Leading Players: Matt Nolan, Gwen Welles, Dennis Christopher. Script: Robert King. Photography: Greg Gardiner. Editing: Paul McCudden. Music Wendall & Yuponce. Print Source: Robert Lee King, J 7, 27th Avenue, Venice, CA 90291, USA Tel: 310 827 0291. Mythological icons collide with reality through dream and ritual as flesh gives way to the mechanism of sacrifice. Tom Peters, a gay teenager coming of age in the late '70's finds that the difficult process of coming out is helped by the disco-dancing lessons that his mother forces him to take. Awards: Cine Golden Eagle. DID YOU DO THE NAPKIN TOPS! ? EMPIRE OF THE MOON Lisa Doyle John Haptas, Kristine Samuelson Canada/1991 /16mm/7 minutes/Colour USA/1991/16mm/17 minutes/Black & White Executive Producer: Simon Fraser University. Script, Photography, Editing and Music Lisa Doyle. Print Source: Lisa Doyle, 402 - 634 East Georgia Street, Vancouver BC, Canada V6A 2A1. Producer and Editing: John Haptas, Kristine Samuelson. Photography: Ion Else. Print Source: John Haptas and Kristine Samuelson, 1028 Paradise Way, Palo Alto, California 94306 USA Tel: 4 IS 8S2 9291, Fax: 415 725 2472. A quirky look at the lot of the waitress. In oblique and humorous fashion, EMPIRE OF THE MOON considers the sacred and profane aspects of sightseeing and the yearning to possess the magic of a place. Awards: First Prize, New York Short Film Expo Experimental, Montana Film Festival, Kino Prize, Melbourne Film Festival, Golden Sheaf Yarkton. Awards: San Francisco International Film Festival (Special jury Prize), Charlotte Film Festival (Best Experimental documentary), American Film Festival. 47 �THE METROPOlE THE IDEAL VENUE ‘With, a range of newly refurbished suites and private function rooms to choose from, ^The Metropole Motet is ALWAYS THE CENTRE OF FESTIVAL FUN The welcome you experience as soon as you step into our foyer is one of warmth and helpfulness. Everything you need to make the festival more enjoyable is available at the Metropole * \ By The River/ Ensuke, Direct Dial WlC THE RIVERVIEW RESTAURANT BEDROOM ACCOMMODATION THE MET TAVERN and I.V. in all rooms ; r I HOTELg Mac Curtain St.,Cork.Tel: (021) 508122. Fax: (021) 506450. DOUGLAS INSURANCES GENERAL BROKERS LIMITED Morris House, Douglas West, Cork, Ireland. Telephone (021) 362697/362124 IS) Contact Peter Kirwin ji I ■ Phone: (021) 362697, 362291 or 362309 Fax:(021) 362124 0 Insuring the continued success of the CORK FILM FESTIVAL L 48 �LE BREEZE iree Deso’. / :stralia/199 i/; ..;.n/24 minutes/Colour FIRST COMES LOVE Su Friedrich USA/1991/16mm/22 minutes/Black & White ;i Producer: Pat Lovell. Leading Players: Odile Le Clezio, Fiona Press, Moya O'Sullivan. Script: Maree Delofski. Photography Louis Irving. Editing: Sara Bennett. Music John Stuart. Print Source: Maree Delofski, 62 Cavendish Street, Stanmore, NSW 2048, Australia. Tel: 02 5192883. Producer, Script, Photography and Editing: Su Friedrich. Music: Tina Turner, Janis Joplin, Marvin Gaye, Aretha Franklin. Print Source: Su Friedrich, 222 East Sth Street 6, New York, NY, 10003, USA. Tel: 212 475 7186. Rose and Wanda haven't seen each other since school. Their chance meeting on a bus sets up the desire to find their third school friend, Louise. A gently quirky comedy. A re-examination of the marriage ceremony through the eyes of an alternately hostile, infatuated and amused outsider. A film about rites and wrongs. "Elegant and uncluttered...a deceptively simple work [which]...recasts the personal as the political, makes the public curiously intimate." Manohla Dargis Village Voice 57th STREET SERENADE GARGANTUAN David Dobkin John Smith USA/1992/16mm/35 minutes/Colour England/1992/16mm/1 minute/Colour 1 $ I- Producer: Jonathan McCurdy. Leading Players: James DuMont, Brendan Burke, Christian McLaughlin. Script: David Dobkin. Photography: Jeff Venditti. Editing: David Dobkin. Print Source: David Dobkin, 1048 Grant Street, Santa Monica, CA 90405, USA. Tel: 310 450 7289, Fax: 310393 7608. Executive Producer: Arts Coundl/BBC TV, The Late Show. Leading Player: John Smith. Script and Editing: John Smith. Photography: Patrick Duval. Print Source: John Smith, 28, Colville Road, London Ell 4 EH, England. Tel: 081 556 4363. Despite the hardships of adolescence and the hostility of New York city, Billy, Poet and Marko manage to find a place to be together and happy...on a rooftop, far above the angry streets. A one minute eulogy to amphibians of all sizes. 49 i ■■■ �THE GENE POOL GORILLA Loren Weeks, Kerry Weeks Kevin McMorrow USA/1992/16mm/12 mlnutes/Colour England/1991/16mm/15 minutes/Colour Producer: 2 Weeks Productions. Leading Players: Libra Moore Cray, Paula Bolton, Steve Sutherland. Photography: Russel Fine. Print Source: 2Weeks Productions, 489, Stratford Rd., Brooklyn, NY 11218, USA Tel: 718 282 4293, Fax: 718 941 1942. A dry comedy of manners involving Southern hospitality, heredity and canine love. When a gorilla in a boiler suit and running shoes carries out a series of local bank robberies, the Chief Inspector's suspicions fall on a young detective in his team. The getaway car definitely belongs to the detective, but it's his elderly mother who is spending the loot... GOODNIGHT, ALDEN HEARTSONGS Jeff Leighton Sue Clayton USA/1991/35mm/15 minutes/Black & White i! Executive Producer: L.C.P.D.T., Film & Video Division. Producer: Wayne Waterson. Script: Kevin McMorrow. Photography: Lynda Hall. Editing: Kevin McMorrow, Wayne Waterson. Print Source: L.C.P.D.T., Film Sr Video Division, 6 Bock Hill, Clerkenwell, London EC1R SEN, England. Tel: 071 278 7445, Fax: 071 833 8842. England/1992/35mm/1 1 minutes/Colour .1} ■ I Executive Producer: Kim Decoste. Leading Players: Tom Marriott, Mark Miller, Jeff Trussell. Script & Music Jeff Leighton. Photography: Cabot Dixon. Editing: Kim Decoste, Jeff Leighton. Print Source: Leighton Films, 90S West Lenoir Street, Raleigh, NC 27603, USA. Tel: 919 828 8883. I ! liH Producer: Caroline Hewitt. Leading Players: Tom McCamus, Lorraine Segato. Script: Sue Clayton, Richard Burrige. Photography: Doug Koch. Editing: Annabel Ware. Music: Claude Desjardins. Print Source: Film Four International, 60 Charlotte St., London W1P2AX, England. Tel: 071 6314444 Fax: 071 5802622. Three soldiers during the American Civil War meet, as sentries, by the river. They trade defiant shots, then trade tobacco for coffee, as well as news of the war. Anger and bitterness flare between them. In the end, the burial of a fallen comrade serves as an acceptance, however brief, of their shared humanity. Adrift in a cold and moody Ontario landscape, Snipe drives on, tired and lost, until he comes across a small community where the locals are dancing the night away to the music from a Cajun band. Captivated by the wild Cajun rhythms, fast fiddles and haunting accordion, and obsessed by the lead singer Nell, he follows her home... 50 �i I AN M /ilES ARE MADE IN THE LAST PASSAGE i A. J. Hudson Tehmina Khan USA/1992/35mm/4 minutes/Colour/Anlmatlon USA/1992/16mm/20 mlnutes/Colour i Executive Producer. A.J. Hudson. Script, Photography & Editing: A.). Hudson. Print Source: American Motion Pictures, 429 West 24th St., Suite 3B, New York, NY. 10011, USA. Tel/Fax: 212 989 5523 Producer: Tehmina Khan. Leading Players -.Emily Shihadeh, Tehmina Khan. Script: Mahmoud Darwish, Hanan Ashrawi. Photography and Editing: Tehmina Khan. Music Dawlah. Print Source: Tehmina Khan: 554, 62nd Street, Oakland, California 94609. USA. Tel: 510 420 5858. This is a story of perception. It is the telling of a specific epic from a particular view point. However, the scope of its meaning can only remind us of our own desires to inflict upon any situation our own point of view. A rich, complex collage expressing Palestinian identity. It weaves together humour and poetic expressions of pain, anger and pride. Archival footage, journalistic photographs and newspaper texts come together in an ironic exploration of human dignity and pain. THE ILLUSTRATED AUSCHWITZ INTO THE ABYSS Jackie Parkas Geraldine Creed Australia/1992/16mm/13 minutes/Colour lreland/1992/16mm/12 minutes/Colour Producer: Jackie Parkas. Leading Player: Zsuzsi Weinstock. Script and Photography: Jackie Parkas. Editing: Kathy Drayton. Print Source: Australian Film Television & Radio School. Comer Balaclava & Epping Rds., North Ryde NSW 2113. Australia. Tel: 61 2805 6455, Fax: 61 2887 1030. Producer: Brendan McCarthy. Leading Players: Michelle Bibbi, Brid Mhic Shearai, Eamonn Hunt, Joe Rooney, Una Minto. Script: Geraldine Creed. Photography: Brendan Galvin. Editing: Gaye Lynch. Print Source: Blue Light Productions, 76 Irishtown Road, Dublin 4, Ireland. Tel: 01-687 781. The voice of a concentration camp survivor is scored with a collage of imaginings. Inspired by the work of the American writer, Jack London, INTO THE ABYSS deals with the plight of displaced people in the poor houses and on the streets of London at the turn of this century. 51 �F JEAN LUC GOE AND DONE IN UNCLE ROBERT'S FOOTSTEPS POUR EN FINIR AVEC JEAN-LUC Danos Myles Connell USA/1992/16mm/24 minutes/Black & White ,R J, € ARD France/1991 /16mm/8 minutes/Colour Executive Producer: Nye Heron. Leading Players: Patrick Fitzgerald, Nye Heron. Script: Myles Connell, Frank Shouldicc. Photography: Tim Naylor. Editing: Myles Connell. Music: The Chanting House. Production Company: Irish Arts Centre. Print Source: Alpha Cine, 1001 Lenora, Seattle 98121, USA. Tel: 206 682 8230, Fax: 206 682 6649. Producer: Shadows Film. Leading Players Aurele, Valerie,. Script: Danos Photography: Pat Marcel. Editing: Danos, Deseuze. Print Source: Shadows Film, 112 rue Courcelles, 75017 Paris, France. Tel: 33 1 43 80 36 06. jack Lawlor, a 24 year-old Corkman, arrives in New York, full of optimism and confident that his uncle Robert, a ’businessman’, will give him a start. But Uncle Robert is not all that he is cracked up to be - a gritty, humorous look at the misadventures of a young immigrant in the Big Apple, featuring Cork actor Patrick Fitzgerald. A quintessential!/ French look at life, love, philosophy and movies. JAZZ IN THE BOX KADDISH Milan Grozdanic Serge Zeitoun France/1991/35mm/12 minutes/Black & White France/1991/35mm/5 minutes/Colour ih ■ Producer: Patrick Villacampa. Leading Players: Cheik Doukourt, Jean Michel Martial, Rachel Genevin, Roger Le Mus. Script: Milan Grozdanic. Photography: Michel Rempenaux. Editing: Pascale Chrttien. Music: Nino Pimon. Print Source: Unifranee, 7 Villa Bosquet, 75007 Paris, France. Tel: 47 53 95 80, Fax: 47 05 96 55. An atmospheric evocation of the flavour of jazz and the mind of an artist. t Producer. Serge Zeitoun. Leading Players: Richard Berry, Jean Benguigui, Marthe Villanlonga. Script: Serge Zeitoun, Eric Oyono. Photography: Pierre Aim. Editing: Vera Memmi. Print Source: Unifrance Film, 4 Villa Bosquet, 75007 Paris, France. Tel: 33 1 4753 95 80, Fax: 33 1 47 05 96 55 His father dead, a young man returns to the family home r ‘ to join his mother in mourning. But the heart has secret seasons and refuses to unlock grief - until an unknown rabbi arrives in a new pair of shoes. 52 �UJSEh CRAWFORD GALLERY CAFE! Pt bha Par Er: '□nd/1991/l6i.lm/26 minutes/Colour Come and see I us BEFORE OR AFTER THE FILM, FOR TEA, COFFEE, HOMEMADE CAKES, e<*>'rOoe LUNCH OR DINNER. Print source: Pratibha Parmar, 78, Fonthill Rd..London N4 3HT, England. Tel: 071 281 1310, Fax: 071 281 3809. A fascinating collage of real and surreal images that highlight the experiences and explode some well-worn stereotypes of South African lesbians and gay men. Interspersed with interviews are Indian film footage, dance, stylised theatre, sculpture, music and disco scenes which are all used to make powerful symbolic statements. Open 10.30 - 5, Mon. - Sat 6.30 - 9.30 Wed, Thurs, Fri Tel: 274415 THE KINGS OF SIAM Ged Haney England/1992/35mm/12 minutes/Colour/Animation ifc Lgcy Mouse cork's ultimate entertainment venue 74, Oliver Plunkett St., Cork, Ireland. Tel: 021 270 074 1 Bar entertainment 7 Nites Progressive Nightclub plus >1 The best in Live Music Executive Producer: Channel 4. Producer: Lee Stork. Script, Editing (t Music: Ged Haney. Photography: Ted Gerald. Print Source: S.F.V.L., 8-14 Meard Street, London W1V, England. Tel: 071 4370831. every week at Gorby's This is the story of a pair of Siamese twins. The action takes place almost entirely within the confines of the fairground in which they live and work. The only time we see beyond the confines of this little world are in the twins' dreams of breaking free; of the fairground and of one another. group concessions Trust your basic instinct! & drop in 53 -2 �A LARGER OR SMALLER ROOM LIFE'S A GAS Anny Mokotow Philip Davis Australia/1991 /! 6mm/17 minutes/Colour England/1992/35mm/11 minutes/Colour Executive Producer: Peter Tammer. Leading Players: David Stanford, Bruce Kerr. Script: Anny Mokotow. Photography: Brent Crokett. Editing: Anny Mokotow. Print Source: Swinburne Film & TV School, 11, John St., Hawthorne, 3122 Victoria, Australia. Tel: 03 819 8328. Producer. Waldo Roeg. Leading Players: Dave Atkins, Lee Ross. Photography. Steve Bernstein. Editing: Scott Thomas. Music Julian Liftman. Print Source: Film Four International, 60 Charlotte Street, London W1P 2AX, England. Tel: 071 6314444, Fax: 071 5802622. A man, leaving an institution after many years, moves into an apartment building. There he finds a disturbing similarity between his new accommodation and his old. Danny and Donald haven't left their caravan for weeks. They've turned their backs on the world but it still oozes in through the cracks. Donald decides enough's enough; they hitch up their trailer and set out with the intention of drinking, eating and smoking themselves into extinction. THE LAST WORD LITTLE SUCK-A-THUMB Lee Rooney J I David Kaplan lreland/1992/16mm/15 minutes/Black & White USA/1991/16mm/15 minutes/Colour Producer. Martina Duroc, Lee Rooney. Leading Players: Brendan Conroy, Cina Moxley. Script and Editing: Lee Rooney. Photography: Mick Mahon. Music: Lance Hogan. Print Source: Dun Laoghaire College of Art and Design, Kill Avenue, Dun Laoghaire, Co. Dublin, Ireland. Tel: 01 2801138. i Producer David Kaplan. Leading Players: Cork Hubbert, Evelyn Solann, Jim Hilbert. Script and Editing: David Kaplan. Photography. Briggs Palmer. Music Schubert Moussorgsky. Print Source: David Kaplan, 95, Christopher Street 151, New York, NY 10014, USA. Tel: 212 242-5156. Eoin, a hearing-impaired bell ringer, and Brid, a hardnosed snooker hall manager lead separate and isolated lives within the confines of a small town. After their chance meeting neither the snooker hall nor the belfry will ever be the same again. ■ A cautionary tale about a childlike man whose grotesque mother warns him not to suck his thumb...or else. Awards: 3rd place, graduate Mobil awards, NYU Festival. 54 �MIND'S EYE VERY FICKLE ‘ liiW r ark Staunton Paul Giles lreland/1992/16mm/3 minutes/Black & White lreland/1992/16mm/14 minutes/Colour Executive Producer: Dogtown Productions. Leading Players: Sylvie Flouttard, Conor Lambert. Script and Photography: Marie Staunton. Editing: Conor Kenny. Music: Charles Trenet. Print Source: Dogtown Productions, 16, Exchequer Street, Dublin 2, Ireland. Tel: 01 710 487. Producer: Paul Godwin. Leading Players: Michael O'Reilly, Julie Hale, Gary Cooke. Script and Editing: Paul Giles. Photography: Lee Rooney, Maurice Sweeney. Print Source: Dun Laoghaire College of Art and Design, Carriglea Park, Kill Avenue, Dun Laoghaire, Co. Dublin, Ireland. Tel: 01 280 1138. A brief Film Noir romance set in Dublin. When three old friends come together for a dinner party, they have little idea that their idle conversation could lead them back to an incident that they would rather let lie. i MR. CHOCOLATE MEETS MISS MILK LOVE, JEALOUSY AND REVENGE LIEBE, EIFERSUCHT UND RACHE Michael Brynntrup Thomas Meyer-Hermann Cermany/1991/16mm/7 minutes/Colour/Subtitles Germany/1991/35mm/6 minutes/Black & White Executive Producer: Michael Brynntrup. Leading Players: Bev Stroganov, Jurgen Baldiga, Michael Brynntrup. Script ft Editing: Michael Brynntrup. Photography: Michael Brynntrup, Ole Kurp. Music: Dirk Schaefer. Print Source: Michael Brynntrup, Hermannstrasse 64, D-1000 Berlin 44, Germany. Tel: 621 78 00. Producer: Studio Film Bilder. Leading Players: Barbara Kraft, John Yamaha. Script & Animation: Thomas Meyer-Hermann. Musk: Udo Schobel. Print Source: Studio Film Bilder, Ostendstrasse 106, D-7000 Stuttgart 1, Germany. Tel: 0711 481 27, Fax: 0711 487 469. The film depicts, for example, "work in a parcel post office. We see parcels being received at the counter, how they are sorted and forwarded. Naturally, we are amazed by the quantity of parcels..." Michael Brynntrup. Warning: this film contains shockingly gratuitous scenesl A black and white painting, employing computer­ animation techniques, about strangeness between races and sexes. 55 �I NIGHT WINDO MONA S PETS NACHTFENSTER Gunter Heinzel John David Allen USA/1991/16mm/32 mlnutes/Colour Austria/1992/16mm/32 minutes/Colour/Subtitles I • i j I Xi I: ‘ Producer. John David Allen. Leading Players: Mary Ann Hagan, Taylor St. Clair, Joel McGinnis, Michael Ogletree, William Hendry. Script: John David Allen. Photography: Doug Smith. Editing: Amy Carey, John David Allen. Music OMI Production Company. Print Source: John D. Allen, 66, Golf Circle, Atlanta, GA 30309 USA. Tel: 404 874 3369. Ramona, her life temporarily on hold, returns to the house of her long-suffering mother and brothers, where she inadvertently unleashes a plague of cockroaches. After spending seven years in prison, Max Kulik returns to his house. Strange things start to happen there: bizarre flashbacks to his marriage and surrealistic horror fill his every day life. For a while, he becomes involved with his young neighbour, but events have arranged a nightmarish fate for them. MOUTHPIECE NOCTAVE Gerard Betts Canada/1992/16mm/3 minutes/Colour 1 Producer: Gunter Heinzel. Leading Players: August Schmolzer, Sophie Von Kenel, Alexandra Sommerfeld. Script: Gunter Heinzel. Photography: Thomas Padousek. Editing: Frank Soirou. Music: Franco Tortora. Print Source: Gunter Heinzel, Westendstr. 272, D-W-8000, Munich 21, Germany. Tel: 089 570 5603. Siochfradha Kelly lreland/1992/16mm/10 mlnutes/Colour I H Producer, Script, Photography and Editing: Gerard Betts. Music: Ted Koehler, Harold Arlen. Print Source: Sonolab 1900 4k Papineau, Montreal, Quebec, Canada H2K 4L9. Tel: 514 598 2947, Fax: 514 526 5346 ... Executive Producer: Siochfradha Kelly. Leading Players: Derek Reid, Cedi Bell, Marie Conmee, Sean Madden. Script and Editing: Siochfradha Kelly. Photography: Noel Donnellon. Music Miriam, Vivian Long. Print Source: Dun Laoghaire College of Art and Design, Carriglea Park, Kill Avenue, Dun Laoghaire, Co. Dublin, Ireland. Tel: 01 2801138, Fax: 01 2803345. Based on the practice of lip-reading, this short animated film explores the visual code of verbal pronunciation by animating lips cut out from magazines. A farcical comedy about a virtuoso who rises to world fame by discovering a ninth note in the octave. 11 56 i �ON HER BALDNESS ,'f GT'S I- "3RNL , Wendy Rowland J Bartlett Canada/1991/16mm/30 minutes/Colour England/1992/35mm/11 minutes/Colour % - i Producer: Simon Mellor, Esta Charkham. Leading Players: Malcolm Sinclair, Nicholas Pickard. Script: Neil Bartlett. Photography: Nina Kellgrew. Editing: Alan Knight. Music Nicolas Bloomfield. Print Source: Film Four International, 60 Charlotte Street, London W1P 2AX, England. Tel: 071 631 4444, Fax: 071 580 2622. Producer, Script & Editing: Wendy Rowland. Narration: Jackie Burroughs. Photography: Kim Derko. Music: John Gzowski. Print Source: Wendy Rowland, 304 E. Sth St., tlA, New York, NY 10003, USA. Tel: 212 995 0704, Fax: 212 979 1842. Set in 1961, NOW THAT IT'S MORNING tells the story of Gerald, a 45 year old man, and his relationship with Ian, a 15 year old boy, during the course of Gerald's birthday celebrations. The film focuses on six women whose baldness has forced them to confront issues of appearance, self image and sexuality. It challenges viewers to question and confront their own ingrained prejudices regarding the true nature of beauty and femininity. OMNIBUS Darren Walsh France/1992/35mm/9 minutes/Colour/Subtitles II OOZAT Sam Karmann i England/1992/16mm/6 minutes/Colour \ ■ .i Producer: Anne Bennet. Leading Players: Daniel Rialet, jacques Martial, Christian Rauth, Brigitte Auber. Script: Christian Roth, Sam Karmann. Photography: Daniel Diot. Editing: Robert Rongier. Music: jean Mallet. Print Source: Lazennec Tout Court, 36 Rue Rene Boulanger, 75010, Paris, France. Tel: 42 03 73 34. Producer: Darren Walsh. Leading Players: Chris Scott, Stefan Marjoram, jaio Mindang, Cary Carpenter. Script, Photography, Editing and Music: Darren Walsh. Print Source: Darren Walsh, 2, Yew Tree Walk, Frimley, Camberley, Surrey GU16 5LG, England. Tel: 0276 25373. jean-Louis has just discoverd that the train he has boarded for work no longer stops at his stop. Panic ensues: he'll be late for work, probably get fired, and his whole life will be drowned under a cascade of dramatic events. Errol, the train driver comes to his rescue. But the road to hell is paved with good intentions. Awards: Palme d'Or, Cannes Film Festival, 1992. On a night out with the lads, one individual decides that there is more to socialising than mere face value. 57 �PARADISE FISH BAR PRO-CHOICE HL Tamsen Carter Tony Kenny lreland/1992/16mm/2 minutes/Black & White England/1991/16mm/l 0 minutes/Colour Producer: Mark Carter. Leading Player: Tania Lawton Johnston. Script: Tamsen Carter. Photography: Nigel Kinnings. Editing: Anna Negri. Music: Andy Lovegrove. Print Source:, Adrian Heath, c/o London College of Printing and Distributive Trades, Film &. Video Dept., 6, Back Hill, Clerkenwell, London ECI R SEN, England. Tel: 071 278 7445, Fax: 071 833 8842. Producer, Photography, Editing, Music Tony Kenny. Print Source: Tony Kenny, 6 Mount Auburn, Killiney, Co. Dublin. Tel: 01 285 5272. Fax: 01 717 910. Mary, aged 12, works in her father's fish & chip shop in London. She is imaginative and quirky; he is fat and oppressive. This film touches on some of the emotional and sexual complexity of a girl in transition between child and woman. Through startling and original images, this film explores pertinent themes in contemporary Ireland. A PRAYER BEFORE BIRTH PROUST'S FAVOURITE FANTASY Jacqui Duckworth Richard Kwietniowski England/1991 /16mm/20 minutes/Colour England/1991/16mm/2 minutes/Black & White > Producer: CLA Film & Video. Leading Player: Adjoa Andoh. Script: Jacqui Duckworth. Photography: Clare Williams. Editing: Robyn Wright. Music: Cenene Edwards. Print Source: CLA Film & Video, cjo Lusia Films, 7 Earlham Street, London WC2H 9LL, England. Tel: 071 8365105, Fax 071 4970446. Producer, Script, Editing: Richard Kwietniowski. Leading Players: Noel Cries, Rich Crafer. Photography: Oliver Curtis. Music: Startled Insects. Print Source: Richard Kwietniowski, Alfalfa Entertainments, 225a Brecknock Rd., London N19 5AA, England. Tel: 071 284 0551, Fax: 071 284 0617. A drama based on the director's experience of coming to terms with multiple sclerosis; A PRAYER BEFORE BIRTH chronicles, with disturbing intensity, the physical and emotional traumas of a young woman's journey from able-bodied exuberance to the acceptance of disability. Marcel Pr st, in a hotel room with a gendarme and a chicken... 58 �I F BLSC i£NCn5 W/PRIVATE GABRIEL Dai sny Thompson England/1992/16mm/18 minutes/Colour HOUSE Summerhill, St. Lukes, Cork City. Tel: 021 500333 (4 lines) Fox: 021 500 178 All rooms en suite bath & shower, Direct dial 'phone, TV. From £15 p.p. sharing 7 Minutes walk from City Centre CITY CENTRE ACCOMMODATION KINGS Producer: Nadine Marsh-Edwards. Leading Players: Matthew Barrett, Peter Savizon, Paul Nathan. Script: Danny Thompson. Editing: Paul Hodgson. Music Danny Thompson. Print Source: Kate Mellor, BFI PRoductions, 29 Rathbone Street, London WIPIAC, England. Tel: 071 636 5587, Fax: 071 580 9456. 24, Princess St., Cork. Tel: 021 277 453, 500333 B/B from £10 per person sharing. Quality bar food served until 7pm Matthew, Peter and Paul, "The Young Disciples," are on a mission - the search for a missing ticket to a Public Enemy gig in the Brixton Academy. Can brother Prince of the Hustle or Beefy, The Original Atomic Dog help them to find it? In the end, help comes from a rather higher source. God,it turns out, is a Public Enemy fan too. From paperclips to laser printers ... PUBLIC TOILET OBRIEN Stephen Rennicks Ireland/1992/35mm/35 minutes/Colour OFFICE SYSTEMS ill The Business Centre COAAPUTERS COPIERS FAX FURNITURE COMPUTER SUPPLIES SHREDDERS DICTATION SYSTEMS SEATING WORD PROCESSORS THE BUSINESS CENTRE CLONTARF ST., CORK. TEL: 021 270666 FAX: 272 991 SCREENING CANCELLED DUE TO CIRCUMSTANCES BEYOND OUR CONTROL 59 I �RELEASE ME RESURRECTION Frances Lea Ray Kilby England/1991 /16mm/26 mlnutes/Colour England/1992/35mm/9 minutes/Colour Executive Producer: Nick Wright. Leading Players: Geoffrey Goodall, Lisa Stutts. Script: Frances Lea. Photography: David Hilton. Editing: Neil Bastian. Music: Heart ‘n’ Soul. Print Source: The Filmschool, Bournemouth and Poole College of Art and Design Wallisdown, Poole, Dorset, England. Tel: 0202 538204, Fax: 0202 537729. Producer: Fiona O'Doherty. Leading Players: jenny Hill, Anita Wright. Script: Charles Burkitt, Ray Kilby, from a short story by Rhys Davies Photography: John Stewart. Editing: Ray Kilby. Music: Steve Kilbourne. Print Source: Royal College of Art, Kensington Core, London SW7 2EU. Tel: 071 584 5020, Fax: 071 225 1487. Acted by and written about adults with learning difficulties, this extraordinary film shows the problems surrounding their intimate relationships and their struggle to make decisions for themselves. Awards: Angers Film Festival, 1992, Public Prize. Tel Aviv International Student Film Festival, 1992, Bilbao International Film Festival, 1991 Cold Mikeldi, Best Fiction. Meg's preference for men and whiskey had always been an embarrassment to her older sisters, Bertha and Ellen. With Meg now dead and firmly in her coffin, they can relax and look forward to the funeral...But they haven't reckoned on her ability to resurrect herself. RESONANCE ROAD TO ALICE Stephen Cummins Australia/1991/35mm/12 minutes/Black & White Australia/1992/16mm/29 minutes/Colour - AL ’. * Stavros Efthymiou • Producer. Paul Fogo. Leading Players: Christopher Ryan, Andrea Aloise, Yves Stening Script: Simon Hunt, Stephen Cummins. Photography: Brendan Young. Editing: Annette Davey. Music: Simon Hunt. Print Source: Resonance Productions, P.O. Box A306 Sydney South, NSW 2000, Australia. Producer: Frances McGrvern. Leading Players: Noah Taylor, Hugo Weaving, Helen Buday, Leone Carmen. Script: Stavros Andonis Efthymiou. Photography': Rohan Smith, Editing: David Hewitt. Music: Jim Bowman. Print Source: Australian Film, Television & Radio School, Corner Balaclava & Eppinq Rds North Ryde NSW 2113, Australia. Tel: 61 2805 6455, Fax: 61 2887 1030 Tel: 61 2 339 9537 Fax: 61 2 339 9506. Beginning with a gay bashing in the backstreets of Sydney, the film uses gesture, dance and interior monologue to explore this act of violence. Awards: Best Short Film 1991 Sydney Film Festival. Best Short Film, 1992 Turin Lesbian and Cay Film Festival. Special Commendation, 1991, Melbourne International Film Festival. On the road to Alice Springs - dead bodies, romance and an old black car. Jimmy owes Dimitri more money than he can spare. He decides that a holiday would be a better bet. On his travels, he meets Louis and things start to go wrong. 60 �I 1 i i s 61 �ROUNDABOUT ST. MULEKICGv Ashley Me Kinney Simeon Hutner USA/1992/35mm/28 minutes/Colour USA/1992/16mm/5 minutes/Black & White Producer: Ashley McKinney. Leading Players: Tiffany Anders, Lisa Cavanaugh. Script and Editing: Ashley McKinney. Photography: Costas Kitsos, Ellen C Burr. Print Source: Ashley McKinney, 905, 1/2 North Fairfax Avenue, Los Angeles, CA 90046. USA. Tel: 213 656 8618. Producer, Script: Simeon Hutner. Photography, Editing: Jennifer Kaufman. Print Source: Simeon Hutner, 931 N. Spaulding Ave., 7, West Hollywood, CA 90046. USA. Tel: 213 65 6 6847. Feeling invisible, Allie runs away from home and shows up at her older sister's doorstep. Her sister reluctantly agrees to let her stay for one week. As the week draws to a close, ■ Allie becomes convinced that their father will come for her. Ron Athey is a Los Angeles performance artist, who presents his powerful and disturbing work, (which relates to adornment and mutilation of the body) in underground clubs and alternative performance spaces. A complex and moving account of an individual contending with the extremes of the human experience SHE'S JUST GROWING UP, DEAR SEMPER IDEM Joachim Bode i Julia Tell Germany/1991/35 mm/3 minutes/Colour USA/1992/16mm/16 minutes/Black & White 1 I I JI Producer: Joachim Bode. Script, Photography and Editing: Joachim Bode. Music Wolfe Ingo Romer. Print Source: New Urge Filmcoop, Glashuttenstrasse 27, D-2000 Hamburg 36. Tel: 040 430 20 55, Fax: 040 430 27 03. Producer, Script, Photography, & Editing: Julia Tell. Print Source: Julia Tell, 5337 College Avenue, »S20, Oakland, California 94618, USA. Tel: 510 653 4423. An experimental cartoon and an animated sketch book in parts - although some people see it as a true documentation of what happens in East Germany today. This film concerns the emergence of personal memory of father/daughter incest. Through the constructed images of American family values, it voices the profound emotional ambiguity of incest and invites audience members to contemplate culturally-determined attitudes towards the feminine psyche. 62 �Si DOTE: j SOHO SQUARE TO STARDOM I Mario Cavalli Kies on J. Waish lreland/1992/16mm/11 minutes/Colour England/1991 /35mm/11 minutes/Colour \ , I ■. i Producers: Elaine Morris, Simon Wright. Leading Players: Owen O'Neill, Kenneth Cranham. Script: Owen O'Neill. Photography: Seamus McGarvey. Editing: Kieron /. Walsh. Music: Cathal Coughlan (Fatima Mansions.) Print Source: 1, Cervantes Court, Ruston Mews, London W11 1UE, England. Producer: Pam Dennis, Sue Paxton. Script: Mario Cavalli. Editing: Richard Harris. Music: Nick Franglen. Print Source: Pizazz Pictures, 30 Berwick Street, London WIV3RF, England. Tel: 071 434 3581, Fax: 071 439 2309. Stand up comic, Dan Cimeo, shoots his way to stardom one night in front of a truly terrifying audience. This story is based on fact, portraying what happened to Irish stand up comic, Owen O'Neill, in the early days of his career. An animated film which uses a painterly approach to colour and composition to evoke the atmosphere of Soho Square on a typical summer's day. All the scenes depicted in the film are based on real life characters. SLUGS AND SNAILS SPIRIT OF PLACE Susan Brand Oliver Harrison England/1992/35mm/10 minutes/Black & White I England/1991/16mm/10 minutes/Colour 9 I Producer. Nadine Schoen. Photography: Nina Kellgren. Editing: Susan Brand. Music: Julian Wastall. Print Source: National Film and Television School, Beaconsfield Studios, Station Road, Beaconsfield, Bucks HP9 ILC, England. Tel: 0494 671234, Fax: 0494 674042. Photography: Doug Foster. Music Oliver Harrison, Roger Bolton. Print Source: Cary Thomas, Arts Council, 14 Great Peter Street, London SWIP 3NQ. Tel: 071 333 0100, Fax: 071 973 6590. ln the relaxed seclusion of a beauty salon, three women 9’ve us their view on men and masculinity. From Karen who removes body hair from her seven year old son, to eyah who prefers Italian lovers because they wash more often, they describe what delights and disgusts them. Every room has a spirit which sleeps beneath the layers of peeling paint and wallpaper. SPIRIT OF PLACE observes the awakening of such a spirit, coerced into life by moonlight. 63 I �TWIST OF FATE STAR CROSSED LOVERS Irene Werner Stage Douglas Kunin Denmark/1991/16mm/21 minutes/ Black & White USA/1992/I6mm/12 minutes/Black & White Producer: Statens Filmcentral. Leading Players: Arya Y. Syuman, Kenneth Kreutzmann, Stephen Brinkmann, jordi Puidefabregas, Gitte Moller, Camilla I. Stage. Script: Irene Werner Stage. Photography: Henning Bendtsen. Editing: Kasper Schyberg. Music: Scriabin, Gustav Holst. Print Source: Statens Filmcentral, Vestergode 27, DK-14S6 Copenhagen K. Tel: 331 32686. Fax: 331 30203. A film about the androgyne; Male and female in one, the uniting of opposites, the symbol of supreme identity - the self. William, a homeless man (playing himself) roams the streets of Tarzana, California. A chance encounter and the gift of a pearl bracelet allow him briefly to realise his dreams. STRANGER IN THE FAMILY TWO WASTERS Ewa Cieszewska Owen McPolin England/1991 /I6mm/26Minutes/Colour I Producer: Douglas Kunin. Leading Player: William Renquyst. Script: Douglas Kunin. Photography: Angus Wall. Editing: Patrick McCarthy. Music: Eric Mandel. Print Source: Douglas Kunin, 5919 Tuxedo Tee. Los Angeles CA 90068 USA. Tel: 213 464 4057, Fax: 310 659 1001. lreland/1992/16mm/21 minutes/Colour > 1 I I J 4 Producer: Ewa Geszewska. Photography: Mike Fox. Editing: Richard Cox. Print Source: Ewa Geszewska, 7, Mary Wharrie House, Fellows Rd, London NW3 3LX, England. Tel: 071 586 4327. Producer Owen McPolin. Leading Players: Dermot Barrett, Chris Dalton. Script: Owen McPolin. Photography: Charles Ponniah. Editing: Owen McPolin. Music The 4 Of Us, Planxty. Production Company: Owen McPolin. Print Source: Ballyard Goss, Tralee, Co. Kerry. Tel: 066 22237. Involved in a near fatal car crash, Neil Fitzwilliam suffered severe brain damage and is now an emotional blank, unable to work, barely recognising his family, and prone to Jekyl-and-Hyde like changes in mood. This moving film sympathetically documents the efforts of his wife, Adrienne, and family to cope with this sad state of affairs. Hannah and Feeley, two Leaving Cert, students, are faced with difficult choices as they try to decide what they will do with the rest of their lives. Their frustration with life in a small town strains their relationship, as Hannah embarks on a plan to change things... 64 �1 i W: WEEKENDER JJM Wiz Tihi Rolt England/1992/16mm/12 minutes/Colour England/1992/35mm/18 minutes/Colour lji Executive Producer: Channel Four. Leading Players: Simon McBurney, Metin Marlow, Angela Clerkin, Nick Herrett. Script: Nick Herrett. Photography: David Scott. Editing: Justin Krish,. Print Source: Rapid Eye Movies, 113 Roman Road, London E2 OQN, England Tel: 081 981 6818, Fax: 081 983 4441. Producer: Adam Dunlop. Leading Players: Lee Whitlock, Anna Haig. Script: Wiz. Photography: Tim Maurice /ones. Editing: Robert Wallace. Music Flowered Up. Print Source: Adam Dunlop, c/o Medialab, Chelsea Wharf, 15, Lots Rd., London SW10, England. Tel: 071 351 5814. Colin's first vacuum cleaner experience changes his life. What starts out as a little necessary spring cleaning turns into a fantastic inner journey as he other residents at number 24, conspire to ensure that Colin will never be the same again in a comedy about the mysticism of household appliances. SATURDAY NIGHT FEVER meets QUADROPHENIA for the ecstasy generation - young people who are born on Friday night and die come Monday morning. WATCHMAN WHERE THE COWS GO Ron Hagell Maggie Ford Germany/1992/16mm/24 minutes/Colour England/1992/16mm/15 minutes/Colour ERE by Rosie Cullen GO THE COWS I I Producer. Ron Hagell. Leading Players: Ulllnca Schroeder, Martin Schurr, Trent Ci ray. Script: Ron Hagell. Editing: Rita Oakes. Music: Matthias Rave. Print Source: Tannus Film, GMBH, 6200 Wiesbaden. Germany. Tel: 49 611 531 0. fa: 49 611 522712. Producer: Florence Ayisl. Leading Players: Darby Hawker, Barbara Hicks, Victoria Alcock, David Crellin. Script: Rosie Cullen. Photography: Lincoln Ascott. Editing: John Edmonds. Print Source: 1, Brookside, Bakewell, Derbyshire DE4 1DW. England. Tel: 0629 814084 or 071 485 0077 or N.S.F.T.V Production Department. The story of a young man who sleeps and dreams while forking as a night watchman in a stage-theatre house. The man dreams of his childhood which was dominated by a tyrant father. He also dreams about his fantasy Wornan and is seduced by his desires. Caught kissing a girl - result? 40 years in a psychiatric hospital! Lily remembers young Lily, her humour, her rage and above all her deep attachment to cows. 65 �WHITE BOYS CAN T DANCE WINK Liz Hinlein CLIN D’OEIL Olias Barco USA/1991/16mm/11 mlnutes/Colour France/1992/35mm/6 minutes/Black & White f. ^-■xx^ flSH 1 llXX . XIi *Vx' ; x rV — TBSTIVB k. * Producer: Tracy McArdle. Leading players: Roy Wilson, Phillip Reese. Script: Liz Hinlein, Christina Pretto. Editing: Michelle Gorchow. Music: Public Enemy, MC Hammer, Harlem Tabernacle Church Choir. Print Source: Powerhouse Productions, 175 W. 72nd Street, New York, NY 10023, USA. Producer: Olias Barco. Leading Players: Malidc Bowens, Yvan Carouel. Script: Olias Barco. Photography: Thiezzy Arbogast. Editing: Cilles Benefice, Olias Barco. Music: Steve Potts. Production Company: Riveria Production, 114 Rue Cardinet, 7SO 17 Paris. Tel: 42 23 44 21. Print Source: Riviera Productions, 114 rue Cardinet, 75017 Paris, France. Tel: 42 23 44 21. A black comedy which focuses on Jeffrey, an affluent suburban Jewish boy who wants to be black. Billy is the first black male with whom Jeffrey comes into contact. Much to Jeffrey's surprise, he finds that being black is not all about rap, basketball and Air Jordans. Awards: Houston Film Festival - Cold Award. A misunderstanding between two men at a railway station leads to a silent war of nerves over a packet of biscuits Silver Award, Houston WHITE NIGHTMARE WITHIN GRASP CAUCHEMAR BLANC Mathieu Kassovitz ZUM CREIFEN NAH Veit Helmer France/1991/35mm/l 1 minutes/Black & White/ Subtitles Cermany/1992/35mm/7 mins/Colour Producer: Christophe Rossignon. Leading Players: Yvan Attal, Francois Toumarkine, Roger Souza, Jean-Pierre Darroussin. Script: Mathieu Kassovitz. Photography: Georges Diane. Editing: Nathalie Coepfert. Print Source: Lazennec Tout Court, 36, Rue Rene Boulanger, 75010 Paris, France. TeE 42 03 73 34. Executive Producer: Roman Blum. Producer: Veit Helmer. Leading Players: AnneMarie Bubke, Wolfgang Bauer. Script: Veit Helmer. Photography: Janucz Reichenbach. Editing: Oliver Gieth. Print Source: Veit Helmer, Wormserstr. 4, 1000 Berlin 30, Germany. Tel: 30 2181414, Fax: 30 8821671. In a Parisian suburb, like every Sunday night, four "Frenchmen* are waiting for the "darky* to appear within reach of their clubs. But this particular night, the expedition turns into a nightmare. Awards: Prize Perspectives Cannes, 1991. Prize of French Community, Namur, 1991. Anton is a construction worker. He transports concrete by means of a crane to the top of a building site. Tatjana is a nightowl. When she awakens, she finds flowers mysteriously placed on the balcony of her top floor flat. Will Anton and Tatjana meet during the mere seven minutes of this film? 66 �’ELL:..; J8GHTS When You’ve Tried • Conventional Hotel Accommodation M dissa Juhanson • Australia/1991/16mm/12 minutes/Colour You'll Find Our Suites More To Your Taste ■ Luxury A CCOMMODA TION 1 I I 11 ij. UH Uli ILEE lUlCJ I1_ , XI Executive Producer: Swinburne Film & TV School. Script: Melissa /uhanson. Photography: Liz Hughes. Editing: Melissa Juhanson. Print Source: Australian Film Institute, 49, Eastern Road, South Melbourne, Australia, 3205. Tel: 03 696 1844, Fax: 03 696 7972. ’ 3 EACH SUITE CONTAINS HALLWAY. SITTINGROOM. DINING AREA. LUXURY KITCHEN. BATHROOM AND A CHOICE OF ONE OR TWO BEDROOMS PLUS T.V.. TELEPHONE. FAX ETC. A variety of characters listen to talkback radio from dusk to dawn. Following the announcer's voice through the night, this film introduces the viewer to the private arena of /■K In The Heart Of Cork City, Particularly Ideal For The Business Person • Convenient Central Loca tion •Private Car Park • Full Accommoda tion •Bar & Restaurant /{nd All Giving You Better Value For Money £60 net Single £90 net Double Morrisons Island Hotel Morrisons Island, Cork, Ireland. Tel: 021 275858 Fax: 021 275833 people who both ring and listen to talkback radio. THE WONDERFUL TALE OF MUSIC Anders Sorensen Denmark/1991/16mm/22 minutes/Colour ■e? Freshly Baked Traditional and Deep Dish Pizzas and best Pasta Dishes. Opening Hours - 12pm to 1 am 7 Days a week Producer: Statens Filmcentral and Landscentralen for Undervisningsmidler. Script; Anders Koppel, Anders Sorensen, Per Tonnes Nielsen. Photography: Malene Vilstrvp. Editing: Anders Sorensen. Music Anders Koppel. Print Source: Statens Filmcentral and Landscentralen for Undervisningsmidler, Vestergade 27, DK-14S6 Copenhagen K DenmariuTel: 33132686, Fax: 33130203. 34 Patrick Street. Entrance off Cook Street. Humorous animated cartoon without narration and dialogue. In music and drawings, the film illustrates how history has always influenced music and art. And vice versal Tel. 272895 67 I �■ DIAMOND FREIGHT . ^ei^± INTERNATIONAL FREIGHT FORWARDERS CORK AIRPORT ■ CORK • IRELAND Tel. 353 21 311333 Fax 353 21 312601 ■ I 68 _____ �-■v] 7 Pools programme The Schools' Programme is presented by the Cork Film Festival in association with theTriskel Arts Centre. We aim to screen a range of Irish and International films suitable for younger audiences that will encourage school groups to take part in the festival. In many cases the Schools' Programme allows students the opportunity to meet and discuss films with filmmakers attending the festival. Admission is £1 per student, per show. Booking is through teachers and by application only. For further information contact Schools' Programme Co-ordinator, Fiona Cunningham atTriskel Arts Centre, Tel: 021 272 022. Screenings take place at the Capitol Cineplex on Grand Parade at 11.00am from Monday the 5th through Thursday the 8th of October. The screening on Friday 9th starts at 10.00am. The organisers wish to thank Mr. Leo Ward of Abbey Films and the management and staff of the Capitol Cineplex for all their help in facilitating these screenings. IN UNCLE ROBERT S FOOTSTEPS Myles Connell USA/1992/16mm/24 minutes/Black fir White Jack, a young lad from Cork, arrives in New York where his Uncle Robert is supposed to have a job lined up for him. Sadly, all does not go too well in this cautionary tale of life in the Big Apple. MONDAY 5TH______________________________ SHORT FILM PROGRAMME 1 Suitable for Pupils 12 years and older. THE WONDERFUL TALE OF MUSIC Anders Sorensen Denmark/1991 /16mm/22minutes/Colour/Animation A very funny mini-history of music in cartoon form. WEDNESDAY 7TH Suitable for pupils 12 years and older. THE VACUUM Tim Rolt UK/1992/16mm/12minutes/Colour Surreal, off-beat comedy about a man being eaten by a vacuum cleaner and then re-born. THE END OF THE GOLDEN WEATHER Ian Mune New Zealand/1991/35mm/95 minutes/Colour In New Zealand in the 1930s 12 -year old Geoff wants to be a writer. His friend, Firpo wants to win the Olympic Carnes. When Firpo accepts an impossible challenge to run a race on the beach, Geoff tries everything to help him win - bodybuilding, weights, diets ... even prayer. An exquisitely photographed film telling a poignant and funny tale of the loss of innocence. SHOOTING TO STARDOM Kleron J. Walsh lreland/UK/1992/16mm/11 minutes/Colour A stand-up comic tries a last, desperate joke in front of a hostile audience but ends up in a nightmare of misunderstandings. PARADISE FISH BAR Tamsen Carter UK/1991/16mm/1 Ominutes/Colour Mary, aged 12, works in her father's fish and chip shop in London. She is imaginative and quirky, and caught between being a child and becoming a woman. THURSDAY 8TH Suitable for Pupils 12 years and older OTHELLO Orson Welles Morocco/1952/35mm/91 minutes/Black St White Orson Welles' classic version of Shakespeare's play won the Palme d'Or at Cannes in 1952 but no complete print was known to survive. Now, after years of research, a pristine print of the film as Welles intended it has been produced. Starring Micheal MacLiammoir, the film was acclaimed as a masterpiece when it was screened at this year's Cannes Film Festival. WHITE BOYS CAN'T DANCE Liz Hinleln USA/1991/16mm/11 minutes/Colour The misadventures of an affluent New York, Jewish boy who wants to be black. To his surprise he discovers that being black is not all about rap, basketball and Air Jordans! CREATURE OF HABIT John Crossman Canada/1991 /16mm/10 minutes/Black fir White A middle-aged office worker is driven crazy by his memories of being bullied as a schoolboy. A gruesomely funny look at power and humiliation. FRIDAY 9TH________________________________________ Suitable for pupils 16 years and older AKIRA Katsuhiro Otomo Japan/1988/35mm/l 24 minutes/Colour/Animation This cult animation classic, set in post-holocaust Tokyo in the year 2019, has a complex plot ranging from a feud between rival gangs of youths to military coups, mutating into urban terrorism, techno-mysticism and exploding universes. TUESDAY 6TH____________________________ SHORT FILM PROGRAMME 2 Suitable for pupils 16 years and older RELEASE ME Frances Lea UK/1991/16mm/26 minutes/Colour Prize winning film written and acted by young people with learning difficulties. A sensitive and entertaining film. note: This programme starts at the earlier time of 10.00am and will be followed by a discussion chaired by the Education Officer of The Arts Council, Mr. Kieran Walsh. 57TH STREET SERENADE David Dobkin USA/1992/16mm/35 minutes/Colour Despite the hardships of adolescence three boys growing up in New York find a place to be together and happy - on a rooftop, far above the angry streets below. 69 i �2ND IRISH LESBIAN & CAY FIL In 1991 the First Irish Lesbian and Gay Film Festival was very successfully launched and the Cork Film Festival is very happy to continue our support for the Festival in 1992. The full programme for the Lesbian and Gay Film Festival will be available in a separate festival catalogue. HIGHLIGHTS OPENING FILM THE LIVING END Greg Araki/USA/1991 Just opened to great acclaim in New York, THE LIVING END has been aptly described as 'a homo THELMA AND LOUISE1. The film is a black comedy about two fatalistic L.A. boys (one's an impulsive, on-the-edge psycho cutie; the other listens to the Smiths a lot and likes Godard movies) who discover they are HIV positive and set off on a serio-comic spree of violence and abandon. 'A new landmark in unapologetic, spit-in-your-face gay filmmaking." Al Weiss NYQ SWOON Tom Kalin/USA/1992 The story of the 1924 Chicago Leopold and Loeb murder case in which two wealthy law students kidnapped and murdered a young boy. SWOON is both an assault on the notion of 'positive images' and a study of how images of of queerness and homosexuality have actually been constructed. Previous films on the case including Hitchcock's ROPE and Richard Fleischer's COMPULSION sidestepped the sexual content - SWOON puts the homosexuality back into homicide. ;! II rl A still from ROSEBUD by Cheryl Farthing A PLACE OF RAGE MASSILLON William Jones/USA/1991 Pratibha Parmar/UK/1991 An uplifting celebration of the lives and political struggles of radical black American women that focuses on the political activist Angela Davis and poet and activist June Jordan. If you can't go home, at least you can make a film about it. MASSILLON is a film about how identity and sexuality are constructed. There is no dramatic action in the conventional sense, with the visuals consisting largely of shots of his home town. The drama is in the narration, as Jones tells his stories. It is up to the spectator to imagine the action against the background of empty mid-western landscapes. 'The best gay documentary of the year' LA Weekly 'Terrific...musically and visually evocative and very smart' San Francisco Bay Times FLESH HISTORIES ! FLESH HISTORIES is a collection of short film and video assembled by Tom Kalin, director of SWOON. Spanning a range of subject matter and approach - including alternative public service announcements, safer sex enticements, revisionings of the erotic and the pornographic, and re-examinations of personal confessions as social and political critique - FLESH HISTORIES uses media as a mirror to reflect and refract the strategies of a media obsessed culture. HOME STORIES/ COMEDY IN SIX UNNATURAL ACTS Jan Oxenburg/USA Jan Oxenburg has a unique place in lesbian film history. Two lesbian classics from the 1970's MAYA DEREN PROGRAMME Four films by the leading American avant-garde film maker and theorist of the 40's and 50's who helped establish New York's underground film circuit. 70 �■ IM:;,. .. •.......... jB i r j 3 ; ./a\T ffi® M2 The number of film makers and delegates attending the Cork Film Festival has increased steadily over the past decade. The Festival works to create an atmosphere of friendliness, conviviality and informality for our guests, delegates and everyone taking part in the week. The creative interchange of ideas is the essence of a successful festival. The Seminar Programme is one formally structured part of this process. CINEMA TRISKEL FESTIVAL FILMS ALL YEAR ROUND! HIGHLIGHTS INCLUDE MY OWN PRIVATE IDAHO LA BELLE NOISEUSE PROSPERO'S BOOKS DELICATESSEN FANTASIA The Seminars are designed to open an agenda for discussion and stimulate debate on issues that are relevant to Filmmakers and delegates attending the festival. This year we have selected two topics - Low-Budget Film-making and Documentary Film-making. DOCUMENTARY SEMINAR ’’REPRESENTATION OF ACTUALITY - The Nature and Financing of Documentary Today" Thursday 8th October, Crawford Gallery The morning session of the Documentary seminar will deal with current trends and issues affecting documentary film makers. The afternoon session wHI deal with the perennial question of finance and marketing. FOR FURTHER INFORMATION, SEE THE TRISKELODEON BROCHURE, AVAILABLE AT ALL GOOD ARTS CENTRES! The afternoon session will centre on the information session for Ireland by the Project for the Creative Documentary, Copenhagen. Mr Thomas Stenderup, Secretary General of the Project will be present. The Project for the Creative Documentary provides development funding for documentary projects and promotion and packaging funding for existing films. Lovitts Quo/ Cork Tel 272139 This Seminar is organized by The Media Desk in conjunction with the Cork Film Festival. LOW BUDGET SEMINAR BAXTERSJI Friday 9th October, Crawford Gallery One of the most successful films in Cannes this year (the Belgian film MAN BITES DOG, scheduled for screening during the festival) was made for $15,000. It grossed $80,000 on its first weekend in Brussels. Every time a low budet film succeeds people wonder why it does not happen more often. But of course there is always opposition within the industry to low budget projects. By some standards all film-making in Ireland is low-budget, yet it would be impossible to make a feature in Ireland for anything remotely like £8,000. Known for the best home-cooked lunch in Cork The Low Budget Seminar aims to allow film makers from Ireland, Britain, Europe and the States to share their very varied experiences of making successful low-budget films. Jim Jarmusch's producer, Jim Stark who has production credits on three films in Cork this year (IN THE SOUP, THE LIVING END and NIGHT ON EARTH) will lead the panel. -c- -x- Just around the corner from the Opera House For further Information on the Seminar Programme contact the Festival office on 021-271711. 71 �FT I‘V ’ THE I‘ LONG VALLEY BAR BEST DRINKS BEST SANDWICHES IN IRELAND BEST OF COMPANY like the 37th Cork Film Festival we bring you the best of everything BEST WISHES FROM Humphrey and Rita Moynihan 72 .. . �CORK FILM FESTIVAL RETROSPECTIVE EXHIBITION This year's Exhibition is of special importance. Culled from our archives, it aims to present a portrait of the Festival's 37 year history. The founding and development of the Cork Film Festival was, by any standards, a remarkable achievement in the Ireland of the 1950's and 1960's. The exhibition is a tribute to the work, the ideals and the achievements of the people who initiated and developed the Festival. It also documents a fascinating piece of social history. Over the years the Festival has generated its share of lore and legend. Much of what actually happened is as extraordinary as the legends. A sense of the Festival's past is recreated through a collection of press clippings and photographs from local and international journals. The exhibition emerges from on-going work on preserving and collating the historical material relating to the festival. EXHIBITION SPONSORED BY i fl 73 THE CORK BUSINESS ASSOCIATION �ACKNOWLEDGEMENTS lane Sim We would like to express our appreciation and thanks to the following people and organisations, without whose help and support - in providing films and services - the festival would not be possible. 3, AYutton Lane (off Patrick St.), Cork 2/3 471 Mr. Michael Hannigan, Cinemas Director, Irish Film Centre. Ms. Anne O'Sullivan and staff of Triskel Arts Centre. Mr. Gerry Barnes and staff of Cork Opera House. Mr. Peter Murray, Ms. Nuala Fenton and staff of Crawford Municipal Art Gallery. Mr. Derry Creedon, Henry Ford & Sons. Mr. Fred Hill and staff of the Capitol Cineplex. £amon Young, Brendan Murphy, FAS; Jim Davis & Co.; Brendan Cotter; Paddy McCarthy, Southern Electronics; Stephen Coughlan; Robin O'Sullivan; Veda Breen; Tom Curtin; Aylene Kelleher; Colette O'Sullivan; Joe MacNamee; Joe Finnerty; Joy Gerrard; Mr. & Mrs. Daly; Staff of Grand Parade Post Office; Tom Curtin, Design Workshop. Famous for the quality of its drink and the excellence of its home—maide Irish food When in the country, why not drop jn to. the . ... Angler’s Rest, Leemount, Carrigrohane,- Robert Beeson, Ellie Pole, Artificial Eye Film Co.; Tony Bloom, Colin Birch, Mainline Pictures; Tony Kirkhope, Christine, Metro Films; Tim Highstead, ICA Projects; Paul Janssen, Distant Horizon; Peter Rommell, Ex Picturis; Liz Wren, Emma Davie, Jane Giles, Electric Pictures; Victoria Cantrell, Overseas Filmgroup; Cindy Sison, IRS Media; Robert Mitchell, Buena Vista; Elfyn Morris, Granada; Megan O’Neill, Forefront Films; Gerry Mulcahy, Columbia TriStar; Brendan McCaul, Twentieth Century Fox; Robert Mitchell, Buena Vista; Lyndy Saville, Theatrical Experience; Jim Stark, Jim Stark Productions; Greg Araki, Desperate Pictures; Joe Berlinger; Richard Schneider, Intrepid Productions; Su Friedrich; Stephen Deschler; Colin Hankins, Winstone; Ritu Sarin & Tenzing Sonam, White Crane Films; Simon Hunt. Tel: 021 871 167 ' •1: I Satwant Gill, Ken Churchill, The British Council; Martine Moreau, French Cultural Service; Gill Henderson, Birmingham Film & T.V. Festival; Sally Ann O'Reilly, Galway Film Fleadh; Roisin Hogan, Anne O'Leary, Dun Laoghaire College of Art & Design; Sinead Lemass, Rathmines College of Communications; Karin Farnworth, National Film & Television School Beaconsfield; Christine Gendre, Unifrance Film International; Christine Vachon, Apparatus; Carole Wood, CTE; Siobhan O'Donoghue, Media Desk; Pratibha Parmer; Michael Dwyer; Declan Hassett, & The Cork Examiner. 2 1 & Wholefool We would also like to thank our advertisers for their support; our volunteers for their tremendous help; and in particular, all the film-makers represented in the Festival for allowing us to screen their work. RESTAURANT OPEN 10am-1030pm Mon to Sat Wholefood Store open: 9.30am-6.30pm Mon-Sat 24 SULLIVANS QUAY Late Opening Thurs & Fri 021-317660 74 �I j'iiil IN COMPETITION JS BLACK & WHITE SECTION In 1990, Cork Film Festival introduced a special section for those contemporary film-makers who choose to make films in black and white. Awards winners in 1991 were Yevgeny Tsymbal for DEFENSE COUNCIL SEDOV (Best B & W Feature), Dan Bootzin for SIX POINT NINE (Best B & W Short) and Chris Newby for RELAX (Best B & W Cinematography). We are pleased by the support of film-makers for this venture and continue the competition with another Fine selection of monochrome titles. iXMwews kitcheft ^jTcI^LL™ E OOZAT ^RD^URFO^HABIT ~~ ^AtflRE OF THE MOON KHUSH KINGS OF SIAM, THE LAST WORD, THE LIFE'S A GAS LOVE IS A VERY FICKLE THING LOVE, JEALOUSY AND REVENGE MIND'S EYE MR. CHOCOLATE MEETS MISS MILK NOCTAVE NOW THAT IT'S MORNING OMNIBUS 7 ^SZ^°M¥/LOVE IIISTORl IN THE UF THE HUMAN BODYVGeODhllCI IT, ALDEN— \ vKgURS AND TIMES, TEttr \7N UNCLE ROBERT'S FOOTSTEPS ykADDFNt ? WORD, THE ?VE IS A VERY FICKLE THING Pan bites dog (r) -CHOCOLATE MEETS MISS MILK T NO BILLS -CHOICE FILM UST'S FAVOURITE FANTASY {RESONANCE vgfa^fJST GROWING UP, DEAR----- ‘ 2 #TCIT OF PLACE vST. MULEKICKER \J I / y/OON ( •pt ETHER ALONT y WIST OF FATE yHITE NIGHTMARE VINK 7 PARADISE FISH BAR PRAYER BEFORE BIRTH, A PRO-CHOICE FILM PROUST'S FAVOURITE FANTASY PUBLIC ENEMY/PRIVATE FRIENDS RELEASE ME RESURRECTION SEMPER IDEM SHOOTING TO STARDOM SLUGSAND SNAILS SOHO SQUARE SPIRIT OF PLACE f STRANGER IN THE FAMILY TWO WASTERS VACUUM, THE WATCHMAN, THE WEEKENDER WHERE THE COWS GO WHITE NIGHTMARE WINK WITHIN GRASP WONDERFUL TALE OF MUSIC, THE IRISH SHORT FILMS IN COMPETITION BARBER SHOP, THE BLIND ALLEY BOOTH CHILDREN OF THE TIDE CONNEELY’S CHOICE DADASON RITES, THE INTO THE ABYSS LAST WORD, THE LOVE IS AVERY FICKLE THING MIND'S EYE NOCTAVE PRO-CHOICE FILM SHOOTING TO STARDOM TWO WASTERS EUROPEAN SHORT FILM COMPETITION ALL ABOARD! ASSASSINS BARBER SHOP, THE BEACH, THE BLACK WIDOW BLIND ALLEY BODY BEAUTIFUL BOOTH BREATH OF LIFE CHANTER, THE CHILDREN OF THE TIDE COLOURS 1939 CONNEELY’S CHOICE COST OF LOVE, THE DADASON RITES, THE GARGANTUAN GORILLA HEARTSONGS INTO THE ABYSS JAZZ IN THE BOX JEAN LUC GODARD-OVER AND DONE KADDISH * 2<* 23 75 �INDEX OF TITLE TITLE PACE NO. AKIRA ALL ABOARD! ANTHONY'S KITCHEN AS HAPPY AS LARRY ASSASSINS BARBER SHOP, THE BEACH, THE BEST INTENTIONS, THE BLACK WIDOW BLIND ALLEY BODY BEAUTIFUL BOOTH BREATH OF LIFE BROTHER'S KEEPER CAT'S CRADLE CHAIN OF DESIRE CHANGING OUR MINDS CHANTER, THE CHASING THE GRAIL CHILDREN OF NATURE CHILDREN OF THE TIDE COLOURS 1939 CONNEELY'S CHOICE COST OF LOVE, THE CREATURE OF HABIT CRUSH CRYING GAME, THE DADASON RITES, THE DEATH BY UNNATURAL CAUSES DEATH IN THE ARENA DID YOU DO THE NAPKIN TOPS! DISCO YEARS, THE DREAMS AND SILENCE EMPIRE OF THE MOON END OF THE GOLDEN WEATHER, THE EVERY LITTLE BREEZE... 57th STREET SERENADE FIRST COMES LOVE FIT: EPISODES IN THE HISTORY OF THE BODY GARGANTUAN GAS, FOOD, LODGING GENE POOL, THE GOODNIGHT, ALDEN GORILLA HEARTSONGS HELLO STRANGER HOURS AND TIMES, THE HOW MOVIES ARE MADE HOW TO BE A WOMAN AND NOT DIE IN THE ATTEMPT ILLUSTRATED AUSCHWITZ, THE INCIDENT AT OGLALA IN THE LAST PASSAGE IN THE SOUP INTO THE ABYSS IN UNCLE ROBERT'S FOOTSTEPS JAZZ IN THE BOX JEAN LUC GODARD- OVER AND DONE JUICE KADDISH KHUSH KINGS OF SIAM, THE LARGER OR SMALLER ROOM, A LAST WORD, THE LAST YEAR IN GERMANY LIFE'S A GAS LITRE SUCK-A-THUMB LIVING END, THE LOSER LOVE IS A VERY FICKLE THING LOVE, JEALOUSY AND REVENGE MAN BITES DOG MARQUIS MIND'S EYE MONA'S PETS MOUTHPIECE MR. CHOCOLATE MEETS MISS MILK MY NEW CUN NIGHT ON EARTH NIGHT WINDOW NOCTAVE NOW THAT IT'S MORNING OMNIBUS ON HER BALDNESS OOZAT OTHELLO PAINTING THE TOWN PARADISE FISH BAR PLACE OF RAGE, A POST NO BILLS PRAGUE PRAYER BEFORE BIRTH, A PRO-CHOICE FILM PROUST'S FAVOURITE FANTASY PUBLIC ENEMY/PRIVATE FRIENDS PUBLIC TOILET REINCARNATION OF KHENSUR RINPOCHE, THE RELEASE ME RESONANCE RESURRECTION ROAD TO ALICE ROUNDABOUT SACRED SEX SAME AS YOU, THE SEMPER IDEM 7 UP 7 PLUS 7 SHE'S JUST GROWING UP, DEAR SHOOTING TO STARDOM SLACKER SLUGS AND SNAILS SOHO SQUARE SPIRIT Of PLACE ST. MULEKICKER STAR CROSSED LOVERS STRAIGHT OUT OF BROOKLYN STRANGER IN THE FAMILY SUBMARINE SWEET EMMA, DEAR BOBE SWOON THIEF OF BAGDAD 35 UP THIS BOY'S STORY THUNDERHEART TIME WILL TELL TOGETHER ALONE 21 UP TWIST OF FATE TWO WASTERS VACUUM, THE WATCHMAN, WATERDANCE, THE WE ONLY LIVE ONCE WEEKENDER WHERE THE COWS GO WHITE BOYS CAN'T DANCE WHITE MEN CANT JUMP WHITE NIGHTMARE WILD WHEELS WINK WIRELESS NIGHTS WITHIN GRASP WONDERFUL TALE OF MUSIC, THE YOU, ME AND MARLEY 69 42 42 14 42 42 43 14 43 43 43 44 44 15 44 15 16 44 45 16 45 45 45 46 46 17 11 46 46 47 47 47 17 47 69 49 49 49 18 49 18 50 50 50 50 19 19 51 20 51 20 51 21 51 52 52 52 21 52 53 53 54 54 22 54 54 22 23 55 55 23 76 ACE NO. 24 55 56 56 55 24 25 56 56 57 57 57 57 25 26 58 26 27 27 58 58 58 59 59 28 60 60 60 60 62 28 29 62 37 37 62 63 29 63 63 63 62 64 30 64 30 31 31 32 37 32 13 33 33 37 64 64 65 65 34 34 65 65 66 35 66 35 66 67 66 67 36 �It was a French idea, or so the story goes. And for an overheated US army fighting in France in 1917, it was a lifesaver. 1 I I ’ The T-Shirt joined the Army. But what was regulation for decades became rebellion when adopted by Brando. Oozing body heat and rampant, raw appeal. Sullen and sweaty In a Streetcar. It survived the tie-dyed days of the '60’s. And being torn apart in V the 70’s. I Now wearing it is the only state’ ment worth making. Blue jeans and a plain white t-shirt. No fuss, no more, no less. Somehow, it says it all. It isn’t for everyone. But then neither Is Murphy’s. ITS A DIFFERENT STORY. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Programme Content Source A related resource from which the described resource is derived Cork Film Festival Collection Publisher An entity responsible for making the resource available University College Cork Date A point or period of time associated with an event in the lifecycle of the resource 1956- Rights Information about rights held in and over the resource <a rel="license" href="http://creativecommons.org/licenses/by/4.0/"><img alt="Creative Commons License" style="border-width: 0;" src="https://i.creativecommons.org/l/by/4.0/80x15.png" /></a><br />This collection is licensed under a <a rel="license" href="http://creativecommons.org/licenses/by/4.0/">Creative Commons Attribution 4.0 International License</a>. All rights reserved. Please credit <a href="https://corkfilmfest.org/">Cork International Film Festival</a> &amp; provide a link back to this site. Format The file format, physical medium, or dimensions of the resource PDF Language A language of the resource English, eng; Irish, gle Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1956- Cork, Ireland Description An account of the resource A selection of programmes from the Cork International Film Festival. Subject The topic of the resource Cork Film Festival Programmes Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1992 Cork Film Festival programme content Subject The topic of the resource Cork Film Festival, Mick Hannigan, Fran Bergin, Donal Sheehan, Michael Martin, Lord Mayor, Kieran O'Connor Creator An entity primarily responsible for making the resource University College Cork, Cork Film Festival Source A related resource from which the described resource is derived Cork Film Festival Collection Publisher An entity responsible for making the resource available University College Cork Rights Information about rights held in and over the resource <span>This item is licensed under a </span>Creative Commons Attribution NonCommercial-NoDerivatives 4.0 International (<a href="https://creativecommons.org/licenses/by-nc-nd/4.0/">CC BY-NC-ND 4.0</a>) licence<span>.&nbsp;Please credit the&nbsp;</span>Cork International Film Festival Archive<span> and provide a link back to the site.</span> Language A language of the resource English, eng Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Cork, Ireland Description An account of the resource This is a PDF of the 1992 Cork Film Festival programme. The cover, designed by Kieran O'Connor, depicts a photographic montage of a gritty realist scene comprising a large silver film reel in the upper right corner against a concrete distressed-coloured grey/blue-black background tinted with reddish tones. The programme includes an introduction by Donal Sheehan (programming director) and Fran Bergin (administrative director) and references the recent departure of the festival director Michael Hannigan.<br /><br />The programme notes the success of the 1st Irish Lesbian and Gay Film Festival held in 1991 and includes the details of the 2nd Irish Lesbian &amp; Gay Film Festival. Films that year include <em>The Crying Game</em> (Neil Jordan, 1992), <em>You, Me &amp; Marley</em> (Richard Spence, 1992) and <em>Hello Stranger</em> by Ronan O’Leary (1992). O’Leary was present to introduce his film that year. Programme notes include Focus on Michael Apted (page 37). Date A point or period of time associated with an event in the lifecycle of the resource 1992 Relation A related resource <a href="https://corkfilmfest.ucc.ie/items/show/114" target="_blank" rel="noopener">1992 festival cover</a> <br /><a href="https://corkfilmfest.ucc.ie/items/show/79" target="_blank" rel="noopener">1992 festival poster</a> Format The file format, physical medium, or dimensions of the resource PDF Type The nature or genre of the resource Programme Contributor An entity responsible for making contributions to the resource Kieran O'Connor, Donal Sheehan, Fran Bergin, Lord Mayor Michael Martin Donal Sheehan Festival Staff Fran Bergin Kieran O'Connor LGBT Lord Mayor Michael Martin Mick Hannigan Ronan O'Leary https://corkfilmfest.ucc.ie/files/original/095fd7999cbafd3f46ffa27101b5535f.pdf 9d43ec18e705e9e52ece2fc9aa4bbfc2 PDF Text Text �TOM BROSN.1 Lord Mayor I am delighted once again on my own behalf and on behalf of the people of Cork to extend a warm welcome to visitors attending the 32nd Cork Film Festival. I congratulate the Chairman, Executive Committee, Directors and the many unsung heroes who make this festival possible. The Film Festival has been a part of Cork for many years and holds a special place in the affections of Corkonians. After a number of lean years the Festival has made a remark­ able comeback due to strenuous efforts and the backing and generosity of many individuals and companies. The Festival would not have survived without the support of the ordinary people of Cork. Long may this support continue and increase. f- I wish the Festival every success and hope that the undoubted potential is achieved. 32nd CORK FILM FESTIVAL PRESIDENT The Right Honourable, The Lord Mayor of Cork, CouncillorTom Brosnan I ► EXECUTIVE COMMITTEE Charles Hennessy, Chairman Jack Casey Dick Langford Tiernan McBride Michael O'Connell Robin O'Sullivan Aidan Stanley DIRECTORS Theo Dorgan Michael Hannigan ADMINSISTRATION John Kelly, Office Fran Bergin, Finance Neil Crowley RECEPTION & REGISTRATION Anne O'Sullivan Anne Kennedy PRESS OFFICER Robert McDonald Camille Dorney, Assistant PRODUCTION MANAGER Ger O'Riordan TRANSPORT Donal O'Sullivan THE TRISKEL TEAM Robert McDonald Anne O'Sullivan Vai Bogan Ger O'Riordan Mary Buckley Noreen Thornton Tony Sheehan Barry Fitzgerald James Kearney Harry Conboye Kevin Breen Kay Stanton Liam Leisk Tom Foley and our magnificent Corps of Volunteers ACKNOWLEDGEMENT The assistance of the Department of Labour Social Employment Scheme is gratefully acknowledged PROJECTIONISTS Declan Lynch John McEvoy courtesy of RTE AUDITORS Arthur Young and Company SCHOOLS PROGRAMME CO-ORDINATOR Stephen Daunt PRINTED BY Guy & Co. Ltd., Cornmarket Street, Cork EEC JURY CO-ORDINATOR Mark Hathaway COVER DESIGN & POSTER John Murphy Signrite SPECIAL THANKS TO Katie Burgess Donna McNamara Ben O'Reilly Helen Farrell Stephen Dorgan �CHARLES HENNESSY We continue the proud tradition established over thirty-two years of bringing the best of national and international cinema to Cork and Ireland. Few of the world's festivals can boast such a continuity in age, and we are, I hope, justly proud of our record. Chairman We are again indebted to Theo Dorgan and Michael Hannigan, our two Directors. They did a magnificent job last year, and I am sure that this year will see their and our plans for the continued growth of the Festival carried significantly forward. Between them they have been at Cannes, Berlin, Moscow and the Celtic Film Festival; no effort has been spared in assembling the best possible programme of films, and I am confident that for entertainment, excitement and intellectual challenge our programme can have few equals. We are again supported by an absolutely marvellous team of workers within the Triskel Arts Centre, by our many sponsors, and by a large and enthusiastic corps of voluntary workers who continue to give of their time and talent unselfishly to the art of film and to the advancement of this city. i I am glad that we will again be 'breaking bread' with our visitors from San Francisco, and we are immensely pleased that the relationship between the City of San Francisco and the City of Cork continues to flourish. The Cork Enterprise Board deserves our thanks for helping to organise this visit of our friends, and I take this opportunity to thank those friends, present and absent, who have so generously contributed towards the cost of running our Festival. On a sad note, I have to report the recent death of a man whose life was devoted as much to this Festival as it was to our City, my predecessor Mr. A. A. (Gus) Healy. With Der Breen a founding father of the Festival, he did an enormous amount to make this and other festivals in the City a reality. He will be sadly missed. BeannachtDe lena h-anam. It is our aim to present to you a programme that we hope contributes to the advancement of film as an art form, and our further hope that we may as best we can be of assistance to film-makers. We also hope, of course, to play our part in the continuing struggle to build Cork into Ireland's Festival City. And so, on behalf of my Executive Committee, I extend to you our audience, and especially to our many visitors, a hearty welcome. i Irelands Fastest Growing Container Port Port of Cork Offering a Fast, Reliable, First Class Service Now five lines operate weekly services to European Ports in addition to scheduled Mediterranean and Scandinavian Services. And remember Tivoli Container Terminal is now Rail connected. Contact the Marketing Manager for full details. Cork Harbour Commissioners CORK Telephone 021-273125 Telex 75848 Fax 021-276484 >■ �THEO DORGAN Director 'To live your life is not so simple as to cross a field'. Boris Pasternak. Lurching from cinema to cinema at Cannes, or cursing down the phone at a reluctant if not downright obstructive distributor, or trying to field three telephone calls at once while editing a synopsis for our infinitely patient printers-there have been many occasions in the past twelve months when that line from Pasternak came whispering through the back of the mind, bringing, if not exactly calm, then at least perspective. Running a festival can be like riding the dragon - you're thrown all over the place, but nobody believes in dragons. So the first toast is to all those - staff, volunteers and friends alike who helped us put manners on the beast. The second toast is to all those, from the axed Film Board through to the last volunteer, whose belief and faith in the necessity of this Festival fed, clothed and housed the beast. A third toast to all film-makers and their distributors for making it possible for us to present a first-rate programme of film - the sparkling jewellery of the beast in its final form. The toast we are proudest to offer, though, is to our audience: it isn't only that last year we had such a huge increase in numbersthough that was sweet - what has cheered and encouraged and sometimes humbled us is the quality of response. We have been deluged with praise, advice, criticism, suggestions, for the past twelve months. And that, we believe, is how it should be: the audience stands for history sitting in judgement, on the films and on our work. Our business is to pick the best films we can, to present a rounded, balanced programme of work from all genres of film, from the four corners of the earth. The audience alone judges. Have fun! MICHAEL HANNIGAN Director j 1 It has been a good year for film. The effect of glasnost on Soviet film­ making is reflected in our four excellent features from the USSR: The Theme, Golden Bear in Berlin, Robinsonade, Camera D'Or in Cannes, Plumbum, and the stunning Letters Of A Dead Man. Francis Coppola's Gardens Of Stone heads up the American contribution, chiefly notable this year for a strong presence from the flourishing Independent sector, covering features, documentaries, shorts and experimental films. See, in particular, our programme of experimental film from San Francisco, the powerful documentaries Witness To Apartheid, Breaking Silence, Cuba: In The Shadow Of Doubt and the fascinating and entertaining Broken Noses and Sherman's March. \Ne feel we have got the mixture right, between the rough-edged and the glossy, the high-budget and the no-budget (see Three Bewildered People), the comic, the challenging, the imaginative, the profound. We have new films from Eric Rohmer, Volker Schloendorff, Francis Coppola, Pat O'Connor, Kem McMullen and Humberto Solas, and among countries represented are Denmark {Babette's Feast), Hungary {The Wall Driller), Germany {Tommaso Blu, The Little Attorney), Australia {Travelling North - Best Actor Award Montreal 1987 for Leo McKern), the list is long. Our opening film, from Mali, is the wonderful and magical Yeelen. From established Irish film-makers we have Budawanny (Bob Quinn), Celebration Of Light (Louis Marcus) as well as work by new names such as O'Leary, Tighe, Twomey, O'Neill, O'Riordan and McCallion. We are particularly pleased to be opening the Festival with Aidan Hickey's award-winning An Inside Job. Cork Film Festival is not just a series of screenings. It is our policy to invite film-makers to introduce their work, to be available for formal workshops and informal discussions after the screenings. This year we are pleased to welcome to the Festival Constantine Lopouchanski {Letters From A Dead Man), Peter Wollen {Friendship's Death), Ken McMullen and Tariq Ali {Partition), Doris Chase, the subject of our 'Focus On' element and many others yet to be confirmed. One title which must receive special mention is the Dreyer classic The Passion Of Joan Of Arc with live accompaniment by the RTE Concert Orchestra. This, our Gala Closing event, is an experience not to be missed. 5 �Booking Information membership of tho 2O9S rS a,r robliged t0 become members of the 32nd Cork Film Festival Association in order to purchase tickets for admission to screenings. The membership fee is £1. Membership is open to those over eighteen years of age. Membership is non-transferable and card must be produced when buying tickets for screenings. Members may purchase admission for one guest for each screening. Members are advised that seats must be occupied ten minutes before a programme begins. We cannot guarantee that seats will be held. 1 TICKET PRICES Season Tickets: £35 and £30 (concessions), valid for all screenings and Festival Club. This includes membership. Individual Screenings: Opera House, £3 and £2.50 (concessions); Triskel Arts Centre £2 and £1.50 (concessions). GALA CLOSING 'The Passion Of Joan Of Arc' with the RTE Concert Orchestra. All seats £8. ADVANCE BOOKING Tickets for all screenings including the Gala Closing in the Opera House may be booked in advance. Box Office hours for advance bookings: 10.30 a.m. to 7.30 p.m. Telephone bookings with Credit Card: Ring (021)270022. I I I I Tickets for screenings in the Triskel Arts Centre will be available at the door. CONCESSIONS Concession rate tickets are available to those with appropriate ID-student card, unemployment card, pension book. To buy an Opera House ticket at the concession rate please collect a coupon at the desk marked CONCESSIONS in the Opera House Foyer. At the Triskel Arts Centre please show appropriate ID at the ticket desk. GRANT AID Bord Scannan na hEireann /The Irish Film Board Cork Corporation Radio Telefis Eireann Commission of the European Communities Cork County Council San Francisco Sister City Committee Cork Enterprise Board SPONSORS Henry Ford and Son Ltd. Penn Chemicals Allied Irish Bank Bank of Ireland PATRONS C.A.B. Motor Co. Ltd. Beamish & Crawford Statistical Software Ltd. Coras Trachtala Guy & Co. Ltd. Barry's Tea Ltd. Touche Ross Apple Computers Smurfit Print & Packaging Sheehan & Sullivan Ltd. Coal Importers Stokes Kennedy Crowley & Co. Allied Irish Banks Jury's Hotel, Cork Murphy Brewery Ireland Ltd. Cork Savings Bank Cleanaway Ireland Ltd. Tivoli Spinners Ltd. Cork Marts B & I Line Sables, Pembroke Street Colourfilm Services, London Gunther Wulff Film Services Aer Rianta James Bruen O'Sullivan Public Relations Alec Morrogh Southern Electronics Mathews Mulcahy & Sutherland Ltd. Arthur Young & Co. Iprodex Note: List of sponsors and patrons is correct at time of going to press, an up-to-date list is on display in the Opera House Foyer. Smoking is not allowed in the cinemas. All inquiries to Information Desks in Opera House Foyer or to Triskel Arts Centre Telephone inquiries to: (021) 272022. 7 I �CORK OPERA HOUSE Friday / 25th September, 1987 8.30 p.m. —■ SsY-YY Ms ' official^ -■ •— ■■ ------ " ~ YE N Souleymane Cisse 1987 Leading Players I 1 Issiaka Kane, Aoua Sangare, Balia Moussa Keita, Ismaila Sarr', Niamanto Sanogo Script Sekou Ouedraogo, Fanta Traore Photography Jean-Noel Ferragut, Jean-Michel Humeau Dounamba Coulibaly, Editing Andree Davanture, Marie-Catherine Miqueau, Jenny Frenck, Seipati N'Xumalo Les Films Cisse Executive Producer Michel Portal with Salif Keita Music Production Company Les Films Cisse Export Agents Les Films du Volcan, 16-18 Rue Vulpian, 75013 Paris, France s* AN INSIDE JOB Aidan Hickey Ireland Animation 1987 Colour 10 minutes 20 seconds Aidan Hickey, Conrad Wimerlich Liam 0 Rinn Editing Aidan Hickey Producer Grafliks, 25 Mount Prospect Park, Production Company Clontarf, Dublin 3, Ireland Strange tale from a dentist's surgery. The dentist is called away in media res and is replaced by a mysterious stranger, who proceeds to carry out his own kind of operation on the patient's mouth. A black comedy from Dublin film-maker, Aidan Hickey, winner of the 1987 Prix de fa Jeunesse at Annecy. F Colour Mali 105 minutes Subtitled The film narrates a journey, a sort of initiation, at the cross­ roads between childhood and manhood. The hero, a very young man, is about to be granted the special knowledge for mastering the surrounding forces, a knowledge which has been the privilege of the Bambaras across generations. The father intends to prevent his son from becoming an equal: his plan is to kill him, but the mother rescues her son, and sends him away. During the journey the young man gathers the elements of the ultimate knowledge and brand-new powers with which he will confront his father. "The most convincing magic I have ever seen on screen" Paddy Woodworth. * PVe would especially like to thank Les Films du Volcan, Paris, and the New York Film Festival, for making this screening possible. Their co-operation was quite exceptional. �I I CORK OPERA HOUSE Sunday, 4th October, 1987 8.30 p.m. — galaO 32nd CORK FILM FESTIVAL in association with RADIO TELEFIS EIREANN presents THE PASSION OF JOAN English Intertitles OF ARC Carl Dreyer France 1928 109 minutes with Falconetti, Antonin Artaud with the RTE CONCERT ORCHESTRA 4 Leader Alan Smale Conductor Gareth Hudson Music composed by Leo Pouget and Victor Allix Orchestrated by S. V. S. Schultz The Passion OfJoan OfArc has never been seen in Ireland. One of the last classics of the silent screen, it is claimed both by proponents of the avant-garde and of realism. Dreyer's project of 'revealing the soul beneath the facade' prompted Andre Bazin to call the film 'extremely realistic and mystical'. Based on the transcripts of the trial, The Passion OfJoan OfArc compresses the twenty-nine recorded examinations into a single day. Falconetti's hypnotic performance is the living heart of this superb film. Although one version of Dreyer's classic was in circulation for many years, historians have only recently become aware that it differed in a number of ways from Dreyer's original concept. Thanks to the discovery of an original print in Norway in 1984, it has been possible to reconstruct the film once more to incorporate not only the brilliance of its photography but also the remarkable rhythm of its editing. The Directors wish to express their appreciation to John Ranelagh and Peter Flood of Channel 4 Television, to Mr. Peder Bach of the Odense Symfoniorkester and to Nigel Algar of the British Film Institute for their invaluable assistance with this project. Tickets for the screening are £8. Season tickets are valid for this screening also. 11 �Focus on Doris Chase The Festival is pleased to welcome to Ireland one of the most outstanding of contemporary American artists. Painter, sculptor, film and video-maker, her work has been honoured atthe Berlin Festival, atthe London Film Festival, in the Pompidou Centre among others. Her work explores deep currents of feeling. Her video work in particular has been described as bringing 'another dimension of visual and experimental depth' to the work of those women poets, actresses and dancers with whom she has collaborated. Each work is at once an exploration in video art, theatre and the critical issues facing women today economic and emotional stability, racial identity, relationships. We will be screening three programmes of Ms. Chase's work, and the film-maker herself will be present at each screening. Programme I DEAR PAPA 1986 28 minutes DORIS CHASE: APortraitOf An Artist Robin Schanzenbach USA 1984 28 minutes A splendid documentary from Schanzenbach, featuring work from the thirty-year career of Doris Chase, intercut with clips from her prizewinning films from the 60's to the present. A wonderful intimate view of the artist, Portrait is also a general historical introduction to video art and is inspiring in the study of dance, drama and the mixed media. From the By Herself senes TABLE FOR ONE 1985 25 minutes i Starring Anne Jackson and Roberta Wallach, the film portrays a mother and a daughter, exploring their differing views about the man who is 'papa' to one and 'gramps' to the other. Memories are shared as we hear the grand­ daughter's uncomplicated remembrance of a supportive man juxtaposed with the daughter's more complex recol­ lections. 1 Programme II From the Concept series Geraldine Page portrays a handsome professional woman dining alone in an elegant restaurant. Though she sits by herself, the room seems crowded with people and events of her life, told to us in a virtuoso monologue that details the pleasures, doubts and satisfactions of being a woman The Concept series is composed of collaborations with accomplished off-Broadway theatre artists. In these trans­ lations of theatre to screen Chase gives a new visual dimension to words, emotion and dramatic theatre. Video effects are woven in and out of the narratives to punctuate dramatic perspective, and to make visual an emotional intensity. Imagination is extended by creating a flow between the interior and exterior of a personal perfor­ mance. successfully on her own. 13 �ELECTRA TRIES TO SPEAK 1980-83 30 minutes THULANI 1980-83 30 minutes s > Electra is all women trying to speak, in a modern inter­ pretation of the classic Greek tragedy. Through the sharp, cogent script and the vital, infinitely varied playing of Sondra Siegel, Electra becomes as much experience as performance. Coherence overlaps with freeze-frame con­ fusion; the clear, determined statement is always blurred with flitting doubts, images passing through images to be frozen for an instant before another anxiety or mask wipes them out. Written by Clare Coss, Sondra Siegel and Roberta Sklar. The poetry creates an emotional expanse of the southern black experience: the visual imagery punctuates dramati­ cally the honesty of the words, bridging the personal with the universal. The dichotomy between the performance and the visual effects is similar to the contrast between woman and woman as artist, the mundane and the imaginative. Thulani's voice takes you on a journey from the black Mississipi delta to the teeming streets of New York. Written and performed by Thulani Davis. Music by Anthony Davis. TRAVELS IN THE COMBAT ZONE 1 1 i 1980-83 30 minutes A woman's view of the harsh and beautiful realities of city living, her travels through the eternal combat zone of cities and men. 'Pearl' marries a slick dancer who takes a mistress (who was, some said, actually close to thirty), wears rhinestoned dresses, goes to the movies mostly alone and sings to an empty house Lover Man, Where Can You Be ? Musical, pungent, gutsy, in search of love or solitude, Travels In The CombatZone tells what it is to be a woman, to be 'in search of ... Z Written by Jessica Hagedorn, performed by Mary Lum and Maralyn Amaral, with music by Butch Morris. WINDOW 1980-83 30 minutes Window is about memory, not as an act but as form. The script's language moves through memory-scapes and non-linear thinking, and selected elements are visually abstracted. Written by Linda Mussman and performed by Claudia Bruce. Programme III From the Dance series 'The Doris Chase Dance series was conceived and produced to develop the field of dance for television. Using her kinetic sculpture and video technology, Chase created a wholly original hybrid'. Videodance 'As beautiful as anything I've seen in the movies'. Roger Greenspun, New York Times CIRCLES 11 1976-79 14 minutes plus TALL ARCHES 1976-79 6 minutes The Mary Staton Dance Ensemble performs with Doris Chase's Kinetic Sculptures producing overlapping coloured silhouettes. VARIATION TWO 1976-79 11 minutes Dancer/choreographer Sara Rudner in a video variation to music by Joan Labarbara. 14 ill �DAi Dancer, \ .'i 1976-79 6 minutes ;Sr Kei Takei in a duet with sculpture. DANCE TEN 1976-79 10 minutes 5-79 Cynthii processed 8 minutes >-:iet in a duet with video­ ;. . .... elf. DANCE FRAME 1976-79 7 minutes Sara Rudner juxtaposed with geometric form of colour and line. JAZZ DANCE 1976-79 4 minutes Jonathan Hollander in a rhythmic duet with Chase's rocking synthesised sculptures. ? DANCE SEVEN 1976-79 8 minutes Marnee Morris of the New York City Ballet; recurring close­ ups of her remarkable footwork with video effects become a metaphor for the dance as a whole. I I Stunning animation with Gay Delanghe dancing to the music of Jelly Roll Morton and the Uptown Lowdown Jazz Band. Awarded at twelve international festivals. Please Note: Programme 111 will be screened on video. �on ZLLARff 3HT LTD national .AL - NATIONWID * ■ ■ft Air Freight Agents * Sv . Sea Freight Agents * Warehoi □using * Haulage * F , ' Freight Forwarders * E CONTACTM E.G. Walsh .. ' ‘Jr. .1 or Mr. J. Greene (021) al 1427/311880 -- ./ 311427. LJ^ix Haltone Industrial Estate, Airport Rd, Te/e* 75482 Cork 11 ncon-paraoiseMUSIC BAR C<D~€C"S NIGHT Marlboro street CLUB cork SOUND AND VISION FOR MUSIC DANCING MEETING •restaurantMUSIC BAR 1 Tel: (021) 277166 4 CARA CABS 18 MacCURTAIN STREET, CORK. 24 HOUR HACKNEY & TAXI SERVICE 50-57-22 NO CALL OUT CHARGE no extra passenger charge NO UNSOCIAL HOURS' CHARGE NO EXTRA CHARGES FOR PACKAGES 4 for the price of one Live mu sic upstairs at Rcdz on Fridays and Saturdays Tel: (021) 273809 Special Family Sunday Fares at attractive rates INSTANT STAR ★ GIFTS �BOUN OF FILM-MAKING Experimental Films from San Francisco The mutual commitment to cultural exchange between the cities of Cork and San Francisco is reflected in this special pro­ gramme of film. We are grateful to Karen Holmes and to the film-makers repre­ sented in this programme for their enthusiastic co-operation, and we look forward to a deepening of the relationship between the Festival and the San Francisco film community. | 1 "San Francisco has long been a centre for experimental and independent film-making. Artists throughout history have been working on the fringes of society as do film artists who often work outside the commercial world of film. We are fortunate here in San Francisco in that there are numerous organizations run by film-makers and public exhibition sites which make it possible for film-makers to work with a sense of support and community. There are also regional and international film festivals in the Bay Area which regularly include a selection of experimental work in their programming. The historical richness and diversity of choice in this large and vital community makes the task of selecting a show all the more difficult. Rather than organizing the programme by theme or style, I elected to bring together a group of newer films which represent the plurality of issues and approaches to experimental film-making that exist in the San Francisco community. Some of the film-makers repre­ sented have made just a few short films, others have been making films for over fifteen years. The works which make up this programme explore the boundaries of film-making. These independently produced films may continue the traditions of avant-garde and experimental cinema in formal or narrative explorations or may investigate controversial or offbeat subject matter. Concerns represented in the programme extend from social issues to deeply personal and introspective views of life experience. These works ask the viewer to reconsider his/her expectations about film, to be willing to engage with unusual, often unexpected and sometimes even disturbing aspects of the films. Experimental film-making encourages the audience to take an active role in viewing new and challenging film forms." Karen Holmes, Curator, Boundaries Of Film-making I i 17 �DECIDUOUS Programme I Lynn Kirby 1982 Colour/Sound 17 minutes 16 mm YELLOW ARIA Tina Bastajian 1986 Colour/Sound 13 minutes 16 mm Antonioni meets Godard (in Italian, English and silence, with subtitles) in this 'symptomatic view of the lover at work' (Roland Barthes' A Lover's Discourse). Constantly on the edge of the moments when passion and neurosis overlap, Yellow Aria layers different forms of expression - theatrical gesture, opera, subtitles, dialogue - in humorous and ironic series of confessional vignettes. 4891 Tim Blaskovich 1984 Colour/Sound 3 minutes 16 mm Always the centrepiece of the Chinese New Year Celebra­ tion, the Lion Dance seen here is a condensed series of mocking gestures and silky spectacle. The film-maker joined the throngs of people celebrating the new year 4891 as they gathered to share in the Lion's exuberant and colourful procession along the streets of San Francisco's Chinatown. AMBI VALENCE WHITE PASSAGE David Gerstein * A film about learning and memories which surface to distort present moments. The seasons change and so do the facts. Bright coloured images trigger events — past experiences influence today's political convictions. L.K. 1982 Colour/Sound 5 minutes 16 mm Ambi Valence is concerned with a way of apprehending film in which perception and interpretation operate on multiple levels. The viewer is allowed to make his/her own way through the work, moving from internal response to external representation/illusion/reflection at will. Ruby L. B. Yang 1986 Colour/Sound 10 minutes 16mm I VIOLENT Sal Giammona 1985 Black&White/Sound Violence is rendered abstract. 10 minutes 16mm EPHEMERALITY Marion Wallace 1979 Colour/Sound 4 minutes 16 mm Torn paper animation and live action, abstract cinema with a multi-layered sound track. The project started out to be a film of a painting painting itself, but eventually worked its way off the stand. M.W. 18 This personal film deals with the psychological experience of a woman whose baby was born dead. R.L.B.Y. �REACTION VALLEY r - ■ . ■ Eric Sayetta 1984 Black & White/Silent 3 minutes 16 mm Stephanie Beroes 1979 Colour/Sound 20 minutes 16 mm Inspired by Merleau-Pontys statement, 'there is a perpetual uneasiness in the state of being conscious! this film has to do with questions of perception, the way we see things. In an experimental, non-narrative context, the film presents a man and a woman who carry on a disjunctive conversation superficially about the effects of illness on perception, actually about their mutual inability to perceive the world from any way other than a personal viewpoint. They each set up a film projector and show each other footage of their respective hallucinations under the influence of a fever - images of the desert, palms, swimmingpools, and the American suburban landscape. The hallucination sequences make a lyrical counterpoint to the formal, structured lip-sync sequences. S. B. RETURNING THE SHADOW Karen Holmes 1985 Colour/Sound 23 minutes 16 mm am interested in the relationship between the landscape and the living things that occupy it. In Reaction, I use texture, shape and motion to explore some of the ways in which animals take on qualities of their surroundings. E. S. i 1 SCENIC RUPTURES Lynne Sachs 1986 Colour/Sound 3 minutes 16 mm Inspired by the Californian garage band sound of Camper Von Beethoven, Scenic Pictures is an experiment in lost and found art. It is a unified yet imaginary world of found footage, animated form and scribble. L. S. Programme 11 VISIBLE INVENTORY NUMBER NINE: Pattern of Events Janis Crystal Lipzin 1981 Black&White/Sound 12 minutes 16mm Old family photographs invoke memories and invite comparison to the present. Using five family photographs taken in the 1940's Returning The Shadow considers how the meaning of these visual documents changes with our life experiences. The film's circular structure allows the viewer to contribute personal experience in an effort to identify the characters in their relationships and to reflect on one's own identity within his/her family. Returning The Shadow explores the tension between recorded and remembered past and present as it creates its own internal memory. K. H. HEART LIKE A LITTLE FIST Ted White 1985 Black&White/Sound 6 minutes 16 mm A lyrical meditation on childhood and growing up. K. H. 19 �iskel Arts Centre, Saturday, 3 U-., Triskel Arts Centre, Thursday, 1 October, 11_arn AUBREY WILLIAMS: The Mark Of The Hand ARGENTINA - THE BROKEN SIU:-Victor D. Fridman Imruh Caesar USA 1986 Colour 59 minutes Part subtitled Britain 1986 Colour 52 minutes 3 ■ I I Houston International Film Festival, Silver Award; National Educational Film Festival, Silver Apple; Atlanta Film & Video Festival, Best Documentary; Sinking Creek Film Festival, Documentary Award Victor D. Fridman Script Victor D. Fridman Photography Production Company Victor Fridman Productions, 104 Chester Avenue, Fairfax, Ca 94930, USA Argentina - The Broken Silence is a socio-political docu­ mentary outlining Argentina's history from the Peron era to our time; an era ruled by military dictatorships that led to the victimization of 20,000 to 30,000 Argentinians during the years 1976-83. In 1982, after an ill-conceived war with England over possession of the Malvinas/ Falkland Islands, the nation suffered a humiliating defeat and forced the military leadership to relinquish their political power. Awards I i In their darkest hour, the people of Argentina seized the opportunity to elect a new democracy. Led by Raul Alfonsin, the newly-elected government ushered in a new era of hope by restoring freedom and democracy to the nation. For the first time in history, former military dictators were brought to trial and forced to account for their crimes against humanity. Argentina - The Broken Silence is about the dramatic struggle of the new democratic government and its attempt to break the chain of military dictatorships which had controlled Argentina during the last fifty years. 20 Photography Editing Sound Producer Production Company Export Agents Chris Cox Stuart De Jong Albert Bailey, Keith Desmond Henry Martin Kuumba Productions The Arts Council of Great Britain, 105 Picadilly, London W1V OAU, England Aubrey Williams was born in Guyana, on the Caribbean coast of South America in 1926. His early interest in painting was influenced by E. R. Burrows and the Working People's Art Group, still a unique development in the English-speaking Caribbean. But his family insisted he needed a 'proper' job and he became an agricultural officer. It was in this capacity that he was sent to Hosororo in the far north-west of the country to take up a post at an experimental agricultural station. He came into contact with pre-Colum­ bian art in the form of rock paintings or 'timehri', an Arawak word that translates literally as 'the mark of the hand'. His experiences were decisive in forming his identity as a painter and have remained a creative source for his paintings. In 1952, Aubrey came to England to study agricultural engineering. He soon abandoned his studies to devote his time fully to painting. Today, his work is exhibited inter­ nationally. Living in England sincethattime, he admitsto a sense of being in 'an aesthetic desert', overlooked by most critics. Despite his involvement with European avantgarde art he is still a distinctly Caribbean artist, drawing on the myths of pre-Columbian culture and the landscape of Guyana for subject matter and inspiration. �Cork Opera House, T. •somber, 8.30 pm BABETTE'S FEAST Babette's Gaestebud Gabriel Axel Denmark 1986/87 Colour 105 minutes Subtitled Triske! An. ’ ' • -30 pm breaking silence Teresa Tollini Director/Producer USA 1985 Colour 58 minutes I Leading Players Stephane Audran, Jean-Philippe Lafont, Gudmar Wivesson, Jarl Kulle, Bibi Anderson Script Gabriel Axel from the novel by Karen Blixen Henning Kristiansen Finn Henriksen Just Betzer Photography Editing Executive Producer Music Per Norgard Production Company Just Betzer, Panorama Film International in co-operation with Nordisk Film A/S and the Danish Film Institute Export Agents The Danish Film Institute, P.O. Box 2158, DK-1016 Copenhagen K, Denmark Babette, an exile from Paris in the days of the Commune, finds herself an exile in Denmark, in a little fishing village on the chilly coast of Jutland. Here, for years, she dutifully does the chores for two elderly sisters, Danish daughters of the manse, in an atmosphere of the utmost frugality, gentility and piety. But in Paris, Babette had been the famous cook at a famous restaurant, and destiny intervenes to allow her one final chance to exercise her art — to create magic, in a sense, for the last community capable of appreciating the source of their own pleasure. And Babette, in her turn, does not know that one ofthe quiet old ladies ('little ladies' in her patronising phrase) could have been a great singer, and the other have led a glittering social life. It's a diamond-bright story, faceted with irony, humour and regret, but one realises, on re-reading it, that Axel nas managed the impossible and improved on Dmesen. He holds fast to the story's values, but fills out some wispy outlines of character, elaborates agreeably on the prepara­ tion of the dinner, creates a setting around it. And it s Awards Special Jury Award, Hemisfilm International Festival, Bronze Hugo, Chicago International Film Festival, Blue Ribbon, American Film Festival Script Michelle Morris Photography Frances Reid Editing Jennifer Morris Music Paul De Benedictus Production Company Futura Educational Films Inc., 1628 Union Street, San Francisco, Ca 94123, USA A powerful film which pulls the sexual abuse problem out of the shadows, Breaking Silence treats the subject of incest and the process of healing through the personal stories of adults molested as children, mothers of victims, and perpetrators. Interwoven with personal stories are family photos, home movies, newspaper headlines, and drawings and paintings by children who have been molested. As we witness the struggle and transformation these victims of incest go through to become survivors, Breaking Silence gives strength and hope to those who are just beginning their own process of healing. Breaking Silence breaks many myths about incest and the sexual abuse of children, educating viewers to some of the underlying causes of this crime and directly speaking to families in which this is or has been occuring. "This is a film that speaks of the heavy burden incest places on the child to struggle to be free. It celebrates the courage of that struggle so vividly. Viewing it strengthens our alliance with children everywhere". Alice Walker, Author his cailles en sarcophage. Penelope Houston, Sight and Sound 21 �Triskoi Arts Centre, Monday, 28 September, 11 am BREAKTHROUGH - A Portrait of Aristides Demetrios Eames Demetrios USA 1986 Colour 45 minutes Cork Opera House, Sunday, 27 September 4 nn, BROKEN NOSES Bruce Weber USA 1987 Colour, Black & White Leading Players Producers Eames Demetrios, Donald Bull Photography & Eames Demetrios Editing Production Company Eames Demetrios, 1448 Seventh Street, 5 Santa Monica, Ca 90401, USA A beautiful statement, both artistically and personally, Breakthrough is a documentary about San Francisco sculptor Aristides Demetrios, made by his twenty-fouryear-old son, Eames. Such a film runs the risk of being too reverent, too intimate, or just plain dull as it attempts to translate the mysterious process of artistic creation to the exceedingly naked screen. Fortunately, however, Breakthrough manages to avoid these pitfalls, opting instead for a truly fascinating look at a man in love with his strange work and the relationship of that work to the world. I use the word 'strange' because that's what it might seem to many of us: Demetrios creates abstract steel monuments of monolithic proportions and lives much of his life encased in a welding mask and suit, surrounded by sheets of metal in a warehouse. But the beauty of the film lies in its deft exploration of the intriguing contrast between the cold of the steel and the warmth of the dream, the precise calculations of the mathe-matician and the unbridled sensuousness of the resulting geometric forms. There is something unspeakably sweet about watching Demetrios explode with joy at the dis-covery of the perfect metal scrap, and knowing that the world, to him, will always be brand-new as long as there are shapes and textures to behold and mould. L. A. Weekly Andy Minsker and the kids from Mt. Scott Boxing Club Photography Jeff Preiss Editing Phyllis Famiglietti Executive Producer Steven Cohen Associate Producer Nan Bush Music Julie London, Chet Baker, Robert Mitchum, Danny Small, Gerry Mulligan, Joni Jones, Ken Nordine Production Company Steven Cohen and Kira Films Export Agents Nan Bush & Bruce Weber, 135 Watts Street, New York 10013, USA In the Summer of 1983 at the Colorado Sports Festival, I was photographing, tor Interview Magazine, all the young athletes who had a chance to go to the Olympics. We had photographed a boxer from the Navy named Nathan Houser. He wanted to show off his body so he chose to wear a very small old-fashioned bathing-suit. This got back to the boxing federation when Nathan told them that we forced him to wear it. We were then banned from photographing the rest of the Olympic boxing team even though we went before the boxing federation at the festival. One day, a lightweight boxer, Andy Minsker, came to be photographed. He looked like a young Chet Bakerwhen he was playing his trumpet in Rome. We asked him why he came. He said, 'They told me I was forbidden to come meet you. They said that you'd give me a weird haircut and make me wear skimpy see-through clothes, and who knows what else you'd do to me, and I thought, that's all I needed to hear, I'm on my way'. This is an experimental film in colour and black and white, about being macho. It is a story about a professional lightweight boxer, Andy Minsker, and his small boxing club in Portland, Oregon. The club consists of twelve boxers between the ages of ten and sixteen. Most ot tne kids are from broken homes and many of their parents are in prison. The film traces Andy's boxing career with tne U.S. Olympic Boxing Association, his fights in Las Vegas and his training of the young men whom he s aimo adopted as his own sons. This is my first film. Bruce Weber j �Triskel Arts C.? >ay, 3 October, 4 pm . jber, 11am BUDAWANNY Bob Quinn Ireland 1987 Colour, Black & White 80 minutes Leading Players ! Donal McCann, Maggie Fegan, Tomas 6 Flatharta, Freda Gillen, Sean 6 Coisdealbha, Peadar Lamb, Oliver O'Malley Script Bob Quinn Photography Seamus Deasy Editing Martin Duffy Executive Producer Tiernan McBride Music Roger Doyle Production Company Cinegael, Carrore, Co. Galway, Ireland Clare Island, a remote outpost of the West of Ireland governed by tradition - a place where life is set against a backdrop of Irish culture, crafts and music, ruled by traditional values. And, traditionally enough, the parish priest provides a central point towards which all activities are directed. Ubiquitous and dedicated, he covers every inch of the island on an antiquated motor-cycle, ministering to the spititual and, more often, the human needs of a scattered but faithful flock. Devoted to them, they return his humour and kindnesses with affection, trust and total acceptance of him and all he represents. This comfortable relationship is considerably altered by the arrival on the island of a beautiful young girl who comes to visit him and remains to become his housekeeper and, ultimately, his lover. The community's suspicions, already aroused,,are con­ firmed by a Sunday sermon during which the priest announces that he is to be a Father in more than one sense, and that he intends to remain as parish pries look after the child and its mother. With the support .of some of the islanders he takes on the antagonism of the remainder, and the vast and powerful bureaucr y Catholic Church. CHELA - Love, Dreams and Struggle in Chile Lars Palmgren Sweden 1986 Colour 48 minutes Producer Photography Editing Production Company Lars Bildt Goran Gester Goran Gester Kurmi Foto & Film, Brannkyrkagatan 87, S-117,23 Stockholm, Sweden "My name is Chela. I am sixteen years old and live in La Legua. I was four when the military seized power. On the day of the coup, some soldiers killed my dog . . . . because it barked when they came to search our house" Chela is part of a generation formed during the Pinochet dictatorship. This film is about that generation, about its political awakening and determination, but about its doubts and confusion as well. Chronologically, the film centres on the period before, du ring and after the 'Day of Protest', 4 September, 1985, as it happened in La Legua and was experienced by Chela. La Legua is one of the poblaciones (poor neighbourhoods) in the city of Santiago where opposition to the Pinochet regime has been particularly intense. During the protest, police and military opened fire with live ammunition and tear-gas on demonstrating youths. Depicted here, however, are not only the very tangible political developments but also Chela's craving for a normal teenage life, her struggle to find herself, herdreams. 23 �■ Centre, Sunday, 27 September*, pm Triskel Arts Centre, Monday, 28 September, 4 pm CLASH OF THE ASH Fergus Tighe .j Ireland 1987 Colour 50 minutes COAST TO COAST Sandy Johnson Britain 1986 Colour 96 minutes i r * I i ijlr '{Ml Starting Out Award, 1987 Celtic Film and Television Festival, Lorient Festival William Heffernan, Leading Players Vincent Murphy, Gina Moxley, Michael McAuliffe, Kay Rae Malone Fergus Tighe Script Declan Quinn Photography Jim Duggan Editing Jane Gogan Executive Producer Production Company Circus Films in association with Radio Telefis Eireann Export Agents Circus Films, c/o Filmbase, 4-7 Temple Bar, Dublin 2 Awards b * I I Phil Kelly is a natural on the hurling field, but in his final year at school with exams looming he can no longer post­ pone decisions on his future. He looks around his small home-town and is not inspired by the fate of his friend Martin who squanders his dole money on drink. His father hopes to get him a job in a back-street garage, his mother wants him to work in a bank while the team-trainer promises him a job if he makes the grade in hurling. There are too many people telling Phil what to do. Then Martin's ex­ girlfriend Mary arrives home from London with tales of glamorous places Phil had only read about in magazines. His horizons are broadened and the small town is not big enough anymore. Leading Players Lenny Henry, John Shea, Pete Postlethwaite, George Baker, Peter Vaughan, Cherie Lunghi Script Photography Editing Stan Hey Executive Producer Colin Munn Ken Pearce David N. Wilkinson Various Tamla Motown' artistes Music Production Company BBCTelevison, Brittania-DeanClough Productions Brittania Television, The Studio, Export Agents Town House, Scaynes Hill, West Sussex RH17 7NR Coast To Coast teams John Shea and Lenny Henry in one of the most inspired screen partnerships to appear in a long time. Shea plays a footloose American, revisiting Liverpool in an attempt to recapture the spirit of the 60's. He packs his prize collection of 60's soul music into Lenny Henry's converted ice-cream van, and together they form the R & B Roadshow, the hottest mobile disco in town. Hotter still are the counterfeiting plates that are hidden in the van, and with the mob and the police on their trail, they put their faith in rock 'n' roll and head for the open road. With Shea and Henry's splendid double act supported by marvellous performances from Peter Vaughan and George Baker as a couple of really nasty villains - and a soundtrack packed with enough 60's hits to stock a Chantel Meteor 200 - Sandy Johnston's relentlessly inventive, genre­ bending road movie-comedy-thriller marks him out as one of Britain's most gifted and original comedy directors. (But then, he is Glaswegian). Clive Hodgson 24 I I I I I �offi stivalClub CUBA: ■: Jim Burroughs BarExt.Until l-30am every night from Sept. 24th-Oct 4th. (except Saturday) USA 1986 Colour 59 minutes Come and enjoy the relaxed pub atmosphere. We are ideally situated between the Triskel Art Centre and the Opera House. We offer a wide selection of Salads & Hot Meals during lunch daily. iffi® Awards Honourable Mention, San Francisco Film Festival Script Suzanne Bauman, Peter Winn Photography Jeffrey Wayman, Jean-Pierre Janssen, Tom Hurwitz Editing Suzanne Bauman, Kate Taverna Executive Producer Carol Polakoff Music Jim Burroughs, Brian Keane Production Company Seven League Productions Inc., 2324 N. Beachwood Drive, Los Angeles, Ca 90068 In a time of increasingly polarized positions in Central America and the Caribbean, this film offers an opportunity to understand Cuba today by interrogating both pro- and anti-Castro positions in a wide range of interviews which takes in an almost unprecedented interview with the legendary Fidel himself. The Cuban Revolution of 1959 is viewed in an historical perspective which stretches from the revolt of slaves and patriots in 1868 through the times of the dictators to the present day. The history of Cuba, with particular emphasis on CubanAmerican relations, on North-South and East-West align­ ments, intercut with many interviews with Cuban exiles and supporters of the Revolution, footage shot on the streets, in a women's prison, in a library, in a psychiatric hospital, forms a frame for the long interview with Fidel which occupies the centre of the film. The film-makers received unprecedented permission to film in La Plate, Castro's legendary and never-before­ filmed redoubt in the Sierra Maestra. “Our film is neither a rationale for Communist Cuba nor a political tool for Cuban exiles. We have tried to present the legitimate points of view on both sides. It is our hope that audiences of all political persuasions might watch the film without rancour, and appreciate their common humanity" PENNY FARTHING INN PAUL ST., CORK 25 �, a House, Sunday^ :r, 6 pm Triskel Arts Centre, SaturdayJ^September, ■I ADVENTL •I ADVENTl ■ '-TTE AND FACES OF THE ENEEVi /2llwres de Reinette et Mirabelle Bill Jersey, Jeffrey Friedman > USA 1987 Colour 58 minutes i OF -.ABELLE Fric Rohmer France Colour 1986 95 minutes Subtitled V R J*’ 1 Leading Players Script Photography Editing Executive Producer Music Production Company | Sam Keen Bill Jersey Jeffrey Friedman Bill Jersey Mark Adler Quest Productions Inc., 2600 Tenth Street, Berkeley, Ca 94710, USA Faces Of The Enemy looks at the universal concepts of enmity which spark and fuel conflicts around the world. The film follows author and commentator Sam Keen in an intellectual and emotional investigation of the ways in which societies and governments create enemy images. By intercutting posters, political cartoons and propaganda films with interviews with a Vietnam veteran, psychologists, cartoonists, a mythologist, experts on warfare and racism, and people who feel threatened by enemies, Faces Of The Enemy creates a picture of the ways in which people become obsessed with concepts of enemies, thereby allowing con­ flicts to escalate to the point that they cannot be resolved without violence. Script Photography Editing Executive Producer Music Production Company Export Agents Joelle Miquel, Jessica Forde with Philippe Laudenbach, Marie Riviere, Fabrice Luchini Eric Rohmer Sophie Maintigneux Maria-Luisa Garcia Frangoise Etchegaray Ronan Girre, Jean-Louis Valero CER/Films du Losange Artificial Eye, 211 Camden High Street, London NW1 7BT Rohmer is one of the cornerstones of French cinema, inso­ far as our cinema faces the international scene at its best when affirming its specific identity: an opinion which the Golden Lion of the Venice Festival, given to Rohmer for The Green Ray, confirms with emphasis. Discreet and distant, Rohmer lives on the margins of the film business. Independent in spirit, for twenty-five years he has not changed: he makes exactly the films he wants to make. Returning to the short film, Rohmer today gives us great pleasure. We have not ceased to argue that standardisation does not necessarily mean progress in cinematic expression. Rohmer is not merely content to affirm this, he proves it simply by exercising his liberty as a film-maker. He explains why and how Four Adventures became four short films. By the evidence. Frangois Ode, BREF No.13 In four linked short films, Rohmer explores the growth of the relationship between the sophisticated Mirabelle and villager turned art student Reinette. 26 I �Cork Opera Hous _• •■ 3 October, 6 pm r™ FRIEND Peter Wolle death Britain 1987 Colour 78 minutes DOUGLAS INSURANCES GENERAL BROKERS LIMITED Leading Players Bill Paterson, Tilda Swinton, Patrick Bauchau, Ruby Baker Photography Witold Stok Designer Gemma Jackson Editing Robert Hargreaves Producer Rebecca O'Brien Executive Producer Colin MacCabe Music Barrinton Pheloung Production Company British Film Institute Export Agents BFI Production, 29 Rathbone Street, London W1P1AG, England Director's Statement: Science Fiction I am fascinated by science fiction. Friendship's Death was originally published as an SF story. Science fiction dominates the writing of our time far beyond the confines of the genre - J. G. Ballard, Jorge Luis Borges, William S. Burroughs, Italo Calvino, Ursula K. LeGuin, Stansilav Lem, Doris Lessing. In cinema, the achievement is much thinner. I admire 2001, Blade Runner, Mad Max 2 but there is still space for a more realistic and philosophical form of science fiction film. In Friendship's Death I wanted to graft the SF concepts of the robot and the extraterres­ trial on to a precise and authentic moment of history: Amman, September 1970. This would give me a framework in which to explore questions about the place of machines in human culture, the relation of reason and violence, the nature of evolution and the strangeness of the human body. Palestine Personally I support the right of Palestinians to selfdetermination. I sympathise with the purpose of the PLO to win a secure home for their people and end the tragic history of massacre and mourning they have suffered. But I did not want Friendship's Death to endorse any particular policy or line of action. I was more concerned with the tragedy that befell the Palestinians. As with all tragedies, it confronted those' oirectly involved with fundamental questions about life and death; basic ethical and political choices. I hope that, by dramatismg the tragedy through the reaction of outsiders. Friendship s Death can bring some of these challenges home to the rest of us. Morris House, Douglas West, Cork, Ireland. Telephone (021) 362697/362124 lit Contact: Peter Kirwan Journalism Friendship's Death is also a^out journalism. In a way it can be seen as a sequel to Antonioni s. . which I wrote with Mark Peploe. I waQted/°^XP fr^m the Phone: (021) 362697 or 362124 to give the sense of being trapped in a hotelroomwhUeevents Insuring the continued success of the CORK FILM FESTIVAL The Saga OfAnatahan. 27 �Cork Opera House, Wednesday, 30 September b- jO pm GARDENS OF STONE Francis Coppola USA 1987 Colour 111 minutes Cork Opera House, Saturday, 26 September, 8J0 pm A GATHERING OF OLD MEN Volker Schloendorff USA 1986 Colour 91 minutes F Louis Gossett, Jnr., Richard Wodmark, Holly Hunter, Joe Seneca, Will Patton, Woody Strode Charles Fuller, after the novel by Ernest J. Gaines Edward Lachman Nancy Backer, Craig McKay James Caan, Anjelica Huston, James Earl Jones, D. B. Sweeney, Dean Stockwell Ronald Bass Script Jordan Cronenweth, ASC Photography Barry Malkin Editing Executive Producers Stan Weston, Jay Emmett, Fred Roos Carmine Coppola Music Production Company Tri-Star Pictures, a Michael I. Levy Prodution Columbia-Cannon-Warner Export Agents Distributors Ltd., 135 Wardour Street, London W1V4AP Leading Players Set in 1968, Gardens Of Stone is a poetic drama which takes place at Fort Myer, Virginia, where top young recruits serve in The Old Guard, the regiment that has been the official US Army ceremonial unit since 1784. James Caan stars as Sergeant Clell Hazard, a decorated combat veteran who, due to bureaucratic red tape and war­ time politics, is assigned to duties at Arlington National Cemetery. Pro-Army but anti-Vietnam, he is desperate for a transfer to Fort Benning where his talents would be best used preparing troops for the unorthodox enemy they're about to face, an enemy he knows all too well. Anjelica Huston plays Washington Post reporter and peace activist Samantha Davis, who becomes Clell's lover. James Earl Jones is the wise veteran Sergeant-Major Goody Nelson, Clell's best friend. D. B. Sweeney is the determined young soldier Jackie Willow and Mary Stuart Masterson is his spirited girl-friend Rachel. A common theme running throughout Coppola's films is that of an intense personal relationship, often in the family setting. Gardens Of Stone is no exception. The film depicts the Army as a great family, rich in tradition. 'I very definitely liked the notion of finding family in what you might otherwise think is a regimented, male-dominated organization', explains Coppola. 'The Honor Guard seemed an unlikely place to find this dynamic and I felt it was a wonderful metaphor for what we were trying to say^ A Gathering Of Old Men drifts into existence across the cane-fields of Louisiana, one hot autumn day in the 70's. Eighteen old blackmen take a stand, for the first and maybe final time in their lives. It is the response of a community under perpetual siege, it is the culmination of four hundred years of political struggle. Leading Players 28 Script Photography Editing Michael Deeley Executive Producer Ron Carter Music Production Company Consolidated/Jennie & Co./Zenith Productions Zenith Productions, Export Agents 8 Great Titchfield Street, London W1P7AA A whiteman has been killed in the yard of a blackman's cabin, but as Mathu says, "There will be no lynching tonight", for as the Sheriff arrives, eighteen old men and one young white girl step forward. Their stand is for dignity, black or white, and it is for a right to roots in this land of Louisiana, which they need for emotional and ancestral attachment as well as a source of survival. It is a surprising story about the changing South and, despite its serious subject, often very funny. �Cork Opera House, Sunda Cork Opera House Saturday, 26 S eptem b A GIRL OF GO Liangjia Funii Huang Jianzhong China 1985 Colour 110 minutes xMlLY A GREAT WALL Peter Wang USA/China 1985 Colour 102 minutes Part-subtitled Subtitled Leading Players Cong Shan, Zhang Weixin, Wang Jiayi, Liang Yan, Zhang Jian, Ji Peijie, Ma Lin Script Li Kuanding Photography Yun Wenyao Editing Huang Pu Keren Executive Producer Liu Xuesheng Music Shi Wanchun Production Company Peking Film Studio Export Agents China Film Society, 27 Old Gloucester Street, London WC1N3XX Even Yellow Earth, with its striking use of myth and land­ scape, was no preparation for this Chinese eyebrow-raiser. Prefaced by a sequence tracking the feudal status of women, it soon turns into something far less polemic-a mystical tale of rural passions centred on an eighteen-year-old girl who undergoes an arranged marriage to a six-year-old boy. A Girl Of Good Family is all the more powerful for its use of symbolic rather than explicit images, the wild landscape of South-west China (all thundering waterfalls and craggy mountains) mirroring the social and sexual rituals being played out in the small community below. Caught between a 'husband' who looks on her as an elder sister and gossiping neighbours who treat her as an outsider, the young Xingxian (beautifully played by actress Cong Shan) has only her mother-in-law to turn to for comfort. Meanwhile, in tne world outside, China is in the throes of the 1949 communist revolution. Stunningly shot in images of graceful, flowing beauty, t is is balladic cinema of the highest order. Derek Elley, LFF Programme Leading Players Wang Xiao, Li Qinqin, Xiu Jian, Sharon Iwai, Sheng Guanglan, Kelvin Han Yee, Hu Xiaoguang, Peter Wang Script Peter Wang, Shirley Sun Photography Peter Stein, Robert Primes Editing Grahame Weinbren Executive Producer Wu Yangchian, Zhu Youjun, E. N. Wen Music David Liang, Ge Ganru, Paul Mesches Production Company W & S Productions (New York)/ Nanhai Film Company (Beijing) Export Agents Mainline Pictures, 37 Museum Street, London WC1A 1LP I Billed as the first American dramatic feature to be made in China, A Great Wall was produced by two Chinese-born expatriates and co-produced with China's only independent film company, Nanhai. The film is in large part a comedy of manners, the humour riding on the gently misfiring attempts on both sides to bridge the cultural gap. The ways of the West are tentatively tried on - Paul's fashions, Coca-Cola, a sprinkling of consumer durables - but along the way the exchange becomes curiously scrambled. Liu confidently names Luciano Pavarotti as America's most popular singer; the young people try to learn each other's language without ever managing to speak it, and attempts to borrow the other's style meet with ridicule or misunderstanding. The walls around Beijing may have been torn down but other walls, as the films's title suggests, are not so easily removed. China's unmentioned history and the visitors' own experience as emigres (Chinese to the Americans, American to the Chinese) sit quite tangibly between them. In his careful documenting of the daily lives of the Chinese hosts, the everyday streets, the classic courtyard of the Chaos' house (actually once the home of the revered actor Mei Lei Fang), Peter Wang suggests that history and the realities of one's lived existence are what ultimately count. The slightly odd, /tocAy-style ping pong tournament apart (in which Chinese self-control wins out against American volatility and physical beefiness), A Great Wall goes for questions rather than answers, prising them from the observed exchanges with some skill. It may not be the definitive film about contemporary China, but it is an acute and very welcome 'foot in the door'. Verina Glaessner 29 i J �Triskel Arts Centre, Friday, 2 October, 11 am HANDSWORTH SONGS John Akomfrah ? ) Cork Opera House, Thursday, 1 October, 4 pm HOME OF THE BRAVE Laurie Anderson USA 1985 Colour 92 minutes Britain 1986 Colour 61 minutes I' I I I 'Social Issues Prize', Anthropos LA; Pascoe MacFarlane Award; Grand Prize Kaleidoscope, International Film Festival, Stockholm; Paul Robeson Prize for Cinema, Ouagadougou. Black Audio Film Collective Script Sebastian Shah Photography Anna Liebschner, Hugh Williams Editing Lina Gopaul Executive Producer Trevor Matthison Music Production Company Black Audio Film Collective, 89 Ridley Road, London E8 2NH, England Awards I \ I i 'There are no stories in the riots, only the ghosts of other stories'. This line from the extraordinarily poetic script of Handsworth Songs is at the heart not only of the film's meaning, but of its structure; or rather - and this is true of all successful films-the two are inseparable. The film makes no simple distinction between the 'superficial' and the 'real'; its images are very much felt as such - from archive footage of colonial labour to the TV picture of Thatcher's 'alien customs' speech - and on one level it is about the images it's made of, at once impenetrable and resonant. The familiar shots of burning cars, the giant headlines, newsphotos of 'looters' on the run - jostling those pictures of urban debris are the ghosts of other images, Fifties newsreel of Caribbean immigrants waving from the decks of ships, families with suitcases and the promise of work, images of hope and expectation whose very existence as old news gives them an added sense of lost innocence'. Judith Williamson, New Statesman 30 Laurie Anderson, Joy Askew, Adrian Belew, Richard Landry, Dolette McDonald, Janice Pendarvis, David Van Tieghem with William S. Burroughs Laurie Anderson Script John Lindley Photography Lisa Day Editing Elliott Abbott Executive Producer Laurie Anderson Music Production Company Talk Normal Productions Inc. Export Agents ICA Projects, 12 Carlton House Terrace, London SWIH 5AH, England Leading Players Laurie Anderson is a singer, storyteller, joker and philo­ sopher of the avant-garde. A performer who has long enjoyed cult status, Home Of The Brave shows her in full flight as cinematographer and electronics genius as well as in her more familiar roles. On one level, the film is the record of a concert in the Park Theatre, Union City, New Jersey, given in July 1985. But Anderson conceived the entire spectacle as an encounter between performance, sound and film. She describes the film as taking place in a kind of no-man's-land where sound, image and action fuse in a new sort of hybrid. 'Looking at the film now', she says, 'what appeals to me most are the details: shoes, fragments of animation pro­ jected, the fingers of a saxophonist flying over the keys'. Derek Malcolm, writing in The Guardian, says:' ... .her elliptical comments on contemporary life, illustrated by intelligent lyrics, 'state-of-the-art' electronics and songs with a real bounce to them make most rock stars look des­ perately clumsy, and one can well understand David Byrne's admiration for her'. And watch out for William Burroughs as he tangoes/ tangles with Anderson. �Cork Opera House, Sa? -ctober4pm USA 1987 Colour 85 minutes o GUYS CORK Packaging Photography Editing Executive Producer Production Company Don Lenzer Tom Haneke Walter Scheuer The Four Oaks Foundation, Inc., 635 Madison Avenue, New York City, NY 10022 A Hungry Feeling - The Life and Death of Brendan Beehan is an 85-minute 16 mm colour documentary biography of the Irish writer who died at the age of forty-one in 1963. The film traces Behan's formidable writing career and the distractions of his flamboyant public life as a raconteur and world public figure. His life is portrayed through remembrances of his brothers, his IRA colleagues, his publishing friend, and especially through his wife, Beatrice. The film makes ample use of rare documentary footage of Behan's public and private life, mixing film, television, and press conference interviews with hundreds of stills, and sound interviews taken from over thirty-three hours of privately owned tapes. Behan's works are liberally excerpted: scenes from The Borstal Boy, his prison memoir, are movingly read against footage from the English boys' prison. Liam Clancy, who narrates A Hungry Feeling,also introduces segments from The Quare Fellow, a 1960s movie of the Behan play, and The Hostage, especially staged for this production and filmed in front of a live audience in New York City, at The Irish Arts Center. JIhe film is filled with Irish music sung by Clancy and other participants, as well as scenes shot in Dublin, Carraroe, and New York City. I Guy & Co. (Distribution) Ltd. This division supplies a wide range of packing materials, paper, high-and-lowdensity plastic - in sheets, bags and reels. ! Print Guy & Co. Ltd. This division produces a wide range of lithographic print - labels, brochures, catalogues, encoded documents. Self-adhesive Labels Guysal Ltd. This division is equipped with the most up-to-date machinery to produce a full range of Self-adhesive labels in full colour. Phone or write: P.O. Box 74, Cornmarket Street, Cork Telephone (021) 273061 Telex 75019 Fax 271583 31 �TriskelArtsCentre/Hiuj^ayJ^wt?!!?^^ INVOCATION: MAYA DEREN a Deren programme Jo Ann Kaplan Britain 1987 Colour 53 minutes meshes of the afternoon 1943 3 minutes The film is concerned with the interior experiences of an individual. It reproduces the way in which the sub-conscious will develop, interpret and elaborate an apparently simple and casual incident into a critical emotional experience. AT LAND 1944 15 minutes "At Land is concerned with twentieth-century-minded time and space. It presents a relativistic universe in which the problem of the individual, as the sole continuous element, is to relate herself to a fluid, apparently incoherent, universe. In a sense a mythological voyage of the twentieth century" J Photography Narration Editing Producer Sound Production Company Export Agents I 1 I J Adam Rodgers Helen Mirren Susan Manning Fiz Oliver Mandy Rose Arbour International Arts Council of Great Britain, 105 Picadilly, London W1V OAU A STUDY OF CHOREOGRAPHY FOR THE CAMERA 1945 3 minutes "When I began making films, my first concern was to emancipate the camera from theatrical traditions in general, and especially in terms of spatial treatment. The central character of these films moved in a world of imagination in which, as in our day or night dreams, a person is first one place and then another without travelling between. It was choreography in space" RITUAL IN TRANSFIXED TIME Maya Deren was before her time as a film-maker and a woman. Producing short poetic films, she was able to work at her full intellectual and artistic capacity at a time when few women could do so. Her personality was flamboyant and she led her life with an intensity and vision which is deeply inscribed in her films. A Russian-born American, she completed six films between 1943 and 1955. With the first of these, Meshes Of The After­ noon, she established an approach to film unparalleled since the collaboration of Dali and Bunuel or the cinema of Jean Cocteau. Through her films, writing and lecturing she had a seminal influence on the emerging American film avant-garde. Equally important were her organising and campaigning skills, including the setting up of the Creative Film Foundation in 1954, which gave the movement a sense of independence and self-support. In this film, the intensity of Maya Deren's spirit is evoked by those who knew and worked with her: film-makers Sasha (Alexander) Hammid, Stan Brakhage and Jonas Mekas; photographer Hella Hammid; film distributors Amos and Marcia Vogel, and Joseph Campbell, writer and teacher in the field of comparative mythology. * > I Invocation will be accompanied by a screening of Maya Deren's films. 1946 16 minutes Ritual develops the idea of creating dance out of non-dancing elements. Save for a brief sequence, the actual movements are not themselves dance movements, but they are related to each other, according to a choreographic concept. MEDITATION ON VIOLENCE 1948 15 minutes As the movements of Chinese boxing are a physical state­ ment of certain metaphysical concepts, so Meditations is, in filmic terms, itself a statement of these same concepts, employing the physical movements as only one of the visual means. THE VERY EYE OF NIGHT 1959 15 minutes "It is ballet of night, entirely in the negative, in which the dancers are constellations which orbit and revolve in the night sky" AH quotations by Maya Deren. 32 I i | I | �Cork Opera House, Tuc^29 September, 6 pm THE KITCHEN TOTO Harry Hook Britain 1987 Colour 95 minutes Printers Printers and Stationers 41, Paul Street, Cork i Leading Players Edwin Mahinda, Bob Peck, Phyllis Logan, Kirsten Hughes Script Harry Hook Photography Roger Deakins Editing Tom Priestley Executive Producer Menahem Golan, Yoram Globus Production Company The Cannon Group Inc. in association with British Screen and Film Four International, a Skreba Film Cannon Film Distributors (UK) Ltd., Export Agents 30 - 31 Golden Square, London W1A 4QX Africa has become a vogue location for film-makers in recent years, but it is not the Africa of National Geographic Magazine or the 'zoo pics' that feature in The Kitchen Toto. These are outsiders' views of the continent, says Harry Hook, from which the most important element is missing the Africans themselves. This is a film about Africans, played by Africans, and the unit was careful throughout the filming to respect local traditions and superstitions in a a country where film­ making is still a comparative rarity. The story of The Kitchen Toto - 'toto' is the Swahili word for child — is set in Kenya at the beginning of the Fight for Independence. It tells of Mwangi, a twelve-year-old Kikuyu boy who witnesses the murder of his father, a Christian preacher who refuses to preach the ethics of the Mau-Mau to his congregation. Left with five children to feed, Mwangi's mother finds him a job in the home of John Graham, the local white police chief who is searching for the murderers. At an age when most children would still be at school, Mwangi becomes a kitchen toto - a servant's servant forced to exist by his wits, and who ultimately becomes the unwilling pawn in a violent political conflict: trappe in the crossfire between his own people and the British. Tel: (021) 277707 COUNTRY CLUB HOTEL Montenotte, Cork City Grade 'A' Bedrooms Excellent Restaurant Luxury Loung Bars ! For further details Telephone (021) 502922 3 33 ■■ �Cork Opera House, FridjyI2pctgberL8j0pnL LETTERS FROM A DEAD MAN Pisma Myortvogo Cheloveka Constantin Lopouchansky ) USSR 1986 89 minutes Grahame J. McLean New Zealand 1986 Colour 92 minutes Subtitled Rolan Bykov, Vatslav Dvorzhetsky, Josiv Ryklin, Victor Mikhailov Vyacheslav Rybakov, Script Boris Strugatsky, Constantin Lopouchansky Photography Nikolai Popotsev Editing T. Poulinoi Music Alexander Zhurbin Production Company Studio Lenfilm (Leningrad) Export Agents Artificial Eye, 211 Camden High Street, London NW1 7BT, England Leading Players Several people in a dilapidated basement read while acti­ vating a dynamo which will give light. One of them, a Nobel Prize winner for Science, is writing to his son, Eric, from whom he was separated at the time of the atomic explosion which blocked off the people in the museum where they now are. He is also taking care of his sick wife. He has gone into the town to look in vain for his son and while there dis­ covers the horrors of war. Outside, buildings are devastated, bodies are strewn everywhere. In the basement, six men ask themselves questions on the meaning of life and the eventual future of humanity. The explosion was an accident and the person responsible hanged himself soon afterwards. There is no indication whatsoever of the country in which the action takes place. Due to lack of space, it is necessary to sort out who will have access to the main shelter. When the survivors at last leave the museum for this shelter which is safer, the old scientist decides to remain with the children who have been seriously affected by the disaster. On Christmas evening they set up a Christmas tree. The old man dies. The children abandoned by all leave the shelter to cross vast icy plains, looking for what we do not know. 'The most compelling Soviet film for many years. Anyone looking for signs of new life in Russian cinema should beqin here'. Andrew Wilson, The Observer 34 the lie of the land Roberta Wallach, Marshall Napier, Dean Moriarty Grahame J. McLean Script Warrick Attewell Photography Jamie Selkirk Editing Grahame J. McLean Executive Producer Dale Gold Music Production Company Filmcraft Productions Export Agents Safir Films Ltd., Townsend House, Leading Players 22 - 25 Dean Street, London W1V 5AL, England The feature drama The Lie Of The Land is set in New Zea­ land in 1923, five years after The Great War. It is a time when the European pioneers, having wrested the land from both the forces of nature and from its indigenous Maori people, are now settling in to dominate the country. Major Martin (Huddy) Hudson returns from the war in Europe to find work with a young widow, Alwyn, and her son, Henry, on a small valley farm. Before the war, Huddy had been a lawyer, and during it he had defended a young Maori corporal in a court-martial. Both the war itself and his experience of the young corporal's attitude to his homeland have disenchanted Huddy, and brought him to the valley. He finds the land is threatened, not only by the avarice of a | neighbouring land baron, Clifford, but also by the ‘makutu' - a curse - placed on it by a Maori chief Koro Mita who resents the intrusion of European settlers on tribal land. The makutu has already taken several lives. Now, Huddy realises that whether or not he believes in the makutu, he must recognize the effect it is having on Alwyn, on young Henry, and on Henry's uncle George who behaves like a man possessed by doom. As a romance develops between Huddy and Alwyn, another lite must fall before peace can settle on this strange and beautiful land. I �Cork Opera H°Use, Tues^^zasgptggbe^pm THE LITTLE ATTORNEY Der Kleine Staatsanwalt Hark Bohm Germany 1986 Colour 96 minutes Leading Players living on the edge Michael Grigsby Britain 1987 Colour 90 minutes '• Hark Bohm, Martin Luttge, Corinna Harfouch, Michael Gwisdek, Alexander Radszun Script Hark Bohm Photography Klaus Brix Executive Producer Jurgen Bottcher Music Jean Toots Thielemans, Herb Geller Production Company Hamburger Kino-Kompanie, Hark Bohm Filmproduktion KG, Hamburg Weltvertrieb im Filmverlag der Export Agents Autoren, Rambergstrasse 5, 8000 Munchen 40, W. Germany I Frank Rolfe, Joanne Casey, Chris Sumner, Theresa Skyrme Script Devised by John Furse, Michael Grigsby Producer John Furse Executive Producer Roger James Music Chris Sumner with additional material by Herman's Hermits, Mike Oldfield, The Beatles, Pink Floyd, etc. Production Company Central Independent Television pic. Central House, Broad Street, Birmingham B1 2JP, England First Attorney Konig (47) runs in front of the car belonging to Kaiser (45), the newly appointed manager of a construc­ tion company. Kaiser ends up with a sizeable bump on the head. When they meet a second time. Attorney Konig puts Kaiser behind bars, causing a pain of a completely different nature for Kaiser. It was the calculated charm of the young woman, newly appointed as commissioner, that led the timid attorney to such an act of severity. He soon, however, finds a justifica­ tion for the tricks of this ambitious young official (in regards to her employment) and his own wiles. Behind the unwilling puppet Kaiser, they discover the master of the bogus million-dollar deal - Siegmann. Konig lays another snare. Siegmann reacts exactly as expected and delivers the final evidence. Kaiser is exoner­ ated, and Konig awaits his promotion. But in the P^sence of the young commissioner, Konig ™oment?" Y t this thread of the case slip through his ^2g®rs‘ L nf thp thread the little attorney is lost in the ,a^in criminal justice system and Kaiser pays the Dili. Michael Grigsby, one of England's leading documentarists, has long championed the cause of the 'underdog' by giving them an opportunity to speak out, in their own words, against their oppression or exploitation. Living On The Edge presents a sense of the history of post-war Britain through the words of the contemporary characters, whereby the memories and views on their personal past, present and future are revealed. These opinions are counterpointed by the 'official' history of the period as presented in newsreels, television commercials, old propaganda material and popular music; vivid contrast which is lent more substance by the breadth of the pro­ tagonists' vision, further contrasting city and country, industry and agriculture, and the north and south divide. This complex but lucid collage structure which is the film's great strength, brings to mind the exciting editing techni­ ques of legendary documentarist Humphrey Jennings, whose work Grigsby has long admired; proof positive that in Living On The Edge British documentary film-making has not lost its sting. 'The most moving and frightening film of the week, and probably the month, too'. Derek Malcolm, The Guardian Leading Players I 35 * 11F Hi i �32nd Cork Film Festival Dates & Times rarnrrie CORK OPERA HOUSE triskel FRIDAY, 25 September SATURDAY, 26 September 8.30 pm OFFICIAL OPENING YEELEN, Mali, Souleymane Cisse AN INSIDE JOB, Ireland, Aidan Hickey 1.30 pm SHERMAN'S MARCH, USA, Ross McElwee SNOOKLES, USA 4 pm A GREAT WALL, China / USA, Peter Wang TRIBUTE, USA 6 pm RIDERS TO THE SEA, Ireland, Ronan O'Leary CELEBRATION OF LIGHT, Ireland, Louis Marcus 8.30 pm A GATHERING OF OLD MEN, USA, Volker Schloendorff ACADEMY LEADER VARIATIONS, USA 11 am FACES OF THE ENEMY, USA AIN'T NO KING COMIN', USA 1.30 pm BOUNDARIES OF FILM-MAKING, Programme I LIVE WATER, USA LOU HARRISON: 'Cherish, G Consider, Create', USA •onserd 4 pm BUDAWANNY, Ireland SUNDAY, 27 September 2 pm TOMMASO BLU, Germany, 11 am Florian Furtwangler CERRIDWEN'S GIFT, USA 1.30 pm 4 pm BROKEN NOSES, USA, Bruce Weber AND SHE WAS, USA 4 pm 6 pm FOUR ADVENTURES OF REINETTE AND MIRABELLE, France Eric Rohmer CADENCE 8.30 pm THE THEME, USSR, Gleb Panfilov ________ A LONDON STORY, Britain MONDAY, 28 September 2 pm WILD MOUNTAINS, China, Yan Xueshu 11 am BLAST FURNACE IN AUTUMN, Germany 4 pm THE LIE OF THE LAND, New Zealand, 1.30 pm Grahame McLean 4 pm 6 pm WALLDRILLER, Hungary, Gyorgy Szomjas THE LOSS ADJUSTER, Britain 8.30 pm SQUARE DANCE, USA, Daniel Petrie LIVING WITH AIDS, USA • SAN FRANCISCO NIGHT • TUESDAY, 29 September ARTS CENTRE THE MALTESE FALCON John Huston Tribute 4 pm THE LITTLE ATTORNEY, Germany, Hark Bohm ROSA, THE POLICEMAN'S BEAUTIFUL WIFE Germany THE KITCHEN TOTO, Britain, 2 pm 6 pm 8.30 pm Harry Hook CLOSED CIRCUIT, Britain BABETTE'S FEAST, Denmark, Gabriel Axel INTRODUCING AGENT ORANGE, USA ________________ WITNESS TO APARTHEID, USA BOOM BABIES, Ireland T. DAN SMITH, Britain RIGATONI, Ireland/Britain COAST TO COAST, Britain BOUNDARIES OF FILM-MAKING, USA Programme II BREAKTHROUGH: A Portrait of Aristides Demetrios, USA DORIS CHASE, Programme I CLASH OF THE ASH, Ireland FRANKIE & JOHNNY, Ireland MADELAINE, Ireland - 11 am PARADISE CAMP, Australia, YANKEE SAMURAI, Israel DORIS CHASE, Programme II 1.30 pm THE PASSION OF REMEMBRANCE/ 4 pm Britain ICED, Britain I �Dates & Times CORK OPERA HOUSE TRISKEL AiisS CENTRE WEDNESDAY, 30 September 2 pm 4 pm 6 pm 8.30 pm FAT CITY John Huston Tribute ROBINSONADE, USSR, Nana Dzhordzhadze 111 DORIS CHASE, Programme III BREAKING SILENCE, USA THE DIAMOND KING, USA 4 pm FRESCOES OF DIEGO RIVERA, USA ROBERT VICKREY: Lyrical Realist, USA RED GROOMS: Sunflower In A Hothouse, USA 11 am 1.30 pm TRAVELLING NORTH, Australia, Carl Schultz MAKING WAVES, Britain GARDENS OF STONE, USA, Francis Coppola MUYBRIDGE REVISITED, Britain THURSDAY, 1 October 2 pm 4 pm 6 pm 8.30 pm PLUMBUM, USSR, Vadim Abdrachitov HELLO DAD, Britain HOME OF THE BRAVE, USA Laurie Anderson STRANGERS IN PARADISE, Britain PARTITION, Britain, Ken McMullen BERLIN BLUE, Germany A SUCCESSFUL MAN, Cuba, Humberto Solas ARGENTINA: The Broken Silence, USA/Argentina CHELA, Sweden 1.30 pm INVOCATION: Maya Deren, Britain Programme of Maya Deren films 4 pm SHORELEAVE, Britain PIRATES, Britain A CLOSE SHAVE, Britain 11 am TIME OF THE ANGELS, USA FRIDAY, 2 October 2 pm 4 pm 6 pm 8.30 pm .. } SATURDAY, 3 October 2 pm 4 pm 6 pm 8.30 pm WAITING FOR THE MOON, USA, 11 am Jill Godmilow THREE BEWILDERED PEOPLE IN 1.30 pm THE NIGHT, USA, Gregg Araki THE MAGIC TOYSHOP, Britain, David Wheatley HAIDARA, Britain 4 pm LETTERS FROM A DEAD MAN, USSR, Constantin Lopouchansky DOLPHINS, Britain TO THE FOUR WINDS, Spain, Jose A. Zorrilla __ _______ THE CAGE, Poland A HUNGRY FEELING: The Life And Death Of Brendan Behan, USA, Xn Miller HANDSWORTH SONGS, Britain NORTH, Britain MUM, HOW DO YOU SPELL GORBATROF?, Australia ERMINIA'S OPENING NIGHT, Australia HEADLABYRINTH, Germany TAKING THE STAGE, Britain INTERNATIONAL SWEETHEARTS OF RHYTHM, USA SHAG, USA AUBREY WILLIAMS: The Mark Of The Hand, Britain ANIMATING ART, Britain 1.30 pm BOUNDARIES OF FILM-MAKING, USA Programmes I and 11 *P>" BUDAWANNY, Ireland 11am FRIENDSHIP'S DEATH, Britain, Peter Wollen RAINBOW WAR, USA A MONTH IN THE COUNTRY, Britain, Pat O'Connor CRASH, Britain SUNDAY, 4 October 6 pm A GIRL OF GOOD FAMILY, China, ul 11 am THEUPASSION OF JOAN OF ARC, 8.30 pm France/Denmark, CarlDreyer with the RTE Concert Orchestra 1.30 pm 4 pm CUBA IN THE SHADOW OF DOUBT, USA THE BELFAST EXPERIENCE, Ireland LIVING ON THE EDGE, Britain MAGDALENA VIRAGA, USA MAN OH MAN, USA • GALA CLOSING • 37 �Cork Opera House, Friday, 2 C Triskel Arts Centre, Sunday, 4 October, 4 pm THE MAGIC TOYSHOP MAGDALENA VIRAGA David Wheatley Nina Menkes 2 > Britain 1986 Colour 107 minutes USA 1986 Colour 90 minutes Awards Leading Players Script Photography Editing Executive Producer Music Production Company * j Best Independent/Experimental Film, Los Angeles; Film Critics' Association Tinka Menkes, Claire Aguilar Nina Menkes Nina Menkes Nina Menkes Nina Menkes Performed by Grupo Travieso Menkes Film Production, 8996 Keith Avenue, Los Angeles, Ca 90069, USA 'Magdalena Viraga is a boldly imaginative and rigorous experimental first feature in which writer/director/cinema­ tographer Nina Menkes evokes the spiritual evolution of a benumbed young prostitute (played by Tinka Menkes, the film-maker's sister) in starkly beautiful imagery and in passages from the poetry of Mary Daly, Gertrude Stein and Anne Sexton. I 1 Menkes draws upon seedy, vivid East L. A. locales to suggest an unnamed Latin police state to create a most realistic and compelling atmosphere in which her heroine's inner life begins to awaken. Although Menkes' sensibility is strongly feminist, her con­ cern is with the oppression of the individual regardless of sex. Mirroring the prostitute's thoughts and emotions is her colleague and friend (Claire Aguilar). Magdalena Viraga is a vaultingly ambitious work in which Menkes shows that she can hold a scene as long as Antonioni can and get away with it. So personal and impassioned is Menkes that she skirts the pretentious without ever succumbing to it. Magdalena Viraga is a stunner'. L. A. Times 38 Leading Players Tom Bell, Patricia Kerrigan, Caroline Milmoe, Killian McKenna, Lorcan Cranitch Script Photography Angela Carter Ken Morgan Editing Executive Producer Music Production Company Export Agents Anthony Ham Steve Morrison Bill Connor Granada Television Palace Pictures, 16/17 Wardour Mews, London, England "Though the films of Michael Powell and Emeric Pressburger I have arrowed, albeit belatedly, to the pinnacle of critical ■ and popular esteem, precious little of their inheritance has I passed on to the modern screen. Until now, The Magic 1 Toyshop once more converts the cinema to a palace of I dreams, not all of them pleasant. 1 The Magic Toyshop is adapted from a story by modern I fabulist Angela Carter, in this case her second novel J originally published in 1967. 1 Set in London in the mid 1950's, it draws out the symbol I themes of legend and fairytale as they have been identified 1 by Anthropology and Jungian psychology. Fantasy and I reality merge at every level; extraordinary special effects 1 make tangibly vivid the mind's flights of allusion and fancy, 1 leaving the rare afterglow of a film you'll ponder and relive 1 forages. Yet the essential mood of The Magic Toyshop defies reductive interpretation; at heart, it cannot and should not be wholly explained away. It is a classic of imagination made celluloid" Mat Snow, 'Q' Magazine. i �Triskel Arts Centre, Fri-. er, 1.30pm Co?: SSKf1° vou SPE“ A MCMrs Australia 1986 Colour 46 minutes Britain 1987 Colour 96 minutes Pamela Williams Pat O'Connor COUNTRY I- Photography Editing Executive Producer Production Company Export Agents Andy Fraser Michael Balson Ron Saunders Film Australia, P.O. Box 46, Lindfield, New South Wales 2070, Australia Australian Film Commission, Victory House, 99-101 Regent Street, London W1 Mum, How Do You Spell Gorbatrof? follows Eamonn Burke, a red-haired, freckle-faced eleven-year-old on his campaign to rid the world of nuclear weapons. Eamonn co-ordinates the messages of hundreds of Australian children who fear nuclear war, who are unwilling to wait for extinction and who believe strongly in the possibility of a peaceful world. Peace scroll under his arm, he sets out on his mission of peace for children everywhere. The film traces his efforts to enter the adult world of telephone calls, letter-writing and fund-raising in his quests to speak with Ronald Reagan and Mikhail Gorbachev, and with his own Prime Minister, Bob Hawke. A meeting with the Australian Foreign Affairs Minister is followed by an invitation to visit the Soviet Union from Mr. Gorbachev. On the point of departure, Eamonn is asked by a journalist why he feels the Russians and the Americans can be friends — he thinks for a moment and then replies, "The same reason you and I can be friends" Eamonn's message is simple, clear and direct: "If people have the capacity to make bombs, then they should have the capacity to take them apart again. There's so muc beauty in the world that it would be a shame to spoil it all . Leading Players Colin Firth, Natasha Richardson, Kenneth Branagh, Patrick Malahide Script Simon Gray Photography Kern MacMillan Editing John Victor Smith Executive Producers John Hambley, Johnny Goodman Production Company Film Four International in association with PFH Limited, a Euston Films production Export Agents Warner Bros., 135 Wardour Street, London W1V4AP It is 1920. Two scarred survivors of the First World War come to the isolated Yorkshire village of Oxgodby. Their task is to excavate the past and in so doing they reclaim themselves. Birkin is to uncover a medieval wall painting in the local church and Moon is to discover and excavate a grave outside the churchyard. The two men from differing classes form a bond as they pursue their work through the idyllic summer days. Birkin has been deserted by his wife and Moon is revealed to be homosexual. Birkin is welcomed in the chapel community, but nurtures an unspoken love for Alice, the beautiful young wife of the inhospitable vicar Keach. Birkin realises he has uncovered a masterpiece - an unfinished picture of the Apocalypse showing a falling man with a crescent on his forehead. Moon finds his grave, which also contains a crescent. The mystery of the falling man is solved. Moon has uncovered his Saxon chapel, the true purpose of his mission. And Birkin returns to his wayward wife in London, a revitalised man. 39 �Trjskel Arts Centre, Tuesday, 29 September, 11 am_. :•;< Opera House, Thursday, 1 October, 6 pm PARTITION PARADISE CAMP Ken McMullen Britain 1987 Colour/Black& White Frank Heimans Australia 1986 Colour 56 minutes I ■jw*! I z __ - 1~ M 'fto & I X i Awards Gold Award, International Film & TV Festival of New York, 1986 Paul Rea Photography Saeed Jaffrey, Shaheen Khan, Bhasker, Rishan Seth, Zia Mohyedin, Zohra Segal Boris Janjic, Geoff Simpson, Butch Sawko Script Leading Players Script Tariq Ali & Ken McMullen, from Toba Tek Singh' by Saadat Hasan Manto Nancy Schiesari Executive Producer Frank Heimans, Lee Burns Production Company Cinetel Productions Ltd., 71 Chandos Street, Crow's Nest, NSW, Australia, 2065 Export Agents Australian Film Commission ■ Of all Nazi crimes against humanity, the name Theresienstadt stands alone. This concentration camp in Czecho­ slovakia had no gas chambers, though its death toll was appalling enough. Its prisoners were not tattooed, though they were deeply scarred in far more subtle ways. Its stands alone because it becomes the so-called 'Model Jewish Community7, a macabre showpiece for the Red Cross and the world. It is the most monstrous lie of the war: the Nazis turn Theresienstadt into a smiling mask to distract the world from Auschwitz and the death camps. They even give it a special name: they call it the Paradise Camp. Paradise Camp is the story of the greatest Nazi hoax, seen through the eyes of survivors now living in Australia. They w6re forced to take part in the bizarre 'Great Beautification' and witnessed the making of a propagands film by which yie Nazis hoped to fool the world about their'Final Solution to the Jewish Problem'. alS° describe ,he emergence of a remarkable a Vict0,Y of the human sPirit- It is brouahttn the world b ed for the fi,rn in museums around Photography Editing Robert Hargreaves Tariq Ali, Darcus'Howe Production Company Bandung Productios Ltd., Block H, Carkers Lane, 53 /79 Highgate Road, London NW5 1TL Export Agents Channel Four Executive Producer At the stroke of midnight 14/15 August, 1947, India became indepen­ dent. Yet the joy of freedom was marred by the partition of the country along religious lines. The same year, the sub-continent experienced a holocaust when Hindus and Muslims slaughtered each other as a prelude to mass migrations and the establish­ ment of new frontiers. Over a million people died. The partition of India traumatised an entire generation and provoked the Urdu short story writer, Saadat Hasan Manto to produce some of his most powerful short stories. One of these, Toba Tek Singh is a searing indictment of the religious division that had taken place. The story is set in the Lahore lunatic asylum, a couple of years after partition, when the respective governments of India and Pakistan decide that the inmates of lunatic asylums should be transferred - Hindu and Sikh lunatics in Pakistani asylums should be sent to India and Muslim lunatics in India should be moved to Pakistan. In this film adaptation, by Ken McMullen and Tariq Ali, the story is set a few months after partition. Civil servants plan the forced migration of Hindu and Sikh lunatics to asylums in India but, threatened with the disruption of their multi-religious com­ munity, the lunatics reject partition. None of them want to go. The asylum becomes a metaphorfor sanity in an irrational and insane world. McMullen's use of black and white film mixed with colour conveys a feel of India in the late 1940's. Using uncut takes-shots that move through different time zones and localities without interruption - he aims to 'make the audience come away with a mild sensation of a dream! �TriskelArts Centreju :<i29September^m THE PASSION OF REMEMBRANCE Maureen Blackwood, Isaac Julien Britain 1986 Colour 80 minutes t i plumbum or a dangerous GAME Vadim Abdrachitov USSR 1987 Colour 97 minutes Subtitled :'l H ■ii Leading Players Script Photography Editing Executive Producer Music Production Company A Anni Domingo, Joseph Charles, Antonia Thomas, Carlton Chance, Jim Findley, Ram John Holder, Shiela Mitchell Maureen Blackwood, Isaac Julien Nina Kellgren, Steven Bernstein Nadine Marsh-Edwards Martine Attille Tony Remy for Surgery Management Sankofa Film/Video Collective, Unit K, 32-34 Cordon House Road, London NW5, England The passion of the speakers, engaged momentarily in an anonymous landscape. The speakers meet for the first time or the last. They talk of how each other's past has shaped the present. The complexities of sharing destinies intricately linked are expressed through a dialogue with tension and longing. From the Fifties to the Eighties, the personal histories of the Baptiste household in which emotions, events—fragments of life and identities — suggest a totality and diversity of a black experience. A UK experience. A drama signalling historical instances, instances in which memories of generations overlap, sometimes igniting as they fuse with present realities. Leading Players Anton Androssov, Elena Dmitrieva, Elena Yakovleva, Alexander Feklistov, Alexander Pashutin, Vladimir Steklov Script Alexander Mindadze Photography George Rerberg Executive Producer Mosfilm Studio Music Vladimir Dashkevich Production Company Mosfilm Studios Export Agents Sovexportfilm, 18 Kensington Palace Gardens, London W8 Teenaged Ruslan Chutko, nicknamed 'Plumbum', lives with his parents in a small town and goes to school where he shows brilliant results. His parents are proud of their son, unaware that he lives another secret life, full of dangers. When a boy of the same age takes Ruslan's cassette recorder by force, he decides to become a crime-fighter, to become strong both physically and morally. He tries his best to join the city's criminal operations detachment, and to win the confidence of its commander, 'The Grey Haired'. Conscious of the danger that good and evil could so easily change places in Ruslan's immature soul, the Commander is reluctant to have anything to do with the boy. But nothing can stop Ruslan. He penetrates into the den of a gang of professional criminals, helping the crime detachment to capture them; he uncovers the hiding-places of tramps, participates in an operation against poachers. Plumbum's motives are enigmatic. Is he carried away with a desire to fight evil ? Or is it that self-affirmation and his desire to stand out from his peers, drives him into an increasingly more bizarre identity? Whatever his motives, this schoolboy who tries to become a 'superman' of the detective world finds himself entangled in a dangerous game. Will the absurd, tragic death of his girlfriend Sonya make him sober? i .I I �Cork Opera House, Saturday, 26 September, 6 pm RIDERS TO THE SEA Ronan O'Leary Cork Opera House, Wednesday, 30 September, 4 pm ROBINSONADE OR MY ENGLISH GRANDFATHER Robinzonada - Hi Hoy Angliyskiy Deduchka Nana Dzhordzhadze Ireland 1987 Colour 46 minutes USSR 1987 Colour 77 minutes Subtitled I Leading Players Geraldine Page, Amanda Plummer, Barry McGovern, Sachi Parker, Micheal 6 Briain, Joan O'Hara Script Photography Editing Executive Producers Producers Art Director Production Design Music Production Company The play by J. M. Synge Wolfgang Suschftzky Nicholas Gastor Darragh Owens, Martin Mulchrone Ronan O'Leary, Richard Hornak Josie McAvin Wendy Shea Ian Llande, Michael Hewer Adjuntar Ltd., 23 Upper Mount Street, Dublin 2 Synge's great one-act tragedy tells of the primal struggle between an old woman and the sea, the sea that has robbed her of the lives of her sons. It is a struggle in which the dark, pagan forces of Nature and the Supernatural conspire against the human's spirit's stub­ born will to endure. Camera D'Or, Cannes 1987 Zhanri Lolachvili, Ninel Tshankvetadze, Guram Pirtshalava Irakliy Kvirikadze Script Levan Paatachvili Photography Editing Euri Lolachvili Executive Producer Gruzya Film Music Henri Lolachvili Production Company Gruzya Film Export Agents Sovexportfilm, 18 Kensington Palace Gardens, London W8 Awards Leading Players Christopher Hughes is English. He is stationed in Georgia as a telegraphist when a revolution breaks out. Nestor Nioradze, the head of the community, clashes with Hughes. Booted out by the villagers, Hughes refuses to leave. This is 1920. i Protesting uiai ixmy 'JCUiyu lldS that King George has iiiio io i uicoui ly bought and paid for 'three metres of English soil' around*^ each telegraph post, Hughes proceeds to settle down at j the foot of one of them, accompanied by his beloved Anne, sister to Nestor. In time the two men become reconciled, but one morning both Nestor and Christopher are mysteriously shot down. Many years later, Anne finds out who the murderer is, and kills him. I i 42 I �Cork Opera House, Satin V SElgZHber, 1.30pm I SHERMAN S MARCH Ross McElwee USA 1986 Colour 155 minutes Daniel Petrie USA 1987 Colour 112 minutes H 11 Photography Script Ross McElwee Ross McElwee Production Company Ross McElwee Export Agents First Run Features, 153 Waverly Place, New York, NY 10014, USA Sherman's March was supposed to be a documentary investigating what traces were left of General Sherman's scorched-earth incursion through Georgia during the American Civil War. That's what film-maker Ross McElwee got his grant for. However, his girl-friend left him just before shooting was to start, and he headed off for home in North Carolina to recuperate, taking his camera and sound equipment with him. Encouraged by his sister, he soon realised that his camera was an ideal 'conversation piece', and a neat way of ot picking up women. Thus starts McElwee's own march McElwee s through the Southern States, his camera always on his shoulder, on a wry and comically dead-pan search for love, or at least something that lasts longer than two weeks Quirky, funny and fascinating. For an inadvertent documen­ tary it is an amazingly rich work. An absurdist portrait of the South that any novelist might envy. McElwee is a comic film-maker with the rare ability to turn personal obsession into a delightfully rueful and resonant American odyssey. David Ansen, Newsweek Leading Players Jason Robards, Jane Alexander, Winona Ryder, Rob Lowe Script Alan Hines Photography Jacek Laskus Editing Bruce Green Executive Producers Charles Haid, Jane Alexander Music Bruce Broughton Production Company Island Pictures in association with NBC Productions Export Agents Enterprise Pictures Limited, 113 Wardour Street, London W1V3TD Set in the Texas Wastelands, on a barely functioning 'scratch' farm, and on the big city's urban fringes, the film tells of a young girl's poignant search for an answer to that fundamental question, 'Who am I ?' The spirited Gemma lives with her grandfather, 'Pop', on an egg farm in the country. Now on the edge of woman­ hood and pierced by the absence of a mother and father she has never seen, Gemma finds solace in church work and good deeds. She easily believes that all people are created as equals, and that one should treat others as one would have them treat oneself. The unexpected return of her mother, and Gemma's sub­ sequent flight to the skyscrapers and lights of the city of Fort Worth, mark the beginning of a new and traumatic phase in Gemma's life. Life in the city is both more and less than the vulnerable young girl had expected; she finds love of an innocent kind, and she comes face to face with the bitter dreams of those whom life will continually and relentlessly confound and disappoint. Gemma, and her mother indeed, will find peace of a kind when the young girl returns to her grandfather, and when he and the girl's mother, after many years, begin, quietly and civilly, to talk to each other again. 43 i �Cork Opera House, Thursday, 1 October, 8.30 pm A SUCCESSFUL MAN ? I Un Hombre De Exito Humberto Solas Cuba 1987 Colour 116 minutes Subtitled BALLYMALOE AT THE CRAWFORD GALLERY CAFE EMMET PLACE, CORK Open Monday - Saturday 10.30 a.m. -5.00 p.m. For Coffee, Tea and Homemade Cakes Lunch 12-2.30 p.m. Pre-Theatre Dinner from 6.30 p.m. on Wednesday, Thursday and Friday. We are situated next to the Opera House ■ Cesar Evora Raquel Revuelta, Daisy Granados, Mabel Roche, Rubens de Falco Script Juan Iglesias, Humberto Solas Photography Livio Delgado Editing Nelson Rodriguez Executive Producer Humberto Hernandez Music Luigi Nono Production Company I.C.A.I.C. Export Agents I.C.A.I.C., Calle 23, No. 1155 Vedado, La Habana, Cuba Leading Players * J I Havana, 1930. Javier, thirsting for power, consumed with ambition, fuels his rise with his unquestioned powers of seduction. His brother, Dario, unlike him, is an idealist whose middle­ class origins do not curb his longing for revolution. Rivals in love, they fight over their mother and a young woman who, although in love with Dario, will end up marrying Javier. □ YOU ARE ALWAYS WELC01V AT 5 tri □ L_ The Merciej Bookshoi ‘4 BRIDGE STREP CORK and University College Cork I Telephone: 50402 gWMMBfe 'the book specialists' 44 d E CZ X Javier sacrifices everything to his ambition: family, wife, friends. His world is coming apart, and he will end up alone. Often brutal and shocking, the contradictions between the appetites of the brothers point up the internal tensions which were to tear Cuban society apart. In its evocation of a period and of the strange impulses which drive two brothers in very different directions, the film is one of the most important to have emerged in recent years in Latin American cinema. I! I Telephone 274415 for reservations. �Triskel Arts Centra --^_27 September, 1.30 pm :I Lc? •.?< 2? September, 8.30 pm T DAN SMITH The Members of Amber Films Britain 1987 Colour 85 minutes SHE THEME Tema Gleb Panfilov USSR 1979 Colour 98 minutes i Subtitled I H f Leading Players i I . Screenplay Photography Editing Executive Producer T Dan Smith, Jack Johnston, Ken Sketheway, Dennis Skinner and George Vickers as themselves. Art Davies, Dave Hill, Christopher Northey, Amber Styles Steve Trafford Peter Roberts Ellin Hare Amber Films Ray Stubbs Music Production Company Amber Films in association with BFI and Channel Four Television with support from ACTT Amber Films/BFI Production, Export Agents 29 Rathbone Street, London WIPIAG, England T Dan Smith was a working-class lad who rose to become a dynamic and visionary politician based in Newcastle during the Sixties. In 1971, he was sentenced to five years' imprisonment. As public relations man for the infamous architect, John Poulson, who won building contracts by bribing City Coun­ cillors, Smith was trapped in a web of corruption that I I proved his undoing. Self-seeking crook or Establishment scapegoat? Victim of the system or sharp political operator ? All these questions, and more, are explored by TDan Smith, whose interrogative, self-reflexive framework allows it to do a great deal more than simply recount the course of its subject's life. Based in Newcastle and founded in 1968, Amber Films now has an international reputation for the powerful articulation Golden Bear, Berlin Film Festival 1987 Mikhail Ul'janov, Inna Curikova, Leading Players Stanislav Ljubsin, Evgenij Vesnik Gleb Panfilov, Aleksandr Cervinskij Script Leonid Kalasnikov Photography Vadim Bibergan Music Production Company Mosfilm-Studio Export Agents Poseidon Films, 113 Wardour Street, London W1 Awards The belokamennaja Rus, or the 'white stony Russia' of the seventies. The successful, popular playwright Kim Esenin travels together with a colleague who is also a writer, and a young woman to the old provincial Russian town of Susdal. Here, far away from the hustle and bustle of Moscow, in a house belonging to a woman teacher with a passion for literature, Esenin wants to dramatise The Song Of Igor, a national heroic epic. During the first evening meal he meets Sasa Nikolaeva, who points out to him in a heated discussion that he has long since sacrificed his former creativity to fame and privileges, and that his egotism threatens to destroy both himself and his relationship with his family and friends. Kim Esenin is fascinated by Sasa's emotion and humanity and learns that she is doing research on the life and work of a local, unknown poet. He falls passionately in love with Sasa. He observes how she is forced to part from her lover, a writer with no chance of getting published. Having worked as a gravedigger, her lover finally gives up and decides to emigrate to Israel. of working-class values and ideals. 45 ipj �Cork Opera House, Saturday^c obar,2pm Cork Opera House, Friday, 2 OctobeG4pm I' THREE BEWILDERED PEOPLE Wdttli^directed, produced, edited and photographed by I 1 92 minutes Black & White Lauaxeta Jose A. Zorrilla Spain 1987 Colour 90 minutes Gregg Araki USA 1987 TO THE FOUR WINDS Subtitled .I Bronze Leopard, Critics' Prize, Youth Prize, Locarno 1987 Darcy Marta, Mark Howell, Leading Players John Lacques Production Company Production Pictures Ltd., 740 S. Detroit Street No. 1, Los Angeles, Ca 90036, USA Awards ii j 'Three Bewildered People In The Night is a no-budget, anti-Hollywood, 92-minute, 16 mm, black and white feature about angst, despair and coffee-shops in the modern world. Shot on the run with ultra-fast 4x-stock on the streets of lost angeles, the film is dominated by a raw, gritty aesthetic in keeping with its dark, uncompromising themes. It's the first full-length endeavour of desperate pictures ltd, a fledgling, very independent company born in 1984 when its founder/writer/director, gregg araki, graduated from the MFAprogram at USCinema. A sort of Stranger Than Paradise meets My Beautiful Laundrette with some Masculine/Feminine thrown in for good measure, the entire picture takes place at night, exploring the dislocating bisexual triangle which transpires amidst 3 insecure artist-friends in their 20's: David, an alienated gay performance-artist; his best friend, Alicia, an avantgarde video-maker; and Craig, Alicia's spiritually adrift boyfriend. Rendered in a stark minimalist style, the movie traces the interconnected lives of this confused trio as they struggle with their creative frustrations, emotional dilemmas and absurd existences in a Hostile Meaningless Universe. In short, a neurotic Good Time is guaranteed for all' * I Gregg Araki I 46 : 3 - Xabier Elornaga, Anne Louise Lambert, Jean Claude Bouillaud, Peter Leeper, Antonio Passy, Ramon Barea, Ramon, Aguirre Jose A. Zorrilla, Script Arantxa Urretavizcaya, Xabier Elorriaga Jose Garcia Galisteo Photography Pablo Gonzalez del Amo Editing Angel Amigo Producer Carmelo Bernaola Music Production Company Igeldo Zine Produkzioak S.A., San Sebastian, Spain Leading Players Spring 1937. When their attack on Madrid is turned back, the rebel army of General Franco decides to open a second front in the north. In Bilbao, the autonomous Basque government of President Aguirre, composed of Basque nationalists, leftist republicans, socialists and communists, has managed to mobilise 41,000 , badly-armed men to face the conventional troops of General Mola, who have the support of Italian armoured units and] the 'Condor Legion', the expeditionary airforce sent by Hitlgp Cut off from the rest of republican Spain, with the port of Bilbao blockaded, the Basque country prepares to withstand the siege. The offensive of the Francoist troops against the Bilbao front is as effective as it is brutal. To kill the morale of the civilian volunteers defending Bilbao with the weapons of reason and personal conviction more than anything else, the 'Condor Legion' bombs the village of Guernica. It is history's first systematic, massive bombing of a civilian target. Major Urkiaga sees in the flaming ruins of Guernica not only the destruction of a peaceful village but also the dashing of his own most private personal aspirations. The flames of Guernica serve as well to put an end to building a democratic Basque country, of which the decimated village is the ancient symbol. �Cork Opera House, Sunday, 27 September, 2 pm 11 Opera H< SHaWednesday, 30 September, 6 pm tomasso blu ™ sSLING N0F>™ Tomasso Blu Florian Furtwangler Australia 1986 Colour 96 minutes West Germany 1986 Colour 90 minutes Subtitled Leading Players Alessandro Haber, Antonella Porfido, Marisa Eugeni Script Tommaso Di Ciaula, Peter Kammerer, Florian Furtwangler Photography James Jacobs Editing Heidi Handorf Executive Producer Peter Kammerer Music Peer Raben Production Company Florian Furtwangler Productions Export Agents Metropolis Film World Sales, Josefstrasse 106,8031 Zurich, Switzerland Tommaso is a compulsive womaniser. He has a wife and children and can't understand why, despite his powerful erotic fantasies, he can't seem to have a proper relationship with the objects of his desire. He is, however, not a villain and rightly finds his factory job and circumscribed world demeaning. The film is the story of his passionate revolt against urbanisation, industrialisation and the dying of the light. The setting is the impoverished region of Bari at the foot of Italy, and Tommaso's odyssey, based upon Tommaso Di Ciaula's more than slightly autobiographical best-seller ’____ _ is directed not by Tuta Blu,___________ an Italian but by Florian furtwangler, nephew of the great German conductor, whose intensity of expression he seems to share. The whole film, beautifully shot by James Jacobs, is held together by a remarkably controlled performance from Alessandro Haber, who paints the rebellion of a naive and far from faultless worker with urgent accuracy. This is a subversive, argumentative, emotional film which s i Preserves a formidable calm and sense of purpose, it comes from the heart, and hits you in the guts. Derek Malcolm Leading Players Script Photography Editing Executive Producer Production Company Export Agents Leo McKern, Julia Blake, Graham Kennedy, Henri Szeps, Michele Fawdon, Diane Craig, Andrea Moor, Drew Forsythe, John Gregg David Williamson Julian Penney Henry Dangar Ben Gannon A View Films production, a CEL Film Distribution release CEL, Communications & Entertainment Ltd., 185 Elizabeth Street, Sydney, NSW 2000, Australia Travelling North already looks set to be a major contender in the 1987 Australian Film Awards, especially in the acting stakes. This superbly crafted adaptation of David Williamson's popular stage play makes few concessions to the youth audience, but as a mature, frequently funny and ultimately most moving story Of old age and retirement, it doubtless will be dubbed Australia's On Golden Pond. Australian-born Leo McKern, in his first Australian film, gives a remarkable performance as the crotchety, yet endearing, Frank. His humanity shines through, and he delivers David Williamson's frequently witty dialogue with considerable style. It's a hugely enjoyable portrayal. As Frances, Julia Blake positively glows; she plays a patient, loving woman with a determination of her own, ano it's a rich characterisation. Michele Fawdon is suitably horrid as Blake's older daughter, while Henri Szeps, as the the small­ town doctor, also creates a fully-rounded character. As the chatty neighbour, Graham Kennedy proves again he's one of Australians best character actors, with an ability to show the loneliness and pain beneath the apparently brash and shallow exterior. Credit for the entire production must go to director Carl Schultz, best known for Careful He Might Hear You (1983). Schultz came late to Travelling North (originally to have been directed by Michael Blakemore, who handled most of the principal casting), but he has handled his chores with distinction, giving the film fluidity and pace that belies its stage origins. His use of visual metaphors (such as a strange fern which closes in on itself when touched by humans) is assured. Producer Ben Gannon has put together a top-class production, with fine lensing by Julian Penney, clever production design by Owen Paterson, very tight editing by Henry Dangar and a fine choice of classical music excerpts. It all makes for a touchino film . . • . there will be few dry eyes by the end. It's a good start to the year for Australian cinema. David Stratton, Variety, 21 January, 1987 47 �„ h^nera House, MondayJ8 September^pm CorkOpera^l^H^-^^^-——---------- WAITING FOR THE MOON THE WALL DRILLER Jill Godmilow USA 1986 Colour 90 minutes ? J > i ■ Fa Ifuro Gyorgy Szomjas Hungary 1985 Colour 96 minutes Linda Hunt, Linda Bassett, Andrew McCarthy, Bruce McGill, Bernadette Lafont, Jacques Boudet Mark Magill, from a story by Script Magill and Jill Godmilow Andre Neau Photography Lindsay Law Executive Producer Production Company New Front Films, AB Films, Laboratory for Icon and Idiom Leading Players 5 Export Agents Geogre Pilzer, 10 Rue Washington, 7500 Paris Waiting For The Moon is a fresh and provocative portrait of Gertrude Stein and Alice B. Toklas during a time which tested the depth and parameters of their love and trust. Neither straight biography nor totally contrived, it presents us with a 'possible' Stein and Toklas, enmeshed in a series of fictional, yet entirely possible, relationships. Gertrude is ill, perhaps fatally so, but she doesn't tell Alice. Alice, however, suspects the truth but respecting Gertrude's integrity, acquiesces as though all were well. Over the course of three months their relationship oscillates between resentment, love, compassion and anger. Amidst all this, other characters come and go: Hemingway, Picasso, Appolinaire. The literate, episodic script is immersed in the wit and wisdom of Gertrude Stein. Waiting For The Moon is an original film, rich and atmospheric, exemplary in its treat­ ment of real and fictitious events. Above all it is solidified by the remarkable performance of Academy Award-winninq actress Linda Hunt as Alice. di Tony Safford, Sundance Institute i 48 Z Subtitled Leading Players Script Photography Editing Executive Producer Music Production Company Export Agents Janos Ban, Renata Szatler, Agi Szirtes, Peter Andorai, Denes Ujlaky Ibolya Fekete, Ferenc Grunwalsky, Gyorgy Szomjas Ferenc Grunwalsky Anna Korniss Hunnia Studio Janos Karacsony Hunnia Studio Hungarofilm, Bathory Utca 10, 1054 Budapest V, Hungary Private enterprise can be bad for your back in Hungary. In: Gyorgy Szomjas' surreal comedy our hero's desire to earn j an extra forint with his power-drill becomes hopelessly! side-tracked by his obsession with the Venus next door. Szomjas' hero is an everyday inhabitant of a concrete housing estate who cannot quite cope with reality. One day he throws up his job, buys a power-drill and goes inter business boring holes in neighbours' walls. When the beautiful Eva invites him in one day things start to go seriously wrong: is she really the hooker in that pornographic photo-album everyone is talking about? As in his previous Light Physical Injuries, Szomjas keeps the audience on its toes with a barrage of effects to parallel the black comedy. And for Magyar connoisseurs there is a truly malicious performance from Peter Andorai as a caretaker in a purple tracksuit. Derek Elley, LFF Programme �ggrfrOgera House, Monday ’■ember^^pm -- 27 Septemhoi WILD MOUNTAhMS Ye Shan fcSS TO APARTHEID yan Xueshu Sharon S Per, Director/Producer b0 USA 1986 Colour 56 minutes China 1985 Colour 100 minutes t 1 Awards Golden Rooster Awards, China 1986 Leading Players >fae Hong, Xin Ming, Du Yuan, Xu Shouli Script Yan Xueshu, Zhu Zi Mi Jiaqing Photography Music Xu Youfu Production Company Xi'an Film Studio Export Agents I Chinese Film Society, 27 Old Gloucester Street, London WC1N 3XY, England It was no surprise that this gently ironic comedy of sexual manners scooped nearly every major prize at China's Golden Rooster Awards this summer. Taking its cue from an earthy novel by Jia Ping'ao, Wild Mountains exploits the new economic pragmatism sweeping the country for a tale of some allegorical partner-swapping in northern Shaanxi. This is the flip-side of films like Yellow Earth and Life, both set in the same tough, rolling landscape. Here two couples eke out a precarious living on the hillsides: a contented idler and his nagging spouse, and a demobbed soldier with some ambitious business ideas but an over-cautious wife. Gradually the entrepreneur in each family recognises the other, and the ground is set for some discreet hankypanky. Played with great style by all four leads, Wild Mountains cuts a scythe through several taboos in mainland Chinese cinema with hardly a whisper. Derek Elley, London Film Festival I Awards 1987 Academy Award Nomination, Best Documentary, New York City Global Film Festival 1987, 1987 Cine Golden Eagle Script Peter Kinoy Photography Peter Tischauser Editing Lawrence Solomon Sound Stephen Musgrave Production Company Developing News Inc. Export Agents Cine, 1201 Sixteenth Street, NW, Washington DC 20036, USA Witness To Apartheid, the award-winning documentary filmed in South Africa during the 1985 State of emergency, is still banned in South Africa. Witness To Apartheid has received worldwide acclaim because it is the first documentary film to expose the systematic detention and torture of black children by the South African police and soldiers. Producer/director Sharon Sopher and her film crew, all South Africans, were detained and taken into custody by forty armed soldiers while filming witnesses in Soweto. The British broadcast of Witness by Channel Four Television in April 1986, resulted in the first official admission by the South African government that it is, in fact, detaining and torturing children specifically. One of the film's witnesses, Dr. Fabian Ribeiro (the black doctor seen treating patients who have been beaten and tortured) was assassinated by two masked gunmen at his home in Mamelodi Township on 1 December, 1986. The licence number of one of the vehicles eyewitnesses saw at the murder scene was traced to the security police chief in Pretoria. One of the eyewitnesses to Dr. Ribeiro's murder was also recently killed by gunmen. Other witnesses presenting compelling testimony of police violence in the township include Archbishop Desmond Tutu an undertaker who buried thirty-four children in less than three months, and black children as young as eleven who had been tortured. The tragic story told by Witness To Aoartheid - the targetting of black children by the apartheid system - is a story that was not being told despite all the media attention given to South Africa. 49 I i �Triskel Arts Centre, Tuesday, 29 Septembe . I YANKEE SAMURAI Katriel Schory Israel 1985 Colour 50 minutes Part subtitled s I i i COMPAN I. ■» * few Script Editing Executive Producers Production Company Export Agents * 3 ’ * s. Katriel Schory Naomi Press-Aviram Ludi Boeken, Ben Elkerbout Belbo Film Productions BV in association with Telemedia Ltd. Belbo Film Productions BV, 26 Ruppin Street, Tel Aviv, Israel After the attack on Pearl Harbour, in a wave of xenophobia, the entire Japanese-American community was removed to internment camps on the orders of President Roosevelt. Six months later, out of the camps, emerged the JapaneseAmerican combat team, a volunteer outfit which to be distinguished by the war's end as the most decorated American Army unit of World War II. Fighting Fascism in Europe and bitter prejudice at home, the combat team had perhaps its proudest and saddest moment when, in a battle in the Vosges Mountains to rescue 240 Texans, the so-called 'lost battalion', the JapaneseAmericans suffered 800 casualties. A lifelong bond exists between these soldiers and the citizens of the French town Bruyeres, delivered from the Nazis by the the men they call the 'gentlemen soldiers'. The film centres around the unveiling of a monument to the combat team in a nostalgic re-union between liberators and liberated. Shot in California and Europe, the film includes never-before-seen archival footage. None of the difficult questions are fudged in a masterly and incisive examination of a time that still raises ugly and uncomfortable questions. I Grant-aided by the Arts Council Best Wishes to the 32nd Cork Film Festival IVERNIA THEATRE TEL. (021) 272703 a RESTAURANT Monday 9 a.m.-5 p.m. Tuesday-Saturday 9 a.m.to 10 p.m. Last Orders JACQUELINE and EITHNE BARRY 9 Phoenix Street, (near GPO), Cork, Ireland Telephone (021) 277387 South Mall Phoenix Street fl Oliver Plunkett Street < 50 �academy leade 20 Directors -ONS USA/Switzerland / Poland /China 1987 Colour 6 minutes 30 second AMD SHE Jim Blashfield USA 1987 Colour 3m-r I UH Awards Produced & Edited Production Company Special Jury Prize for Animated Short, Cannes 1987 David Ehrlich RR 1, Box 50, Randolph, Vt 05060, USA Twenty animators from four countries express their inter­ national friendship and love of animation in an unique collaboration - a series of animated variations on the standard academy leader. AIN'T NO KING COMIN' Tia J. T. Lemke USA 1986 Colour Visual Designers Editing Producer Original Music Animators Production Company Jim Blashfield, Don Merkt, David Byrne Paul Diener Melissa Marsland, Jim Blashfield Talking Heads Jim Blashfield, Don Merkt, Laura Di Trapini, Tom Arndt Blashfield & Associates, c/o Cine, 1201 Sixteenth Street, NW, Washington DC 20036 Director Jim Blashfield's stated interest is in 'taking something that's real and making it still be pretty real - but not quite.' The method of work employed for this animation set to the music of Talking Heads' And She kVas is fascinating: Blashfield assembled a team and set to taking photographs of objects, xeroxing them, cutting them out and making them move. 'A woman levitates, and looks down on the wide, turning world.' 24 minutes 30 seconds ANIMATING ART Imogen Sutton Britain 1987 Colour 38 minutes Iif >. Awards Leading Players Photography Editing Producer Production Company hI Best Picture, 44th Annual NYU Film Festival; First Place, Mobil Awards Film Festival, M.O.M.A., 1986; First Place, Short Film section, USA Film Festival, 1987 Tony Gonzalez, Roy Innocenti, Eve Marlowe Edmund Cheung Tia J. T. Lemke Tia J. T. Lemke Tia J. T. Lemke, 173 Bleeker Street, 18 New York, N.Y. 10012, USA ’ a fine drama, warmly observed and family triangle on the New York Lower East Si and hjs the New York Lower streets. The participants: a Latina, her macho . htfu| the nval - a long-absent father. The s °ry is thoughtful, construction tight, the acting oc-^nallyb^au r fof Photography Editing Producer Production Company k H. J. Brown, Nick Beeks-Sanders Stefan Ronowicz Imogen Sutton Imogen Sutton Productions Ltd., The Studio, 96 Haverstock Hill, London NW3 2BB Walt Disney's legendary animator, Art Babbitt, at the age of eighty is still animating and teaching. Creator of such classic characters as Goofy, and the wicked Queen from Snow White, Babbitt is a fascinating character whose gift for the medium is as fresh and striking today as it was during Disney s Golden Age. With excerpts from Snow White, Pinocchio, Dumbo, Fantasia and the award-winning Country Cousin, the fikn also includes previously unseen footage shot by Babbitt himself which Pr®.;Hpe Xcenes of Disney at studio parties and of the 1941 Hollywood“nTmattrs' strike led at Disney's by Babbitt. 51 I | �\ I,- Photography Editing Producer Production Company RESTAURANT WINE BAR John Campbell John Campbell, Manfred Hattendorf Michael Saunders Bryson House, 28 Bedford Street, Belfast BT2 7FE TRADITIONAL PIZZAS FRESH HAND-MADE PASTAS GRILLS FISH OMELETTES FULL WINE LIST Inspired by such masterpieces of the silent era as Berlin Symphony Of A Great City and A Propos De Nice, a group of young Belfast people and a German film enthusiast set out to provide a twenty-four-hour portrait of life in a much-writtenabout city. In public places and private homes, in factories and in workshops and in Friday night entertainment they 'found an original place with a unique flavour'. BERLIN BLUE Hartmut Jahn, Peter Wensierski West Germany 1987 Colour SPECIAL ORDER SERVICE —, v ZllTlO V 14 minutes book tokens, CARDS AND GIFT WRAP (Collins jBoofesfjop Carey's Lane, Cork Telephone (021) 271346 | TO OMOC < THt COUJNS • ] tytsr ****** i rwc* >nat' I Ji * |t[____ _ nation “The reading of all good books is like a conversation with the finest men ofpast centuries” - Rene Descartes (1596-1650: Photography Producer Production Company Carlos Bustamante Pantafilm Pantafilm, Jahn-Wensierski GmbH, Seeling Strasse 14,1000 Berlin 19 '"There is no book so bad but there is something good In It" - Miguel Cervantes (1547-1616). “When I get a little money, I buy books; and ifany is left / buy food and clothes”. — Erasmus (1465 - 1536). This experimental short film looks at the Berlin Wall as an artistical screen for visual projection. The film features work from internationally-known artists such as Thierry Noir, Vera Schrankl, Christophe Bouchet, Arthur Kuggeleyn and Joachim Lodek. And after a while the Berlin Wall turns upside down .... “Reading is to the mind what exercise is to the body" Books for everyone, including: FICTION AND NON-FICTION BOOKS CHILDREN'S AND ADULT READING j NEW BOOKS AND BUDGET BOOKS J LEABHAIR GAEILGE AR P/OL__ —-j �blast furnace in autumw Ralf Grape West Germany 1986 Colour 3 minutes £ O imperial HOTEL South Mall, Cork Awards Signatories' Award, Oberhausen, 1986; Acclaiming Reference, 3rd Short Film Festival, Berlin, 1986; Gold Special Jury Award, 8th Houston International Film Festival Florian Haarmann Ralf Grape's Movie Machine, Dresdener Strasse 41,46 Dortmund 1, West Germany Producer Production Company Telephone 274040 (10 lines) Telegrams Imperial Cork' Telex 75126 The subject-matter of the film is the decline of coal-mines in the Ruhr district. It derives its fascination from the stunning manner in which the apparent 'trickery' of its method, the mixture of model-shooting and documentary, is transparently displayed. BOOM BABIES Siobhan Twomey Ireland 1986 Colour 34 minutes Our New CUCUDS BAR and GRILL Complex is now open Leading Players Photography Editing Producer Production Company I Aisling T6ibin, Andrew Connolly Nick O'Neill Amanda Sutton Jimmy Duggan, Siobhan Twomey rtyu1 about the conflic,ir,a ■!ves andf ^SaeO's^AiK 'is? sbong-wilied. Qive her a job. She spends her time ob^s> I Continued success to the CORK FILM FESTIVAL y b|ock (Unemployed, he of Aisling takes to driving through the deserted c ty at Sss^te»:sssSfJS»’"~ lasted t0 the 53 JI �JECAGE/KL CADENCE Olaf Olszewski Jan Wouter van Reijen Netherlands 1986 Colour A Poland Black & White 1986 5 minutes 15 minutes i I i a Sj.., ,.^i Producer Photography Goert Giltaij Producer Suzanne van Voorst Production Company Yuca Film, Plantage Middenlaan 20, Postbus 1379, NL-1000 BJ, Amsterdam Olaf Olszewski, ul. Sawy 11/64, 20 -632 Lublin, Poland A rat gnaws at the bar of a cage. Frantic, but patient. A fifteen-minute long impression of a block of flats some­ where in the Netherlands. The eponymous cadence is reflected in the sequence of images and sounds: form and content. The result is a surprising insight into our everyday environment. 1 CELEBRATION OF LIGHT k 7he Louis Marcus V P U' Rtia ~ TAVERN I! I v, \, . Ireland 1986 Colour 23 minutes V I ■Mr Or . ? Is x..' t® ,1 ~~t r- J.' iff ip IH 7"‘ 1 hJ ' I By 3^1I _____ I ft/ Mi > i I. - Jjs. 1 “ DINNER IS SERVED ” £3 CONCESSION on all bottles of wine on production of Film Festival Membership. 54 Photography Sound Producer Production Company Robert Monks Liam Saurin, Pat Gibbons Louis Marcus Louis Marcus Film & Video, 12 Fortfield Drive, Dublin 6, Ireland The tradition of Waterford glass-making is over 200 years old. Glass is still blown by mouth there, and cut by hand in a tradition of craftsmanship that still flourishes. Marcus' film is a tribute to the skills of the workers who have made Waterford Glass an internationally-famous product. �I CERRIDWEIWS GIFT Directed, produced and animated by Rose Bond USA 1987 ★ Colour ★★ 9 minutes The Star-Studded Metropole I Narrator Music Production Company Fiona Ritchie Micheal 0 Domhnaill Rose Bond, 4380 86th Avenue, SW, Portland OR 97225 USA A dramatic rendering of an ancient Celtic myth, the film vividly recounts the tale of how the Welsh people received the gift of poetry and prophecy. The film's heroine, Cerridwen, is a wise woman and brewer of the cauldron of inspiration. The film tells the story of Cerridwen's plans to bestow a gift on her son, and the twist of fate which results in the wrong person receiving the gift. A CLOSE SHAVE Ray Kilby Britain 1987 Colour, Black & White 33 minutes Excellent cuisine in Lee view restaurant. ★ Superb friendly staff. ★ Convenient to city centre and Cork Opera House. ★ Super value weekend breaks £49 per person sharing. ★ All rooms with private bathroom, television and video channel. i‘ I? I rr I ★ Free indoor lock up car park I ★ Five minute walk from train and bus terminals. Jazz ui the Met Tavern. Leading Players Robert Lockheart, Amanda Wray, Jacey Salles, Chris Demetriou, Gordon McHarg photography Julian Glaser •diting Nicola Gerry foducer Ray Kilby Folgate Films Ltd., Studio 317, foduction Company Cable Street Studios, Thames House, Cable Street, London E1 9Ht> ’hby is a nurse who works in a Private hospital for^i^urbed Jhgjnen. He has aspirations to being a writer. which he 'e the life of one of his patients. i — X hoteTI MacCurtain Street, Cork. Tel: 508122. 55 �CLOSED CIRCUIT Nicholas Granby Britain 1987 Colour 11 minutes Comprehensive Travel Service Holiday and Business Travel Leading Players Photography Producers Production Company Keith Allen, Cheryl Prime, Moray Watson, Lionel Taylor Nick Beeks-Sanders Saskia Sutton, Nicholas Granby Nicholas Granby Productions in association with British Screen and Film Four International, 60 Charlotte Street, London W1V 2AX Security-man Smith spends all his time watching the screens of a closed-circuit video security system. By chance, Smith finds that he can operate the camera remote-control to go into a close-up on the company safe's combination lock. He thus succeeds in obtaining all the numbers of the combination, and successfully robs the safe of a large amount of cash. However, unknown to him, all his actions are recorded by a closed-circuit camera, cleverly concealed in the ceiling of his control room and connected to a monitor in another room in the building. John Stewart 1987 Heffernans Travel PEMBROKE HOUSE, PEMBROKE STREET, CORK Telephone (021) 271081 Before and after the Show FRANKIE'S is the place to go CRASH England Travel Agents for the Cork Film Festival Black & White 10 minutes FBods, Vi'ines & Cocktails GRAND PARADE CORK Tel: (021) 273999 Leading Players Photography Editing Producer Production Company Niamh Mahon, Darren Fury Nikki McCay, Tim Jones (Narrator) John Stewart John Stewart, Carol Lemon Carol Lemon Persistent Vision Productions, 277 Archway Road, London N6 5AA, England In the immediate aftermath of a car-crash, Maggie finds she can move nothing but the muscles of her face. Maggie sees the dead body of her travelling companion Sandra, but is astonished when a passerby suddenly helps Sandra from the wrecked car. And when the horrified passerby takes off his jacket and slowly covers Maggie's face, she comes to a terrible realization .... 56 Selection of Hot Lunches. Bar Food available alljWJ �the DIAMOND Kent Moorhead USA 1986 Colour Leading Players 28 n •. ■• tes LUNCHES Monday-Friday 12.30-2.30 Dana Mills, LaneTrippe, Edith Crutcher Jason Mount Kent Moorhead, Rod Moorhead John Thomas Bill Creed Kent Moorhead, Rod Moorhead Brit Warner, Wain Bradley Diamond King Productions, 305 Washington Ext., Oxford, Ms 38655, USA Screenwriters Photography Editing Producers Music Production Company Neal, a twelve-year-old Downs Syndrome child, has a father who considers him a disgrace and a mother who finds him an embar­ rassment. Only Leslie, his friend, accepts Neal on his own terms and together they create a private world of adventure, with jungles and tigers and diamond fields where outlaw children take refuge when they get into trouble. However, when they run away to the nearby zoo, their imaginary adventures suddenly become real. ERMINIA'S OPENING NIGHT AND OTHER STORIES Duncan Sinclair Australia 1987 Colour FOR BEFORE & AFTER SHOW DRINKS I .1 She's Gotta Have It 11 22 minutes I Well that's what she said, so what could I do only take her to lunch at TheCarvery in the i *• zn nsw HTG 330I SEPT Eh t.R 1925. arm of In9 Players >0raphy Queers Auction Company | Gosia Dobrowolaka, Basil Clarke, Warren Coleman, Scott Bartie Jane Castle Duncan Sinclair Robert Reynolds, Duncan Sinclair Australian Rim, Television and Radio School, 8 West Street, North Sydney, NSW 2060 about itself, film fiction, dreams versus reality, fame and music. lerandanold «the form of a double bill in which a young opera singer fy to realize their dreams. Grand Parade Hotel. After home-made soup, fresh seafood platter followed by lemon cheese-cake (Jack, the Head Chef carved some succulent roast beef for myself) she started to talk to me again. I guess I'll have to keep taking her to lunch there. Well it sure beats a silent BREAKFAST AT TIFFANY'S. Who was she? Oh! MADONNA. 57 I �>:tESCOES OF DIEGO RIVfciiA FRANKIE & JOHNNY Michael Camerini Liam O'Neill USA Ireland Colour 1987 Colour 1986 35 minutes 20 minutes i Dermod Moore, Andrew Connolly, Bill MacMahon, Deirdre Kelly, Paul Lane, Rachel Burrowes Robert Belton Des Irvine Liam O'Neill Liam O'Neill, 40 Parnell Square, Dublin 1 Leading Players Photography Editing Producer Production Company Frankie and Johnny are friends. Frankie works in a Pet’Sh0PJohnny is between situations. Life goes on until Johnny takes up employment of dubious legality. To help his friend, Frankie becomes involved, and their lives are changed forever. Photography Editing Producer Production Company Dirk Bakker, Gary Becker Paul Marcus Michael Camerini Michael Camerini for Founders Society, Detroit Institute of Arts, c / o Cine, _ 1201 Sixteenth St., NW, Washington DC 20036 footage of the artist at work and at play. HEADLABYRINTH I Udo Gorisch West Germany 1987 Black & White IV ' *-L i 15 minutes z> i r h i' ... i j & . \ £ \ * mo M 24 SULLIVANS QUAY CORK & Tel. 021 317660 RESTAURANT LUNCHES & EVENING MEALS Teas, Coffee & Snacks • Wine Licence Leading Players Joachim-Paul Rob, Ute Janssen, Schirin Schulz-Jarek, Atik Noorzai, Ralph Walter Photography Ralph Gellwitzki Editing Udo Gorisch Producer Take It Films Production Company Take It Films, Lindenstrasse 66, 4000 Dusseldorf, West Germany A man wanders aimlessly through the corridors of his mind LTf rih°n^d by hlS lma9inin9s- Terror overcomes him as he searches for a way-out which will prove to be non-existent. 58 F BOOKSHOP New & Secondhand Books, Magazines, etc. NATURAL FOOD STORE Whole Foods, Fresh Fruit & Organic Vegetables, Local Dairy Produce, etc. OPEN RESTAURANT: 12 to 6, Monday, Tuesday & Saturday, J to 9, Wednesday, Thursday & Friday CAFE: 12 to 9, Wednesday, Thursday & Friday UNWAGco DISCOUNT - A WORKERS'CO-OP. �ICED Craig McCall 1986 Britain Co. 15 minutes 12 minutes 1 Leading Players I Photography Editor Producer Production Company Richard Ryan, Peter Silverleaf, Lesley Casey, Sam Smart Cameron Whitlie Tom Peirce Tom Peirce Bournemouth & Poole College of Art & Design, Wallisdown Road, Poole, Dorset BH12 5HH, England Atale set on ice, an old story told in a stylised manner. The visions and thoughts of an ice-hockey player and gang member, shedding the delusions of adolescence. INTERNATIONAL SWEETHEARTS OF RHYTHM Leading Players Photography Editing Producer Production Company Myriam Moutillet, Michael Toppings Stephane Ricard Christian Fluet Michel Ouellette Agent Orange Inc., 1178 pl. Phillips No. 204, Montreal, Quebec, Canada 1959. At night. A young man pursues a woman he has seen at the swimming-pool. He follows her to an aquarium; in the dark passages, fish and amphibians in large glass tanks. Later, in the downtown area, he enters an apartment building, takes the elevator, rings at a door. The blonde woman he has been following opens the door. The young man is a salesman, he is demonstrating a new defoliant. i I Greta Schiller, Andrea Wiess USA 1986 Colour, Black & White 30 minutes I PEMBROKE STREET, CORK. Telephone: (021)276575 fl restaurant and nightclub ’’otography Siting toducer *Port Agents Ronald K. Grey Allan Berliner Greta Schiller Cinema of Women, 31 Clerkenwell Close, London EC1R OAT ^C'of i #/• I 'Sweethearts were an unique, mult'.'rac’^,Tbe^?(^jred\he with a sound and personality alltheir (^ws before fewest extensively, braving the s®gr®9 , clubland where iding for Washington DC, then into Harl up after the •'nes stretched around the block. The ba . the troops, |Which they had spent touring Europe ent sweet memory lingers on. 59 { �fl STORY A Hl a live water Victoria Lewis USA Colour 1987 Sally Potter 1986 Britain Colour 15 minutes 18 minutes j ^.M^SSESSi Ml F a Photography Sound Recordist David Sperling Producer Production Company I Christopher Li Frankin Simeone Cymru Films, 1370 Sanchez, San Francisco, Ca 94131, USA Live Water is an informative look at the phenomenon of water­ divining or 'dowsing' and the people who practise it. The film sets up a confrontation between scientists who are vehemently opposed to the idea of 'dowsing' and 'water witches' who continue to nonchalantly produce the evidence against the odds. The edge is often humorous. LIVING WITH AIDS Tina DiFeliciantonio USA 1985/86 Awards Photography Editing Producer Production Company Colour 24 minutes Best Documentary Short, Palo Alto Film Festival; The Top Prize, Oberhausen Film Festival; Best Student Documentary, Academy of Television Arts and Sciences; Student Academy Award, Academy of Motion Picture Arts and Sciences Frances Reid Tina DiFeliciantonio Tina DiFeliciantonio Tina DiFeliciantonio 128 Linda Street, San Francisco, Ca 94110, USA Leading Players Photography Editing Producer Production Company Jacky Lansley, Lol Coxhill, George Yiassoumi Belinda Parsons Budge Tremlett Nancy Vandenbergh Sally Potter in association with the British Film Institute and Channel Four Television, 29 Rathbone Street, London W1, England While Britain decides who are its political allies, Europe or the United States, three characters decide to take action. They do so in the manner of a technicolour musical comedy set against famous London locations THE LOSS ADJUSTER Mole Hill Britain 1987 Leading Players Photography Editing Producer Production Company Colour 11 minutes Roger Sloman, Matthew Scurfield, Arthur Hewlett, Nicholas Pritchard, Natalie Forbes, Joanna Dickens Ian Wilson Paul Edmunds Julain Roberts Creative Film Makers Ltd. in association with British Screen and Film Four International, 60 Charlotte Street, London W1P 2AX llar-9e dress factorY-The owner dies in the fire. The loss adjuster is thainaurance company to investigate the heavy insurance claim. support. The film documents°he last SJT? pr.aTct,cal and emotional an^the audiPn?A iIiSt‘?SUran2e cla,mu,s resolved in Guinevere's favour, anS i'ndeeYof the 9U"' °' 60 �L0U HARRISON: 'Cherish, Conserve, Consider, Create' £rjc Marin, Director/Producer/Editor USA 1986 Colour 28 minutes l! II making waves Jenny Wilkes Britain 1987 Leading Players I 11 minutes i Awards I- Colour Photography Music Production Company Bronze Apple, National Educational Film Festival; Cine Eagle 1987; Focus Award 1987 Eric Marin with Kevin White Lou Harrison Eric Marin, 2315 Grant Street No. 7, Berkeley, Ca 94703, USA The film impressionistically presents the life and music of American composer and instrument-builder Lou Harrison.Film­ maker Eric Marin blends the styles of the impressionistic film with the more traditional interview documentary to highlight Harrison's long and prolific career and his explorations in the area of 'new music'. Interwoven are excerpts of music, voice­ overs and on-camera statements by Harrison, John Cage, Virgil Thomson and Harrison's longstanding collaborator, Bill Colvig. Enda McCallion 1987 Producer Production Company Some retired ladies are going on a coach trip and are surprised when the newcomer to their group arrives with a man. He is introduced as her son, but the ladies find this hard to believe as he never leaves her side for a moment. Doris is particularly curious and takes the opportunity to get to know him better one night. But here the story takesan unexpected turn. The holiday ends as he is whisked off early in the morning by his mother, leaving Doris to explain herself to the ladies in the coach on their way home. MAN OH MAN MADELAINE Ireland Photography Editor Sheila Hancock, Kenneth Cranham, Lila Kaye, Maggie Holland, Pat Keen, Terry John, Joyce Irvine, Neil McGrath Kenneth MacMillan William Diver, from a short story by Clare Boylan Some Retired Ladies On A Tour Ann Wingate Production Pool in association with British Screen and Film Four International, 60 Charlotte Street, London W1V 2AX Colour 17 minutes J. Clements USA 1987 Colour 18 minutes * Leading Players Photography Producer Production Company Charlie Roberts, Maura Kealy, Pat Nolan, Michelle Houlden Robert Belton Enda McCallion The Robozo Brothers, Ros-na-Ri, Ballmacarry, Buncrana, Co. Donegal, Ireland An old man stands knee-deep in the sea. From the blue hessian sack he holds, he pulls out a spotted dress and spreads it on the water. It is a ceremony of sorts. Walking by the wash, he comes across a dead seagull. He puts the carcase in his sack. Suddenly he stops. Ahead lies a sodden dress he had earlier released. The tide has returned it. He feeds it into his sack and hurries home. The spotted dress hangs on a line by the window. Flashback: the old man and his lover on the beach, she in a spotted dress. Photography Kinciad Jones Producer J. Clements Production Company High Tide Productions, 207 O'Keefe, Menlo Park, Ca 94025, USA J. Clements is a feminist film-maker who has grown, in her own words, 'increasingly frustrated with the anger, blame and resentment that has so easily been placed onto men'. Politically and personally, she felt that the time had come to try to understand the lives of men in the light of the cultural conditioning which is so harmful to their lives and well-being. Hence, this film. �MUYBRIDGE REVISITED George Snow Director/Animator Britain 1986 Colour 5 minutes Triskel Cafe TRISKELARTS CENTRE Production Company British Film Institute in association with Channel Four Television, 29 Rathbone Street, London WIP1AG, England Film Festival Food OPEN ALL HOURS Muybridge Revisited consists of the re-animation of Muybridge loops cut with experimental videographics of the people and buildings of Fulham in London. Telephone 272022 Ext 4 NORTH Maxim Ford Britain 1986 Colour 37 minutes LOAFERS BAR I Photography Editing Producer Production Company Maxim Ford Alan Mackay Bob Davis Trade Films Ltd., 36 Bottle Bank, Gateshead, Tyne & Wear, NE8 2AR, England Once the rivers of north-east England were arteries of the British Empire, their banks teeming with its industry. Now they drain a still and dying landscape. Brute surgery, operated in distant boardrooms and exchanges, only hastens decline. New infusions of lifeblood capital - latterly from the Far East - don't begin to stem the industrial haemorrhage. A once vigorous labour movement appears enfeebled. North is a highly visual essay set to a specially composed musical score. A range of images —familiar and unfamiliar, often innovatively filmed using time-lapse, double-exposure and slow-motion techniques - combine in a colourful montage to present an overview of the region's history and ~eve'°Pment and to explore its contemporary contradictions and paradoxes. ki £»?-,■ ___ 26 DOUGLAS ST - CORK ~ �PIRATES Julian Richards Wales 1987 Colour 38 minutes RED GROOMS: Sunflower In A Hothouse Thomas L. Neff USA I* Awards Special Jury Commendation, Munich Film Festival William Vaughan, Ross Foley, Simon Foy, Graeme Gordon, Russell Nash Ian Richards Julian Richards Bournemouth & Poole College of Art & Design Bournemouth & Poole College of Art & Design, Wallindown Road, Poole, Dorset, England Leading Players Photography Editing Producer Production Company 1986 Colour 21 minutes Photography Steve Sinclair Editing Barry Rubinow Producer Louise Lequire Cine, 1201 Sixteenth Street, NW, Washington DC 20036, USA (202) 785-1136 Production Company Clayton is 'The Rebel', tough and street-wise, a teenage hero but an adult reject; Alun is The Brains', a college boy, shy and naive; Liam is The Bodybuilder*, strong-willed and confident. When all three find themselves working for a small-time crook, the story takes an unexpected and hilarious twist. Red Grooms is a prolific artist who combines traditional painting and sculpture elements into a form he calls 'Picto-sculpturama'. This film, the first in-depth study of Groom's work, melts reality with Groom's pieces, set to an original jazz score. RAINBOW WAR RIG ATONI Bob Rogers USA 1986 i 'I Colour Directed, produced, edited and photographed by 20 minutes Finbarr O'Riordan Ireland/Britain 1987 Colour 9 minutes J Awards Screenwriters Photography Editing Music Production Company Export Agents Best of Festival, Houston International Film Festival Mark Nowadnick, Alan Monro, Andy Gaskill, Bob Rogers Reed Smoot Marshall Harvey Production Company Silver Falls Films, 3 Pretoria Road, Plaistow, London E13 A freestyle narrative recounting the tale of one morning in the life of a young Dublin rock musician living in London. David Spear Bob Rogers & Company Cine, 1201 Sixteenth Street, NW, Washington DC, 20036, USA Three imaginary kingdoms, one red, one blue, and one gold, fight a war using paint. The film examines what happens when techno­ logy brings culture into competition. 63 '■i �SHARKY'S PARTY SHAG Buck Brinson USA 1985 16 mm 32 minutes Colour Greg Woodland Australia 1985 Colour 29 minutes lcoME I I ?■* -ZScript Photography Editing Executive Producer Sound Production Company I Export Agents Rick Sebak Buck Brinson Elaine Cooper Rick Seback Joe Bowie Co-Production of South Carolina Educational Television, and The South Carolina Department of Parks, Recreation & Tourism Cine, 1201 Sixteenth Street, NW, Washington DC 20036, USA A film about a social'dance, like the jitterbug, called the 'shag', which people in the south-eastern U.S. still do. Using historic clips and photographs, and new footage of the dance, the film­ makers show the history of the dance, explain its ties to the Carolina beaches, and show why the 'shag' has been named South Carolina's official State Dance. SHORE LEAVE 1987 Photography Editing Producer Production Company David Argue, Jo Kennedy, Rainee Skinner, Kim Deacon, Wayne Jarratt, David Sandford Stephen Dobson Sara Bennett Peter Lawless Lawless Enterprises, 9 Edward Street, East Balmain, N.S.W. 2081, Australia After six months in a mental hospital, Sharky returns home to a party where he is the supposed guest of honour. After a brief welcome home, Sharky is abandoned by his friends, tangles with the dealer Leif over unfinished business, loses a new-found girl­ friend, falls victim to a heroin overdose .... butthen there is the nurse, Regina, who rescues Sharky and waltzes him off into the night. Will our hero find love, sex and happiness with Regina ? We can only speculate .... SNOOKLES Juliet Stroud Allen Irvine Britain Leading Players Colour 38 minutes USA 1987 Colour 3 minutes Producer Juliet Stroud Production Company Juliet Stroud, c/o Cine, 1201 Sixteenth Street, NW, Washington DC 20036 A heartwarming animation. Inspired by a little songbird, a baby dragon bursts into song. A film to fire the imagination. Leading Players Photography Editing Producer Production Company Phil Daniels, Joanne Whalley, Bryan Pringle, Eddie Tudor-Pole Sean Van Hales Simon Bealey Alex Usborne National Film and TV School, Beaconsfield, Bucks, England a beaUCt^rbdursCtran:en^tS^udb 64 by hisMyra, �ROBERT VICKREY: Lyrical Realist Richard Camp USA 1986 Colour 28 minutes 16 mm H Photography Editing Producers ^Production Company Richard Camp Peter Odabashian Richard Camp, Philip Eliasoph, Scott Vickery Cine, 1201 Sixteenth Street, NW, Washington DC 20036, USA (202) 785-1136 A portrait of the celebrated egg-tempera painter, Robert Vickery. His unique works reveal an enchanted realm of children, nuns and office workers wandering through the labyrinths of contem­ porary society. Filmed on location in the artist's Cape Cod studio and in his favourite Manhattan neighbourhoods. ROSA, THE POLICEMAN'S BEAUTIFUL WIFE | Rosa, die schone Schutzmannsfrau L Dagmar Brendecke ■West Germany 1986 Colour 12 minutes DOWN BY LAW nov 5/6: GINGER & FRED nov 12/13 TENUE DE SOIREE nov 19/20 BRAZIL^ nov 26/27 DEATH IN A FRENCH GARDEN ■ "tar - dec 3/4 [ TURTLE DIARY dec 10/11J TROUBLE IN MIND dec 17/18 | MY LIFE AS A DOG Thurs & Fri nights 8p.m. Admission: £2/£1.50(uwgd); Club Membership: ing Players 43tography ing iucer Auction Company Adriana Aitaras, Hans Martin Stier, Frank Rediet Hans Rombach Dagmar Brendecke, Karin Viesel Dagmar Brendecke Dagmar Brendecke Xantener Strasse 18,1000 Berlin 15 kf'fete,,s the storY of one night: a woman, two men and •s with outer appearances and emotions. An expressionistic gro £ ' Jen ln the year 1913 by Mynona, is connected with a visual story from £1 for 12 months TRISKEL ARTS CENTRE TOBIN Street off South Main St SEASON TICKET(8films) £12. £9(uwgd) Dagmar Brendecke 65 �tribute TAKING THE STAGE Noeleen Grattan Rritain Colour 1987 Photography Editing Executive Producer Production Company Export Agents William Farley USA 1986 31 minutes Denis Cullum Nick Adams Noeleen Grattan, Nick Adams Futuretrack Films Cinema of Women, 31 Clerkenwell Close, London EC1R OAT Taking The Stage, a documentary about women in music, starts with young women learning to play instruments and then explores the experiences of a selection of women musicians from diverse areas of popular music. The excitement of live concert footage is set against backstage reflections on both positive and problematic aspects of being women in music. The film ends on a hopeful note of inspiration for women to get up and 'take the staged Black & White Awards Producer Production Company 7 minutes Sinking Creek Award Winner William Farley William Farley Film Group, 2600Tenth Street, Suite 415, Berkeley, Ca 94710, USA Tribute is an affirmative view of life and death. The images are almost without exception from the 1950's: a ship launching, a woman dancing, a tree falling - impersonal subjects which are nonetheless icons and metaphors for our most personal thoughts. Emerging from darkness, the images propel ustowads remembrance of purity and conflict - the essence of our collective experience of being alive. TIME OF THE ANGELS Faith Hubley USA 1987 Colour 10 minutes deLacy J loose 74 OLIVER PLUNKETT STREET CORK, IRELAND Telephone (021)270074 MARY KATE WOMBLES 73 OLIVER PLUNKETT STREET, CORK Telephone 270074 Producer Music Animation Production Company Faith Hubley William Russo Hubley, George Hubley, William Littlejohn The Hubley Studio, c/o Cine, 1201 Sixteenth Street, NW, ' Washington DC 20036, USA view of the life of today's Mexican children. M iaaores,anda (next door to de-Lacy House) Cork s Newest and Smartest Restaurant Delicious Top Quality Food served by our Pleasant Staff at a Reasonable Price OPENS AT 10.00 for MORNING COFFEE nnr M*2™ ^.00-3.00 p.m. L EXTENSIVE MENU, A LA CARTE MENU EACH EVENING Open all day every day and ’till late every weekend 66 d.' �From The Royal Cob t Art Four Animations HELLO DAD dolphins A lyrical study of dolphins in motion A pop music video animated to the track 'Hello Dad - I'm In Jail' by Was Not Was h . Animation 1 Running Time [ Music Rostrum Camera Ian Andrew 4 minutes Brian Eno, Harold Budd Isabelle Perrichon STRANGERS IN PARADISE I Adam and Eve find themselves confronted by the 20th century's shopping-centre mentality Animation Running Time ; Sound Animation Running Time Music Christoph Simon 1 minute 30 seconds Was Not Was HAIDARA The sun is in Cancer, the moon is in Pisces, out of water all life comes Animation Running Time Music Rostrum Camera Editing Christoph Simon 4 minutes Jali Musa Jawara Isabelle Perrichon Klaus Witting Andy Stavely 8 minutes Alan Smyth 67 i �Cinema and Ireland By Kevin Rockett and Luke Gibbons Variety theatre owner, Dan Lowrey, brought cinema to Ireland in April 1896 when he screened a few short films in what is now Dublin's Olympia Theatre. Cork, though, had to wait until Lowrey opened his Variety Theatre there a year later. Film shows were a great success in both loca­ tions and shortly thereafter every town in the country was introduced to moving pictures. It was not until 1910, though, that sustained fiction film production in Ireland began. During the following decade fiction films by native and foreign film-makers gave Ireland its most productive and interesting period of film-making until the 1970's and 1980's. The American company Kalem made a wide range of Irish films in Kerry from 1910 onwards. These films include historical dramas such as Rory O'More (1911) and Ireland The Oppressed (1911) and adaptations of three of Dion Boucicault's plays, Arrah-na-Pogue (1911), The Colleen Bawn (1911) and The Shaughraun (1912). During 1916-20 the most important native film company of the silent period, the Film Company of Ireland, also made a compre­ hensive selection of Irish films including feature-length versions of Charles Kickham's Knocknagow (1918) and William Carleton's lV/7/y Reilly And His Colleen Bawn (1920). These films are of interest not just in their own right but because of the close relationship between the film-makers and the evolving nationalist movement. As a result these film-makers were often in conflict with the British authori­ ties over the content of their historical films in particular. In these films contemporary political battles were indirectly addressed in a manner sympathetic to the nationalist cause. Sometimes this support was direct as in, for example, the production of a film to advertise the republican loan bond campaign in 1919. It was directed by John MacDonagh (whose brother Thomas was executed after the 1916 Rising) and featured Michael Collins and Arthur Griffith. It had unorthodox distribution when IRA Volunteers arrived at cinemas with the film in one hand a gun in the other and ordered the projectionist to substitute the loan bond film for the film being shown. Before the authorities were alerted the Volunteers would have disappeared with the film. One of the reasons that the conservative leadership of the Free State Government in the 1920's almost completely ignored native film-making may have been because of this association of film with radical nationalism. Few films were made in Ireland in the 1920's: the one notable exception was the first War of Independence feature, Irish Destiny (1926). Set in 1921, it featured a reconstruction of the burning of Dublin's Customs House, Ireland's first special effects spectacle. In Irish Destiny a love story is set against the background of the war between the IRA and the Black and Tans. The Government's belated response was to approve the TiTk ng u°f a tourist/landscape silent short, Ireland. Although approved in 1926, it was not completed until uwlro nrS ater’ Such ,on9 de,ays by ,rish governments nol ev intbheC«01?e a-n a'l't0°-familiar feature of Irish film an aid toS ?? dTdes'Film was P" ™a ri ly seen as devp?nn ; ? ? LC devel°Pment if film-making was to ?ndus?£ Thi! an1- '* Yh°Uld be treated as just another 1930’s within thP nCV became firmly established in the 5 b b o 8 ! iI ..-1 4 < I I s o 68 a- �technicaTskUlsvver^available'to^^ke^eatures'fo^distribution abroad, the Department of Industry and Commerce under Sean Lemass reasoned, then it was necessary to bring in foreign expertise and foreign capital to help develop an Irish film industry. If the State could help secure this capital with loans or grants then it ought to. It was, of course, an early still-primitive version of the policy most clearly identified with Lemass after he became Taoiseach in 1959. By then he had achieved his film policy's main, if not sole, objective. Having failed in 1946 and 1947 to gain Cabinet approval to invest in a film studio he finally succeeded when in 1958 Ardmore Studios was opened with the aid of a grant and a loan from the State. Lemass left no one in any doubt about his view of the function of the studios when he officially opened Ardmore. It would make films for export, he declared, a theme the newspaper head­ lines echoed. S CD 3 is E o oc E o 75 co i- During the following twenty-five years under both private and State ownership this industrial, export-orientated policy proved its limitation even if the cultural value of film is ignored. As had been amply demonstrated as early as the 1930's economically peripheral countries such as Ireland could not compete directly with the capital intensive American and British film industries. Indeed, even Britain failed ignominiously in trying to break into the U.S. mass film market in the 1930's and 1940's, a lesson ignored by Irish policy-makers. Additionally, Ardmore Studios opened at a time when the use of studios was declining worldwide and, as Louis Marcus put it in 1967, the Studios were 'irrelevant' to the development of Irish film-making and a distinctive Irish film culture. Film-makers such as Louis Marcus had been struggling to make films in Ireland in spite of this national policy not just in the 1960's but since the 1930's. Drama-documentaries and documentaries sponsored by Government Departments and semi-State agencies as part of information campaigns provided the irregular and poorly-financed film work for native film-makers. Even when the critically acclaimed Gael Linn-produced War of Independence actuality films Mise Eire (1959) and Saoirse? (1961) were screened throughout the country it did not alter the State policy of favouring 'international' commercial features. It took another twenty years of struggle before native film­ makers won a statutory Irish Film Board with a policy favouring indigenous film-making. As the film-makers themselves had so amply demonstrated in the 1980's, once given even the meagre resources available to the Film Board not only could they make films of special interest to Irish and foreign audiences but they could raise three times the amounts of money available to the Board from private investors and television. I It is not for such forgotten titles as Ambush In Leopard Street or A Guy Called Caesar, two films made at Ardmore, for which Irish film-making in the early 1960's is remembered, but for Mise tire and Saoirse ? By contrast, the first half of the 1980's will be remembered for such films as Anne Devlin, Pigs, The Woman Who Married Clark Gable and Eat The Peach, amongst others, all of which were aided by the Film Board. It will not be remembered for such films as the largely British-produced The Fantasist (1986). But these are the types of films which may only be made in Ireland in the future now that the Film Board is being wound up after six productive years. We only have to look back on how Ireland has been most prominently represented in world cinema to remind our­ selves that the predominant screen images of Ireland and the Irish were not made by Irish but by British and American film producers. Due to the Irish State's failure to provide for a native film industry popular representations of Ireland on the screen have, with some notable exceptions, been left to the predominantly commercial designs of these foreign film companies. In this regard, Ireland's peripheral status has not simply hampered the possibilities for a native film industry but, in its absence, has also made possible a set of cinematic representations which have tended to sustain a sense of cultural inferiority. For whether it be rural backwardness or a marked proclivity for violence, the film-producing nations of the metro­ politan centre have been able to find in Ireland a set of characteristics which stand in contrast to the assumed virtues of their own particular culture. A study of British and, to a lesser extent, American films, for example, indicates how a recurring image of the Irish as inexplicably violent has lodged itself within the cine­ matic imagination. This is most marked when the attempt to elevate 'the Troubles' to the higher plane of'the human condition' only succeeded in projecting an image of the Irish as a people trapped by Fate, Destiny, or, indeed, by the mythic 'Irish character'. CM CO <D OT w 3 o It is, of course, not just stereotyped accounts of Irish history or Northern Ireland which produces this negative, backward image of Ireland. Landscape and the natural world in general is used to neutralise representations of Ireland as a social, political and economic community. For foreign film-makers, if not for Irish ones in general, 'Irishness' is not located in the modern, industrial world but in natural scenery and a mythic view of the West of Ireland. While contemporary Irish writers, for the most part, have moved on (or turned their back on) the preoccupations of the literary revival, visual culture is still constrained by the romantic legacy of the Celtic Twilight. Much of the energy of recent Irish cinema has come from an attempt to challenge these views of Ireland as a rural paradise. In some cases this has meant focussing on hitherto neglected areas of Irish society such as urban decay (Joe Comerford's Down The Corner, Cathal Black's Pigs) or the pervasive role of 69 J �uiic Church in regulating sexual morality and - (Kieran Hickey's Criminal Conversation, Cathal Diack's Our Boys, Tommy McArdle's The Kinkisha, Robert Wynne-Simmons' The Outcasts}. In other cases, it has meant burrowing back into the core of that romantic mythology, confronting the disabling images of the past head on. The work of Joe Comerford (Traveller), Bob Quinn (Caoineadh Airt Ui Laoire, Atlantean, Budawanny), Thaddeus O'Sullivan (On A Paving Stone Mounted) and particularly Pat Murphy's Maeve and Anne Devlin, seeks to challenge dominant stereotypes of Ireland from within, exposing the complex association between landscape, violence, community, sexual identity and the past. co co CT) _W (5 £ I o CINEMA IN IRELAND, by Kevin Rockett, Luke Gibbons and John Hill, will be launched at the Cork Film Festival on Friday, 2nd October, 1987. Published by Croom Helm, the book is divided into two parts. Part One, History, Politics And Irish Cinema is by Kevin Rockett; Part Two, consists of Images Of Violence by John Hill, and Romanticism, Realism And Irish Cinema by Luke Gibbons. The book 'repre­ sents a major breakthrough in the Irish cultural debate^ one reviewer observed. Another stated that 'not only does it become the standard work on Irish cinema; no serious student of 'British Cinema' can afford to ignore it'. In recent years, the influence of popular culture itself has been worked into Irish cinema, and films such as The Woman Who Married Clark Gable (Thaddeus O'Sullivan) and Eat The Peach (Peter Ormrod) testify to the grip exercised by Hollywood and the Anglo-American culture industry on the Irish imagination. Unfortunately, the recent abolition of the Film Board seems designed to perpetuate this tendency to adopt our self-image from outside sources. Events like the revitalised Cork Film Festival, the establishment of a critical base for Irish film culture, and, above all, the efforts of the film-makers themselves demonstrate that whatever the short-sighted policies of the Government, an indigenous Irish film industry is here to stay. Kevin Rockett, Luke Gibbons CINEMA AND IRELAND Kevin Rockett, Luke Gibbons &John Hill The first comprehensive study of the cinema in Ireland and Ireland on film ★ A complete history of native Irish film making from the silent period to the 1980s. ★ Thought-provoking examination of politics and the Irish cinema. ★ Penetrating analysis of foreign and native images of Ireland ana the Irish on the cinema screen. I This exciting volume has already been welcomed by authorities in the field: .. . . . “A major breakthrough in the Irish cultural debate ... The overall impact is one of tremendous intellectual excitement. ” Richard Kearney, Editor of The Irish Mind “Not only does it become the standard work on Irish cinema: no serious student of‘British Cinema ’(however defined) can afford to ignore it. ” Charles Barr, Author of The Ealing Studios S'A™t42lS, 288 «« ‘"uslrJted Published: October 1987 70 Other Irish Studies titles from Croom Helm: THE IRISH IN THE VICTORIAN CITY Edited by Roger Swift and Sheridan Gilley “Closely argued and scholarly, the collection is nevertheless accessible and lucid... an important book. New Society £25.00 0-7099-3333-9 320 pages AND IRISH AUSTRALIA: Studies in Cultural and Political History Edited by Oliver MacDonagh and W.F. Mandle f35.00 0-7099-4617-1 304 pages �Acknowledge The Directors would iikr : ..hank the following individuals and organisations tor their support of the 32nd Cork Film Festival, and for their assistance in providing films. Nigel Algar, British Film Institute Gerry Crofton, Columbia-Cannon-Warner (Dublin) Helen Dobrensky, F.I.A.P.F. peter Flood, Channel Four Television Gary Hamilton, Selena Crowley, Liz Wilson, Australian Film Commission Barbara Hathaway, National Film & Television School Jill Henderson, The British Council John Hogarth, Anne Boyle, Alasdair Nicholson Enterprise Pictures Steve Perrin, Columbia-Cannon-Warner (London) John R. Donohoe, Columbia-Cannon-Warner (London) Angie Mulhall, The Arts Council of Great Britain Vassily Pletyukhin, Sovexportfilm (London) M. Schalikov, Goskino Dmitri Molodtsov, Embassy of the USSR (Dublin) Liz Reddish, BFI Production Division Kenneth Rive, London Cannon Films George Pilzer Daniel Battsek, Palace Pictures Lissy Bellaiche, Danish Film Institute Katlin Vidor, Hungarofilm Eileen McNulty, Cinema of Women Daniel Guerlin, Futura Film Tony Safford, Sundance Institute Tony Bloom, Mainline Pictures Bob Quinn, Cinegael Ian Andrew, Royal College of Art Laurence Safir, Safir Films Doris Chase Robert Beeson, Artificial Eye We would particularly like to thank John McEvoy of Radio Telefis Eireann for his invaluable assistance. Radio Telefis Eireann: Bob Collins Liam Miller Bill Harpur Noel Ryan Michael Casey Gareth Hudson Karen Holmes, Film Arts Foundation S. R. Tamahane, CINE Fliss Coombs, Zenith Suzie Wong, China Film Society, London Bill Stephens, Bridget Pedgrift, Film Four International Danilo Diaz ICAIC (Havana) M. Jacques Leglou, Les Films du Volcan John Ranelagh, Channel FourTelevision K Francine Brucher, Metropolis Film Peder Bach, Odense Symfoniorkester I Gunther Wullf Boger Doyle Joe Johnston, Ron Reafs, United States Information Service l Paddy Gaggin, Cork Film Services | Filmbase I Irish Film Institure It Muiris MacConghail, Michael Algar, Grace Carley, Rosemary Delaney, Bord Scannan na hEireann k. Peter Murray, Crawford Municipal Art Gallery The Management & Staff of Cork Opera House | Maggie Lattuca, Montreal Film Festival L Marian Massoni, New York Film Festival . Archie Tate, ICA Projects Amber Films FESTIVAL CLUB The Festival Club has always been a central part of the celebrations during the Film Festival. The venue this year is MAGUIRES in Paul Street, conveniently situated between Triskel and the Opera House. It's the place to go to meet the stars, directors, visitors and your friends. Bar extension, of course, until 1.30 a.m. each night except Saturdays. All Festival-goers are welcome, and admission is free to Season Ticket holders. 71 �Index Page !' 51 Academy Leader Variations 51 Ain't No King Cornin' 51 And She Was 51 Animating Art 20 Argentina: The Broken Silence 20 Aubrey Williams: The Mark Of The Hand 21 Babette's Feast 52 Belfast Experience, The 52 Berlin Blue 53 Blast Furnace In Autumn 53 Boom Babies 17 Boundaries Of Film-Making 21 Breaking Silence Breakthrough: A Portrait Of Aristides Demetrios 22 Broken Noses 22 Budawanny 23 Cadence 54 Cage, The 54 Celebration Of Light 54 Cerridwen's Gift 55 Chela 23 Clash Of The Ash 24 Close Shave, A 55 Closed Circuit 56 Coast To Coast 24 Crash 56 Cuba - In The Shadow Of Doubt 25 Diamond King, The 57 Dolphins 67 Doris Chase, Focus On 13 Erminia's Opening Night 57 Faces Of The Enemy 26 Four Adventures Of Reinette And Mirabelle 26 Frankie And Johnny 58 Frescoes Of Diego Rivera 58 Friendship's Death 27 Gardens Of Stone 28 Gathering Of Old Men, A 28 Girl Of Good Family, A 29 Great Wall, A 29 Haidara 67 Handsworth Songs 30 Headlabyrinth 58 Hello Dad 67 Home Of The Brave 30 Hungry Feeling, A 31 Iced 57 Inside Job, An 9 International Sweethearts Of Rhythm 57 Introducing Agent Orange 57 Invocation: Maya Deren 32 Kitchen Toto, The 33 Letters From A Dead Man 34 Page Lie Of The Land, The 34 Little Attorney, The 35 Live Water 60 Living On The Edge 35 Living With AIDS 60 London Story, A 60 Loss Adjuster, The 60 Lou Harrison: 'Cherish, Conserve, Consider, Create' 61 Madelaine 61 Magdalena Viraga 38 Magic Toyshop, The 38 Making Waves 61 Man Oh Man 61 Mum, How Do You Spell Gorbatrof? 39 Month In The Country, A 39 Muybridge Revisited 62 North 62 Paradise Camp 40 Partition 40 Passion Of Joan Of Arc, The 11 Passion Of Remembrance, The 41 Pirates 63 Plumbum or A Dangerous Game 41 Rainbow War 63 Red Grooms: Sunflower In A Hothouse 63 Riders To The Sea 42 Rigatoni 63 Robert Vickrey: Lyrical Realist 65 Robinsonade or My English Grandfather 42 Rosa, The Policeman's Beautiful Wife 65 Shag 64 Sharky's Party 64 Sherman's March 43 Shoreleave 64 Snookles 64 Strangers In Paradise 67 Square Dance 43 Successful Man, A 44 T Dan Smith 45 Taking The Stage 66 Theme, The 45 Three Bewildered People In The Night 46 Time Of The Angels 66 To The Four Winds 46 Tomasso Blu 47 Travelling North 47 Tribute 66 Waiting For The Moon 48 Walldriller, The 48 Wild Mountains 49 Witness To Apartheid 49 Yankee Samurai 50 Yeelen / Brightness 9 �z -DISCOTHEQUE-BAR-RESTAURANTConcession prices to Film Festival Ticket Holders Open 7 nights. Monday - Wednesday (incl) women free admission until 11.30 p;m. 16, OLIVER PLUNKETT STREET, CORK. ph. 270870 �7 SWRPHW ZgJSH stqMI a^WS^E >ellbS -50Rk . PEl'^ ■ � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Programme Content Source A related resource from which the described resource is derived Cork Film Festival Collection Publisher An entity responsible for making the resource available University College Cork Date A point or period of time associated with an event in the lifecycle of the resource 1956- Rights Information about rights held in and over the resource <a rel="license" href="http://creativecommons.org/licenses/by/4.0/"><img alt="Creative Commons License" style="border-width: 0;" src="https://i.creativecommons.org/l/by/4.0/80x15.png" /></a><br />This collection is licensed under a <a rel="license" href="http://creativecommons.org/licenses/by/4.0/">Creative Commons Attribution 4.0 International License</a>. All rights reserved. Please credit <a href="https://corkfilmfest.org/">Cork International Film Festival</a> &amp; provide a link back to this site. Format The file format, physical medium, or dimensions of the resource PDF Language A language of the resource English, eng; Irish, gle Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1956- Cork, Ireland Description An account of the resource A selection of programmes from the Cork International Film Festival. Subject The topic of the resource Cork Film Festival Programmes Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1987 Cork Film Festival programme content Subject The topic of the resource Cork Film Festival, Michael Hannigan, Theo Dorgan, Kevin Rockett, Luke Gibbons, Doris Chase, San Francisco Creator An entity primarily responsible for making the resource University College Cork, Cork Film Festival Source A related resource from which the described resource is derived Cork Film Festival Collection Publisher An entity responsible for making the resource available University College Cork Rights Information about rights held in and over the resource <span>This item is licensed under a </span>Creative Commons Attribution NonCommercial-NoDerivatives 4.0 International (<a href="https://creativecommons.org/licenses/by-nc-nd/4.0/">CC BY-NC-ND 4.0</a>) licence<span>.&nbsp;Please credit the&nbsp;</span>Cork International Film Festival Archive<span> and provide a link back to the site.</span> Language A language of the resource English, eng Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Cork, Ireland Description An account of the resource This is a PDF of the 1987 festival programme. The cover is predominantly white with a large pixelated image of an eye against a plain background. Lines radiate from above the eye projecting onto the heading at the upper quarter of the programme. The block typeface is in black with supporting fonts in blue and <em>red.</em>&nbsp;<br /><br />The 72-page programme is introduced by festival directors Theo Dorgan and Michael Hannigan. The artist Doris Chase is recognised and the festival screened three programmes of her work that year (pages 13-14). In addition, the festival screened a special programme on the mutual commitment to cultural exchange between the cities of Cork and San Francisco: <em>Experimental Films from San Francisco: Boundaries of Film-Making</em> curated by Karen Holmes (page 17).<br /><br />Festival notes also include an article on <em>Cinema &amp; Ireland</em>, by Kevin Rockett and Luke Gibbons (pages 68-70). Date A point or period of time associated with an event in the lifecycle of the resource 1987 Format The file format, physical medium, or dimensions of the resource PDF Type The nature or genre of the resource Programme Doris Chase Kevin Rockett Luke Gibbons Michael Hannigan Theo Dorgan https://corkfilmfest.ucc.ie/files/original/d8c18d4f4e3e1930615ae3d4e5721a71.pdf 8e32774a87e1eeb522271ae0c5d2cc01 PDF Text Text �FEILSCANNAN IDIRNAISWNTA CHORCAIGHE 1 20th CORK FILM INTERNATIONAL 1975 SATURDAY, 7 JUNE TO SATURDAY, 14 JUNE Programme 20p �The Festival Director introduces the 20th Cork Film International. .. Fiche blian ag fas. Some of our many friends, old and new, may have thoughts of Maurice O’Sullivan’s Twenty Years A-Growing or even of A. E. Housman’s lines on the twenty that will not come again. In fact our thoughts are not on time past at all. but on our Festival this year which you will find, I trust, local as always in flavour and universal in interest and importance. Cork is the occasion for the coming together of many nations and in a troubled world the occa­ sion is of paramount importance. We are concerned with films of high technical qualities because we believe that the technician, whether cameraman or writer, is contributing more to the film industry than is generally ack­ nowledged. Last year we introduced a special Film Techniques Course for teenagers which was a tremendous success, so much so that we have extended it this year. Once again, this year, Cork International is the only festival in the world that presents awards for technical collaboration in the Features Section. Awards will be made by an International Jury of five members to the outstanding Scriptwriter. Director of Photography, Music Composer. Editor and Art Director of the Feature Films shown during the Festival. Certificates of Merit will also be awarded. 4 �In the Short Films Section the competition under Category D will continue to include films made specifically for television. The International Film Critics’ Award will be made to the best Irish film. Each year Cork honours an outstanding Direc­ tor and this year we are proud to pay tribute to Richard Lester. A warm welcome then to you all to Cork 1975 and my sincere thanks to you all for your un­ faltering support. As always Bord Failte Eireann continues to be the main sponsor of our Festival, but Cork has had many good benefactors, and this year I would like to mention, in particular, the newly formed The London Friends of Cork who in two years have provided generous financial support. You may well ask why Cork is honoured by such magnificent support from this London Group which includes an Australian, an American and a Dutchman. We honestly do not know; but we feel that their work and enthusiasm is in recogni­ tion for what Cork is doing for Cinema and for Ireland’s prestige abroad. Is it not a pity, then, that many Irish firms who could help, do not think in the same way? My thanks to the Directors and Staff of the Southern Regional Tourist Board and to the many friends and sponsors who make Cork an impor­ tant and joyous occasion for so many. A special word of welcome to our friends of the Press. May your stay in Cork be worthwhile and enjoyable. I wish to express my personal thanks to the Lord Mayor and Corporation of Cork and the Business Publicity Association for the decoration of the City during the Festival. DERMOT H. BREEN, Director, Cork Film International 5 �FESTIVAL JURY The International Jury for the Features Films Competitions is: CIARAN CARTY (Ireland) PHILIP OAKES (Great Britain) MADAME GOVAERS (Japan) LOUIS MARCORELLES (France) HUBERT BALS (Holland) CIARAN CARTY Ciaran Carty is an economics graduate. He be­ came Deputy Editor of a national newspaper in order to write about the cinema without hindrance. He broadcast and lectured regularly on the movies, and during ten years as critic on the Sun­ day Independent has played some part in the con­ tinuing reform of the censorship system. PHILIP OAKES Philip Oakes writes and edits the Coming On arts column for The Sunday Times of London. He was a film critic for fifteen years before turning iscreenwriter (he collaborated with Tony Hand­ cock on the script of The Punch and Judy Man) and script writer and script editor for television. He has published three novels and three books of poetry. His biography of Tony Handcock will be published by the Woburn Press in October. LOUIS MARCORELLES Louis Marcorelles was bom in Paris on March 27, 1922. His secondary studies included philo­ sophy, and elementary mathematics, and he holds a licence in classical literature. He was assistant in French in England from 1950 to 1952. His initial critique of cinema in England was in Sight and Sound, and The Observer. He was critic to France-Observateur from 1956 to 1961. In 1962 he attended an International Seminar at Harvard From 1962 to 1974 he was co-ordinator of the International Week of Critique at the Cannes Festival. 6 �From 1963 to 1966 he also took part in nume­ rous International Conferences on means of com­ munication organised by UNESCO. Resulting from this he published in 1970 a book entitled Elements Pour Un Nouveau Cinema published by UNESCO Publications; published in English in London (Allen and Unwin) and in New York (Praeger) under the title Living Cinema in 1973. From 1962 to 1969 he was a regular contributor to La Gazette de Lausanne. Since 1969 he is critic to the newspaper Le Monde. SHORTS JURY i The International Jury for the Short Film Com­ petitions is: BARRY BROWN (Australia) LIAM O LAOGHAIRE (Ireland) FRANCIS HOWARD GWYNNE (Great Britain) EMANUEL KEHOE (Ireland) GEORGE WILLOUGHBY (Norway) LIAM O LAOGHAIRE 4 Liam O Laoghaire was bom in Youghal, Co. Cork, on September 25th, 1910. He was educated at St. Peter’s College, Wexford, and University College, Cork. Commenced as Civil Servant, and was also Pro­ ducer of Abbey Theatre and a founder of The Dublin Little Theatre Guild. He was film critic of Ireland To-day and a founder of the Irish Film Society. He was a leading player in the British feature films Stranger At My Door and Men Against The Sun, the latter filmed in Kenya. He directed Portrait of Dublin, Mr. Careless Goes To Town, and many other documentary films. He was Acquisitions Officer of the National Film Archive in London from 1953 tc 1366. He is cur­ rently in Acceptance Office of the Film Depart­ ment Radio Telefis Eireann. He is the author of invitation to the Film (1945), The Silent Cinema (1965) and the forth­ coming biography Rex Ingram : A Film History. 7 �FRANCIS HOWARD-GWYNNE Francis Howard-Gwynne has devoted over 40 years almost entirely to short films. From 1947 to 1950 he was Research Officer and Film Buyer for the British Film Institute succeed­ ing Dr. Roger Manveil in the former appoint­ ment. At the same time he was Manager of the BFI's Central Booking Agency and Hon. Sec. of the Federation of Film Societies. From 1969 to 1974 Mr. Howard-Gwynne was Secretary of the British National Panel for Film Festivals. He retired in October 1974 and is now working as a freelance although he remains Gene­ ral Secretary of the International Conference of Short, Animation and Documentary Film Festi­ vals. As President of the Jury at Ouistreham in Nor­ mandy in September 1974, he was appointed a Freeman of the town for his work in connection with environmental films. EMMANUEL KEHOE Emmanuel Kehoe was born in Dublin in 1947. He has been working as Sub-Editor with the Dublin Evening Press since 1968 and has acted as film critic under the title ‘E.K.’ with the same paper since 1970. He experimented with making shorts for perso­ nal amusement when he was sixteen years old. with at first particular interest in animation (few sixteen year olds can act!). He now sees and re­ views, on average, four new films each week. His other interests are still photography, music, drawing, writing, acting (black comedy if possible) and long bouts of travelling. 8 �Synopses of Films Notes Films are listed numerically. The numbers correspond to those shown opposite the names of the films in the Coloured inset in this brochure. An account of the Special Tribute Programme devoted to the work of Richard Lester on Page 29. 1 Australia — A STEAM TRAIN PASSES Production: Film Australia Producer: Anthony Buckley Director : David Haythornthwaite Scrpit: David Haythornthwaite Photo: Dean Scmler Music : George Dreyfus A romantic reminiscence of the C38 class steam loco­ motive as it journeys from Sydney into the countryside, from the present into times long past. CTime: 21 mins.) 2 Australia - A RACE OF HORSES Production: Film Australia Producer: Don Murray Director: Kit Denton Photo : Dean Semler and Geoffrey Williams Sound : Julian Ellingworth An impressionist look at the rearing and training of racehorses. (Time : 11 mins.) 3 Australia - CYCLONE TRACY Production : Film Australia Director : Chris Noonan Photo : John Hosking Sound: George Hart On Christmas Day 1974 Darwin, the capital city of Australia’s Northern Territory, was devastated by Cyclone Tracy, the greatest natural disaster in Australia’s history. (Time : 81 mins.) 4 Austria - TYROL — CAMPING LIFE (TIROL —- CA?£PINGACTIV) Production :,H. &. N. Seebock Kulturfilmprcdukticn Producer: Haavard and Voikmar Seebock Script: Harvard and Voikman Seebock and Emo Singl Photo: Haavard and Volkmar Seebock Music: Karl Horst Wichmann Sound: Werner Oberweger he iping life in Tht wisdom, joys, lollies, sorrows of camj Tyrol. (Time : 27 mins.) the " 9 �5 Bulgaria - LIFE OF THREADS (JIVOT OT NICHKI) Production : Bulgarian Cinematography Producer: Konstantin Obrechkov Script: Konstantin Obrechkov Photo: Christe Ivanov The centuries old tradition of artistic weaving in Bul­ garia inspires a new generation of weavers. (Time : 101 mins.) 6 Bulgaria - THRACIAN JEWELLERY (TRAKIISKI KAKITI) Production : Bulgarian Cinematography Director : Ognyan Danailov Script : Ivan Vendikov Photo : Anton Kolarov Music: Roumyana Nicheva Antique gold ornaments discovered in Bulgaria re­ veal the high level of Thracian civilization. (Time: 10 mins.) 7 Canada - LIFE FORCE Production: Mellenco Films ' in Producer: Peter Mellei Script: Peter Mellen Photo : Peter Mellen Sound : Peter Mellen The life and work of Jack Chambers one of Canada’s major contemporary artists. (Time : 26 mins.) 8 Canada - THE STORY OF CHRISTMAS Production : National Film Board of Canada Director : Evelyn Lambart Animation : Evelyn Lambart Music: Karl du Plessis The joy, the triumph, the enduring promise of the Christmas story. (Time: 8 mins.) 9 Canada - THE PLAYERS Production: National Film Board of Canada Producer: Tom Daly and Gil Brealey Director: Donald Brittain Script: Donald Brittain Photo: Douglas Kiefer (Canada); Ren Lowe (Australia) Sound : James McCarthy (Canada); Robert Hayes (Australia) A study of the life of the actor during a tour of rheatre Australia by the Stratford National Theatre cf Canada with Moliere’s “Imaginary Invalid1’ in ths spring of the 1974. (Time:: 59 mins.) (Time 59 mins.) Sponsored by CORAS IOMPAIR EIREANN 0 Clf | (Ireland’s National Transport Company) Why not sample a Coach Tour from Parnell Place ? ’Phone 53411 10 �10 Canada - WINGS IN THE WILDERNESS Production: Keg Productions Producer: Ralph C. Ellis and Jerry Kedey Director: Robert Ryan Script: Martin Lager Photo : Robert Ryan Music : Ron Harrison Narrator : Lome Greene »on, Dan Gibso1 naturalist and cinematographer, is adopCanada geese goslings and together they cxted by two C ,kes plore the lake and forest of northern Canada. (Time: 90 mins.) 11 Colombia - WOMAN POWER : THE PEOPLE’S CHOICE Production: United Nations Television Producer: Edward Magruder Jones Director : Elspeth Macdougal Script: Elspeth Macdougal Photo: Gustavo Nieto Roa Women were given the right to vote in Colombia in 1957 and here we follow the fortunes of three women . candidates for election; one for the presidency, one for a local council and one for the senate. (Time: 28 mins.) 12 Chile - THE BATTLE OF CHILE Director: Patricio Guzman 13 Cyprus - IT WAS AN ISLAND Production : Cyprus Broadcasting Corporation Director: Andreas Constantinides Script: Andreas Constantinides Photo: Doros Partassides Music : John Vickers Sound f Phivos Georgiades Hur iman suffering on Cyprus reveals the tragedy of the recent civil war. it (Time: 25 mins.) 14 4 Czechoslovakia - A GREAT NIGHT AND A GREAT DAY (VELKA NOC VELKY DEN) Production : Slovak Film Production, Bratislava-Koliba Director: Stefan Uher Script: A. Bednar and S. Uher Photo: Stanislav Szomolanyi Music : Svetoza Stracina The last day' and night of Worli War II in a Czech World village. All bridges and roads hav< been destroyed and idges have the German garrison desperately t tries to escape. (Time : 90 mins.) Sponsored bj’ JOSEPH BARTER & SONS LTD. (Travel Agents) (Correspondents for Thomas Cook) 92 Patrick Street (Tel. : 24261) THE OYSTER TAVERN Cork's Fashionable Rendezvous Phone 226351 and 227161 11 �15 Czechoslovakia - MARTIN JONAS Production : Slovak Film Bratislava Director : Martin Slivka Script : Martin Slivka Photo : Josef Grussman Music : Juraj Hatrik ullage of Martin Jonas is a farmer living in the vili -Hows the Ko* acicc in Yugoslavia. One weekdays he folk plo ;gh or harvests the crops; on Sundays he raints picpai ughout Europe for turi s. He has become famous throuj ’ ' ” (Time: 17] mins.) his primitive art creations. ( 16 Czechoslovakia - THE SONG OF LOVE (PISEN LASKY) Production : Short Film Prague Director : Dr. M. Khun Photo : P. Sirotek A documentary on the life and work of the Czech composer Josef Suk. (Time: 16J mins.) 17 Czechoslavakia - E MINOR THERAPY (THERAPIE ES-DUR) Production Short Film Prague Director: J. Spata Photo: J. Spata Dr. Alois Honek is a leading surgeon in Prague; he is also a violin maker and musician and in an old Czcc tradition his son follows him. (Time: 14 mm .) 18 Czechoslovakia — SIRIUS Production : Short Film Prague Director: Frantisek Vlacil Photo : Frantisek Uldrich Music: Zdenek Liska A boy and his dog, Sirius, during the German occupation of Czechoslovakia. (Time: 53 minsj 19 Czechoslovakia - THE MINER’S RC-3 (HORNIKOVA RUZE) Production: Short Film Prague Director: Jiri Brdecka Photo : Emil Strakon Music: Zd. Liska A young girl pins a rose on her lover’s coat hoping it will protect him underground in the mine; a film ver­ sion of an old folk-song. (Time: 10 mins.) Sponsored by MUNSTER ARCADE 27/30 Patrick Street (Tel. : 21945/6) ‘Cork’s Greatest Department Store” METROPOLE HOTEL Grade "A" Star Hotel (Tel. : 51301) 12 �20 Czechoslovakia - HAVE A GOOD TRIP (STASTOU CESTU) Production : Short Film Prague Director: Vaclav Bcdrich Photo : Z. Hajdova and E. Strakon Music: F. Kolafa A man is thirsty; there is a pub across the road but it is impossible to cross the motorway in an over-mecha­ nized world, so he has to take out his car. (Time : 4 mins.) 21 Czechoslovakia - OIL (NAFTA) Production : Short Film Prague Director : Josef Suran The history of oil extraction against the background of the present energy crisis and the economy of capita,i ..—(Time : 16 mins.) list and socialist state 22 Denmark - STARS AND WATERCARRIERS (STJERNERNE OG VANDBAERNE) Production : Statens Filmcentral and Minerva Film Director : Joergen Leth Script: Joergen Leth Photo : Dan Holmberg Music: Gunner Moeller Pedei •rsen (Time: 91 mins.) 23 Ethiopia - COUMA 24 Federal Republic of Germany - IT’S EITHER YOU OR ME (EINER VON UNS BEIDEN) Production : Roxy-Film, Munich Director: Wolfgand Petersen Script: Manfred Purzer Photo : Charly Steinberger Music : Klaus Doldinger Art: Wolfgang Petersen Everything appears bright for Professor Kolczyk (Klaus Scharzkopf) until Ziegenhals (Jurgen Prochnow) uncovers a secret; so he blackmails Kolczyk until he de­ mands what Kolczyk cannot give, and their relationship becomes a duel in which only one can survive. (Time: 107 mins.) 25 Federal Republic of Germany - THE BIG CLUBS Production : Joachim Kreck and International Film Associates Producer: Joachim Kreck Photo : Edward McConnell (Time : 49 mins.') Sponsored by FITZGERALDS MLNSC/EAR SHOPS, Pembroke Street, Cork. Tel.: 23304 24 Patrick Street and Douglas Shopping Centre IMPERIAL H0’1 EL (CORK) (1964) LTD. 13 �26 Finland - A BRIDGE Production : Filmiryha Oy Producer : Aito Makinen and Virke Lehtinen Script : Aito Makinen and Elina Katainen, based on a study by Heikki Waris Photo : Virke Lehtinen Music : Oskar Merikanto, and Eero Koivisteinen Sound : Tuomo Kattilakoski iburb of Helsinki The development of a northern sut. cn during the first phase of industrialisation in Finland. (Time : 26 mins.) 27 France - THE SLAP (LA GIFLE) Production: S.N.E. Gaumont Productions (Paris) and Euro International (Rome) Producer : Alain Poire Director : Claude Pinoteau Script : Jean-Loup Dabadie and Claude Pinotcau Photo: Jean Collomb Music : Georges Delcrue (Time: 103 mins.) 28 Great Britain - BRANNIGAN Production : Wellborn Productions Ltd. Producer : Arthur Gardner and Jules Levy William P. McGivern, William Norton Photo : Gerry Fisher Music : Dominic Frontiere Art: Ted Marshall Chicago crime-buster Jim Brannigan T crosses the Atlantic in pursuit of rackatccr B (John Vernon) and at London Airport meets Sergeant Jennifer Thatcher (Judy.Gceson). kidnapped and Brannigan’s pursuit takes u . P turns. (Time: nv 29 Great Britain - ROBIN HOC?? JUNIOR Production: Brocket ProdL'Si:o."S LtdProducer: Matt McCarthy ar. j .’Gun » Script: William Smethurst Photo : Tony Imi Set in England in 1190 A.D., when L.-Z Gilbert is 1 othsr. L away on a Crusade and his wicked brotti£~.-. Baron de Malherbe, takes over Locksay Castle. Marioi Lord Gilbert’s daughter, escapes from the castle, and the Baron plans to take twenty village children hostage until r_""\ nation Marion is found. Robin organises the evacuation of the . x village and sets up a secret camp in the forest. (Time:• A1 mins.) 61 mins.) 29a Great Britain - THE LITTLE PRINCE Production : Paramount Pictures Corporation Producer: Stanley Doi _onen Associate Producer: A. Joseph Tandet “ Script : Alan Jay Lei _jrner, based on the story by Antoine De Si.’ Exupery »aint Photo : Christopher Challis r Music : Frederick L Loewe (Lyrics by Alan Jay Learner). (Time : 68 mins.) 14 . . �30 Great Britain - THUNDER OF LIGHT Production : John Turner Enterprises Ltd. Producer : John Turner Director : Tom Taylor Script: Ann Todd Photo: Richard Crafter Sound : Brian Harvey-Garrett You don’t go to Iona, Iona sends for you, as the say­ ing goes. Iona in the Hebrides, land of Columba (Colmcille),. of pil oilgrimages, of history and legend, sends for Ann Todd. (Time: 301 mins.) 31 Great Britain - AGE OF INVENTION Production : British Transport Films Producer: Edgar Ansley Director : David Lochner Script : Ian Ferguson Photo : Trevor Roe Music: Kenneth V. Jones (Time : 24 mins.) 32 Great Britain - COLOUR (Time : 22 mins.) 33 Great Britain - TIME AND AGAIN Production : Westward Television Producer : Roger Gage Script : Gordon Honeycombe Photo : David Howarth Sound : Bill Doalch A girl (Anouska Hempel) persuades a fishi icrman (Brian Marshall) to row her to an uninhabited island in the Scillics where s ere she meets an airman (Simor Mac>n Corkindale) who had crashed into the sea and whose 1 conversation is strangely dated. (Time : 33 J mins.) 34 Great Britain - TO-MORROW’S MERSEYSIDERS Production : Unit 7 Film Productions Producer: Eric Marquis Produt Script : Eric Marquis Photo : Graham Minassian Sound : Peter Dodson The concern of the fc&orpool Daily Post and th" Liverpool Echo for the lively, likeable’ cheeky, joyful young citizens of Liverpool, the Merseysiders to to­ morrow. (Time : 25A mins.) 35 Great Britain - THE 96 FILM Production : Jacquciinc O’Lcchlair.n r.ncl Rivan O’Lochloinn Producer: O’Lochlainn Music : O’Lcchkinn (Time: 12 mins.) Spenscred by Cork Examiner, Evening Echo, Cork Weekly Examiner 15 �36 Great Britain - FALLING ANGELS Production : Nicholas C. Granby Director : Derek Conrad Script : Derek Conrad Proto : Alec Sheridan and Dave Waterman Music : Tony Cole (Time: 28 mins.) 37 Great Britain - LOCATION NORTH SEA Production : Pelican Films Producer : John Armstrong Script : John Armstrong Photo : Don Long, Barry Male, Arthur Woos­ ter, Michael Davis Music : Edward Wiiliams (Time: 16 mins.) 38 Great Britain - REHEARSAL Production James Archibald and Associates Ltd. Producer : James Archibald Director: Robert Young Script : James Archibald .. u Photo : Clive Tickncr and BanyMate > 39 Great Britain : MONET IN LONDON Production : Balfour Films Director: David Thompson Script : David Thompson Photo : Charles Smith (Time : 16 mins.) 40 Great Britain - TIME OF HIS LIFE Production : I.F A. (Scotland) Ltd. Director : Edward McConnell Script : G. Clydesdale Photo: E. McConnell Music: Frank Speeding Sound : Richard King (Time : 23} mins.) 41 Great Britain - THE VINTAGE YEARS Production : Films of To-day Producer: John Willes Director : Bill Mason Script : Bill Mason Photo : John McCallum Music : Ron Geesin History of the motor car. (Time: 26} mins.) Sponsored by TADHG LEHANE, Display Artist, 9 Patrick Street (Tel. : 24725) JAMES MANGAN LTD., Jewellers 3/4 Patrick Street (Tel. : 20998) HICKEY & BYRNE, Printers I jry Street (Tel. : 20725) 16 �42 Great Britain - THE QUIET LAND Production : Ronald H. Riley and Associates Ltd. Producer: Michael Barden Director: Joe Mendoza Script: Joe Mendoza rot Photo : Maurice Pico and Ron Granville (Time : 24 mins.) 43 Great Britain - THUNDER OF LIGHT (Time : 29 mins.) 44 Great Britain - WINSTANLEY Production : British Film Institute Production Board Producer: Mamoun Hassan “vnlow and Andrew Mollo Director: Kevin Browi oy Script : From novel bj David Caute Photo : Ernest Vincze Art: Andrew Mollo (Time : 95 mins.> 45 India - MAMALLAPURAM Production : B.D. Garga Productions Producer: B. D. Garga Script: B. D. Garga ijan Photo : K. K. Mahajan and Bhanumurthy Music: Ramnoth Sound: Rau Trehan rock-cut temples of Mamallapuram thirty-five The rocl *ie miles to th< south of Madras; an astonishing display of beauty carved out of solid rock in the 7th sculptural L ie century. The film had its inspiration in a poem by the (Time : 12 mins.) Irish poet, 1Louis MacNeice. 46 4 India - FLASH BACK Production : Films Division of Government of India Producer : Arun Chaudhuri Director: S. N. S. Sastry Script: S. N. S. Sastry Photo : M. S. Pcndurker Sound : M. A. Jagannathan A survey of the documentary film movement in India seen against the general background of documentary film making. (Time: 22 mins.) AFTER THE SHOW COME TO . . . m FBTIWL O (Sponsored 'ey Harp Lager (Ireland) Ltd.) 2t the CITY HALL ☆ DANCING ☆ RESTAURANT ☆ BARS Tickets on sale at Festival Office Club open daily 10 p.m. — 2 a.m. 17 �47 India - IN COMPANY OF BIRDS Production : Films Division Government of India Producer: K. Premsinh Varma Script : K. Premsinh Varma Photo : Mahon Jain Music: N. Dutta Sound : Mangcsh Desai A 1 _____ biographical film on Dr. Salim Ali, India’s forcmost ornithologist. (Time: 22 mins.) 48 Ireland - CONQUEST OF LICHT Production :Louis Marcus Films Producer: Louis Marcus Script : Louis Marcus Photo : Robert Monks Music : Vic Flick Sound : Peter Hunt Waterford Glass continues a centuries old tradition: louth and cut by hand with crystal is still blown by mor s.ic an artistry that captures th< fire of the sun and the (Time: II mins.) sparkle of light. 49 Ireland - CAOINEADH AIRT UI LAOIRE (LAMENT FOR ART O’LEARY) Production : Cinegael Producer: Bob Quinn Script : Bob Quinn Photo : Joe Comerford Sound : Pat Hayes The killing of Art O Laoire near Carriganimy in Co. ..ie n— Cork in May 1773 is commemorated in the Jnl1^,oru.t, iposed by bis lament, Caoineadh Airt Ui Laoire, comp r widow. Here, an English-speaking director is trying to produce a group of Irish-speaking actors in a stage .pretn e decides on < sentation of the killing of O Laoirc. He decides on a format of live action with filmed inserts,: his difficulty : his dilhci is that the norms of his profession clash with the - - high spirits of his leading actor and the group Time: 55 — (Time. — mins.) 50 Italy - CORRUZIONE AL PALAZZO DI GIUSTIZIA 51 Jamaica - SMILE ORANGE Production : Knuts Productions Lid. Producer : Eddie Knight ic Director : Trevor D. Rhone and . Script : Trevor D. Rhone ai»v. David Ogden Photo : David McDonald Music : Melba Liston Set in a second-rate hotel, the f* film takes a satirical took at black awareness and survive. at certain levels -ival . it lamaican society and whites on the quest for fun. it shows open confrontation between black and — 'i ’ white. rich and poor, all exploiting each oth< her. (Time : 105 mins.) Sponsored by RICHARD ALAN Ireland s Most Exciting fashion shops S3 n?r<OIk.S‘rCC*’ Dub,in 2. Phone 775149 I 'vcr 1>lunkett Street, Cork. Phone 23759 I 18 ! 4 �PROGRAMME Openimg By MR. RICHARD BURKE, T.D. Minister for Education in the Presence of the Rt. Hon. the Lord Mayor of Cork ALDERMAN PEARSE WYSE, T.D. at Savoy C:ncma at 7.30 p.m. Saturday, June 7 SAVOY, 7.30 p.m. Ref. No. OLD COWBOY (Poland) 64 LIFE FORCE (Canada) 7 THE SLAP (France) 27 Sunday, lune 8 SAVOY, 3 p.m. MONET IN LONDON (Great Britain) 39 TRIBUTE TO RICHARD LESTER S A HARD DAY’S NIGHT ... 91 CYCLONE TRACY (Australia) 3 SAVOY, 7.30 p.m. GUBECZIANA (Yugoslavia) 101 46 FLASHBACK (India) “MOVIE GIRL ’75” (Announcement of prize winner) ALICE DOESN’T LIVE HERE ANY MORE (U.S.A.) ... 87 �Monday, June 9 Ref. No. Wednesday, June 11 Ref. No. SAVOY, 10 a.m. WOMAN POWER : THE PEOPLE’S CHOICE (Colombia) ... TYROL—CAMPING LIFE (Austria) ... GOUMA (Ethiopia) SAVOY, 10 a.m. CHALLENGE TO THE ICE DESERT (Japan)... THE 96 FILM (Great Britain) IT WAS AN ISLAND (Cyprus) IN COMPANY OF BIRDS (India) ANTARCTICA (U.S.A.) 35 13 47 85 SAVOY, 5.15 p.m. A STEAM TRAIN PASSES (Australia) INTERMEZZO FOR AN ETERNAL LOVE (Rumania) WINGS IN THE WILDERNESS (Canada) 45 TRIBUTE TO RICHARD LESTER THE KNACK SAVOY, 2.30 p.m. 52 MAMALLAPURAM (India) 11 4 23 92 SAVOY, 2.30 p.m. TRIAL VOYAGE (Poland) I 61 WINSTANLEY (Great Britain) 44 SAVOY, 5.15 p.m. 1 26 A BRIDGE (Finland) 65 10 THE VILLAGE WITH SWANS (Rumania) BEAUTIFUL PEOPLE (South Africa) ... 66 69 SAVOY, 8.15 p.m. ROLL ’EM LOLA (U.S.A.) THE QUIET LAND (Great Britain) ... THOU SHALT NOT KILL (Spain) ... SAVOY, 8.15 p.m. 81 42 71 AGE OF INVENTION (Great Britain) 31 A STAR FOR YOU (U.S.S.R.) DREAMS (Poland) 63 BELLE (Belgium) 97 Tuesday, June 10 SAVOY, 10 a.m. STARMAN IN NOVEMBER (U.S.A.) DON’T MOVE BABY (Denmark) .. CHAMPOLLION OU L’EGYPTE DE VOILLE (France) MARTIN JONAS (Czechoslovakia) TRIBUTE TO RICHARD LESTER HELP 83 103 Thursday, 12 June 111 15 SAVOY, 10 a.m. THRACIAN JEWELLERY (Bulgaria) 'I SAVOY, 2.30 p.m. 60 5 51 SAVOY, 5.15 p.m. TO-MORROW’S MERSEYSIDERS (Great Britain) HELP! THE DOCTOR IS DROWNING (Netherlands) HARRY & TONTO (U.S.A.) 95 SAVOY, 2.30 p.m. IS IT CHRIST (U.S.A.) 82 THOSE WHOM I LOVE AND REMEMBER (U.S.S.R.) 104 SAVOY, 5.15 p.m. TIME AND AGAIN (Great Britain) 33 BRIBERY AT HIGH LEVEL (Italy) 34 50 54 SAVOY, 8.15 p.m. SAVOY, 8.15 p.m. A DAY IN JUNE (Syria) DIARY (Yugoslavia) 41 TRIBUTE TO RICHARD LESTER HOW I WON THE WAR ILLUSTRATED LECTURE — The Golden Days of Hollywood by Philip Jenkinson 84 THE VINTAGE YEARS (Great Britain) 93 School of Music Theatre, 11 a.m. I SHALL BE HERE WHEN I AM GONE (Poland) ... LIFE OF THREADS (Bulgaria) SMILE ORANGE (Jamaica) 6 CITY OUT OF WILDERNESS : WASHINGTON (U.S.A.) 76 100 77 LOCATION NORTH SEA (Great Britain) 37 THUNDER OF LIGHT (Great Britain) 43 IT’S EITHER YOU OR ME (Germany) 24 �52 Japan - CHALLENGE TO THE ICE DESERT Production : Nippon Television Network Corporation Director : Kanji Iwashita Photo : Shizuo Kimura and Tsuguo Saotomc A team of four Japanese and four Eskimos retrace the hazardous route that the Eskimos used to reach Greenland and Canada a thousand years ago. (Time: 55 mins.) 53 Mexico - THE ARRIVAL OF KING OLMOS (LA VENIDA DEL REY OLMOS) Production : Conacinc Producer : Julian Pastor Script: Eduardo Lujan and Julian Pastor Photo: Jose Ortiz Ramos Music : Gustavo Cesar Carreon Art : Alberto Ladron De Guevara (Time : 92 mins.) 54 Netherlands - HELP! THE DOCTOR IS DROWNING (HELP! DE DOKTER VERZUIPT) Production : Fuga Film Produkties Producer: Jan Dorresteijn and Henk Bos Director : Nikolai van der Heyde Script : Felix Thijssen Photo: Jorgcn Persson Music : Rogier van Ottcrloo Art: Jaao Verburg Cast : Jules Croiset, Martine Biji, Ward de Ravet. Pict Bambergen. Lecn Jonmvaard, Romain Deconinck, Willeke van Ammelrooy The robust village doctor Angelino (Jules Croiset) falls in love with the new teacher, Irene Muller (Mar(Mar­ tine Biji), while the master builder Bram van Ticncn falls in love with the outspoken voting gypsy Katja (Killckc van Ammelroov). Bram builds a whole new en­ campment and is rewarded. Angclino has to find his own way to Irene’s heart. (Time : 95 mins.) 55 Netherlands - PROBING BEYOND THE PAST (VOORBIJ HET VERLEDEN) Production : Wim K. van der Velde Producer : Wim K. van der Velde Script : Wim K. van der Velde Photo : Eduard van der Ende Music: Felix Visser In 1945 Professor J. H. Oort of Leyden Observatory came across a derelict German radar dwh antenna. The accidental finding may be seen as the first step towards the construction of the largest and most sensitive rn Ho telescope in the world in the woods near Wcsterbrok in north-cast Holland with which it is possible to probe the universe some thousands of millions of light-years, look­ ing ‘beyond the past’ as it were. (Time: 16 mins.) Sponsored by OLD KENTUCKY RESTAUR ANT (formerly Old Bridge Restaurant), 123 Patrick St. (opposite Statue) Fully licensed and open until 1 a.m. 7 days per week. BARRY’S TEA 19 �Friday, June 13 Rcf- No. SAVOY, 10 a.m. TOWER of 52 PAINE (South Africa) OIL (Czechoslovakia) COLOUR (Great Britain) LOS PUEBLOS > BLANCOS TRIBUTE TO RICHARD >] (Spain) LESTER PETULIA lee 68 21 32 73 94 CINEMA, 10.30 a.m. NIGERIAN SHORT FILM TAHERE TIKITIKI (New Zealand! REHEARSAL (Great Britain) 53 - 57 38 SAVOY, 2.30 p.m. the PLAYERS (Canada) THE UNWANTED (U.S.A.) 9 78 SAVOY, 5.15 p.m. FALLING ANGELS (Great Britain) MAURIE (U.S.A.) 36 107 SAVOY, 8.15 p.m. A RACE OF HORSES (Australia) COLLECTIVE SCENE WITH A SAINT (Poland) CONQUEST OF LIGHT (Ireland) Japan . CHALLENGE TO THE ICE DESERT Production: Nippon Television Network Corporation Director : Kanji Iwashita Photo: Shizuo Kimura and Tsuguo Saotomc ipanese A team of four Japanese and four Eskimos retrace that the Eskimos used to reach the hazardous route f Greenland and Canada a thousand years ago. (Time: 55 mins.) 2 62 48 28 '.. BRANNIGAN (Great Britain) Saturday, June 14 SAVOY, 10 a.m. CADIZ SENORITA DEL MAR (Spain) TRIBUTE TO RICHARD LESTER THE THREE MUSKETEERS 72 95 LEE CINEMA, 10.30 a.m. 25 THE BIG CLUBS (Germany) MOON OVER THE ALLEY (Great Britain) SAVOY, 2.30 p.m. 49 75 19 53 LAMENT FOR ART O’LEARY (Ireland) LITTLE BIG WORLD (Switzerland) ... THE MINER’S ROSE (Czechoslovakia) KING OLMOS (Mexico) SAVOY, 7.30 p.m. THE STORY OF CHRISTMAS (Canada) 8 80 20 86 THE MUGGER (U.S.A.) HAVE A GOOD TRIP (Czechoslovakia) DON’T (U.S.A.) PRESENTATION OF FESTIVAL AWARDS THE LITTLE PRINCE (Great Britain) 29A Mexico - THE ARRIVAL OF KING OLMOS (LA VENIDA DEL REY OLMOS) Production : Conacine Producer : Julian Pastor Script : Eduardo Lujan and Julian Pastor Photo : Jose Ortiz Ramos Music: Gustavo Cesar Carreon Art: Alberto Ladron De Guevara le (Tim< : 92 mins.) 54 Netherlands - HELP! THE DOCTOR IS DROWNING (HELP! DE DOKTER VERZUIPT) Production : Fuga Film Produkties Producer : Jan Dorresteijn and Henk Bos Director: Nikolai van der Heyde Script : Felix Thijssen Photo: Jorgcn Persson Music : Rogier van Otterloo Art: Jaao Verburg Cast: Jules Croiset, Martine Biji, Ward de Ravel. Piet Bam’cergen. Leen Jon<»waard, Romain Deconinck, Willeke van Ammelrooy The robust village doctor Angelino (Jules Croiset) falls in love with the new teacher, Irene Muller (Mar­ tine Biji), while the master builder Bram van Tienen falls in love with the outspoken voung gypsy Katja (Killeke van Ammelrooy). Bram builds a whole new en­ campment and is rewarded. Angelino has to find his own way to Irene’s heart. (Time: 95 mins.) 55 Netherlands - PROBING BEYOND THE PAST (VOORBIJ HET VERLEDEN) Production : Wim K. van der Velde Producer : Wim K. van der Velde Script : Wim K. van der Velde Photo: Eduard van der Ende Music: Felix Visser In 1945 Professor J. H. Oort of Leyden Observatory came across a derelict German radar dish antenna. The accidental finding may be seen as the first step towards the construction of the largest and most sensitive ra'b'o telescope in the world in the woods near Westerbrok in north-east Holland with which it is possible to probe the uni vers?. some thousands of millions of light-years, look­ ing ‘beyond the past’ as it were. (Time: 16 mins.) Sponsored by OLD KENTUCKY RESTAURANT (formerly Old Bridge Restaurant), 123 Patrick St. (opposite Statue) Fully licensed and open until 1 a.m. 7 days per week. BARRY’S TEA (This Programme is subject to alteration without notice) 19 �56 Netherlands - DELTA MUSICA Production : Ronny Erends Script: Ronny Erends Photo : Hein Groot Music: Chris Hinze The Delta Project to safeguard the southwest of Holland from the sea. (Time: 16 mins.) 57 New Zealand - THE MAKING OF A MAORI CANOE (TAHERE TIKITIKI) Production : New Zealand National Film Unit Producer : David H. Fowler Director : David Sims Script : David Sims Photo : Kell Fowler and Brian Cross Sound : Vai Federoff (Time : 41 mins.) 58 Norwiy - VISION Production : K-Film Producer : Hans Haga Director : Lars Groth Script: Lars Groth Photo : Istvan Korda Kovac Music : Guttorm Kittelsen In spite of having conquered the seemingly impossible, learning to fly, venturing out into space, even going to the moon, man still proclaims limits to his potential. On an island off the south coast of Norway a new day :cs dawns with all its promise for further advance for man­ ic kind. (Time : 8 mins.) 59 Pakistan - TOWERS OF SILENCE Production: Jade Films Producer : Jamil Dehlavi Script : Jamil Dehlavi Photo : Jamil Dehlavi and Anthony Zaza Music: Ustad Shareef (Time : 50 mins.) 69 Poland - I SHALL EE HERE WHEN I AM GONE (BEDE GDY MNIE JUZ NIE BEDZIE) Production : Polish Television Directory Franciszek Kuduk Soriot: Frantsizek Kuduk Photo: Roman Retrycki Music Aleksander Frzyby-ek (Time : 20 mir.s.) INTERNATIONAL PRESS OFFICE AT SAVOY CINEMA Very Kindly Sponsored by MR. GERARD JONES, Belgian Consul 20 �61 Poland - TRIAL VOYAGE (SPRAWDZIC SIEBIE) Production : Polish Television Director: Jerzy Szotkowski Script: Jerzy Szotowski Photo : Wojciech Jankowski and Leonid Teliga A documentary on Leonid Teliga, the first Pole to sail single handed around the world. His yacht was named Opty. an abbreviation of optimist. (Time : 30 mins.) 62 Poland - COLLECTIVE SCENE WITH A SAINT (SCEND ZBIORAWA ZE SWIETYM) Production : Polish Television Director: Mariusz Walter Script : Mariusz Walter Photo : Zbogniew Proszowski Some scenes from the life of Father Maksymilian Kolbe, a Polish friar, who offered his life in Auchwitz concentration camp to save another man. and who was beatified by Pope Paul VI in October 1971. (Time : 14 mins.) 63 Poland - DREAMS (ZMYSLENIA) Production : Semafor Film Studio, Lodz Director: Jadwiga Kedzierzawska Script : Jadwiga Kedzierzawska and Jerzy Lukaszewicz Photo: Jerzy Lukaszewicz Music: Piotr Figiel Dreams of a boy in search of a friendship that comes but does not last. (Time : 29 mins.) 64 Poland — OLD COWBOY (Stary Kowboj) Production : Featurette Film Studio, Warsaw Director : Witold (jicrsz Script: Witold Giersz Photo : Jan Tkaczyk Music : Adam Markiewicz The old cowboy rides across the orairic recalling some of the beautiful moments of his life. (Time : 9 mins.) 65 Rumania - INTERMEZZO FOR AN ETERNAL LIFE (INTERMEZZO PENTRU O DTcAGCSTE ETERNA) Production : Animafi’m Studio, Bucharest Director: Ion Popescu-Gopo Script: Ion Popcscu-Gcpo Photo: Rad Codrean Music: Dum»tru Ccpmianu Sound : Dan Ionesco The earth,. source of the fruits of life, is threatened with destruction in cur century of technology. (Time: 9 mins.) Sponsored by WM. EGAN & SONS LTD., Jewellers 31/32 Patrick Street HARCO LTD., Wholesale Distributors 36 Lr. John Street, Cork (Tel. : 021 -55033) 21 �iJjggjofiMfiiy/ ■ \ tis ' \ . -• ? - • -Vr^r' ns® . C- -' -- -1- I ^WK*"***4 *4, 1 GD 779B �66 Rumania - THE VILLAGE WITH SWANS (SATUL CU LE3EDE) Production : Alexandru Sahia Film Studio Director: Ion Bostan Script: Ion Bostan Photo: Ion Bostan Music : Theodor Mitache Sound : Maria Stepanenco Salt water lakes in the vicinity of the villages of Murighiol and Plopu were decreed nature reserves. Over the years the villagers and the migratory fowl have learned to live together. (Time : 11 mins.) 67 Scotland - BETWEEN DREAMS Production : Thinking Eye Ideas Director : Ronald Forbes Script : Ronald Forbes Photo: Ronald Forbes An artist’s experiences and perceptions in the course of a day. (Time : 10 mins.) 68 South Africa - TOWER OF PAINE (TORRES DEL PAINE) Production : Hunter Producer : Fanie Van Der Merwe Script: David Shreeue Photo: Andre Van Den Heevep Music : Tom Manhoff Sound : Don Millborrow (Time: 111 mins.) 69 South Africa - BEAUTIFUL PEOPLE 70 Spain - PERVERSION Production : P. I. C. A. S. A. Producer : Jose A. Cascales Director : Paco Lara Pole? Script: Juan Jose Alonzo Miuan ar-d FsccLara Polop Art Photo : Raul Artigct ana Francisco Sanchez Music: Angel Arteaga Art Jairac Art: Jair.ic Perez Cubozo (Time: 30 mins.) CORK FILM INTERNATIONAL wishes to thank CORK FILM SERVICES for supply of 16mm PROJECTORS 23 �71 (NO MATARAS) Spain - THOU SHALT NOT KILL Production : P. I. C. A. S. A. Producer : Jose A. Cascales Director : Cesar F. Ardavin Script : Cesar F. Ardavin Photo: Raul Perez Cubera Music : Angel Artega Art: Eduardo Torre De La Fuente (Time: 125 mins.) 72 Spain - (CADIZ SENORITA DEL MAR) Production : Dcdalo Films Producer : Guillermo de la Cueva Script : Guillermo de la Cueva Photo : Alfonso Nieva Travanco Music : Segundo Pastor (Time: 20 mins ) 73 Spain - ---------- s BLANCOS de LA (LOS PUEBLOS de SERRANIA DC cadiz) Production : Dedalo E^’n? Cueva Producer : Guillermo de la cue Script : Guillermo dw |jT^anco Photo: Alfonso Nic'a i >nso Music : Segundo Pastor md< Pastor (Time : 19 mins*) 74 Sri Lanka - MANJUS3I Production : State Film Corporation Director : Tikiri Dissar.avake Script : Tikiri Dissanayake Photo : P. U. D. Perera Music : Sanath Nandasiri Sound Mcrvyn Rodrigo artist. Man. The life, of the contemporary Sri Lanka 10 mins-) jusn, and its relation to his work. (Time : 75 CHANT Switzerland - LITTLE BIG WORLD (LE D’UN PAYS) Production : Condor-Film Director: Jean-Luc Nicollier Script : Jean-Luc Nicollier Jean-Luc Music : Guy Bovet ___ Switzerland, ’ni;5^ j^and Somewhere, anywhere inSwitzerland, ’".^"“rc;i Neuchatel, a boy and girl explore the diversity girl little jg mins.) Fascinating contrasts of a IL* btg world. (Time : JOIN THE festival club Season-Ticket Holders £1.50 Others £3.00 Tickets available at Savoy and Festival Office 24 �76 Syria - A DAY IN JUNE : DISENGAGEMENT IN THE GOLAN Production : United Nations Television Producer: Gilbert Lauzun and Edward M. Jones Director: Joe O'Brien Script : Joe O’Brien Photo : Michael Thomas D'Hoste Sound : Michael Poulos In June 1974 a United Nations peacekeeping force too up positions in the war-torn Golan Heights, their mandate being to observe the cease-fire agreement signed by Israel and Syria. Most of the 1,200 men of the force had been transferred from Sinai. Now in the Golan they found themselves in different terrain and with a diffe­ rent problem, the return of the civilian population. While the guns remained silent the people of Golan could live again. (Time : 28 mins.) 77 U.S.A. - HARRY AND TONTO Production : Twentieth Century-Fox Producer: Paul Mazursky Script: Paul Mazursky and Jush Greenfield Photo : Michael Butler Music : Bill Conti Sound : Leland Haas and John Speak Harry (Ar: Carney), a widower and his cat Tonto (Art are on the ven of leaving New York. Reason number ■rge one is that Ha larry is getting bored with being mugged. Reason number two is that his apartment is about to .... be knocked down. So it’s off to 1the, suburbs with his son Burt (Phil Bruns), his daughter-in-law Elaine (Dolly ter-in-law Jonah) and their son Norman (Joshua Mostel). The charm of country living proves mi lost elusive and Harry and Tonto move on, and on, and on. (Time: 115 mins.) 78 U.S.A. - THE UNWANTED Production : Secondari Film Corporation Producer : John H. Secondari and Helen Jean Secondari Director: Larry Doheny Script: J. P. Miller Photo : Andrew Laszlo Music : Michael Jesse Owens Cast: Richard Boone, Ray Milland, Fionnuala Flanagan, David Huffman, Ty Hardin, Donal Donnelly, Des Keogh, Mildred Mayne. John Malley, O. Z. Whitehead, Bruce Boa, Liam O’Ca'iiaghan, John Bay. Philip O’Brien, Angela Vale, Tom Jordan, Seamus Healy. An American ferryboat captain Horace Banderling (Richard Boone) allows an Irish priest. Father O’Reilly le (Donal Donnelly) to persuade him to smuggle a band of sr.._, rencc into the Irish immigrants across the St. Lawn to United States. There they arc taken int< custody and dilland) to face brought before a country judge (Ray M ings the reasons deportation proceedings. During the hearir its for American inhospitality and the roots of the Irish exodue are explored. The year is .„.3 and tens of 1848 thousands of Irish are fleeing from famine across —f::rr.::._ ------- the ^'1'. Atlantic. (Time : 52 mine \ mtns.) 25 �Avery important book for everybody who earns money Bano< cFlreoand The bank of a lifetime 26 �79 U.S.A. - PATTERNS OF CHANGE Production : Francis Thompson, Inc. Producer : Don Guy Photo : Robert McBride An impressionist view of the interaction of human and natural forces in the environment. (Time : 15 mins.) 80 U.S.A. - THE MUGGER Production : Opus Films, Ltd. Producer : Claire Wilbur laire Wdbur Director : Robin Lehman Rol )bin Script: Claire Wilbur Photo: Glen Tracy Music : Chuck Wayne Sound : Louis Gavalas An encounter between a mugger and a young woman inter Park in Central Park leads to a str« _ .3 strange interweaving of two lives and two very different views of life and its only ry v other alternative,, death. F For Zeth, life is the struggle, struggle. For Cathy, its the happily ever after at the end of the athy, tht ic struggle, but since she no longer believes in fairy tales, — can she face the struggle without them? gle (Time : 29 mins.) 81 U.S.A. - ROLL ’EM LOLA Production : University of Southern California Division of Cinema Producer: Fred Burns Proto : Fred Burns and Steven Weiner Music : George Winston Sound : Michael Murphy An eternal Hollywood chase which takes place in a time and space of its own. (Time : 5 mins.) 82 U.S.A. - IS IT CHRIST ? Production : Shroud Company, Inc. Producer : George Suski and Mort Fallick N Director: Mort Fallick Script: Maggie Goldsmith Photo: Don Shapiro Sound : Gary Liebman Documentary on a linen shroud dating from the time of Christ bearing the image of a man v/hc were a capulet of thorns, whose side was pierced, who was brutally beaten and crucified. Experts are satisfied that it can­ not be a forgery. The question remains, “Is is Christ?” (Time : 53 mins.) 83 U.S.A. - STARMAN IN NOVEMBER Production : University of Southern California Director : Tommy Walk lace Photo: Paul Maibaum Sound: Rick Chapman An aspiring young cartoonist comes to Los Angeles where he gets high at a Hallowe’en party and imagines himself to be one of his own cartoon creations. (Time : 27 mins.) 27 �A TRIBUTE TO RICHARD LESTER The spotlight at this year’s Festival is on Richard Lester, the noted U.S. born director, who was responsible for such films as Help, How 1 1Fo,i The War, Petulia, Hard Day’s Night, The Knack, The Bed Sitting Room, Mouse On The Moon. A Funny Thing Happened On The IVny To the Forum and more recently The Three Musketeers and Juggernaut. Richard Lester was born in January 1932 in Philadelphia, and after a spell studying clinical psychology he entered television; later he embar­ ked on a tour of Europe and North Africa as a folk singer and jazz musician before making a name for himself in British T.V. through the “Goon” show with Spike Milligan and Peter Sellers. The unexpected success in 1959 of his slapstick short The Running, Jumping and Standing Still Film — shot as a Sunday lark — with Sellers and other friends, eventually contributed to his being signed on by Walter Shenson to direct a quickie musical about the Beatles, who had seen the short and had recommended Lester. In the interval he had begun making commercials and directed It's Trad Dad, a pop musical which attracted the attention of some cinema connoisseurs. Lester takes pains with interviewers to declare that he is not primarily a comedy director. “Comedy films are desperately serious to me.” he once stated, and Joseph McBride in a profile of Lester in the International Film Guide 1975. emphasises that this talented director’s films have almost always worked on two levels: the super­ ficial “pop” level of light hearted smartness, rest­ less movement and unremitting audience titilla­ tion; the second, a recondite, almost nerve-wrack­ ing density of texture which does not allow the cinemagoers a moment’s rest if he is to extract from the film, half of what Lester crams into it. Films by Richard Lester to be screened in the Tribute Programme are: 91 HARD DAY’S NIGHT 92 THE KNACK 93 HELP 94 PETULIA 95 HOW I WON THE WAR 96 THE THREE MUSKETEERS 29 �84 U.S.A. - CITY OUT OF THE WILDERNESS : WASHINGTON Production : Francis Thompson, Inc. Producer: Francis Thompson Director: Francis Thompson and Alexander Hammid Script: Francis Thompson Photo : Alexander Hammid and James Freeman Music: David Amram The history of Washington, capital of the United States, recreated from centuries old documents, prints and the reenactment of historical events. (Time : 28 mins.) 85 U.S.A. - ANTARCTICA Production : Image Associates Producer : Clayton Edwards Director : Bastian Wimmer Script: Clayton Edwards Photo: John Gordon Sound : Ray Roberts-Brown Explores the American scientific presence in Antarc­ tica and shows how scientists work in a hostile environ­ ment. (Time : 57 mins.) 86 U.S.A. - DON’T Production : Opus Films, Ltd. Producer : Robin Lehman Script: Robin Lehman Photo : Robin Lehman Sound : Michael Fano (Time : 19 mins.) 87 U.S.A. - ALICE DOESN’T LIVE HERE ANY MORE Director: Martin Scorsese 88 U.S.A. - FORTUNE Director: Mike Nicholls 89 U.S.S.R. - THE DIFFICULT PATHS OF PEACE Director: Anatoli Koloshin 90 U.S.S.R. - FRONT WITHOUT RANKS Director: Igor Gostev Sponsored by CORK GAS COMPANY (Tel.: 25252) CORK CRAFTSMAN’S GUILD 26 Paul Street (Tel.: 26053) Quality Hand Crafts 28 �A TRIBUTE TO RICHARD LESTER The spotlight at this year’s Festival is on Richard Lester, the noted U.S. born director, who was responsible for such films as Help. How 1 Won The War, Petalia, Hard Day’s Night, The Knack, The Bed Sitting Room, Mouse On The Moon. A Funny Thing Happened On The Way To the Forum and more recently The Three Musketeers and Juggernaut. Richard Lester was born in January 1932 in Philadelphia, and after a spell studying clinical psychology he entered television; later he embar­ ked on a tour of Europe and North Africa as a folk singer and jazz musician before making a name for himself in British T.V. through the “Goon” show with Spike Milligan and Peter Sellers. The unexpected success in 1959 of his slapstick short The Running. Jumping and Standing Still Film — shot as a Sunday lark — with Sellers and other friends, eventually contributed to his being signed on by Walter Shenson to direct a quickie musical about the Beatles, who had seen the short and had recommended Lester. In the interval he had begun making commercials and directed It's Trad Dad, a pop musical which attracted the attention of some cinema connoisseurs. Lester takes pains with interviewers to declare that he is not primarily a comedy director. “Comedy films are desperately serious to me.” he once stated, and Joseph McBride in a profile of Lester in the International Film Guide 1975. emphasises that this talented director’s films have almost always worked on two levels: the super­ ficial “pop” level of light hearted smartness, rest­ less movement and unremitting audience titilla­ tion; the second, a recondite, almost nerve-wrack­ ing density of texture which does not allow the cinemagoers a moment’s rest if he is to extract from the film, half of what Lester crams into it. Films by Richard Lester to be screened in the Tribute Programme are: 91 HARD DAY’S NIGHT 92 THE KNACK 93 HELP 94 PETULIA 95 HOW I WON THE WAR 96 THE THREE MUSKETEERS 29 �LATE ENTRIES 97 Belgium - BELLE Production : La Nouvelle Imagerie S.A., Albina Productions Producer: Jean Claude Batz Director : Andre Delvaux Script: Monique Ryssclinck Photo : Ghislain Cloquet Music: Frederic Devreese (Time: 93 mins.) 98 Belgium - OUILLE, OUILLE, OUILLE, OUILLE, OUILLE . . . Production: Y. C. Aligator Film S.P.R.L., <_. —„ Brussels c Script : Henri Xhonncux and Dimitri •euve Photo : Jean-Yves Delbrc Music: Dimitri Sound : Marc Lobet (Time: 12 mins.} 99 Great Britain - MAX WALL FUNNY MAN Production : G. T. O. Films, Ltd. Executive Producer: Laurence Myers Producer: Ron Inkpen Director : Jon Scofiield Photo : Jimmy Boyer Music: John Shakespeare A film tribute to the great - Max Wall. 100 Yugoslavia - DIARY 101 Yugoslavia - GUBECZIA34A 102 U.S.A. - THE GLASS MENAGEIGS 103 Netherland - DON’T MOVE BABY 104 U.S.S.R. - ABOUT THOSE WHOM I LOVE AND REMEMBER 105 U.S.S.R. - RED SNOW BALL TREE 106 U.S.S.R. - FRONT WITHOUT FLANKS 107 Nigeria - ARTS AND CRAFTS "JURIST DELIGHT 30 �ASSOCIATE MEMBERS Mrs. T. Garde Mr. P. J. Crowley Mr. O. N. Sherry Murray & Murray. Petitt & Partners Barbara M. Hartley Mr. Alec Morrogh Patricia Morrogh Imperial Hotel Mr. F. O Tuama Business & Leisure Travel Mr. Alfred Navratil Mrs. Ethel Navratil A.S.L. Adler Computers A.S.L. Lanier Dictating Systems Des Roche (Allied Irish Banks) Mrs. Moira Roche Seamus Lantry Mary Lantry Mr. David Meagher Mrs. Mary Meagher Clayton Love Jnr. Clayton Love & Sons (Cork) Ltd. Mr. Thomas J. Harley E. G. Petitt & Company Brooks Haughton Ltd. Fitzgerald Menswear Ltd. Quigley Co. of Europe, Ltd. Bank of Nova Scotia Penn Chemicals B.V. Irish Branch Twenty-Third Cork Internationa! Choral id Folk Dance Festival At CORK CITY HALL, APRIL 28 — MAY 2, 1976 Information from: THE FESTIVAL OFFICE, 15, BRIDGE STREET, CORK 31 �cork PilmCSI muernotionoi AWARDS FEATURE FILMS AWARDS The awards are presented by Pedro Domecq, S.A. SHORT FILM AWARDS The awards of St. Finbarr Statuettes are designed by Dr. Seamus Murphy. R.H.A. and are presented by Swan Bedding, Cork IRISH FILM SOCIETIES AWARD The Irish Film Societies will present an award for the best short film shown during the Festival. FILM CRITICS’ AWARD A Waterford Glass Award will be presented for the best Irish film shown during the Festival. The award will be made by the film critics attending the Festival and it is aimed at encouraging Irish film making and also Government and industrial sponsorship of film making in Ireland. THE TECHNIQUES C'F FILM MAKING A course on the techniques of film-making for senior school students will open on Sunday, June 8 and will conclude on Saturday afternoon, June 14. The course will be conducted by leading direc'ors, writers, actors, directors of photography, istic directors, and editors. 32 �ACKNOWLEDGMENTS Cork Film International owes its origin, in the main, to the financial support and encouragement of BORD FAILTE EIREANN (The Irish Tourist Board). The Director and Council of the Festival express their deep appreciation to them. We are also indebted to the following who have given considerable help to the Festival in various ways throughout the years of its existence: ARTHUR GUINNESS, SON & CO. (IRELAND) LTD. IRISH DISTILLERS LIMITED STARDUST CLUB, CORK SWAN BEDDING D. & A. O’LEARY LTD. OYSTER TAVERN WATERFORD GLASS LTD. CORK EXAMINER HENRY FORD & SON, LTD. GERARD JONES, BELGIAN CONSUL IRISH MIST LIQUEUR LTD. SUNBEAM LIMITED TRUX LTD. BEAMISH & CRAWFORD LTD. CHRYSLER (IRELAND) LTD. ROCHES STORES LEPP TRAVEL LTD. MURTAGH PROPERTIES LTD. THE JOHN DALY GROUP ESSO TEORANTA FRANK BOLAND LTD. ALLIED IRISH BANKS MUNSTER ARCADE LTD. SUNDAY WORLD TRACY SHOES SALON INTERNATIONAL CORAS IOMPAIR EIREANN JOHN A. MULCAHY, LTD. LIAM BURKE LTD. C.A.B. LTD. EGLANTINE GARAGE DENNEHYS CROSS GARAGE O’MAHONY BROS. LTD. SOUTHERN ELECTRONICS LTD. CAMEO CINEMA JOHNSON AND PERROTT LIMITED EAGLE PRINTING COMPANY LIMITED TOM KEATING MAYFAIR MODEL AGENCY ALLIED IRISH TEXTILES DAVID HEMMINGS IVERNIA THE THEATRE AND CINEMA ASSOCIATION (IRELAND) CORK GAS COMPANY PEDRO DOMECQ S.A. MORANDELL AUSTRIAN WINES KEANES JEWELLERS HARRINGTONS AND GOODLASS WALL LTD MUNSTER SEEDS CASSIDY SILKS 33 �Without the support of our promoters, Bord Failte and of our Sponsors and Advertisers Cork Film International could not be orga­ nised. The Council and Director express their sincere gratitude to them. Please ensure the Festival's continuation by supporting our Advertisers. ☆ ☆ 1 Uj § kJ ☆ ■ Cover Design by Harry Wallace * * ☆ U4 Front of house display at Savoy Cinema by Tadhg Lehane ☆ ☆ ☆ A special tribute must be paid to the crafts­ manship and infinite patience of the Staff of our printers, Messrs. D. & A. O’Leary, Ltd. Si * am va WHILE EVERY EFFORT WILL BE MABE TO ADHERE TO THIS PROGRAMME, THE COSE FESTIVAL COUNCIL CAN ACCEPT NO RESPON­ SIBILITY FOR ERRORS, CANCELLATIONS, OR ALTERATIONS 34 i Jutf/ '□F j �LATE ENTRIES (Continued) 109 U.S.A. - MAURIE 110 Australia - SUNDAY TOO FAR AWAY in France - CHAMPOLLION OU L’EGYPTE DE VOILLE �� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Programme Content Source A related resource from which the described resource is derived Cork Film Festival Collection Publisher An entity responsible for making the resource available University College Cork Date A point or period of time associated with an event in the lifecycle of the resource 1956- Rights Information about rights held in and over the resource <a rel="license" href="http://creativecommons.org/licenses/by/4.0/"><img alt="Creative Commons License" style="border-width: 0;" src="https://i.creativecommons.org/l/by/4.0/80x15.png" /></a><br />This collection is licensed under a <a rel="license" href="http://creativecommons.org/licenses/by/4.0/">Creative Commons Attribution 4.0 International License</a>. All rights reserved. Please credit <a href="https://corkfilmfest.org/">Cork International Film Festival</a> &amp; provide a link back to this site. Format The file format, physical medium, or dimensions of the resource PDF Language A language of the resource English, eng; Irish, gle Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1956- Cork, Ireland Description An account of the resource A selection of programmes from the Cork International Film Festival. Subject The topic of the resource Cork Film Festival Programmes Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1975 Cork Film Festival programme content Subject The topic of the resource Cork Film Festival, Ciaran Carty, Philip Oakes, Madame Govaers, Japan, Louis Marcorelles, Hubert Bals, London Friends of Cork, Liam O Laoghaire Creator An entity primarily responsible for making the resource University College Cork, Cork Film Festival Source A related resource from which the described resource is derived Cork Film Festival Collection Publisher An entity responsible for making the resource available University College Cork Rights Information about rights held in and over the resource <span>This item is licensed under a </span>Creative Commons Attribution NonCommercial-NoDerivatives 4.0 International (<a href="https://creativecommons.org/licenses/by-nc-nd/4.0/">CC BY-NC-ND 4.0</a>) licence<span>.&nbsp;Please credit the&nbsp;</span>Cork International Film Festival Archive<span> and provide a link back to the site.</span> Language A language of the resource English, eng Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Cork, Ireland Description An account of the resource This is a PDF of the 1975 festival programme. The slim card-bound programme has an abstract design on its cover in various shades of brown elongated shapes stretching from the top to the bottom of the page. The 35-page, 20 pence, programme was designed by Harry Wallace.<br /><br />In the opening notes, the festival director Dermot Breen mentions the support of the London Friends of Cork (page 5). Programme notes include a tribute to the American-born director Richard (Dick) Lester based in the UK. He is known for his work with the Beatles in the 1960s (<em>Hard Days Night</em>) and his later work on the Superman franchise. Date A point or period of time associated with an event in the lifecycle of the resource 1975 Format The file format, physical medium, or dimensions of the resource PDF Type The nature or genre of the resource Programme Ciaran Carty Dermot Breen Harry Wallace Hubert Bals London Friends of Cork London Friends of the Festival Louis Marcorelles Madame Govaers Philip Oakes https://corkfilmfest.ucc.ie/files/original/6f690de31bf13742e59e2e6ba70d2374.pdf 96d0eb2690c7b1e09714698fdbb8ac29 PDF Text Text o �FfilLSCANNAN IDIRNAISIUNTA CHORCAIGHE 19th CORK FILM INTERNATIONAL 1974 SATURDAY, 8 JUNE TO SATURDAY, 15 JUNE Programme 20p �19th Cork Film International President Rt. Hon. the Lord Mayor, Senator Patrick Kerrigan, T.C. Chairman : A. A. Healy, T.C., T.D. Vice-Chairman : R. P. Beamish Director: Dermot Breen, M.I.P.R. Executive Council E. O’Mahony K. G. Breen T. J. O’Sullivan B. B. Curtis, L.R.A.M. M. Owens Patrick Fleming Mrs. M. Pyne Mrs. N. Jennings Comdt. J. Slyc T. O’Brien Organising Committee Assistant Director: Fergus Gilligan Reception Executive: Shaun O’Sullivan, Timothy O Brien Mrs. M. Pyne, Mrs. M. Murphy, J. Janeczek, S. O’Brien, R. O’Sullivan, S. Cunningham Transport: Timothy J. O’Sullivan, Jack O’Sullivan Accommodation ; E. O'Mahony Information : Comdt. J. Slye, Miss Connie Madden Press Relations: Larry Lyons Press Officer: Vass Anderson Press Committee: Frank Sanquest, P. McCarthy, T. Me Sweeney, Donal Musgrave, Ella Shanahan, J. C. Hea y Selection Committee: John O’Shea, Bernard Power (Hon. Secretary) Programme Editor: Padraig O Maidin, F.L.A.L Protocol: Bernard B. Curtis, L.R.A.M., Kevin Breen Invitations: Ken Connole, Mary Connole Films Officer: William Newman Trave! Arrangements: Ignatius Buckley 4 Inclusive Tours: Ross Andersen Sponsors Liaison : Veda Breen, Vicki Coomber Festival Cub : Harry Fitzgerald-Smith, 2. Arch., Liam O’Connell, J. Collins, Pat Barry, W. Wimims, 77. Deegan Club Reception : Mrs. N. Jennings, M. Cv/ens Stage Interviews: Dan Donovan, M.A. Front of House (Savoy): James O’Brien Front of House (Capitol): Fred Conboye Imports and Exports: Joseph McNally External Activities: Patrick Fleming Marketing Committee: Maurice Brennan, Ignatius Buckley, J. H. V. Mahony, P. Roche, D. Lovette, Sean O Leary, T.C., Ross Anderson Activities Committee: Brian Coomber, Jack O’Sullivan, Mary O’Donovan, Fergus Gilligan Film Techniques Course : Brother Jerome, Mary O’Dono­ van, David J. Power Sponsorship Committee : Frank Murphy, Paddy Coffey Fest’val Offices: 18 Merchants Quay �SUNDAY, JUNE 9, 1974 Celebration of The Mass of Saint Fin ba it Composed and Conducted by BERNARD GEARY at the CHURCH OF SAINT FRANCIS Liberty Street, Cork at 11.15 a.m. Celebrant: Rev. Fr. Florence, O.F.M. (Guardian) Sung by: Cork Film International Children’s Choir Soloist: Kevin Owens Organist: Senor Angel Climents on the occasion of the nineteenth CORK FILM INTERNATIONAL I Chairman of Committee : Donal Lehane Secretary; Mary O’Donovan Onr siacera thcois to its ads tSEOhera of S» schools who oocojolcs ths choir �The Festival Director introduces the 19th Cork Film International... In welcoming our many old and new friends to our 19th Cork International I am happy to share with you. once again, new achievements and dis­ tinctions for our Festival. Again, this year. Cork is the only festival in the world that presents awards for technical collaboration in the Features Section. Awards will be made by an International Jury of five members to the outstanding Scriptwriter. Director of Photography. Music Composer. Editor and Art Director of the FeatureFilms shown during the Festival. Certificates of Merit will also be awarded. In the Short Films Section the competition under Category D for Short Fiction Films will con­ tinue to include films made specifically for tele­ vision. The Tribute Programme this yea" is to the out­ standing French Director, Francois T^rGi-t. Mon­ sieur Truffaut was this year awarded the American Oscar and the British S.F.T.A. award for his recent film Day For Night. Cork has a special link with Monsieur Truffaut, as his first mai'or feature film Four Hundred Blows was shown at the Cork Festival in 1959. During the Tribute the following films will be screened: Mississippi Mermaid, The Wild Child, Fahrenheit 451. Ann and Muriel, Jules and Jim and Day For Night. As a Festival which is so closely concerned with the arts of film-making, we cannot allow ourselves 4 �to become complacently pleased by merely pre­ senting films and stopping at that. It is for this reason we introduce this year a course on Film Making Techniques. The course is specially de­ signed to give teenage film goers a grasp of what film is all about, from the writing of the script to the final presentation of the finished product. Eminent experts will lecture and demonstrate to the students during the five days of the course which unfortunately had to be limited to a maxi­ mum of 150. There is no reason why we should not have two or three more of these courses simul­ taneously if more financial aid was available. There may be another David Hemmings somewhere? I firmly believe that by establishing this student pro­ gramme. we can now truthfully say that C.F.I, is really worthwhile. A warm welcome to all the Producers, Directors, Celebrities, and my sincere thanks to you all for your unfaltering support. My thanks also to the joint promoters of the Cork Film International, Bord Failte and Player & Wills (Ireland) Ltd., to the Directors and staff of Ivernia and to our many sponsors and friends who make our Festival an important and joyous occasion for so many. I take this opportunity to say a special word of welcome to our friends of the Press who bring the world to us and bring us to the world. I am grate­ ful to you all. May your stay in Cork be enjoyable. I wish to express my personal thanks to the Lord Mayor, to the members of the Festival Council and most of all to the many volunteers who unspar­ ingly gave of their leisure time during the year, to provide for Ireland an event of International prestige. Dermot Breen, Director, Cork Film International J 5 �FESTIVAL JURY The International Jury for the Features Films Competitions is: JOHN BOORMAN (Great Britain) President NORMAN COHEN {Ireland) SAMY PAVEL HEIKKI ETELAPPA (Finland) SHORTS JURY The International Jury for the Short Film Com­ petitions is: BERNARD BLIN (Frar.ce) BILL STARR (USA.) KEVIN MARRON (Ireland) NOEL RYAN (Ireland) (Assistant head of film RTE) JAMES MITCHELL (Great Britain) 6 �Synopses of Films Notes Films arc listed numerically. The numbers correspond to those shown opposite the names of the films in the coloured inset in this brochure. An account of the Special Tribute Programme devoted to the work of Francois Truffaut on Page 26. 1 Austria - LADY HITT, OR THE PETRIFIED MISTRESS (FRAU HITT ODER DIE STEINERNE FRAU) Production : Haavard and Volkmar Secboeck Script : Haavard Sccboeck Photo : Haavard and Volkmar Sccboeck Sound : Werner Oberwegcr A legend of the hard-hearted Frau Hitt in the mountains to the north of Innsbruck. (Time : 18 mins.) 2 Bulgaria - THE LAST SUMMER (POSLEDNO LYATO) Production : Bulgarian Cinematography Director: Hristo Hristov Script : Yordan Radichkov Photo : Tsvetan Chobanski Music : Krassimir Kyrkchiyski Art: Hristo Hristov Cast: H. A. Grigor Vachkov, Bogdan Spassov, Dimiter Ikonomov, Lili Mctodieva, Vcsko Zehirev Ivan is the last to remain after his village is evacuated to make way for a dam. The only living souls with him her are his blind father and his son and in his workaday life self Ivan finds himself caught between the past and the future. (Time : 86 mins.) 3 Bulgaria - THE THREE FOOLS AND THE CAR (TRIMATA GLOUPATSI I AUTOMBILUT) Production : Bulgarian Cinematography Director: Anton Trayanov Script: Anastas Pavlov Photo : Pavel Arshinkov Music: Emil Pavlov Art: Donyo Done? Donev’s Three Fcols caught up in the widespread disease of 20th c er.tury-Carmania. (Time: 8 mins.) Sponsored by TADHG L2&AKE, Display Artist, 9 Patrick Street (Tel.: 24725) 7 �RANK AUDIO VISUAL LTD. 81 LOWER LEESON STREET. DUBLIN 2 Telephone: 764976/7 Offer a complete service to the Film Industry ★ ARRI CAMERAS ★ RANK ALDIS EDUCATIONAL PROJECTORS ★ IANIRO FILM and TELEVISION LIGHTING EQUIPMENT ★ COMPLETE TECHNICAL SERVICE AVAILABLE ★ AUDITORIUM SEATING 8 �4 Canada - BATE’S CAR SWEET AS A NUT Production : National Film Board of Canada Producer : Michael Rubbo Director: Tony lanzelo Script: Tony lanzelo Photo : Tony lanzelo Harold Bate, an inventor, extracts methane gas from pig manure to fuel his car. (Time : 15 mins.) 5 Canada - THE APPARITIONS Production : Selznick and Geller Productions .k Producer: Stephen Selznick Director : Gary Gel „ slier Photo : Alar Kivilo and Dennis Rindsem Civilo Sound : Gary Geller and Stephen Sclznick Geller Art: Gary Geller An episode in the life of a person wh< finds himself .. ,vho torn between the illusion of reality and the reality of illusion, explored through colour and facial composition. (Time : 13 mins.) 6 Canada - THE OWL AND THE RAVEN (LE HIBOU ET LA CORBEAU) Production : National Film Board of Canada Producer : Pierre Moretti Director: Co Hoedcman Script: Thcresc Dumesuil Music : Maurice Blackburn An animated film with puppets based on an Eskimo fable. (Time : 6 mins.) ic 7 Canada - PASSAGE Production : National Film Board of Canada Producer : Rene Jodoin Director: Normand Gregoire Script: Normand Gregoire Music : Pierre F. Brault Light, fleeting, Hying, flickering, illuminating a world illuminatii ng. flying, in passage as might ’-------------- 1 •*-------*’ the windows of be glimpsed through a speedinj train. ig (Time: 5 mins.) Sponsored by JOSEPH BARTER & SONS LTD. (Travel Agents) (Agents Thos. Cook and Son Ltd.) 92 Patrick Street (Tel: 24261) THE OYSTER TAVERN Cork’s Fashionable Rendezvous Phone 226351 and 227161 9 �8 Canada - THE SUNNY MUNCHY CRUNCHY NATURAL FOOD SHOP Production : National Film Board of Canada Producer: David Bairstow Director : Richard Todd Script: Richard Todd Photo: Douglas Kiefer Music : Don Douglas Not everyone who frequents the store is entirely gone on health foods, some display resistance and a ready wit, but the store is full of fetching marvels. (Time : 10 mins.) 9 t Czechoslovakia - THE ANTLERS (PAROHY) Production : Short Films Prague Director: Josef Kluge Script: Frantisek Skala and Josef Kluge Photo : Vladimir Malik Music: Sv. Havelka The merry tale of a gentleman who joins an experienced hunter in an ‘expedition’ to find a rare trophy of ; >es a deer; he does not catch his deer but do< get his antlers. (Time : 7 mins.) 10 Czechoslovakia •• IT IS FAR TO HEAVEN (DALO1 ►EKO JE DO NEBA) “ Production: Feature Film Studio, Bratislava Director: Jan Lackc to ind Script: Jan Lako ar. Stefan Sokol Photo : Tibor Biath Music : Jozef Malovec Art: Juraj Chervik Cast: Ivan Rajniak, Julius Pantik, Kveta , Julius Lukasikova-Michalcova, Viera Strniskova, -Michalcova, Vlado Durdik, Marta Raslova, Jan Mildncr, Adam Matejka, Eduard Bindas Stefan Krupa, a teacher, returns in the autumn of 1920 from captivity in Russia to a hamlet in the mountains. There Klenc rules supreme. Krupa brings new ideas and soon he is in conflict not only with KJenc but with the authorities. (Time : 120 mins.) Sponsored by MADDEN & SONS LTD., Tea, Wine & Spirit Merchants, 13-15 Bridge Street (Tel.: 51355) JAMES MANGAN LTD., Jewellers 3/4 Patrick Street (Tel.: 20998) HICKEY & BYRNE, Printers, Mary Street (Tel.: 20725) 10 �11 Denmark - The SUN IS RED (SOLEN ER ROED) Production : Bent Barfod Films Producer: Danish Short Film Committee Director: Bent Barfod Photo: Kai Michelsen Music: Pierre Henry Commentator: Ingrid Hohnen (Time: 13 mins.) 12 Denmark - TIME FOR WORK AND TIME FOR PLAY Production : lb Dam Film Producer: Danish Short Film Committee Director: Flemming la Cour Script: Flemming la Cour Photo: Erik Wittrup Willumsen and Peter Klitgaard Sound : Axel Pless Commentators: Flemming la Cour, David Hohnen, Norman Mackie (Time : 15 mins.) 13 Federal Republic of Germany - BECAUSE OF EVE (OH JONATHAN OH JONATHAN) Production : Terra Filmbunst, Berlin Producer: Manfred Barhel Director: Franz Peter Wirth Script: Franz Peter Wirth, from the novel by Hans Kraly Photo: Gernot Roll Music : Horst Jankowski Art: Franz Peter Wirth Cast: Heinz Ruhmann, Peter Frick, Franziska Oehme, Paul Dahike, Paul Verhocven Financier Jonathan has only one last wish — to meet Gloria, his son’s bride to be, but Gloria is missing and Tobias asks Eve to stand in. (Time: 105 mins.) Sponsored by CORAS IOMPAIR EIREANN (Ireland’s National Transport Company) Why not sample a Coach Tour from Parnell Place ’Pr.cne 53411 11 �14 Federal Republic of Germany - CACTUS (KAKTUS) Production : Firma Ernest Reinboth Producer : Ernest Rcinboth Photo : Ernest Reinboth Music: Boris Blacher A Mexican cactus shown in animated cartoon to elec­ tronic music by Boris Blachcr. (Time : 15 mins.) 15 Federal Republic of Germany - CENTRAL STATION (HAUPTBAHNHOF) Production : Cinecentrum, Hamburg Director: Klaus Lcnsch Script: Hans-Jurgen Rieck Photo : Hans-Jurgen Rieck Art: Hans-Jurgen Rieck An employee of a railway station finds himself isolated as the only one who is not a TV viewer^ , (Time: 14 mins.) 16 Federal Republic of Germany - CLEANER AND Rcj GREENER (ES GIBT EINE FARBE DIE HEIST GRUEN) Production : Cinecentrum, Hamburg Director: Klaus Lensch Photo : Gerhard Labudda Script : Hansludwig Wiechmann and Gerhard Labudda Art: Gerhard Labudda From virgin nature to the dreary, inhuman living space of our cities. (Time: 21 mins.) 17 Federal Republic of Germany - GOD PROTECTS THE LOVERS (GOTT SCHUETZT DIE LIEBENDEN) Production : Roxy, Paramount-Orion Film, Munich Director : Alfred Vohrer Script: Manfred Purzer from the novel by J. M. Simmel Photo : Charly Steinberger Music : Hans-Martin Majewski Cast: Harald Leipnitz, Gilda von Wcitcrhausen, Andrea Jonasson, Walter Kohut, Thomas Frey. Paul Holland, a young engineer, follows his girl friend to Vienna, where he becomes involved with secret police and Interpol. They expect him to play his part and, con­ fident that God protects all lovers, he agrees. (Time : 106 mins.) Sponsored by QUIGLEY CO. OF EUROPE LTD. 12 �18 Federal Republic of Germany - NO. 1 Production : Joachim Kreck Director: Jochim Kreck Photo: Edward McConnell, Geoffrey Jones, Rudiger Laske, Horst Radke. Music : Volker Kriegel Sound : Walter Funda Colour short, without narration, on the goalkeeper in ir ’ nan Soccer, filmi in the World Cuj stadiums at Stuttgart, filmed orld Cup Dusseldorf, Frankfurt and featuring Dr. Peter Kunter, •rf, >.J featu dentist ar._ goalkeeper for Eintract Frankfurter since ind 1965. (Time: 9 mins.) 19 France - SALUTE TO THE ARTIST (SALUT L’ARTISTE) Director: Yves Robert Producer : Guy Blanc Script: Jean-Loup Dabadic and Yves Robert Photo: Jean Penzer Music : Vladimir Cosma mi, Cast: Marcello Mastroiann Francoise Fabian, i Jean Rochefort, Carla Gravina Nicholas, forty-five, an averagely successful actor, has two households, two private lives. His trouble is that he can’t decide between them. He is caught also between two realities, that of the stage and that of life, but Nicholas survives, surrounded by laughing people. 20 France - ELOAH Production : OCS Films, Paris OC2 T in Tai: Director: Jean Talansier Roland Moreau, and :r, Georges Perdriaud When Eloah came from outer space to visit our planet he found himself face to face with the earth people who, because of their primitive instincts, do not accept him: they think that any outsider is an enemy. (Time : 18 mins.) AFTER THE SHOW COME TO . . . THE FESTIVAL ft! (Sponsored by Harp Lager (Ireland) Ltd.) at the CITY HALL DANCING ir RESTAURANT * BARS Tickets on sale at the Savoy and at Festival Office Club open daily 10 p.m. — 2 a.m. 13 �21 Great Britain - CONTACT Production : Educational Film Centre Producer: John Halas and Joy Batchelor Script: Pierre Braillard and Joy Batchelor Photo: Hugh Gordon Music : Andras Ranki Sound : Mike Crouch Art : Janos Kass Commentator: Peter Barkworth Electricity from its beginnings to its future possibilities. (Time : 17 mins.) 22 Great Britain — EXPERIMENTAL Production : RA Films Producer: Robin Lehman Photo: Robin Lehman Music : Michel Fano Some unusual views of some unusual aircraft, some of which don’t fly. (Time : 12 mins.) 23 Great Britain - FAT MAN ON A BEACH Production : HTV Wales Producer: Aled Vaughan Director: Michael Bakewcll Script : B. S. Johnson Photo: Mike Reynolds Sound: Jack Butler and John Cross B. S. Johnson, novelist, poet and film maker, spends a day on a beach alone and talks to the camera. The beach is Porth Ceiriad in Llyn, the scene of his first novel, Travelling People. (Time : 39 mins.) 24 Great Britain - THE EYE OF THE STORM Cast: Cyril Cusack, Trevor Howard. Based on Brian Moore’s novel CATHOLICS 25 Great Britain - MALACHI’S COVE Director: Henry Herbert Cast: Donald Pleasance, Dai Bradley, Veronica Quilligan Sponsored by MUNSTER ARCADE, 27/30 Patrick Street (Tel.: 21945/6) “Cork’s Greatest Department Store” METROPOLE HOTEL Grade “A” Star Hotel (Tel.: 51301) 14 �26 Great Britain - MY AIN FOLK 27 Great Britain - PERSECUTION Director: Don Chaffey Cast: Lana Turner, Ralph Bates, Olga GeorgesPiocot, Trevor Howard 28 Great Britain - FIFTY FIGHTING YEARS Production : Educational and Television Films Ltd. Producer : Stanley Forman Director : Stanley Forman and Roland Bischoff Script: Ivor Montagu, Roger Woddiss and Stanley Forman Photo: John Green Music: Dr. Alan Bush Sound : Stanley Forman A tribute to Labour Monthly, a Socialist magazine, S i founded in 1921 by R. Palme Dutt in London. (Time: 34 mins.) 29 Great Britain - GOLLOCKS — THERE’S PLENTY OF ROOM IN NEW ZEALAND Production : Moving Picture Co. Producer: Mike Luckwell Director : Dennis Abey Script: Dennis Abey Photo : Trevor Wrenn Music : Jonathon Hodge icrilla’s att< tempt to fight polluA middle-aged urban gu< a tion and to create the clean and sp: >acious environment :aland possesses. which he has heard New Zea (Time : 33 mins.) 30 Great Britain - IN GREAT WATERS * Production : IFA (Scotland) Ltd. Producer: Laurence Henson Script: Laurence Henson and Charles Gormley Photo: Ed McConnell Music: Frank Spedding Sound : Cyril McConnell Commentator: Tom Fleming A contemporary look at fishing in the waters of Scot­ land and in the Scottish highlands and islands. (Time: 33 mins.) Sponsored by CORK GAS CONSUMERS’ COMPANY 15 �31 Great Britain - IT’S ALL MAN MADE Production : James Archibald and Associates Producer: James Archibald Director : Robert Young Photo: Clive Tuchner Commentator: Ian Morrison The story of a river, the Trent, and its tributaries. On its 128 miles to the sea it passes through many environ­ mental hazards. The film shows how these problems have been solved and the environment preserved. (Time : 26 mins.) 32 Great Britain - L. S. LOWRY “THE INDUSTRIAL ARTIST” Production : Philip Thompson Productions Producer: Philip Thompson Photo : Philip Thompson Music: Colin E. Cowles A study of L. S. Lowry, born in Manchester in 1887. who was 52 before he gained acclaim for his paintings of the industrial north of England. (Time : 18 mins.) 33 Great Britain - THE LONG WHITE TRAIL Production: Novavette Ltd. Producer: Ron Inkpen Director: Jan Cremer Script: Ron Inkpen and Jan Cremer Photo: Bill Constable Music: Peter Sarstcd and Neil Lancaster Sound : John Pantry and Keith Potger Commentator : David de Keyser The centuries old. two hundred mile long trail to the Eskimo fishing grounds in Greenland. (Time: 32 mins.) 34 Great Britain - MATUSHKA Production : National Film School Producer: John Lind and Dennis Barrow Script: John Lind and Dennis Barrow Photo: Dennis Barrow Art: Kell Gatherer Russia during the Revolution. The old order is giving way to the new. As a group of Bolsheviks approach the Morosoy estate, a young peasant girl, Mzt’hhks, finds herself in the bedroom of the Prince, enchanted. (Time: 50 mins.) Sponsored by Cork Examiner, Evening Echo, Cork Weekly Examiner 16 �programme: Official Opening By in the Presence of I The Rt. Hon. the Lord Mayor of Cork MR, PETER BARRYrTO., Minister for Tr»nrpnrP-nffl~Pnsver at ■oaioy Cinema at 7.30 p.m. Saturday, June 8 SAVOY, 7.30 p.m. J THE ANTLERS (Czechoslovakia) 9 VILLAGE (Ireland) 43 MISTLETOE (Poland) 51 BATES CAR SWEET AS A NUT (Canada) BREEZY (U.S.A.) 4 61 Sunday, June 9 CAPITOL 3 p.m. > TRIBUTE TO FRANCOIS TRUFFAUT FOUR HUNDRED BLOWS 75 SAVOY, 7.30 p.m. THE OWL AND THE RAVEN (Canada) ZEBRA (U.S.A.) 6 69 “MOVIE GIRL ’74” (Announcement of prize winner) BECAUSE OF EVE (Federal Republic of Germany) 13 �Monday, June 10 Wednesday, June 12 LEE CINEMA 10 a.m. INFORMATION PROGRAMME CAPITOL, 10.30 a.m. CHINESE FIGURE PAINTING IN THE NATIONAL PALACE MUSEUM (Republic of China) TRIBUTE TO FRANCOIS TRUFFAUT 31 ... FAHRENHEIT 451 79 45 20 ARABIAN STALLION (Saudi Arabia) ... THE LONG WHITE TRAIL (Great Britain) PRIDE OF A NATION (Nigeria) 54 SAVOY, 5.15 p.m. 33 THE IMPORTANCE OF BEING 83 ZAED ALWAN (Syria) DUBLIN (Ireland) ! CAPITOL, 10.30 a.m. (/ I THERE ARE YACHTS AT THE BOTTOM OF OUR GARDEN (Australia) RORY GALLAGHER: IRISH TOUR ’74 (Ireland) 32 53 IT’S ALL MAN MADE (Great Britain) THE WEDDING WE WANTED TO FORGET (Israel) ELOAH (France) L. S. LOWRY “THE INDUSTRIAL ARTIST” (Great Britain) ... MY AIN FOLK (Great Britain) 40 25 SAVOY, 8.15 p.m. ’ ... TUP TUP (Italy) 41 SAVOY, 5.15 p.m. 48 THE VETERANS (Great Britain) 35 PHILADELPHIA HERE I COME (Ireland) ’ 82 THE RETURN (Great Britain) IT IS FAR TO HEAVEN (Czechoslovakia) 10 SAVOY, 8.15 p.m. NO. 1 (Federal Republic of Germany) 18 THE WORLDS OF RUDYARD KIPLING (Great Britain) 36 BLAZING SADDLES (U.S.A.) 63 Thursday, lune 13 CAPITOL, 10.30 a.m. Tuesday, June 11 CENTRAL STATION CAPITOL, 10.30 a.m. (Federal Republic of Germany) INSIDE THE WORLD OF JESSE ALLEN (U.S.A.) 66 TRIBUTE TO FRANCOIS TRUFFAUT JULES AND JIM 76 SAVOY, 5.15 p.m. PANDORA’S BOX (U.S.A.) ... MISSISSIPPI MERMAID 25 PASSAGE (Canada) NATURAL FOOD SHOP (Canada) ... STEPMOTHER (U.S.S.R.) / 70 8 FIFTH FACADE (Australia) 67 29 7 THE SUNNY MUNCHY CRUNCHY SAVOY, 8.15 p.m. ODE TO NATURE (U.S.A.) ... 1 GOLLOCKS — THERE’S PLENTY OF J ROOM IN NEW ZEALAND 77 SAVOY, 8.15 p.m. 21 MALACHI’S COVE (Great Britain) TRIBUTE TO FRANCOIS TRUFFAUT 68 CONTACT (Great Britain) I 15 EXPERIMENTAL (Great Britain) 22 ROMAN ZALUSKI - S - SECRET (Poland) 52 �Friday, June 14 CAPITOL, 10.30 a.m. FIFTY FIGHTING YEARS (Great Britain) 28 5 THE APPARITIONS (Canada) ... TRIBUTE TO FRANCOIS TRUFFAUT 78 THE WILD CHILD SAVOY, 5.15 p.m. 65 THE HUNGER ARTIST (U.S.A.) 39 BODHRAN (Ireland) THE EYE OF THE STORM (Great Britain) 24 SAVOY, 8.15 p.m. 47 IN THE BEGINNING (Italy) 44 WAVES (Ireland) ./ SALUTE TO THE ARTIST (France) ... 19 Saturday, June 15 CAPITOL, 10.30 a.m. A DOLPHIN’S STORY (New Zealand) ... 50 TRIBUTE TO FRANCOIS TRUFFAUT DAY FOR NIGHT 81 SAVOY, 3 p.m. FAT MAN ON A BEACH (Great Britain) 23 THE SUN IS RED (Denmark) 11 “W” (U.S.A.) 62 I I SAVOY, 7.30 p.m. COCKABOODY (U.S.A.) 58 CLEANER AND GREENER (Federal Republic of Germany) 16 PRESENTATION OF FESTIVAL AWARDS J CONRACK (U.S.A.) (This Programme is subject to alteration without notice) 59 �35 Great Britain - THE VETERANS Production : Films of To-day Producer: John Wiles Director: Bill Mason Photo: John McCallum Music : Ron Gcesin The development of the motor car from 1885 to 1914 when the petrol engine came into its own, shown through a collection of veteran cars, British, American, European most of which are owned by private collectors. (Time : 27 mins.} 36 Great Britain - THE WORLDS OF RUDYARD KIPLING Production : Limbridge Productions Ltd. Producer : Peter Baylis Director: Walter Pyemont . -Iter Script: Peter Baylis •r Photo : Waite Pyemont Iter Music : Lauric Scott-Baker irie Art: John Tippey Commentator: Anthony Quayle The worlds and philosophy of Rudyard Kipling. (Time : 27 mins.) 37 Greece - A PLACE OF A SKULL (TOPOS KRANIOU) Production : Konstantinos Aristopoulos Director : Konstantinos Aristopoulos Script: Konstantinos Aristopoulos Photo : George Arvanitis Music : Yannis Markopoulos Art: Anastasia Arseni Cast: Takis Kilakos, George Dialegmenos (Time: 145 mins.) 38 India - THE SEARCH (AAVISHKAR) Production : Aarchi Film Makers Producer: Basu Bhattacharya Script: Basu Bhattacharya Music : Kanu Roy Art: Rinki Bhattacharya Cast: Sharmiia Ragore (as Mansi), Rajesh (as Amer) (Time: 110 mins.) Sponsored by WM. EGAN ft SONS LTD., Jewellers, 31/32 Patrick Street GOLD 3LDND DBA OLD S3NTUCKY &3STA1J2* ANT (formerly Old Eridse Resiaurint), 123 Patrick St. (opccrite Statue) Fully licensed end open until 1 a.m, 7 days per week 17 �39 Ireland - BODHRAN Production : Film Consultants of Ireland, Ltd. Producer : Tom Hayes Script: Tom Hayes Photo: Seamus Deasy, Paddy Barron and Nick O'Neill Sound : Liam Saurin and Tom Curran Commentator : Padraig O Raghallaigh The Bodhran, a traditional percussion musical instru­ ment made from goatskin, was introduced to a wider audience in John B. Keane’s play, Sivc. Taken up by Sean O Riada in his own work, the Bodhrdn has now be­ come widely popular and has been elevated to a place of honour in Irish music. (Time : 29 mins.) 40 Ireland - THE IMPORTANCE OF BEING DUBLIN Production : Norcon Film Productions Ltd. Producer: Gregg Smith and Norman Cohen Director: Norman Cohen Script: Carolyn Swift Photo : Terry Maher Music : Wilfred Burns and Donal Lunny Sound: Liam Saurin and Maurice Cohen Commentator: Micheal MacLiammoir A sad, compassionate look at offbeat Dublin. (Time: 50 mins.) 41 Ireland - RORY GALLAGHER : IRISH TOUR ’74 Production : Shamrock Production Producer: David Oddie Director: Tony Palmer Script: David Oddie, Tony Palmer, Rory Gallagher Photo : Les Young Music: Rory Gallagher Sound : Richard Lawson and Robin Sylvester A film record of a guitarist’s tour of Ireland in early 1974. (Time : 88 mins.) INTERNATIONAL PRESS OFFICE AT SAVOY CINEMA Very Kindly Sponsored by [R. GERARD JONES, Belgian Consul 18 �42 Ireland - SIGHTS AND SOUNDS OF IRELAND Production: Film Consultants of Ireland, Ltd. Producer : Tom Hayes Script: Tom Hayes Photo: Seamus Dcasy and Nick O’Neill Sound : Pat Hayes and Seamus Deasy (Time : 23 mins.) 43 Ireland - VILLAGE Production : David Shaw Smith Productions Producer: David Shaw Smith Photo: David Shaw Smith Sound : David Shaw Smith Past and present in a deserted village in the West of Ireland. (Time: 10 mins.) 44 Ireland - WAVES Production : Acngus Films for the B.B.C. Producer: Patrick Carey Script: Patrick Carey Photo: Patrick Carey Sound : Ken Scrivener The movinj patterns of the ocean’s rim and of coastal ing shallows. AL Iternoon, by the edge of the Atlantic at the rising tide. 1Night, the sea silvered and damascened by the moon’s maj lagic. Morning, seaweed gently rocking as the tide ebbs 1leaving painted pictures in the ■sand. (Time: 25 mins.) 45 Israel - THE WEDDING WE WANTED TO FORGET Producer: Aby Moshenson Director: Ilan Moshenson Script: Ilan Moshenson Photo: Yolam Bar Sadeh Sound : Beny Baruch A fortnight before his wedding a young soldier dies in a border clash, and his fiancee is left alone, with a :am. She has already seen herself as a bride and now drci j (Time : 18 mins.) she has to force herself to forget. COP.K FILM INTERNATIONAL wishes to thank CORK FILM SERVICES for supply of loazn PROJECTORS 19 �46 Kenya - MAN OF THE PEOPLE Production : Ministry of Information and Broadcasting, Nairobi. Documentary Film Commentator : Stephen Okumu A documentary depicting the progress of Kenya during ten years of independence under the leadership of Jomo Kenyatta, first President of the Republic of Kenya. (Time: 63 mins.) Note 47 Italy - IN THE BEGINNING 48 Italy - TUP TUP 49 Netherlands - ONE OF THESE DAYS (EEN VAN DIE DAGEN) Production : Else Madclon Hooykaas Producer : Else Madelon Hooykaas and Elsa Stansfield Script: Else Madclon Hooykaas and Elsa Stansfield Music : Dcla Derbyshire Sound : Elsa Stansfield ing Commentator: Marte Rolii in, One day in the life of a womat Marte Roling, archiim, tect and decorator, in Rotterdam, her awareness of hermtradictions of the day. self as she lives through the cor.,* (Time: 30 mins.) 50 New Zealand - A DOLPHIN’S STORY Production : New Zealand National Film Unit Producer: David H. Fowler Director : Arthur Everard Script: Arthur Everard Photo : Sam Grau Sound : John Reid Commentator : John Reid A’ Marineland of New Zealand sent a tw(o-man party to ittlenose dolphin the Marlborough Sounds to catch a bot. and transport it back to Napier. A film crew went along to record the search and capture of a good-natured, 500 (Time : 32 mins.) kilogram creature. 51 Make a note of Bank of •rsJsnrf. You won't find a more cotnpTS’ ertslve h range of services or a rncra services staff anywhere. Poland - MISTLETOE (JEMIOCA) Director: Piotr Szpakowicz 52 Poland - ROMAN ZALUSKI - S - S SECRET 53 Bank (Ffeo The bank of a lifetime 20 Republic of China - CHINESE FIGURE PAINTING IN THE NATIONAL PALACE MUSEUM Production : Central Motion Picture Corporation Producer: Chsng-ling Mei. Director : Ching-long Tchii Script: Ching-long Tchii Photo: Kuen-hou Chen Music: Lung-hsin Wen Sound : Ting-kwei Lin Art; Hsien-liang Koe and Wen-wei Weng Chinese figure painting from prehistoric design motifs to early Ch’ing. (Time: 30 mins.) 21 �54 Saudi Arabia - ARABIAN STALLION 55 Spain - SATYRICON’S THEOREM (EL TEOREMA DEL SATIRICON) Production: Jose Antonio Barrero Garcia Director: Jose Antonio Barrero Garcia Script: Jose Luis Munoz Music : Pink Floid and King Grigsom (Time : 20 mins.) 56 Switzerland - AIR IS LIFE (LUFT ZUM LEBEN) Production : Condor-Film Producer : Peter-Christain Fuctcr Script: Peter Stierlin Photo: Edwin Horak and Rucdi Krebs Music: Barbara Moore (Time : 35 mins.) 57 Syria - PLUS FABRE 58 U.S.A. - COCKABOODY Production : Hubley Studio Producer : John and Faith Hublcy Photo: I. F. Studios Inc. Art: John and Faith Hubley Animation : Tissa David Two children, three and five, prattle about their toys and dreamed-up pets. (Time : 9 mins.) 59 'U.S.A. - CONRACK Production : Twentieth Century-Fox Film Corporation Producer : Martin Ritt and Harriet Frank, Jr. Director: Martin Ritt Script: Irving Ravetch and Harriet Frank, Jr. (based on The Water is Wide by Pat Conroy) Photo: John Alonzo Music : John Williams Cast: Jon Voigt, Paul Winfield, Madge Sinclair, Tina Andrews, Antonio Fargas, Ruth Atta­ way, Janis O’Reare, Hume Cronyn On a sunny spring morning in 1969 a young teacher named Pat Conroy arrives in Yamacraw Island, an isola­ ted island of primitive, primeval beauty where he is to teach at the local elementary school. All his pupils are coloured, apathetic, ignorant, deprived. Conroy has to adopt un< “’ unorthodox methods in an effort to alert them to the wonders and mysteries of the outside world. His metl thods are condemned by the authorities and he is dis­ missed but his leave-taking suggests that his methods may have succeeded. (Time : > 5 mins.) Sponsored by FITZGERALD’S MENSWEAR SHOPS, Pembroke Street, Cork. Tel.: 23304 24 Patrick Street and Douglas Shopping Centre IMPERIAL HOTEL (CORK) (1946) LTD., 22 �60 U.S.A. - IKE’S WOMAN —TINA Production : Experimental Films Producer : Jerry W. Biehl Script: Jerry W. Biehl Photo : Steve Ramm Music : Sylvester Stewart Sound : Ike Turner Art: Mimi Simes and Mark Sugihara Commentator : Tina Turner A stage performance from a black woman’s viewpoint. (Time: 3 mins.) 61 U.S.A. - BREEZY Production : Univcrsal-Malpasa Co. Producer : Robert Daley Director : Clint Eastwood Script: Jo Heims Photo: Frank Stanley Music : Michael Legrand Art: Alexander Golitzen Cast: William Holden, Kay Lenz, Roger C. Carmel, Marj Dusay, Joan Hotchkis, Jamie Smith Jackson, Norman Bartold, Lynn Borden, Shelley Morrison, Dennis Oivieri. Frank Harmon (William Holden), a 50-ycar-old divorcee, no longer wishes to become involved until Breezy (Kay Lenz) a 17-year-old girl comes into his life. (Time: 107 mins.) 62 U.S.A. - " W ” Production : B C P Producer : Mel Ferrer Director: Richard Quine Script: Gerald Di Pego, Ronald Shusctt, and James Kelly Photo : Johnny Mandell Art: Gene Milford Sound : Ron Cogswell and David Dockcndorf Cast: Twiggy, Michael Witney, Eugene Roche, Dirk Benedict, John Vernon, Michael Con­ rad, Alfred Ryder, Carmen Zapota, Dave Morick, Ken Lynch, Peter Walker Kate Lewis (Twiggy), a young sculptress, lives with her husband, Ben (Michael Witney) in Southern California. Their life together is haunted by mysterious happenings associated with a “W” sign. Kate’s first husband is in prison, sentenced for second degree murder in her “death,” but neither Kate nor Ben can bring themselves to reveal to the authorities that she had never been killed. (Time : 100 mins.) 63 U.S.A. - 3LA2SNG SAD3LSS A Western to outride a'ii Westerns. 23 �64 U.S.A. - TWO MEN OF KARAMOJA Director: Natalie Jones and Eugene Jones British, Two men, one Britisi one African, in conflict with each other, but united in a dream — the preservation of a paradise. 65 U.S.A. - THE HUNGER ARTIST Production : Paguerette Films Producer : Fred Smith Director : Maureen Smith Script: Maureen Smith and Fred Smith from a short story by Franz Kafka Photo : Michael Dclany Sound : Maureen Smith Art : Maureen Smith Commentator: Donald Bisset A fasting showman sits in a cage and is seen or not seen, depending on the present fancies of the aud5idicncc. Regardless of the interst of the public, the artist const tinues to do his speciality of fasting. (Time : 10 mins.) 66 U.S.A. - INSIDE THE WORLD OF JESSE ALLEN Production : Vorpal Gallery Producer: Muldoon Elder Director: Steve Grumctte Script : Jesse Allen Photo : Steve Grumette Sound : Elizabeth Grumctte Art: Muldoon Elder Commentator: Jesse Allen (Time : 35 mins.) 67 U.S.A. - ODE TO NATURE Production : Marvin Albert Films Producer : Marvin Albert Script: Marvin Albert Photo: Marvin Albert Music : Norman Durkee Sound : Norman Durkee Commentators : John Gilbert, Scott Beach, Jerry Walters, Doug Young A collection of vignettes against pollution. (Time: 4 mins.) 68 U.S.A. - PANDORA’S BOX Production : Steve Segal Producer: Steve Segal Script: Steve Segal Photo : Steve Segal Sound : Steve Segal An animated array of astonishing surprises tumbles from Pandora’s box in an allegory of contempory delights and horrors. (Time : 7 mins.) JOIN THE FESTIVAL CLUB Season-Ticket Holders £1.50 Others £3.00 Tickets available at Savoy and Festival Office 24 �69 U.S.A. - ZEBRA Production : Van Glintcnkamp Enterprises Producer : Rik Van Glintenkamp Script: Rik Van Glintenkamp Photo: Hiro Narita Sound : Pat Hoyt and Dick Suppa A psychological mystery, when a fantasy becomes a reality. (Time : 40 mins.) 70 U.S.S.R. - STEPMOTHER (MACHEKHA) Production : Mosfilm Studio Producer : Oleg Bondarev Script : Edgar Smirnov and Tatyana Doronina Photo: Igor Chernich Music : Grigori Ponomarenko Art : N. Usachcv and S. Portnoi Cast : Tatyana Doronina, Leonid Ncrvedomski, Nadazha Fedosova, Lena Kostereva A journey in human understanding between Shu lira, happy and confident wife and mother, and Evetal her 1 husband’s daughter by his first wife, a frail girl with a i guarded look and ruffled hair. Based on the novel by I Siberian woman novelist, Maria Khallina. (Time: 89 mins.) 71 U.S.S.R. - WHITE SUN OF THE DESERT Production : Mosfilm Studio Director : Vladimir Motyl Script: Valentin Yczhov and Rustam Ibragimbekov Photo : Eduard Rozovsky Cast : Raisa Kurkina,, Anatoly Kutnetsov, Spartak Mishulin and Pavel Luspekayev n ;oldier, Tyodor Sukhov, in Adventures of Red Army sg (Time: 84 mins.) Turkistan. 72 Yugoslavia - GLASSES OF ANTUN MOTIKA (STAKLA ANTUNA MOT1KE) Production : Zagreb Film Director : Borislav Bcnazic Script : Borislav Bcnazic Photo : Antun Markic Music: Anjelko Klobucar (Time : 16 mins.) 73 Yugoslavia - SUPERIOR FORCE (VIS MAIOR) Production : Zagreb Film Director: Zlatko Pavlinic Script: Zlatko Pavlinic Photo: Teofil Basagic (Time : 1 min.) 74 Yugoslav!?. ■ QUO VABIS Production: Zagreb Fi-m Director : Bcrcssk s.r.d Vladimir Hrs Script: F.uboi:' Berzak and Vladimir Hrs Jranic Ivlak-gorzki Music: Anjstkc Kiobucar (Time: 4 mins.) 25 �A TRIBUTE TO FRANCOIS TRUFFAUT Born in 1932 in Paris, Truffaut was an active personality in the film society scene while still in his teens. From 1953 he contributed to Art and Cahiers du Cinema and had the reputation of being one of the most caustic film critics in France. His first film of importance was Les Mistons which was concerned with the problems of adoles­ cence and while flaws could be detected in his blend of lyricism and cynicism, the film made an impact and revealed a spirit of rebellion, mischief and occasional bawdiness. Les Quatre Cents Coupe (Four Hundred Blows), which was one of the big successes of Cork Film International, where it was premiered outside ol Cannes in 1959, was made on a paltry budget and it won the Best Director Award in Cannes the same year. It expressed the spirit of the ‘new Wave’ with its protest against established order and the scant attention it gave to the niceties of film form. He made other films, including Tire Au Flanc, a farce about the French army, filmed by Jean Renoir, and Tirez Sur Le Pianiste with Charles Aznavour, but it was the beautiful tragic-comedy Jules And Jim which established Trauffaut as a director of international stature. This film is in­ cluded in our tribute. Since then Truffaut has continued to make films that have contributed to his reputation among filmgoers and critics and this year he won the Best Film and Direction Award in Britain and a Holly­ wood Oscar for his latest picture La Nuit Americaine. under its English title Day For Night. Truffaut has given this definition of the qualities required to make satisfying films: “Sensitivity, good taste and intelligence are the main ones”, he said. Truffaut has all three and something more, that indefinable something that distinguishes the master from the merely clever craftsman. Films to be shovrs: 75 FOUR HUNDRED BLOWS, shown st Cork Film International in I9ei 76 JULES AND JKA 77 MISSISSIPPI MERMAID 78 THE WILD CHILD 79 FAHRENHEIT 4S1 80 ANN AND MURIEL 81 DAY FOR NIGHT 26 �LATE ENTRIES 82 Ireland - PHILADELPHIA HERE I COME 83 Nigeria - PRIDE OF A NATION Director : Adam Halilu (Time : 39 mins.) 27 �AimWI muernotionol AWARDS FEATURE FILMS AWARDS The awards are presented by Irish Distillers Limited SHORT FILM AWARDS The awards of St. Finbarr Statuettes are designed by Dr. Seamus Murphy. R.H.A. and are presented by Swan Bedding. Cork IRISH FILM SOCIETIES AWARD The Irish Film Societies will present an award for the best short film shown during the Festival. FILM CRITICS’ AWARD A Waterford Glass Award will be presented for the best Irish film shown during the Festival. The award will be made by the film critics attending the Festival and it is aimed at encouraging Irish film making and also Government and industrial spon­ sorship of film making in Ireland. THE TECHNIQUES OF FILM MAKING A course on the techniques of filra-saking for senior school students will open on Monday, June 10 and will conclude on Friday afternoon, June 14. The course, promoted and sponsored by David Hemmings, the eminent British actor ana director, will be conducted by leading direciois, writers, actors, directors of photography, artistic directors, and editors. 28 �ASSOCIATE MEMBERS Maurice C. Cohalan Messrs. Henry Ford & Son Ltd. Derick Hartley Noel Holland Frederick J. Kinihan Clayton Love. Jnr. Northern Bank Ltd. Alfred Navratil and Mrs. Navratil Alan Navratil Jim O’Keeffe Miss Mary J. O’Connor Mrs. Derry O’Flynn Desmond J. Roche Venice Industries (Ireland) Ltd. Woodford Bourne & Co. Ltd. Cederlan Limited Mrs. T. Garde Vita-Cortex. Ltd. P. D. O’Herlihy L. S. C. O’Reilly David J. Power E. C. Carry Murphy Brothers (Dublin) Ltd. Twenty-Second Cork International Choral and Folk Dance Festival At CORK CITY HALL, MAY 7 —MAY li. X975 Informaticr. 'roir. THZ FESTIVAL OFFICE, 25, BRIDGE STREET, CORK 29 �ACKNOWLEDGMENTS Cork Film International owes its origin, in the main, to the financial support and encouragement of BORD FAILTE EIREANN (The Irish Tourist Board). For a number of years PLAYER & WILLS (IRELAND) LTD. have joined with Bord Failte in giving extra substantial financial support towards the development of the Festival. The Director and Council of the Festival express their deep appreciation to them. We are also indebted to the following who have given considerable help to the Festival in various ways throughout the years of its existence: ARTHUR GUINNESS, SON & CO. (IRELAND) LTD. IRISH DISTILLERS LIMITED CAMBRIAN AIRWAYS STARDUST CLUB, CORK PFIZER CHEMICAL CORPORATION SWAN BEDDING D. & A. O’LEARY LTD. OYSTER TAVERN WATERFORD GLASS LTD. CORK EXAMINER HENRY FORD & SON. LTD. GERARD JONES, BELGIAN CONSUL IRISH MIST LIQUEUR LTD. SUNBEAM LIMITED TRUX LTD. MOTOR IMPORTS (IRELAND) LTD. (BMW) BEAMISH & CRAWFORD LTD. CHRYSLER (IRELAND) LTD. ROCHES STORES LEPP TRAVEL LTD. BROOKS-HAUGHTON LTD. CLAYTON LOVE, JNR. MURTAGH PROPERTIES LTD. THE JOHN DALY GROUP ESSO TEORANTA HUET MOTORS BURMAH CASTROL FRANK BOLAND LTD. ALLIED IRISH BANKS MUNSTER ARCADE LTD. SUNDAY WORLD TRACY SHOES WEST CORK TRAVEL SALON ORLANE NATIONAL OIL CO. (IRELAND) LTD. CORAS IOMPAIR EIREANN JOHN A. MULCAHY, LTD. LIAM BURKE LTD. C.A.B. LTD. EGLANTINE GARAGE DENNEHYS CROSS GARAGE O’MAHONY BROS. LTD. SOUTHERN ELECTRONICS LTD. CAMEO CINEMA JOHNSON AND PERROTT LIMITED EAGLE PRINTING COMPANY L5MTTED TOM KEATING MAYFAIR MODEL AGENCY ALLIED IRISH TEXTILES DAVID HEMMINGS IVERNIA THE THEATRE AND CINEMA ASSOCIATION (IRELAND) DOWDALL O’MAHONEY & CO. (Manufacturing) LTD. CORK GAS COMPANY MURPHY BROTHERS, BUILDERS, (Dublin) LTD. 30 !i �/ / / ij iL «0 // // //- *'- 0 // p LA I <_ /A/°r=~~ s luI 'J < § <> \\J ■ Zd/ z4/ z ki § Id Io id IL) or id tc OOk p 0 u y7 Ij /xZ^\l°F / r BB1 1? njwavd r — <?>// U1 > D � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Programme Content Source A related resource from which the described resource is derived Cork Film Festival Collection Publisher An entity responsible for making the resource available University College Cork Date A point or period of time associated with an event in the lifecycle of the resource 1956- Rights Information about rights held in and over the resource <a rel="license" href="http://creativecommons.org/licenses/by/4.0/"><img alt="Creative Commons License" style="border-width: 0;" src="https://i.creativecommons.org/l/by/4.0/80x15.png" /></a><br />This collection is licensed under a <a rel="license" href="http://creativecommons.org/licenses/by/4.0/">Creative Commons Attribution 4.0 International License</a>. All rights reserved. Please credit <a href="https://corkfilmfest.org/">Cork International Film Festival</a> &amp; provide a link back to this site. Format The file format, physical medium, or dimensions of the resource PDF Language A language of the resource English, eng; Irish, gle Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1956- Cork, Ireland Description An account of the resource A selection of programmes from the Cork International Film Festival. Subject The topic of the resource Cork Film Festival Programmes Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1974 Cork Film Festival programme content Subject The topic of the resource Cork Film Festival, François Truffaut, John Boorman, Norman Cohen, Samy Pavel, Heikki Etelappa, Dermot Breen Creator An entity primarily responsible for making the resource University College Cork, Cork Film Festival Source A related resource from which the described resource is derived Cork Film Festival Collection Publisher An entity responsible for making the resource available University College Cork Rights Information about rights held in and over the resource <span>This item is licensed under a </span>Creative Commons Attribution NonCommercial-NoDerivatives 4.0 International (<a href="https://creativecommons.org/licenses/by-nc-nd/4.0/">CC BY-NC-ND 4.0</a>) licence<span>.&nbsp;Please credit the&nbsp;</span>Cork International Film Festival Archive<span> and provide a link back to the site.</span> Language A language of the resource English, eng Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Cork, Ireland Description An account of the resource This is a PDF of the 1974 festival programme. The slim card-bound issue has an abstract design on its cover in the form of yellow and brown elongated shapes stretching from the top to the bottom of the page. The 20 pence programme was designed by Harry Wallace and edited by Padraig O Maidin.&nbsp;<br /><br />The programme notes include a tribute to François Truffaut (1932-1984) on page 26. His film <em>Four Hundred Blows</em> (<em>Les Quatre Cents Coupe</em>) was shown at Cork Film International, where it was premiered outside of Cannes in 1959. Date A point or period of time associated with an event in the lifecycle of the resource 1974 Format The file format, physical medium, or dimensions of the resource PDF Type The nature or genre of the resource Programme François Truffaut Heikki Etelappa John Boorman Norman Cohen Samy Pavel https://corkfilmfest.ucc.ie/files/original/83f8534063f83c2667c01ff1b3f3ab83.pdf 835be530a0adfc2454d2352a0e234f27 PDF Text Text m �FEILSCANNAN IDIRNAIS1UNTA CHORCHAIGHE 1 18th CORK FILM INTERNATIONAL 1973 SATURDAY, 9th JUNE TO SATURDAY, 16th JUNE Programme 20p i �18th Cork Film International President Rt. Hon. the Lord Mayor, Councillor Scan O’Leary Chairman : A. A. Healy, T.C., T.D. Vice-Chairman : R. P. Beamish Director: Dermot Breen, M.I.P.R. Executive Council K. G. Breen D. Donovan, M.A. B. B. Curtis, L.R.A.M. Mrs. N. Jennings T. O’Brien E. O’Mahony T. J. O’Sullivan M. Owens Mrs. M. Pyne Comdt. J. Slyc Organising Committee Assistant Director : Fergus Gilligan Reception Executive : Timothy O’Brien, Mrs. M. Pyne, Cyril Burkley, Mrs. M. Murphy, J. Janeczek, S. O’Brien, R. O’Sullivan Transport: Timothy J. O’Sullivan, Jack O’Sullivan Accommodation : E. O’Mahony Information : Comdt. J. Slye, Miss Connie Madden Press Relations; Larry Lyons Press Officer : Vass Anderson Press Committee: Sean Power (Chairman), P. McCarthy, F. Sanquest, S. J. Coughlan, R. Cross, T. McSweeney Selection Committee : John O’Shea (Chairman), Bernard Power (Hon. Secretary) Programme Editor : Padraig O Maidin, F.L.A.I. Protocol: Bernard B. Curtis, L.R.A.M., Kevin Breen Invitations : Frank O’Leary, Mary Connole Films Officer: William Newman Travel Arrangements: Ignatius Buckley Inclusive Tours : Muriel Collins Sponsors Liaison : Veda Breen Festival Club : Harry Fitzgerald-Smith, B.Arch. (Chair­ man), C. Hennessy, Solr., Liam O’Connell, R. Anderson, J. Collins Club Reception : Mrs. N. Jennings, M. Owens Stage Interviews : Dan Donovan, M.A. Front of House (Savoy) : James O’Brien Front of House (Capitol): Fred Conboye Imports and Exports: Joseph McNally External Activities ; Patrick Fleming Marketing Committee: Ignatius Buckley (Chairman), Eddie O’Mahony, Cyril Burkley, Brian Maguire, Liam O’Connell Activities Committee : Brian Coomber (Chairman), Jack O’Sullivan, Mary O’Donovan, Fergus Gilligan, Jim Forbes, Arthur Callanan, Solr. Festival Offices : 18 Merchants Quay �SUNDAY, JUNE 10, 1973 The First Presentation in the World of The Mass of Saint Finbarr i Composed and Conducted by BERNARD GEARY at the CHURCH OF SAINT FRANCIS Liberty Street, Cork at 10.30 a.m. Celebrant: Rev. Fr. Cassian Byrne, O.F.M. Sung by: Cork Film International Children’s Choir Soloist: Kevin Owens Organist: Senor Angel Climents on the occasion of the eighteenth CORK FILM INTERNATIONAL Committee : Donal Lehane (Chairman); Mary O’Donovan, Bob Humphries, Pat O’Hare Our sincere thanks to the music teachers of the schools who comprise the choir �The Festival Director Introduces the 18th Cork Festival . . . In welcoming our many old and new friends to our 18th Cork International I am happy to share with you, once again, new achievements and dis­ tinctions for our Festival. Again, this year, Cork is the only festival in the world that presents awards for technical collaboration in the Features Section. Awards will be made by an International Jury of five members to the outstanding Scriptwriter, Director of Photography, Music Composer, Editor and Art Director of the Feature Films shown during the festival. Certificates of Merit will also be awarded. In the Short Films Section the competition under Category D for Short Fiction Films will continue to include films made specifically for television. The International Federation of Film Societies will present an Award for the short film judged outstanding during the festival. The award will be made by an international jury. The Writers’ Forum this year will have as its theme The Writer’s Contribution to the Cinema and will be held on Wednesday, June 13th. Many well-known authors will participate. The Tribute Programme this year is to the out­ standing Dutch producer and director, an old friend of the Cork Festival, Bert Haanstra. Indeed it is with happy memories that we recall his successes at the Cork Festival from 1956. A warm welcome to all the Producers, Directors, Celebrities, and my sincere thanks to you all for your unfaltering support. My thanks also to the joint promoters of the Cork Film International, Bord Failte and Player and Wills (Ireland) Ltd., to the Directors and Staff of Ivernia and to our many sponsors and friends who make our Festival an important and joyous occasion for so many . I take this opportunity to say a special word of welcome to our friends of the Press who bring the world to us and bring us to the world. I am grate­ ful to you all. May your stay in Cork be enjoyable. I wish to express my personal thanks and appre­ ciation to the Lord Mayor and Corporation of Cork and the Business Publicity Association for the de­ coration of the City during the Festival. Dermot H. Breen Director, Cork Film International 4 �I FESTIVAL JURY The International Jury for the Features Films Competitions is: DAVID HEMMINGS (Great Britain). President AL SHERMAN (U.S.A.) RAOUL PLOQUIN (France) FERGUS LINEHAN (Ireland) DAVID HEMMINGS Boy soprano, artist, actor, director, producer, ractoneur and business man. Hemmings who was born in Guildford, Surrey in 1941, now at the age of 32 can already claim to be in show business for 24 years. With sixty films to his credit, he appears at the 18th Cork Film International as President of the Features Jury and also (with his wife Gayle Hunnicutt) as the star of his latest film Voices. He has played the guitar in Austria, has been a pavement artist in Juan-les-Pins, a mountaineer in Wales, a strolling player, an actor at the Royal Court, a star (with Richard Harris and Vanessa Redgrave) in Camelot,- and in many other films co-founder of Memdale, (a million pound com­ pany). As somebody had said : "If anyone was ever enterprising enough to compile a special film­ world dictionary, there would undoubtedly be just one definition of the word energy: David Hemmings”. AL SHERMAN • New Yorker-born; Columbia and City College. New York, education in show-business and in films from teens on. Former film critic New York Morning Telegraph; author of many articles on the cinema from the low-brow to the high-brow; direc­ tor at one period of exhibitor relations for Col­ umbia Pictures; publicity co-ordinator for the Royal Norwegian Government during World War II and decorated by King Haakon with the Medal of St. Olav for services to that Government; headed his own publicity organization in Washington. D.C., and established the first repertory cinema in the United States capital; currently President, Sherman Films, Inc., and American representative for the Cork Film International and the Society of Independent Film-Makers of Ireland. 5 �RAOUL PLOQUIN Raoul Ploquin has been involved with the cinema since 1924; he founded his own production company in 1942. Company Films Raoul Ploquin, which produced some notable films, including the first work of Edouard Luntz (Les Coeurs Verts) and of Marguerite Duras (La Musica). He was President of Unifrance Film from 1955 to 1959 and is at present President of the Selection Committee of Unifrance Film. He is a Chevalier of the Legion of Honour. FERGUS LINEHAN Fergus Linehan has been film critic of the Irish Times since 1960. during which time he has writ­ ten on many aspects of the cinema, particularly as it applies to Ireland. A consistent advocate of an Irish film industry, he believes that the Cork Film International can have an important part to play in establishing a favourable climate of opinion for the regular production of Irish films. As well as his work as a journalist — he is assis­ tant features editor of the Irish Times — Fergus Linehan has written widely for the theatre. He is the author of numerous stage revues (the most recent. Laughing Stock, was seen in Dublin this year), television and radio series, including the award-winning Get An Earful of This. He is also author of the plays McRoarty, T.D. and Goodbye. Cruel World, and of two musicals Glory Be', and Fursey. A third musical. Hang Out Your Brightest Colours is due to be seen at next October’s Dublin Theatre Festival. He is married to the comedienne Rosaleen Linehan, and has four children. 6 �SHORTS JURY The International Jury for the Short Films Compe­ titions is: EDGAR HAROLD ANSTEY (Great Britain) DR. HINDERIKUS WIERS (Germany) ATTILIO D’ONOFRIO (Italy) LOUIS MARCUS (Ireland) W1M VAN DER VELDEN (Netherlands) EDGAR HAROLD ANSTEY Has been active in the film world sinnce 1930. In 1934 he organized the Shell Film Unit and from 1936 to 1938 was director of productions for March of Time and their Foreign Editor in New York. In 1940 he joined the board of directors of Film Centre, and during the war produced documentaries for the British Government; from 1946 to 1949 carried out film projects in Venezuela, West Indies, Australia, and in 1949 joined the British Transport Commission to organise and direct their Films Service. Has been film critic for The Spectator for nearly twenty years and a regular member of ‘The Critics’ on the B.B.C. His many current activities include being a Governor of the British Film Institute. His numerous film prizes in­ clude three British Film Academy awards and a Hollywood Oscar for Wild Wings. DR. HINDERIKUS WIERS Born in Dusseldorf in 1907 Dr. Wiers first prac­ tised as a lawyer before entering the world of cinema in Berlin as managing director of Tobis Film. Later he went as managing director of Transit-Film. After World War II he became pro­ duction manager of the Allied newsreel Welt Im Film and from 1950, with one year interrup­ tion as managing director of UFA, he has been managing director and producer in chief of Deut­ sche and Cinecentrum. 7 �ATTILIO DONOFRIO Born in Rome in 1925 Attilio D'Onofrio began his professional career as a lawyer. He then turned fihp making and for 18 years was Director of the Cinecitta Studio, during which some spectacu­ lar films were produced including Quo Vadis, Cleopatra, Ben Hur, and La Dolce Vita. He was executive producer of films made by Fox and United Artists. From 1966 D’Onofrio has been Managing Director of Ital-Noteggio Cinematografico which has produced over fifty films includ­ ing The Damned (Visconti). Sacco and Vanzetti (Montaldo) and Roma (Fellini). LOUIS MARCUS Louis Marcus was born in Cork in 1926, educa­ ted at St. Mary's, Shandon N.S., Glasheen Secon­ dary School. He graduated B.A. at University Col­ lege, Cork. His interest in films was awakened when he joined the Cork Branch of the Irish Film Society for whom he founded and edited the Irish Film journal Guth na Scanndn. In 1958 he went to Dublin to become a professional film maker, first as Assistant Editor on the Gael-Linn films Mise Eire and Saoirse. In 1959 he directed his first documentary Silent Art, a study of the work of Cork sculptor Seamus Murphy. R.H.A. This, like many of his later films, was screened at the Cork Festival. Marcus has directed over twenty documentaries, mainly for Gael-Linn, Government Departments and Bord Failte. These include the Players & Wills sponsored Peil and Christy Ring, and also Rhapsody of a River (a study of the River Lee), An Tine Beo, the 1916 Rising commemoration film. His documentary Fled Ceol won a Silver Bear at Berlin, a Diploma of Honour at Moscow, a first prize at Brussels, and a Critics’ Award at La Felguera. His Capallology took a first prize at Brussels. For the last few years he has been prominent in the efforts to get Government support for Irish film making, so far without success. 8 �Synopses of Films Notes Films are listed numerically. The numbers correspond to those shown opposite the names of the films in the coloured inset in this brochure. An account of the Special Tribute Programme devoted to the work of Bert Haanstra is given on page 27. Details of the Writers’ Forum on page 28. 1 Australia - AUSTRALIAN COLOUR DIARY No. 41 Production : Australian Commonwealth Film Unit The new Sydney Opera House as the work nears com­ pletion. (Time: 10 mins.) i 2 Australia - AUTUMN OF A MINING TOWN Production : Australian Commonwealth Film Unit Producer : Joe Scully Director : Philip Mark Law An impressionist film about Ballarat, depicting the city’s past and present with a glance at the future prospects. (Time : 9 mins.) 3 Australia - INCREDIBLE FLORIDAS Production : Australian Commonwealth Film Unit Producer : Malcolm Olton Director: Peter Weir Australian composer Richard Meale discus isses his work, “Incredible Floridas” and the influence of the French >f symbolist poet Arthur Rimbaud. (Time: 10 mins.) 4 Austria - HOW PAINTINGS ARE CREATED (GEMALDE ENTSTEHEN) Producer: Haavard and Volkmar Seebock Script: Heinz Mackowitz, and H. and V. Scebock Photo : Haavard and Volkmar Seebock Music: Karl Horst Wichman Sound : Werner Oberweger The different approaches to artistic creation by Raimund Worle, Eduard Kiel!, Franz Lettner and Joshy Stieber. (Time: 15 mins.) Sponsored by PLAYER & WILLS 9 �5 Bulgaria - THE END OF THE SONG (KRAYAT NA PESENTA) Production : Bulgarian Cinematography Director: Milen Nikolov Script: Nikolai Haitov Music : Boris Karadimchcv Photo : Ivailo Tzcnchev Cast : Vassil Mihailov, Isaac Fintzi, Dossyo Dossev, Nikolo Todev, Naicho Petrov, Katya Paskaleva, Kounko Baeva, Prodan Nonchev, Ivan Djambazov On the eve of his wedding Ibryam Ali is accused of a ! theft and is outlawed. He takes to the mountains where his song changes from joy to pain and protest. He escapes g from almost certain capture but returns again to his ilmost mountains, changed and unrccc lins, unrecognized, but his favourite tune breaks out and Ibryam Al responds to it. Ji (Time : 70 mins.) 6 Bulgaria - THE THREE FOOLS-HUNTERS Producer: Bulgarian Cinematography Director: Donio Doncv Script : Atanas Pavlov Photo : Pavel Arshinkov Music : Emil Pavlov Animation : Ivan Tonev, Emil Abadjiev, Anton Trayanov and Georgi Doumanov The Three Fools go hunting hares, but the hares con5 tinue to dance while the hare-hunters shoot their de as log well as themselves. (Time : 7 mins.) 7 Canada - JOURNEY Production : Quest Film Production Ltd. Producer: Paul Almond Photo: Nean BofTety Music : Luke Gibson t Cast : Genevieve Bujold, John Vernon, Elton Hayes, Gary McKeehan, Ratch Wallace, Greg Adams, Luke Gibson, George Sperdakos, Beata Hartig, Mcg Horarth, Mary Bellows, Judith Gault, Patsy Rahn, Gale Garnett Rescued from drowning a girl slowly, painfully finds her way back to life in a community in a wilderness called Undersky. Gradually she begins to move, speak and become aware of the natural life going on about her, and like Alice in Wonderland she begins to explore her surroundings, discovering all things afresh. (Time: 87 mins.) Sponsored by JOSEPH BARTER & SONS LTD. (Agents Thos. Cook and Son Ltd.) 92 Patrick Street (Tel.: 20351) THE OYSTER TAVERN Cork’s Fashionable Rendezvous Phone 226351 and 227161 10 �8 Canada - PAUL KANE GOES WEST Production : National Film Board of Canada Producer : Rebert Verrail Director : Gerald Budner Script : Gerald Budner Photo : John Evans, Cai imeron Gaul Music: Eldon Rathblurn i Sound : Ken Page (Time: 15 mins.) 9 Canada - THE UNDERGROUND MOVIE Production : National Film Board of Canada Producer : Joseph Koenig and Les Drew Director: Les Drew Script: Kaj Pindal Photo: Raymond Dumas and Cameron Gaul Music : Don Douglas Sound : Jean-Pierre Joutel (Time: 14 mins.) 10 Canada - UNE JOB STEADY: UN BON BOSS Production : National Film Board of Canada Producer : Ian McLaren Photo: Jean-Pierre Lachapelle Music : Robert Charlebois Sound : Jacques Drouin (Time : 27 mins.) 11 Czechoslovakia - THE CLAY ELF (HLINAK) Production : Short Film Prague Director: Jan Zahradnik Script: Jan Zahradnik Photo : Jan Zahradnik A small piece of clay in the sculptor’s hand turns into an elf and begins to influence the sculptor’s work. (Time: 6 mins.) Sponsored by MADDEN & SONS LTD., Tea, Wine & Spirit Merchants, 13-15 Bridge Street (Tel.: 51355) JAMES MANGAN LTD., Jewellers 3/4 Patrick Street (Tel.: 20998) HICKEY & BYRNE, Printers Mary Street (Tel: 20725) TADHG LEHANE, Display Artist, 9 Patrick Street (Tel.: 24725) 11 �12 Czechoslovakia - DOROTHY AND THE OSTRICH (DOROTKA A PATROS) Production : Short Film Prague Director : Bozena Mozisova Script: Bozena Mozisova Photo: Zdena Hajdova Music : Jiri Malasek and Jiri Bazant Dorothy and her friend. Koko the parrot, find them­ selves in all sons of trouble with an ostrich egg. (Time: 8 mins.) 13 Democratic Republic of Germany - IT’S OUR WORLD, AFTER ALL (IS 1ST DOCH UNSERE WELT) Production : Studio for Animated Films, Berlin Director : Katja Georgi Script : Katja Georgi Photo : Werner Bacnsch Music: Encrhard Weise Sound : Horst Philipp Work and the effect of the technological revolution on the lives of men and how the problems of environment may be solved. (Time : 10 mins.) 14 Democratic Republic of Germany - TOBIAS BREMSER ON A BUSINESS TRIP (TOBIAS BREMSER AUF DIENSTREISE) Production : Defa Studio for Short Films, Berlin Director : Heinz Thiel Script: Kurt Belicke Photo : Wolfgang Randel Music: Helmut Nier Humorous adventures of Tobias on a business trip. (Time: 11 mins.) 15 France - FANTORRO OR THE REVENGE OF THE FLOWERS (FANTORRO ODER DIE RACHE DER BLUMEN) Production : Lux-Film Boris Borresholm Producer: Boris Borresholm Director: Jan Lcnica Script: Jan Lenica and Boris Borresholm Photo: Peter Rosenwanger Music : Josef Anton Riedl A fantasy about a man who thinks himself superman and who discovers that flowers may not be the medium of changing a cruel world. (Time : 9 mins.) Sponsored by BanKcflreiand. The bank of a lifetime 12 �16 France - The SILENT MAN (LE SILENCIEUX) Production : Gaumont International Director: Claude Pinoteau Script : Jean-Loup Dabadie and Claude Pinotcau Photo : Jean Collomb Music : Jacques Datin and Alain Goraguer Cast: Lino Ventura, Lea Massari, Susanne Flon, Leo Genn, Robert Tardy, Pierre-Michel 1c Conte, Bernard Dheran, Lucienne Legard Anton Haliakov, one of a delegation of scientists, is kidnapped in London and faced with an almost insoluble problem : should he reveal the names of two English physicists who are employed by the U.S.S.R.? If de docs not, he will be killed by his English captors; if he docs, he will inevitably be killed by Russian agents. Then his captors reveal that they know a bit more about him than he realised. He gives them the names of the physicists. As he avoids the traps and snares set for him by the Rus­ sians he remembers a curious fact that seems to promise hope, but time runs slowly. He needs ten days, nine, eight then one. (Time : 122 mins.) 17 France - DEATH OF A YOUNG POET (LA MORT DU JEUNE POETE) Production : Les Films du Prieure, Paris Director : Dominique Dclouche Script: Dominique Delouchc Photo: Equipe Arcady Music: Alain Kremski The death of the young poet, Ion Bucur, who died in Rome in November 1941 as seen through a series of sketches by his friend and compatriot, the artist Eugen Dragutesco. (Time : 15 mins.) 18 France - FANTORRO THE LAST AVENGER (FANTORRO LE DERNIER JUSTICIER) Production : Films Armorial, Paris Director : Jan Lenica Script: Andre Valio and Jan Lenica Photo: Jean Vigne Music : Henri Gruel Fantorro tries to right wrongs, help widows and orphans and bring criminals to justice, but something always goes wrong and his efforts achieve the opposite of what he in­ tended. (Time :13mins.) CORK FILM INTERNATIONAL wishes to thank CORK FILM SERVICES /or supply of 16mm PROJECTORS Sponsored by CORAS IOMPAIR EIREANN (Ireland’s National Transport Company) Why not sample Coach Tour from Parnell Place ’Phone 53411 13 �19 France - HELL (L’INFER) Production : Films Armorial, Paris and Lux Film, Munich Director : Jan Lenica Script : Jan Lenica and Boris Borresholm Photo : Jean Noel Delamarre Music: J. A. Riedl Nauseated by the prevalence of violence on the TV screen Mr. K. turns on his set, falls forward into an abyss. He ends up in hell, a gigantic self-service concern where the damned manipulate the instruments of their own torture. They appear to be content with their fate. On return to earth, Mr. K. sees an odd resemblance between the behaviour of the living and the inhabitants of hell. (Time: 12 mins.) 20 France - THE AUDITION (L’AUDITION) Production : Pl Production, Paris Director : Jean Francois Dion Script: Jean Francois Dion Photo : Bruno Nuytten A young girl auditions in front of a naughty film director and his friendly and curiouscrew. Embarrassed, the shy young actress has some problems in trying to ex­ press herself, but thanks to her special charms she gets the part — in an ice cream commercial! (Time : 12 mins.) 21 France - AN EVENING AT BARON SVVENBECK’S (LA SOIREE DU BARON SVVENBECK) Production : Pl Production, Paris ;ret Director : Hubert Niogr"* Script: Hubert Niogret and Thomas Owen Photo: Yves Lafaye Music: Alain Jomy During the evening Baron Swenbeck begins to rem­ inisce about his brother Boris who hanged himself twenty years before. A strange cry in the night brings the guests out into the darkness of the past. (Time : 9 mins.) 22 France - VIVE LES JACQUES Production : Pl Productions, Paris Director : Robert Swaim Script: Robert Swaim Photo : Yves Lafaye Music : Christian Chaudet . Cast: Andre Valtier, Denise Bailly, Jean-Gabriel Nordmann. .Cher. Pierre goes to visit his grandfathei It is not yet dawn -oal, hi and the old man begins: “Pigneroal, he would not have and Pierre in harmed a fly; but, one day, back in 1915 does not take it seriously until he is forced to. (Time: 16 mins.) Sponsored by D. & A. O’LEARY LTD. Printers of this Programme 14 �i 23 France - WHITE AND BLACK (LE BLANC ET LE NOIR) Production : Procinex, Paris (Time: 15 mins.) 24 Great Britain - THE 14 Production : Avianca Productions (London) Ltd. Producer : Robert Mintz and Frank Avianca Director: David Hemmings Script: Roland Starke Photo : Ousama Tawi Cast: Jack Wild, June Brown, Liz Edmiston, Christian Kelly, Peter Newbym, Frank Gentry, Paul Daly, Richard Heyward, Terry Ives, Christopher Leonard, Scan Hyde, Alfons Kaminsky, Wayne Brooks, Mark Hughes, Wayne Dyer, John Bailey, Keith Buckley, Diana Beevers, Anna Wing, Alun Armstrong, Cheryl Hall, Anna Dyson, Tony Calvin, Jane Wood, Jacqueline Hurst After their father died a family of fourteen draw close together in a protective circle. With the best of inten­ tions, their mother insulates them from the world and when she dies they are bewildered, but despite all efforts to separate them their desire to stay together supports them through hardship and vicissitude. Then the older ones learn that they must sacrifice themselves for the sake of the younger. (Time : 105 mins.) 25 Great Britain - BRONZES — THE WAY OF THE CROSS Production: SQN Productions, Ltd. Director: Paddy Nolan Script: Paddy Nolan Photo : John Mepham Sound : Malcolm Bristo and De Lane Lea John Collier’s bronzes on the Way of the Cross. (Time: 3 mins.) 26 Great Britain - DEEP SEA ENDEAVOUR Production : Shell Film Unit Producer : Derek Armstrong Director: Ferdinand Fairfax Script: Derek Armstrong Photo: Mick Delaney Sound : Roy Charman The search for offshore oil. (Time: 25 mins.) Sponsored by Cork Examiner, Evening Echo, Cork Weekly Examiner 15 �27 Great Britain - THE DAWN OF MOTORING Production : Films of To-day Producer: John Wiles Director: Bill Mason Script: Bill Mason Photo : John McCallum Music: Ron Geesin Man’s effort to devise a method of driving wheels and the first experimental vehicles of Bollec, Benz and Daimler, the early Peugeots and the Panhard Levassors, that led to the beginning of motoring. o (Time : 26 mins.) 28 Great Britain - A PRIDE OF ISLANDS Production : Ogam Films Director: Oscar Marzaroli Script: Allan Campbell McLean Photo : Martin Singleton Music : Frank Spcdding An exploration of the Hebrides, Skye,, Orkney, and Shetland. (Tin line: 31 mins.) 29 Great Britain - THE SCENE FROM MELBURY HOUSE Production : British Transport Films Photo : Camera Dept., British Transport Films Music: R. Vaughan Williams Against the music of the London Symphony of Ralph Vaughan Williams, British Transport Films look at the varied lives of their neighbours as seen from the roof of their building in London’s Marlebone. (Time: 15 mins.) 30 Great Britain - VOICES Production : Warden Productions Producer: Robert Enders Director : Kevin Billington Script: George Kirgo and Robert Enders Photo: Geoffrey Unsworth Music: Richard Rodney Bennett xx-sic Art: Len Townsend t Cast: David Hemmins, Gayle Hunnicutt, Adam Bridge, 1Russell Lewis, Eva Griffiths, Lynn Farleigh Fog-bound in an old Georgian house in the country, Claire (Gayle Hunnicutt) hears strange voices. Could she be reverting back to the madness that plagued her after the tragic drowning of her six-year old son? Robert, her husband (David Hemmings), claims to hear nothing unusual. Their attempt at a second honeymoon after Claire’s two years in an asylum, is rapidly turning into a nightmare. Then Robert hears the voices and the two of them attempt to escape from the house, only to make a last horrifying discovery. (Time: 92 mins.) Sponsored by IRISH DISTILLERS LIMITED HARCO LTD. 16 �I pnocnnr.:r.i£ ®fdoo ®ro@DDDmg By MR. PETER BARRY, T.D., Minister for Transport and Power in the presence of The Rt. Hon. the Lord Mayor of Cork Councillor Sean O’Leary at Savoy Cinema at 7.30 p.m. RECITAL BY THE BAND OF THE SOUTHERN COMMAND from 7 p.m. Under Commandant R. B. Kealy, B.Mus. Saturday, lune 9 SAVOY, 7.30 p.m. THE LINE NO. 5 (Italy) ... 42 THE WOES OF GOLF (Ireland) ... 35 NORMAN ROCKWELL’S WORLD— AN AMERICAN DREAM (U.S.A.) ... 62 GODSPELL (U.S.A.) 75 Sunday, June 10th CAPITOL, 3 p.m. TRIBUTE TO BERT HAANSTRA MIRROR OF HOLLAND THE VOICE OF THE WATER 70 SAVOY, 8.15 p.m. TWO STARS (Italy) 44 ... THE CLAY ELF (Czechoslovakia) 11 “MOVIE GIRL 1973” (Announcement of prize winner) THE SILENT MAN (France) ... 16 �Monday, June 11 Wednesday, June 13 CAPITOL, 10.30 a.m. CAPITOL, 10.30 a.m. PAUL KANE GOES WEST (Canada) PANTA RHEI THE HUMAN DUTCH 34 53 50 28 45 52 THE CREATOR (India) ON THE THIRD DAY (Rep. of Sth. Africa) ILLUSION (Poland) ... ... A PRIDE OF ISLANDS (Scotland) EACH KINGDOM (Italy) IN THE THICK FOREST (Romania) ... 8 TRIBUTE TO BERT HAANSTRA 71 SAVOY, 5.15 p.m. SCHOOL OF MUSIC, 11 a.m. FASHION FANTASY (U.S.A.) THE WRITERS’ CONTRIBUTION TO CINEMA — FORUM 59 INCREDIBLE FLORIDAS (Australia) 3 THE 14 (U.K.) Chairman : Bunny Carr Speakers: Robert Bolt, Cyril Farrell, Wolf Mankowitz, Joan Long 24 SAVOY, 8.15 p.m. DISTRACTIONS (U.S.A.) 58 1 UN PIED BOYS (Belgium) 78 ) THE DAWN OF MOTORING (G.B.) 27 SAVOY, 2.15 p.m. THE STUFF THAT DREAMS ARE MADE OF (F.R.G.) 69 SAVOY, 5.15 p.m. 7 ONE MAN BAND THAT WENT TO WALL STREET (U.S.A.) 63 UNCLE VANYA (U.S.S.R.) THE JOURNEY 68 SAVOY, 8.15 p.m. Tuesday, June 12 25 BRONZES (G.B.) CAPITOL, 10.30 a.m. 36 FANTORRO, LE DERNIER JUSTICIER (France) 18 THE ADVENTURES OF BARRY McKENZIE (Australia) 19 L’ENFER (France) TRIBUTE TO BERT HAANSTRA GLASS FANFARE . ■... 77 CHILDREN AT WORK (Ireland) 72 ... Thursday, June 14 SAVOY, 2J5 p.m. CAPITOL, 10.30 a.m. LITTLE FOREST (U.S.A.) 60 THE SECRET (Ireland) 37 VOICES (U.K.) 30 SAVOY, 5.15 p.m. THE SCENE FROM MELBURY HOUSE (G.B.) ... 29 THE KING OF MARVIN GARDENS (U.S.A.) ... 76 AN EVENING AT BARON SWENBECK’S (France) 21 TRIBUTE TO BERT HAANSTRA THE RIVAL WORLD REMBRANDT ’DELTA PHASE I NOT ENOUGH 73 SAVOY, 5.15 p.m. MY NEW ADDRESS (U.S.S.R.) AUSTRALIAN COLOUR DIARY (Australia) ... 1 DEEP SEA ENDEAVOUR (G.B.) 26 TOBIAS BREMSER ON BUSINESS TRIPS (G.D.R.) 14 THE END OF SONG (Bulgaria) 66 MR. SHEPARD AND MR. MILNE (G.B.) SAVOY 8.15 p.m. 33 CRYSTAL BALL (Poland) 49 SAVOY, 8.15 p.m. JOUVENCE (Belgium) 5 79 WINGS AND THINGS (G.B.) ... 32 THE BURGLAR (Netherlands) 47 �Friday, June 15 SAVOY, 2.15 p.m. DUHALLOW HOME (Ireland) 38 THE THREE FOOLS — HUNTER (Bulgaria) THE WAR OF CHILDREN (Ireland) 6 81 SAVOY, 5.15 p.m. UNE JOB STEADY, UNE BON BOSS (Canada) ... 10 CHILD’S PLAY (U.S.A.) 56 SAVOY, 8.15 p.m. AUTUMN OF A MINING TOWN (Australia) ... 2 THE WATER CYCLE (New Zealand) ... 48 THE EFFECT OF GAMMA RAYS ON MAN IN THE MOON MARIGOLDS (U.S.A.) 67 Saturday, June 16 CAPITOL, 10.30 a.m. 4 HOW PAINTINGS ARE CREATED (Austria) MILAN FAIR (Italy) 82 MIMI (U.S.A.) 61 UNDERGROUND (Italy) 43 INDEFATIGABLE PERFORMERS OF MOZART (Poland) 51 IT’S OUR WORLD, AFTER ALL (G.D.R.) 13 THE UNDERGROUND MOVIE (Canada) 9 SAVOY, 3.00 p.m. DEATH OF THE YOUNG POET (France) 17 THE BAGGS (U.S.A.) 57 THE FILMS THAT MADE US (U.S.A.) SAVOY, 7.30 p.m. THE AUDITION (France) 20 SHANNON — PORTRAIT OF A RIVER (Ireland) 80 PRESENTATION OF FESTIVAL AWARDS A WARM DECEMBER (U.K.) (This Programme is subject to alteration without notice) 31 �31 Great Britain - A WARM DECEMBER Production : First Artists Producer : Melville Rucker Director : Sidney Poitier Script : Lawrence Roman Photo: Paul Beeson Music : Coleridge-Taylor Perkinson Art : Elliot Scott Cast: Sidney Poitier, Esther Anderson, Yvette Curtis, George Baker, T. P. McKenna, Johnny Sckka, Earl Cameron, Hilary Crane, John Bcardmore, Milos Kirek, Anthony Stamboulieh, Dennis Chin, Tommy Eytie, An and Stephanie Smith, Letta Mbula Widower Matt Younger (Sidney Poiticr) a Washington doctor on a visit to London meets an African girl (Esther Anderson). Attracted to each other they discover that they have little time. For the girl it is already December. (Time : 100 mins.) 32 Great Britain - WINGS AND THINGS Production : RA Films, Inc. Director: R. O. Lehman Script: R. O. Lehman Photo : R. O. Lehman Sound : Michel Fano and Jacqueline Lecompte Model aircraft. (Time: 20 mins.) 33 Great Britain - MR. SHEPARD AND MR. MILNE Production : Andrew Holmes Productions Director: Andrew Holmes Script: A. A. Milne and Ernest Shepard Photo : David MacDonald Music : John Scott Sound: Mike Pavett (Time: 30 mins.) 34 India - VISHWAKARMA THE CREATOR Production : Films Division, Government of India Direc ector : Hemi D. Sethna Scrip : Nelly H. Sethna ipt Photo : Ashek Gunjal A tribute to the woodcarvers of India. (Time: 17 mins.) Sponsored by METROPOLE HOTEL Grade “A” Star Hotel (Tel.: 51301) MUNSTER ARCADE, 27/30 Patrick Street (Tel.: 21945/6) “Cork’s Greatest Department Store’’ 17 �35 Ireland - POC AR BUILE (THE WOES OF GOLF) Production : Gael-Linn Producer : Louis Marcus Photo : Robert Monks Music : Gene Martin Sound : Peter Hunt Commentator : Niall Toibin The incurable optimism and fated gloom of the cveryle day golfer. To hit a little u~11 into a small hole would c ball seem to be one of the simpler problems of life. In fact, t as many people discover, it can cause a frustration that deeper issues of life do not always generate. (Time: 8 mins.) 36 Ireland - PAISTI AG OBAIR (CHILDREN AT WORK) Production : Gael-Linn Producer: Louis Marcus Script : Louis Marcus Photo: Robert Monks Music: Gene Martin Sound : Peter Hunt :n Whet children are playing they are really hard at work, 1learning to master the elementary physical and , mental problems that adults forget they had to learn themselves. (Time : 10 mins.) 37 Ireland - THE SECRET Production : Fairview Films, Derry1 Producer: Terence McDonald Script : Cyril Farrell, O.S.M. Photo : Terence McDonald Music : Gemma Hasson and Eamon McCreve The natives have lost their way and their perspective, with consequent tension between metaphorical giants and pygmies who eventually go to war. A stranger, a saviour figure, tries to sort out things, but he is rejected and killed, as the natives are still calling out for someone to clear away the fog. (Time : 25 mins.) 38 Ireland - DUHALLOW HOME Production : Colin Hill Producer : Colin Hill Script: Colin Hill Photo: Colin Hill Music: Colin Hill Cast: Margaret Hill, Susannah York. Mary Flynn, Julian Walton, Molly O’Reilly, and William Reidy r Sarah Martin Hyde returns home to Ireland after a ;ian manor broken affair and settles down in the Georgia" ton­ house which was her childhood home, set in a countryside renowned for foxhunting. Step by step she is drawn back to a terrifying memory. (Time : 29 mins.) Sponsored by QUIGLEY CO. OF EUROPE LTD. 18 �39 Ireland - RED RIDING HOOD Production : Eamon O'Connor Films Director: Eamon O'Connor Script: Eamon O’Connor Photo : Eamon O’Connor Music : Brendan Frawley Sound : Dermot Keating The first of a series of fairy tales designed for the children’s programme on Radio Television Eireann. (Time : 20 mins.) 40 Ireland - FOOL SPOOL Production : Dublin University Film Society Producer: Simon Oliver Director : Paul Nash Script : Paul Nash Photo : Garry Roberts An American tourist arrives at Trinity College, Dublin to view the Book of Kells and to find his long-lost nephew. (Time : 40 mins.) 41 Israel - THE AM LASH ENCHANTED FOREST Production : Amlash Productions Producer: Sam Dubiner Script: Sam Dubiner Photo : Joe Rihmer Music : A. Kagan and Y. Rotman Cast: Yona Yellin, Jimmy Lloyd, Leonard Graves Set in the Persia of 2,500 years ago this musical comedy uses ancient sculptures that sing and dance which were made at the time that Aesop lived there. Three youths set off in search of their dreams, encountering many strange adventures on the way. (Time : 90 mins.) 42 Italy - LINE NO. 5 (LA LINEA N. 5) Production : Frame, Milan Produces: Brunetto del Vita Director : Osvaldo Cavandoli Script: Brunetto del Vita and Osvaldo Cavandoli Photo : Sergio Cavandoli Music : Corrado Comolli (Time : 4\ mins.) OFFICIAL PRESS CLUB Is Sponsored by ARTHUR GUINNESS, SON & Co. Ltd. 19 �43 Italy - UNDERGROUND (SOTTERRANEA) Production : Corona Cinematografica Producer : Ezio Gagliardo Director: Manfredo Manfredi Script : Manfredo Manfredi Photo: Franco Zambelli Music : Swan Phillips (Time : 13 mins.) 44 Italy - TWO STARS (DUE STELLE) Production : Corona Cincmatografica Producer: Ezio Gagliardo Director: Elio Piccon Script: Elio Piccon Photo : Elio Piccon Music : Sandro Brugnolini (Time : 12 mins.) 45 Italy - EACH KINGDOM (OGNI REGNO) Production : Seondo Bignardi Film d'Animazione Director : Secondo Bignardi Script : San Luca Photo : Secondo Bignardi Against the background of a fabulous city in the East, this film depicts the contrasting effect of harmony and nony disagreement in the world. (Time : 1‘ mins.) 11 46 Malaysia - KUALA LUMPUR CITY (KUALA LUMPUR MAJU DAN MAKMUR) Production : Film Negara, Malaysia Director: Syed Alwi Script: Syed Alwi Photo : Rathitmanan- Yeoh Gaik It and Cheong Chee Keong The history of Kuala Lumpur from early 19th century. (Time: 12 mins.) 47 Netherlands - THE BURGLAR (DE INBREKER) Production : Parkfilm Director : Franz Weisz Script: Chiem van Houweninge and Rob du Mee Photo: Ferenc Kalman-Gall Music: Ruud Bos Cast: Rijk de Gooyer, Jon Bluming, Bob de Lange, Willeke van Ammelrooy. Anny de Lange, Jennifer Willems, Sylvia de Leur (Time: 104 mins.) Sponsored by CORK GAS CONSUMERS’ COMPANY ARBUTUS LODGE HOTEL, Montenotte, Cork Tel.: 51237 20 �48 New Zealand - THE WATER CYCLE Production : New Zealand National Film Unit Producer : Ronald Bowie Director : Philip McDonald Script : Philip McDonald Photo : Dale Pomeroy Music: Tony Baker Using the hydrological cycle (clouds, rain, rivers, lakes, sea, sky) this film contrasts an ideal water system with the ravages wrought by the human race. (Time: 26 mins.) 49 Poland - CRYSTAL BALL (SZKLANA KULA) Production : The Polish Corporation for Film Proc iduction Director Direct. : Stanislaw Rozewicz Scrip’ ■ 'Kornel Filippowicz and Stanislaw Script : Rozewicz Photo : Krzysztof Winiewicz Music : Wojciech Kilar Cast : Andrzej Nardclli, Malgorzsata Potocka, Joanna Ziolkowska, Krzystof Stroinski, Mieczyslaw Grabka, with Franciszek Pieczka as “King of Life’’ Five 18-year olds, just matriculated, drive to the sea­ side in an old jalopy to spend their summer holidays to­ gether before they enter university. Happy, carefree, ex­ ulting in their freedom and their achievement, they are on the threshold of decision. What road through life should each follow? When they meet a Cracov tramp, whom they soon come to regard as “The King of Life’’, they seek to discover how he came to achieve his free­ dom. Their moment of youth is passing, and they realise that time for them is irreversible. (Time : 84 mins.) 50 Poland - ILLUSION (ILUZJA) Production : Miniature Film Studio, "Warsaw Director : Jan Janczak Script: Marek Kalisz Photo: Jan Tkaczyk and Jan Ptasinski An abstract look at man’s unceasing search for truth. (Time: 4 mins.) WM. EGAN & SONS LTD., Jewellers 31/32 Patrick Street BARRY’S TEA SAVOY RESTAURANT* Patrick Street, for Good Food and Fast and Efficient Service OLD KENTUCKY RESTAURANT (formerly Old Bridge Restaurant), 123 Patrick St. (opposite Statue) Fully licensed and open until 1 a.m. 7 days per week 21 �51 Poland - THE INDEFATIGABLE PERFORMERS OF MOZART (NIEUSTRASZENI WYKONWCY MOZARTA) Production : Se Ma For Film Studios in Lodz Director: Jozef Gebski and Antoni Halor Script: Antoni Halor and Josef Gebski Photo : Waclaw Fedak Music : Mozart An evening performance of Mozart’s Divertimento in a baroque palace, the performers nervously aware that they are expected at the Prince’s palace. The Prir incc loses patience and begins to bombard the baroque pa! alace but the quartet play on. (Time :: I8 mins.) 52 Rumania - IN THE THICK FOREST (IN PADUREA CEA STUFOASA) Production : “Al Sahia” Film Studio Producer : Titus Mesaros Script: Titus Mesaros Script: Titus Mesaros Photo : Kovacs Carol Music: Andrei Bretz Three of Rumania’s painters illustrate, each in his own manner, the folk-song, “In The Thick Forest” (Time : 10 mins.) 53 South Africa - ON THE THIRD DAY Production : South African Tourist Corporation Producer : John Da Silva Script: Lee Marcus Photo: John Da Silva Music: Art Heatlie South Africa’s wild flower areas set aside to be preser­ ved forever and to offer grace and solace to mankind. (Time : 27 mins.) 54 Switzerland - BOSCO GURIN Production : Condor-Films Ltd. Director: Karl Skripsky Script: Karl Skripsky Photo : Karl Skripsky Music : Jean Daetwyler Everyday life in the Alpine village of Bosco Gurin m 1971. Founded in the early 13th century, Bosco Gurin has changed little since the Middle Ages. (Time: 15 mins.) Sponsored by DOROTHY KNOX, INTERFLORA 4 Emmet Place (Tel.: 21669) FITZGERALD’S MENSWEAR SHOPS, 24 Patrick Street and Douglas Shopping Centre. Tel.: 20095 IMPERIAL HOTEL (CORK) (1946) LTD., Pembroke Street. Cork. Tel.:23304 22 �55 Switzerland - ENERGY 2000 (ENERGIE 2000) Production : Condor-Films Ltd Director : Herbert E. Meyer Script: Herbert E. Meyer Photo : Andreas Demmer and Ruedi Kuttel Music : Bruno Spoerri (Time: 15J mins.) 56 U.S.A. - CHILD S PLAY Production : Paramount Producer : David Merrick Director : Sidney Lumet Script : Leon Prochnik Photo : Gerald Hirschfeld Music : Michel Small Cast : James Mason, Jerome Malley, Robert Preston, Joseph Dobbs, Beau Bridges, Ronald Weyand, Charles White, David Rounds, Kate Harrington. Jamie Alexander. Brian Chapin, Bryant Fraser, Mark Hall Haefeli, Tom Leopold, Julius Lo lacono, Christopher Man. Paul O’Keefe, Robert D. Randall, Robbie Reed, Paul Alessi, Anthony Barletta, Kevin Coupe, Christopher Hoag, Stephen McLaughlin. Based on the successful Broadway play by Robert Marasco, this screenplay by David Merrick is concerned with a mysterious outbreak of violence at a secondary school for boys. (Time : 100 mins.) 57 U.S.A. - THE BAGGS Production : Solari and Carr Productions Producer: James F. Griffith J Photo : Bill Weaver J Script. Jau. F. Griffith, Tom Solari, Clark Script^: James Carr Music: Pr 'aul Beaver Sound : Dick LeGrande A scavenger is making his rounds picking up odds and ends of junk for resale when two old burlap sacks sud­ denly come to life and run off. They cause a series of small sensations as they romp through the world of the humans, collecting a following of delighted children. (Time : 25 mins.) THE FILMS THAT MADE US Cork Film International will present the Irish and British premiere of The Films That Made Us, a nostalgic review of 101 clips taken from films made by Warners over the past half-century. They are all there, from The Jazz Singer, the first talkie, the Errol Flynn sagas, the James Cagney, Edward G. Robinson gangster movies, the Humphrey Bogart successes and it comes right up to date with Camelot and Super Fly. 23 �58 U.S.A. - DISTRACTIONS Production : John Peckham Productions Director: John Peckham Sound : John R. W. Lydecker A parody on an international chess match and how one opponent uses a number of humorous distractions. (Time : 3 mins.) 59 U.S.A. - FASHION FANTASY Production : King Broadcasting Company Producer: Shirley Hudson Director: Paul Taylor Script : Shirley Hudson Photo : Paul Taylor Sound : Paul Taylor Fashions in clothes for themselves and as part of a nd story. ( (Time : 4 mins.) 60 U.S.A. - LITTLE FOREST Production :: Marvin Albert Films Producer: 1Marvin Albert Script: Mai irvin Albert irvin Photo : Marvin Albert t Sound : MarvinAlbert A portrayal of the forest and of forest life. (Time : 8 mins.) 61 U.S.A. - MIMI Production : Billy' Budd Films Photo : Dan Nelken A young woman, physically disabled from birth, tells how she responds to people and the world. (Time : 12 mins.) 62 U.S.A. - NORMAN ROCKWELL’S WORLD : AN AMERICAN DREAM Production: Concepts Unlimited, Inc. Producer : Richard Barclay Director: Robert Deubel Script: Gaby Monet Photo: Robert Deubel Music: John Lander Norman Rockwell, the man as ’well as the artist, and how he documented American life: for over six decades. (Time : 25 mins.) JOIN THE FESTIVAL CLUB Season-Ticket Holders £1.50 Others £3100 Tickets available at Savoy and Festival Office 24 �63 U.S.A. - THE ONE-MAN BAND THAT WENT WALL STREET Producer: Potterton Productions, Inc. for New York Stock Exchange Producer : Gerald Potterton Director : Duane Crowther Script : Donald Brittain Photo: Claude Lapierre, John Williams, Ted Gerald, Wally Bullock Music : Burnell Whibley A travelling musician takes advantage of his talent as an inventor and salesman and becomes head of a huge vcnt< ainn entertainment company listed on the stock exchange. (Time: 15 mins.) 64 U.S.S.R. - NO GRIEF IS UNSHARED Production : Central Documentary Film Studio Director : M. Babak Photo: O. Voinov and Kopysov A realisation in film of Konstantin Simonov’s poem, composed after visiting Vietnam in the winter of 1970/71. Focussing on the fate of children in total war, Simonov poses the problem of the attitude of people to events that are happening far away from them. (Time : 42 mins.) 65 U.S.S.R. - I AM A CITIZEN OF THE SOVIET UNION Production : Mosfilm, Moscow Director : P. Mostovoi and A. Shein Script: Y. Varashavsky and A. Shein Photo: A. Zenyan, A. Vinokurov, and B. Travkin The lives of the Soviet people, and their achievements, seen in shots taken from newsreels and feature films and newly photographed material. (Time : 10 mins.) 66 U.S.S.R. - MY NEW ADDRESS Production : Jadjichfilm Director : E. Kuzin Script : M. Jabachnikov Photo: E. Mizin Sound : G. Ivashcnko (Time: 10 mins.) AFTER THE SHOW COME TO . . . The Festival Club (Sponsored by Harp Lager (Ireland) Ltd.) at the CITY HALL DANCING RESTAURANT BARS ☆ ☆ ☆ Tickets on sale at the Savoy and at Festival Office Club open Daily 10 p.m. — 2 a.m. 25 i �LATE ENTRIES 67 Great Britain - THE EFFECT OF GAMMA RAYS ON MAN-IN-THE-MOON MARIGOLDS Production : Newman-Foreman Production Co. Producer : John Foreman Director : Paul Newman Script : Alvin Sargent Photo : Adam Holcnder Music : Maurice Jarre Editor : Evan Loitman Cast: Joanne Woodward, Nell Potts, and Roberta Wallach (Time : 101 mins.) 68 U.S.S.R. - UNCLE VANYA Production : Mosfilm Director : Andrey Micholkov-Tontchalovsky Script : A. Chekhov Photo : G. Rerberg and Y. Guslinsky Music: A. Shnitke Editor : A. Repina (Time: 100 mins.) 69 Federal Republic of Germany - THE STUFF THAT DREAMS ARE MADE OF (DER STOFF AUS DEM DIE TRAUME SIND) Production : Roxy-Film, Munich Producer: Luggi Waldleitner Director : Alfred Vohrer Script: Manfred Purzer Photo : Charly Steinberger Music: Peter Thomas Based on the novel by Johannes Mario Simmel, deI‘ r'' picting the powerful magazine industry, and one of its lop reporters who records the flight of an 11-year old boy from Czechoslovakia, and discovers an almost incredible conspiracy and the mysterious Luis Gottschalk. (Time : 142 mins.) Twenty-First Cork International Choral and Folk Dance Festival At CORK CITY HALL, APRIL 24 —APRIL 28 1974 Information from THE FESTIVAL OFFICE, 15 BRIDGE STREET, CORK 26 �A TRIBUTE TO BERT HAANSTRA Bert Haanstra was born in Holland in 1917. Until 1947 he devoted his time and developing talents to painting. In 1947 he entered cinema as a cameraman, and having discovered his medium he began to produce films. From 1949 he concen­ trated on short films, in which realm he has made a considerable reputation, winning awards at all the major film festivals throughout the world. Included in this Tribute Programme are The Rival World which won the Grand Prix at the first Cork Film Festival in 1956; the delicately evocative Panta Rhei (Everything Passes) (1951). which won the Grand Prix at Montevideo in 1954; the truly memorable Rembrandt : Painter of Man. 1956. which has won awards at seven festivals; Mirror of Holland (1950) which won the Grand Prix at Cannes and Montevideo; Glass (1958) which has taken fifteen awards, including a Hollywood Oscar and first prize at Cork in 1959; Delta Phase 1, a prize winner at seven festivals including an award at Cork 1962; Not Enough which he produced for O.E.C.D. in Paris in 1967 and which was directed by Wim van der Velden. whom we welcome this year as a member of our Short Films Jury. Haanstra made his first feature film Fanfare in 1958, which won first prize at Cork in 1959. Cork audiences will have another opportunity of seeing this during the Tribute Programme. Other features included in the Tribute are Voices of Water (1965-66), prize winner at Cork and Moscow in 1966. Recently he has completed Bij De Beesten Af, a film on parallels betwen animal and human behaviour, which we hope to include in our Tribute. Films to be screened in this Tribute during the Festival at the Capitol Cinema each day : 70 MIRROR OF HOLLAND and THE VOICE OF WATER 71 PANTA RHEI and THE HUMAN DUTCH 72 GLASS and FANFARE 73 THE RIVAL WORLD, REMBRANDT, DELTA PHASE I and NOT ENOUGH 74 BIJ DE BEESTEN AF 27 �ASSOCIATE MEMBERS Mr. Tadhg J. Cotter Mr. John Cotter Messrs. Henry Ford & Son Limited Mr. & Mrs. Robert M. Flynn Mr. Basil Gotto Mr. Frederick Kinahan Mr. Patrick J. Lavan Woodford Bourne & Co. Ltd. Northern Bank Finance Corporation Ltd. Mr. A. J. Navratil Mr. Jim O’Keeffe Mr. E. G. Pettit Mr. Peter Tuite Messrs. Venice Industries (Ireland) Limited Professor & Mrs. William Kearney Mr. Eamonn Kearney Northern Bank Ltd. Mr. Alex T. Rankin Clayton Love & Sons (Cork) Ltd. Mra. & Mrs. Nicholas S. Hughes Dr. Derry O’Flynn Noel and Anna Holland A WRITERS’ FORUM Theme: THE WRITER’S CONTRIBUTION TO THE CINEMA at the School of Music Theatre, Cork (By kind permission of the City of Cork Vocational Education Committee) Wednesday Morning, June 13th at 11 a.m. Chairman: BUNNY CARR Well-known TV personality Beakers : Robert Bolt, Wolf Mankowitz, Father Cyril | Farrell, Joan Long 28 �LATE ENTRIES 75 U.S.A. - GODSPELL Production : Columbia Pictures Producer : Edgar La/.:’: Lansbury Director : David Greer " :ne Script : David Greene and John-Michael Tcbclak ai Photo : Richard G. Heimann Music .Stepheni Schwartz : r.._ Editor : Alan Heim H< Cast: Victor Garber, David Haskell, Jerry Garbei ..I-.. Sroka, I Lynne Tl. Thigpen, Katie Hanley, Robin Lamont, Gilmer McCormick, Joanne Jonas, Merrell Jackson, Jeffrey Mylett. (Time: 103 mins.) 76 U.S.A. - THE KING OF MARVIN GARDENS Production : BBS Producer : Bob Rafclson Script : Jacob Brackman Photo : Lasllo Kovacs Editor : John F. Link Cast: Jack Nicholson, Bruce, Dern, Ellen Burstyn (Time : 104 mins.) 77 Australia - THE ADVENTURES OF BARRY McKenzie Production - Longford Productions Ltd. Producer: Phillip Adams Director : Bruce Beresford Script: Barry Humphries and Bruce Beresford Music - Peter Best Editor - John Scott Cast: Barry Crocker, Barry Humphries, Dick Bentley, Peter Cook, Avice Landon, Spike Milligan, Dennis Price, Paul Bertram, Mary Anne Severne (Time: 113 mins.) 78 Belgium - UN PIED BOYS 79 Belgium - JOUVENCE 80 Ireland - SHANNON : PORTRAIT OF A RIVER Producer : George Fleischmann 81 Ireland - WAR OF CHILDREN 82 Italy - MILAN FAIR �errata 67 U.S.A. - THE EFFECT OF GAMMA RAYS ON MAN-IN-THE-MOON MARIGOLDS PLEASE NOTE LESLIE MALLORY (Ireland) is a member of the Features Jury. MADAME EVA OLIVOVA (Czechoslovakia) is a mem­ ber of the International Federation of Film Societies Jury. �CORK FILM INTERNATIONAL AWARDS FEATURE FILMS AWARDS The awards of Cork Crystal Glass are designed by OBEN and are presented by Irish Distillers Limited. SHORT FILM AWARDS The awards of St. Finbarr Statuettes are designed by Dr. Seamus Murphy, R.H.A. and are presented by Swan Bedding, Cork INTERNATIONAL FEDERATION OF FILM SOCIETIES AWARD The International Federation of Film Societies will present an award for the best short film shown during the Festival. The award will be made by an International Jury consisting of Henri Duterne (Belgium). Jean Young (Great Britain), Ron Ritchie (New Zealand), Michael Cassidy (Ireland). FILM CRITICS’ AWARD A Waterford Glass Award will be presented for the best Irish film shown during the Festival. The award will be made by the film critics attending the Festival and it is aimed at encouraging Irish film making and also Government and industrial spon­ sorship of film making in Ireland. 29 �ACKNOWLEDGMENTS Cork Film International owes its origin, in the main, to the financial support and encouragement of BORD FAILTE EIREANN (The Irish Tourist Board). For a number of years PLAYER & WILLS (IRELAND) LTD. have joined with Bord Failte in giving extra substantial financial support towards the development of the Festival. The Director and Council of the Festival express their deep appreciation to them. We are also indebted to the following who have given considerable help to the Festival in various ways throughout the years of its existence: ARTHUR GUINNESS, SON & CO. (IRELAND) LTD. IRISH DISTILLERS LIMITED CAMBRIAN AIRWAYS STARDUST CLUB, CORK PFIZER CHEMICAL CORPORATION SWAN BEDDING D. & A. O’LEARY LTD. OYSTER TAVERN WATERFORD GLASS LTD. CORK EXAMINER HENRY FORD & SON, LTD. GERARD JONES, BELGIAN CONSUL IRISH MIST LIQUEUR LTD. SUNBEAM LIMITED TRUX LTD. MOTOR IMPORTS (IRELAND) LTD. (BMW) BEAMISH & CRAWFORD LTD. CHRYSLER (IRELAND) LTD. ROCHES STORES MURTAGH PROPERTIES LTD. THE JOHN DALY GROUP ESSO TEORANTA HUET MOTORS BURMAH CASTROL McMullen bros. ltd. BOLAND LTD. ALLIED IRISH BANKS MUNSTER ARCADE LTD. HENRI MICHEL SUNDAY WORLD TRACY SHOES WEST CORK TRAVEL SALON d’ORLANE NATIONAL OIL CO. (IRELAND) LTD. CORAS IOMPAIR EIREANN JOHN A. MULCAHY, LTD. frank 30 �ACKNOWLEDGMENTS Cork Film International owes its origin, in the main, to the financial support and encouragement of BORD FAILTE EIREANN (The Irish Tourist Board). For a number of years PLAYER & WILLS (IRELAND) LTD. have joined with Bord Failte in giving extra substantial financial support towards the development of the Festival. The Director and Council of the Festival express their deep appreciation to them. We are also indebted to the following who have given considerable help to the Festival in various ways throughout the years of its existence: ARTHUR GUINNESS, SON & CO. (IRELAND) LTD. IRISH DISTILLERS LIMITED CAMBRIAN AIRWAYS STARDUST CLUB, CORK PFIZER CHEMICAL CORPORATION SWAN BEDDING D. & A. O’LEARY LTD. OYSTER TAVERN WATERFORD GLASS LTD. CORK EXAMINER HENRY FORD & SON, LTD. GERARD JONES, BELGIAN CONSUL IRISH MIST LIQUEUR LTD. SUNBEAM LIMITED TRUX LTD. MOTOR IMPORTS (IRELAND) LTD. (BMW) BEAMISH & CRAWFORD LTD. CHRYSLER (IRELAND) LTD. ROCHES STORES MURTAGH PROPERTIES LTD. THE JOHN DALY GROUP ESSO TEORANTA HUET MOTORS BUR MAH CASTROL McMullen bros. ltd. BOLAND LTD. ALLIED IRISH BANKS MUNSTER ARCADE LTD. HENRI MICHEL SUNDAY WORLD TRACY SHOES WEST CORK TRAVEL SALON d’ORLANE frank national oil co. (Ireland) CORAS IOMPAIR EIREANN JOHN A. MULCAHY, LTD. 30 ltd. i �acknowledgments Cork Film International owes its origin, in the main, to the financial support and encouragement of BORD FAILTE EIREANN (The Irish Tourist Board). For a number of years PLAYER & WILLS (IRELAND) LTD. have joined with Bord Failte in giving extra substantial financial support towards the development of the Festival. The Director and Council of the Festival express their deep appreciation to them. s Uj kJ We are also indebted to the following who have given considerable help to the Festival in various ways throughout the years of its existence: ARTHUR GUINNESS, SON & CO. (IRELAND) LTD. IRISH DISTILLERS LIMITED CAMBRIAN AIRWAYS STARDUST CLUB, CORK PFIZER CHEMICAL CORPORATION SWAN BEDDING D. & A. O’LEARY LTD. OYSTER TAVERN WATERFORD GLASS LTD. CORK EXAMINER HENRY FORD & SON, LTD. GERARD JONES, BELGIAN CONSUL IRISH MIST LIQUEUR LTD. SUNBEAM LIMITED TRUX LTD. MOTOR IMPORTS (IRELAND) LTD. (BMW) BEAMISH & CRAWFORD LTD. CHRYSLER (IRELAND) LTD. ROCHES STORES MURTAGH PROPERTIES LTD. THE JOHN DALY GROUP ESSO TEORANTA HUET MOTORS BURMAH CASTROL McMullen bros. ltd. FRANK BOLAND LTD. ALLIED IRISH BANKS MUNSTER ARCADE LTD. HENRI MICHEL SUNDAY WORLD TRACY SHOES WEST CORK TRAVEL SALON d’ORLANE NATIONAL OIL CO. (IRELAND) LTD. CORAS IOMPAIR EIREANN JOHN A. MULCAHY, LTD. 30 '■ 1 I V1 � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Programme Content Source A related resource from which the described resource is derived Cork Film Festival Collection Publisher An entity responsible for making the resource available University College Cork Date A point or period of time associated with an event in the lifecycle of the resource 1956- Rights Information about rights held in and over the resource <a rel="license" href="http://creativecommons.org/licenses/by/4.0/"><img alt="Creative Commons License" style="border-width: 0;" src="https://i.creativecommons.org/l/by/4.0/80x15.png" /></a><br />This collection is licensed under a <a rel="license" href="http://creativecommons.org/licenses/by/4.0/">Creative Commons Attribution 4.0 International License</a>. All rights reserved. Please credit <a href="https://corkfilmfest.org/">Cork International Film Festival</a> &amp; provide a link back to this site. Format The file format, physical medium, or dimensions of the resource PDF Language A language of the resource English, eng; Irish, gle Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1956- Cork, Ireland Description An account of the resource A selection of programmes from the Cork International Film Festival. Subject The topic of the resource Cork Film Festival Programmes Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1973 Cork Film Festival programme content Subject The topic of the resource Cork Film Festival, Dermot Breen, David Hemmings, Al Sherman, Raoul Ploquin, Fergus Linehan, Peter Barry, Sean O'Leary, Bert Haanstra, Bunny Carr, Joan Long, Wolf Mankowitz, Father Cyril Farrell Creator An entity primarily responsible for making the resource University College Cork, Cork Film Festival Source A related resource from which the described resource is derived Cork Film Festival Collection Publisher An entity responsible for making the resource available University College Cork Rights Information about rights held in and over the resource <span>This item is licensed under a </span>Creative Commons Attribution NonCommercial-NoDerivatives 4.0 International (<a href="https://creativecommons.org/licenses/by-nc-nd/4.0/">CC BY-NC-ND 4.0</a>) licence<span>.&nbsp;Please credit the&nbsp;</span>Cork International Film Festival Archive<span> and provide a link back to the site.</span> Language A language of the resource English, eng Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Cork, Ireland Description An account of the resource <br />This is a PDF of the 1973 festival programme. The slim card bound issue has an abstract design on its cover in the form of red, brown and gold elongated shapes stretching from the top to the bottom of the page. Text is presented in dark brown on the white stripe along the right edge of the programme. The 30-page programme, costing 20 pence, was edited by Padraig O Maidin and we know from other similarly designed programmes that the cover was designed by Harry Wallace.&nbsp;<br /><br />Festival notes include a tribute to the Dutch director Bert Haanstra (1916-1997) on page 27. Haanstra made his first feature film <em>Fanfare</em> in 1958, which won first prize in Cork in 1959. A Writers Forum was presented by Bunny Carr on June 13 1973 and included Robert Bolt, Wolf Mankowitz, Father Cyril Farrell, and Joan Long (page 28). Date A point or period of time associated with an event in the lifecycle of the resource 1973 Format The file format, physical medium, or dimensions of the resource PDF Type The nature or genre of the resource Programme Bert Haanstra Bunny Carr Dermot Breen Harry Wallace Joan Long Wolf Mankowitz https://corkfilmfest.ucc.ie/files/original/f34f67c8ff88b8319636251d0839b7fe.pdf 76f12fe51179f5a4f7ee02261bf14e75 PDF Text Text Gala Premiere ~GCJ- . to aid 21 st oork Am \j inUernaUionol Columbia Pictures presents a | Sean CdwiiJttel Caine r Msiopiiei Plummer • UieOlajlsfcliiCeBii In the John Huston-John Foreman film Capitol Cinema, Cork Saturday, March 20th, 1976 This programme was compiled, printed and presented to Cork Film International by the London Friends of Cork �G 'DOWN TOM there’s only eno distributor who’s always on ton! FK Sb« >f 3 !I V AUSTRALIA’S NUMBER ONE MAJOR MOTION PICTURE HEAD OFFICE: SOO COLLINS STREET, MELBOURNE, VICTORIA, 3000 TELEPHONE: 61-3811 �CORK FILM INTERNATIONAL DEVELOPMENT FUND GRATITUDE This is yet another unique occasion. The promotion of this Gala Evening is another firm indication of the great enthusiasm of “The London Friends of Cork” to ensure that Cork Film International, despite its many difficulties of the past and the ever­ present financial problems it faces, will continue to play its part in promoting one of the greatest entertainment mediums of our time. But there is more to it than that. The organisation and the final presentation of this evening’s programme is a practical vote of confidence in Cork Film International as an event worthy of the film industry and the significance of the importance cinema plays in our day-to-day lives. I would ask our readers to consider also, the impact Cork Film International has made on the prestige of Cork and on Ireland in particular. To think that a group of London-based friends, with no Irish connections of any kind, can get together for a third year in succession to provide substantial sums of money to our organisation, must surely fill all of us with amazement. Why they do it, one cannot really say. Maybe it is because they realise that Cork Film International has always endeavoured to play its part in maintaining the prestige of cinema in a way that is peculiar to Cork, namely, in an atmosphere of friendship towards those engaged in film and without any pretension in our acknowledgment of the work they do to provide a panorama of life and people through the medium of cinema. To Mr Tom Nicholas, Managing Director of Columbia-Warner Distributors, London, who provided us with tonight’s film, “The Man Who Would Be King” to Mr George Baker, the eminent actor, who co-ordinated the function and to Mr Eddie Patman, who organised the publication of this most profitable brochure and to all the other members of the “London Friends” group, I, on behalf of Cork Film Inter­ national, say a sincere Thank You. Cork Film International will celebrate its 21st Birthday from June 5 to 12 this year an occasion that can only be assured by the support of our “London Friends” and the many advertisers who contributed to this programme. A final word of appreciation must go to Mr Leo Ward and Mr Kevin Anderson of Abbey Films Ltd who kindly placed the Capitol Cinema at our disposal without charge. The people of Cork must surely realise that no event of great national and, indeed, international importance can boast of having such a hard working group of friends whose support and sincerity is so clearly indicated as it is by this evening’s presentation. Dermot Breen Director �The Man who would be King We are proud that 3Mcolour print stock has been chosen for release printing another Columbia success. motion Picture Products r 3M is a trade mark �It hardly seems possible that twelve months have lapsed since our last Cork Gala Performance and once again we, the "London Friends of Cork", are delighted to be able to assist in tonight's performance. Tonight's Gala is the first event in the all-important Twenty-First Anniversary year of The Cork International Film Festival and we offer our sincere congratulations on your achievements and warmest wishes for the years to I come. The Cork International Film Festival symbolizes fellowship and goodwill and we pay tribute to the Director and the organizing committee and all who work so diligently to make the Festival successful. We believe strongly in your Festival, and we hope the monies raised by tonight’s Gaia Performance will help to ease the burdens in financing the upcoming Twenty-First Cork International Film Festival. We do hope you enjoy tonight's performance. Sincerely, Tom Nicholas �pDo®n®GD0a^7 film rcmTKLY Congratulations to the organisers of the CORK FILM FESTIIAL and every success on your 21st Anniversary from the top team behind Britaiiis popular monthly movie magazine T\cn Cg'cr^iison,'Betty Jennings, ^ne (R/arke, Roy ‘Picknrd,ginda RhCeadows and CA Caxine (Roofer Congratulations to the organisers of the Cork Festival on yet another Great International Event from WORLD FILM SERVICES LIMITED JOHN HEYMAN, TERENCE BAKER, EDWARD I. SANDS WOLF MANKOWITZ 4 Claridge House 32 Davies Street London, W1Y 1LG 01-493 3045 9489 Dayton Way Beverly Hills California 90210 �Any true festival encourages a dialogue between the people taking part, and controversy is the life-blood of such dialogues. Cork knows this to her gain, and to her cost. Some visitors went home from last year's Cork Film International moved to bite the hand that fed, housed and entertained them. But the fears they expressed were real ones, their concern for the future of the festival was genuine. This is Cork's twenty-first year, but she has already come of age. Nothing could be more mature or level-headed than her way of listening to all criticisms, weighing them and, if they are sound, acting upon them. Few are the film festivals that can be stung into action this way. The changes and amendments to be introduced this year will, I am confident, guarantee a new level of interest and appreciation. The selection committee will limit the number of entries, it will be quality rather than quantity. Perhaps with less trees to confuse us, we shall be able to see the wood in perspective: Cork's retro­ spectives, her lectures, her Film Techniques course, have all been given less than theirdue in the past. But it is for its pioneering work in short films that Cork is best respected. At film festivals in either hemisphere, talk of short films invariably brings the conversation round to Cork. It is said that the prophet is without honour in his own land and, within Ireland, one senses less awareness of the festival's unique features. Less credit is given. The Commission of the European Communities have chosen to mark Cork's twenty-first birthday by presenting here a special prize for the short film that contributes most to the mutual under­ standing between people of different European countries and of the common problems of contemporary society. Certainly it is a timely award, and I can think of no better place than Cork to bestow it. c«wu �Every success to the CORK FILM INTERNATIONAL from Odeon Ireland Odeon Ireland are proud to have been part and parcel of the Cork Film International since its very inception. We would also like to wish it continued success —in ’76 and years to come. □ □EON IRELAND �BABY BLUE MARINE THE BLACKBIRD CONFESSIONS OF A DRIVING INSTRUCTOR I THE FRONT HARRY & WALTER GO TO NEW YORK HOUSE OF MORTAL SIN LIES MY FATHER TOLD ME THE MAN WHO WOULD BE KING MURDER BY DEATH ROBIN AND MARIAN THE STREETFIGHTER TAXI DRIVER ...and many more Columbia Pictures Let us Entertain you. �a are the only genuine Confessions FIRST-CONFESSIONS OFA WINDOW CLEANER THEN-CONFESSIONS OFA POP PERFORMER NOW IN PRODUCTION-CONFESSIONS OFA DRIVING INSTRUCTOR Columbia Pictures Presents Timothy Lea's “Confessions of a Driving Instructor” starring Anthony Booth • Doris Hare • Bill Maynard • Sheila White and Robin Askwith as Timothy Lea. Guest stars Windsor Davies • Liz Fraser • Irene Handl • George Layton and Lynda Bellingham. Screenplay by Christopher Wood based on the novel of the same title. Executive producer Michael Klinger. Produced by Greg Smith. Directed by Norman Cohen. Ths Star Group of Companies �t im 'Rom Warner Bi ®©»®Wy /WtoOifi n11«tHJi-k/iS ^WiTEl a film by I I 4 LW W_ STANLEY KUBRICK v-^b LOW OE2V ETE&M ALLTHE PRES MI'S MEN j �Fins iimrn the magazine that lanes movies wishes continued success to the Cork Film Festival SAMUELSON FILM SERVICE LTD. * 303-315 Cricklewood Broadway London, NW2 6PQ Telephone: 01-452 8090 Telex; 21430 Cables: Samcine London That's what friends are for... Best wishes to the Cork Film Festival Gala and its organisers, London Friends of Cork. From your friends in Bank of Ireland. BanKcflrecencl The bank of a lifetime �I Best wishes from ® J �Leslie Berens and Arnold Miller are proud that their film GUNS AT THE WOOD has been selected to play with Columbia Pictures' "THE MAN WHO WOULD BE KING at the AMBASSADORS, DUBLIN Leslie Berens and Arnold Miller GLOBAL QUEENSWAY PRODUCTIONS LTD. 143 Wardour Street London W1 Tel: 01 -734 1078 WATERFORD "WATE R FO R D'rr ihtlradi mark of Wattrford Glasi Umiitd �Long Live Adventure... and Adventurers! ■2, A x ♦ J 1^1' ' « '■ ■ jOa--A.-.. /ft j&fh < j.' * Ar Columbia Pictures presents » 4 W^x v.< __ _ saw Wi sataiqJiiMCik tttiijta pihiki '■■'fi'g uu (jin HdU [[ mi]| Also starring Saeed Jaffrey and introducing Shakira Caine Screenplay by John HllStOH and Gladys Hill based on a story by Rudyard Kipling Music composed and conducted by Maurice Jarre Produced by John Foreman Directed by John Huston Services by foyai SemceCompany Panavisior A Persky-Bright/Devon Feature A Columbia Pictures. Allied Artists Production ...... ---------- SOON FOR SPECIAL PRESENTATION AMBASSADORS DHELDCl �F' ’ -A. V: v ! i*Sw**sF •r .1 l 'tyi T. k::-. ■ ■; J - WM1 wr ■ "WW WwG /S'- <4 b-'* - I j ' -J < J Academy Award-winning writerand director I John Huston first became excited about the movie possibilities of Rudyard Kipling's "The Man Who Would Be King" well over 20 years ago. But every studio he approached turned it down as too ambitious and expensive. Until, about three years ago, producer John Foreman became infected by the same enthusiasm and got the project under way, financed jointly by two major companies. �;• f* b L It was made entirely on locations in Morocco with Sean Connery and Michael Caine as Kipling’s shrewd, tough and inseparable rogue-adventurers and Christopher Plummer as the author—the first time he has been portrayed on the screen. "The Man Who Would Be King" is a story to fire the imagination and a film of extraordinary power enriched by warm humour and breathtaking background scenery. Long live adventure... and adventurers! 3® �SIGNS DEPARTMENT LTD. LIGHTING and DISPLAY CRAFTSMEN warmest congratulations to West End Cinemas and Theatres in London for over 30 years Wishes The Cork Film Festival Every Success cinecenta film distributors limited ★ The London Friends of Cork and the Every success for the 2ist Cork Film International thank the Advertisers who have taken space in this Brochure for their generous support LEE ELECTRIC (LIGHTING) LTD., Kensal Road, London W.10 01-969 3621 �CONGRATULATIONS on your 21st ANNIVERSARY from all at RANK FILM DISTRIBUTORS proud of our association with the CORK FILM FESTIVAL since its inception I Best wishes from ♦ FRANK POOLE r and colleagues to all our friends I �CORK FILM INTERNATIONAL 21 YEARS YOUNG CONGRATULATIONS AUSTRALIA SYDNEY LONDON NEW YORK FILMS ��Congratulations to Cork Film International on its 21st Anniversary and Best Wishes for the future AMALGAMATED CINEMAS (IRELAND) LIMITED 9 EDEN QUAY, DUBLIN. Telephone: DUBLIN 742854 John McManus SAVOY, SLIGO —COUNTY, MONAGHAN RITZ, ENNISKILLEN —RITZ, ARMAGH AND NOW State - Phibsboro extends every good wish to CORK FILM INTERNATIONAL ON COMING OF AGE �Chosen for The Royal film Performance 1976 _ _ Paradine Co-Productions Limited and The Story of Cinderella Richard Chamberlain Gemma Craven Annette Crosbie Edith Evans Christopher Gable Michael Hordern Margaret Lockwood Kenneth More asThe Prince asThe Fairy Godmother as Cinderella asThe Dowager Queen 1 asJohn asThe King ° asThe Stepmother asThe Lord Chamberlain Production Coordinators Naim AttallahandJohnAsprey Executive Producer David FrOSt Music and Lyrics Richard M. Sherman and Robert RShfc 1 Music arranged and conducted by Angela Morley Choreographer Marc Breaux screenplay t>y Bryan Forbes and Robert B Shermamg and /VLSherman Produced by Stuart Lyons Directed by Bryan Forbes The book of “TheSlipper <&The Rose"published byNarftaS licatlons/Quartet Books Original Soundtrack Album on EMI EMC 3116. Panavision* Technicolor^ febyCinema International Corporation �watch your step! The advertising agency you select should be the kind you can call on for reliable service, year after year. Here at C.P. +A. we put client service before all else. We're a medium sized agency. Not too small - with the right personnel and facilities to handle your advertising problems. Not too big. At C.P. +A. you get individual attention. Because at C.P. +A. we have people who know and care about clients needs. People who get action. For effective advertising call on C.P.+A. 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J y \ J 1 J !Z ft EMI presents for your enjoyment, films featuring the top talent of the world. These are just some of the great releases now showing and those you will soon be able to see �Thomas J. Keating 27 UPPER MOUNT STREET, DUBLIN 2 Tel. No.: 763766 Thomas J. Keating are Roofing and Protective Coating Specialists for the last fifteen years and are the sole Agents in Ireland for Republic Powdered Metals Inc., and Rust-Oleum Products. The products manufactured by R.P.M. offer a special protective coating system for all types of roofs, including slates, felt, corrugated iron and corrugated asbestos, also cement. We both supply and also apply these materials and all contracts carried out by our company carry a ten year guaran­ tee of absolute weatherproofing. These products can also be used on all types of steelwork, i.e. steel pipes, storage tanks and metal bridges. 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JULYxwwj ffcrj Ik r A MICHAEL KHMER P0&CTION W' London Odeon, Leicester Square 15th APRIL ✓ �1 �The Directors of the Capitol, Pavilion, Palace and Lee Cinemas, Cork take this opportunity to congratulate Cork Film International on its 21st Birthday and wish it another 21 years of stimulating success �Adelphi-Carlton Limited ADELPHI CINEMAS 1,2, 3,4 DUBLIN CHARCOAL GRILL RESTAURANT And to come— UPPER O'CONNELL STREET CARLTON CINEMAS 1, 2 & 3 DUBLIN DUBLIN �LI ilsniways proudly presents International Sales LAWRENCE FREDRICKS ENTERPRISES 527 Madison Av. New York 10022. Phone 758 5033 Telex 23234886+ s Filmways Australasian Distributors Pty. Ltd. 243 Glenferrie Rd., Malvern Victoria, Australia 3144 Phone 509 0555 Telex AA 33487 Cables Filmways Melbourne �f \ Tv I li i.r I1 ■ ♦ OwOs ftUl o Printed by Moore & Matthes (Printers) Ltd., London � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Programme Content Source A related resource from which the described resource is derived Cork Film Festival Collection Publisher An entity responsible for making the resource available University College Cork Date A point or period of time associated with an event in the lifecycle of the resource 1956- Rights Information about rights held in and over the resource <a rel="license" href="http://creativecommons.org/licenses/by/4.0/"><img alt="Creative Commons License" style="border-width: 0;" src="https://i.creativecommons.org/l/by/4.0/80x15.png" /></a><br />This collection is licensed under a <a rel="license" href="http://creativecommons.org/licenses/by/4.0/">Creative Commons Attribution 4.0 International License</a>. All rights reserved. Please credit <a href="https://corkfilmfest.org/">Cork International Film Festival</a> &amp; provide a link back to this site. Format The file format, physical medium, or dimensions of the resource PDF Language A language of the resource English, eng; Irish, gle Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1956- Cork, Ireland Description An account of the resource A selection of programmes from the Cork International Film Festival. Subject The topic of the resource Cork Film Festival Programmes Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1976 Gala Premiere programme - <em>The Man Who Would Be King</em> Subject The topic of the resource Cork Film Festival, Cork Film International, Gala, Sean Connery, London Friends of Cork, Capitol Cinema Creator An entity primarily responsible for making the resource University College Cork, Cork Film Festival Source A related resource from which the described resource is derived Cork Film Festival Collection Publisher An entity responsible for making the resource available University College Cork Rights Information about rights held in and over the resource <span>This item is licensed under a </span>Creative Commons Attribution NonCommercial-NoDerivatives 4.0 International (<a href="https://creativecommons.org/licenses/by-nc-nd/4.0/">CC BY-NC-ND 4.0</a>) licence<span>.&nbsp;Please credit the&nbsp;</span>Cork International Film Festival Archive<span> and provide a link back to the site.</span> Language A language of the resource English, eng Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Cork, Ireland Description An account of the resource <span data-sheets-value="{&quot;1&quot;:2,&quot;2&quot;:&quot;The 1976 Gala Premiere programme cover is text heavy off-white with the partial image of a soldier on the lower left corner – arm raised with spear in hand. The back cover is an advertisement for the advertising agency Downton Pulford Compton.&quot;}" data-sheets-userformat="{&quot;2&quot;:11009,&quot;3&quot;:{&quot;1&quot;:0},&quot;11&quot;:3,&quot;12&quot;:0,&quot;14&quot;:{&quot;1&quot;:3,&quot;3&quot;:1},&quot;16&quot;:10}">The 1976 Gala Premiere programme cover is text-heavy off-white with the partial image of a soldier on the lower-left corner – arm raised with spear in hand.<br /><br />The softbound programme was produced and designed by the London Friends of Cork to celebrate the premiere screening of <em>The Man Who Would Be King</em> (John Huston-John Foreman) starring Sean Connery, Michael Caine and Christopher Plummer. The film was screened at the Capitol Cinema on Saturday 20 March 1976.</span> Date A point or period of time associated with an event in the lifecycle of the resource 1976 Contributor An entity responsible for making contributions to the resource London Friends of Cork Format The file format, physical medium, or dimensions of the resource PDF Type The nature or genre of the resource Programme Capitol Cinema Cork Film International Gala London Friends of Cork Sean Connery https://corkfilmfest.ucc.ie/files/original/7dc0704e601638bab4044973baf0afbc.jpg e767683040e21c97d54fb832199e29fc https://corkfilmfest.ucc.ie/files/original/50be30331ee66bb498085689beb17345.pdf 43c41567acb6e3268b4ebe7ff40867e3 PDF Text Text �FEILSCANNAN IDIRNA1SIUNTA CHORCAIGHE Saturday, 5 June to Saturday, 12 June Rt. Hon the Lord Mayor, A. A. Healy, T.C., T.D. Chairman : The Rt. Hon. the Lord Mayor Vice-Chairman: R. P. Beamish Director : Dermot Breen, M.I.P.R. Executive Council Mrs. N. Jennings T. O’Brien Mrs. M. Pyne K. G. Breen B. B. Curtis, L.R.A.M. Patrick Fleming T. J. O’Sullivan E. O’Mahony M. Owens Comdt. J. Slye Organising Committee Assistant to the Director: Fergus Gilligan Club Reception : Nancy Jennings, Robin O’Sullivan Reception Executive: Robin O'Sullivan, Cyril Berkley, Moira Pyne, Mary Murphy Joe Janeczek, Sean Cunningham Compere: Dan Donovan, M.A. Front of House: James O’Brien Transport: Timothy J. O’Sullivan, Jack O’Sullivan Tributes Programmes and Lectures : Fred Conboye Accommodation : E. O’Mahony Imports and Exports: Joseph McNally Information : Comdt. J. Slye, Constance Madden External Activities: Patrick Fleming Press Officer: J. C. Healy Activities Committee: Brian Coomber, Teresa Byrne, John Donovan, Ken Connole, Fergus Gilligan Press Committee: Frank Sanquest (Chairman), Patricia O'Cal­ laghan, Dick Cross, P. McCarthy, Donal Dorcey, Declan Hassett Film Techniques Course: David J. Power Selection Committee: Fred Williams (Chairman), J. O’Brien (Vice Chairman), Constance Madden (Secretary) Brother Jerome, Mary O’Keeffe, Sponsorship Committee: T. J. Keating (Chairman), Frank Murphy, Paddy Coffey Programme Editor: Padraig O Maidin, F.L.A.I. Associate Members Officer: Lt. Col. L. F. Doyle Protocol: Bernard B. Curtis, L.R.A.M., Kevin Breen American Press Representative: Al Sherman Invitations: Ken Connole, Mary Connole 21 Committee: Col. J. J. Casley Films Officer: William Newman. (Asst.) J. Newman Shorts Jury Liaison : Nancy Allitt, Frances Fitzgerald-Smith Travel Arrangements: Michael O’Flynn European Communities Jury Liaison : Pat O'Brien Inclusive Tours: Ross Anderson Lord Mayor - Liaison Officer: Eamonn Warren Sponsors Liaison: Vida Breen, Vicki Coomber, J. H. V. Mahony Organist: George McSweeny Festival Club : Harry Fitzgerald-Smith, B.Arch. Festival Headquarters : Metropole Hotel 2 �SUNDAY, JUNE 6, 1976 THE WORLD PREMIERE of THE MASS OF THE HOLY SPIRIT Composed by SENOR ANGEL CLIMENT at the Church of St. Francis, Liberty Street, Cork at 12 Noon Celebrant FR. LAURENCE MURPHY, O.F.M. 15/ Assistant FR. CASSIAN BYRNE. O.F.M. 2nd Assistant FR. KEVIN PHELAN. O.F.M. Master of Ceremonies BRO. DECLAN HOULIHAN. O.F.M. Solemn Concelebrated Mass will be sung by ST. FRANCIS CHURCH CHOIR Conducted by Soloists: JOHN MURPHY, M.A. B.Mus. FRANK PATTERSON Tenor AINE NIC GABHANN Organist: Contralto SENOR ANGEL CLIMENT on the occasion of the 215/ Cork Film International DONAL LEHANE. Chairman oj Committee Our sincere thanks to the Guardian and Community of St. Francis Church who have made this occasion possible �<3 The Festival Director Introduces the 21st Film International . . As Dr. Pettit states in his Retrospective View of Cork Film International. 21 is a time to celebrate and a time to go back in memory. When the International Federation of Film Producers’ Associations granted our application for the First Cork Film International in 1956 we asked ourselves not only what we expected to gain but also what we had to offer in return. In our approach to the two questions the most sustaining thought was that since film had become the greatest medium of mass communication and mass entertainment the world had ever known it was of crucial importance that an appreciation of film as an art form should be made as widespread as pos­ sible among the public and that film makers should be provided with a Festival that would help them to achieve the technical and artistic potentialities that film offered. We were sustained also in that first year as we have been in the years since then, by the extent of the sacri­ fices that so many have been prepared to make in order to provide films in which they intensely believe. What may have appeared a dream in 1956 we now celebrate. Cork Film International faces the future in the full maturity of the ideals that guided us in the beginning — the more widespread appreciation of film as an art-form and the encouragement of film makers to explore the opportunities that that appreciation and technical developments open up to them. We too are ever ready to experiment and to change in order to promote those ideals. For instance, this year we are not offering awards for feature films. We have so decided because competition for these awards did not give us the results we expected. This year we are honoured to pay tribute to Satyajit Ray. the great Indian producer. By a happy coincidence his first film Father Panchali was completed 21 years ago. in 1956. And we introduce the first of our SALUTE programmes — to 20th Century-FOX — in which we will honour each year a leading world production company. This year. also, sees our Films Technique Course firmly established and going from strength to strength. A warm welcome then to you all to Cork 1976 and my sincere thanks to you all for your unfaltering support. As always. Bord Failte Eireann continues to be our main sponsor but Cork has many friends and benefactors and this year again I would like to mention in particular The London Friends of Cork, inspiring in their interest and support. My thanks to the Directors and Staff of Cork — Kerry Tourism and to the many friends and sponsors who make Cork a worthwhile and joyous occasion. A special word of thanks to the Press. My personal thanks to the Lord Mayor and Corporation of Cork and the Business Publicity Association for the decoration of the City during the Festival. DERMOT H. BREEN. Director. Cork Film International 4 �OOrk/ES I Recalling those early days of 1955 when he first mooted the idea, the Director in an interview in 1967 paid a glowing tribute to the stalwart support he re­ ceived from the then Lord Mayor of Cork, the late Mr. P. McGrath, T.D. Not that the right honourable gentle­ man had any special insights into the making of what was proposed; with masterly simplicity he had asked “what in the name of goodness is a Film Festival?” Mr. Breen himself readily admits to being then far from sure of the answer. But with the Lord Mayor's support he lost no time in the pursuit of his dream. As he set out for London to make contact with the high priests of the film industry, he was fortunate to have guidelines and introductions from two valued friends. Father Cormac Daly. O.F.M.. Chaplain to the Irish Stage Guild, and Mr. Elliman. General Manager of the Rank Organization in Ireland. In London he won the support of Sir Henry French, Director General of the British Film Producers’ Association, and of Mr. K. Windles, Joint Assistant Managing Director of Rank. The auspices looked propitious. The final step in the making of the Festival was an application for approval to the International Federation of Film Producers’ Associations. When in October. 1955. the telegram of recognition arrived the Cork Film International existed at least on paper. international A Retrospective View By Dr. S. F. Pettit. University College. Cork The good citizens of the city got their first intimation of what was afoot with a report in the Cork Examiner of November 8th, 1955. headed “Cork to have a Film Festival next year.” The story ran as follows : “The International Federation of Film Producers’ Associa­ tions. meeting in Washington yesterday, approved of the holding of a Film Festival in Cork in 1956. It was emphasised they would not support an application in 1957. Senor Renato Gualino. President of the Federa­ tion. told a press conference that the Federation does not want the Cork Festival to become a regular institu­ tion like the Cannes and Venice Festivals.” The first sniff of the cosmopolitan air came to Cork with the arrival of a wise man from the East in the person of an Egyptian reporter. Mr. George Wasseff, direct from Cannes, the first foreign reporter for the Festival. It was with full pomp and circumstance that the first Film Festival was opened in the Savoy Cinema on the 21st May, 1956, with an address by the then Minister for External Affairs, Mr. Liam Cosgrave. The feature film was “A Town Like Alice”, and large crowds gathered in Patrick Street to savour the glamour of the stars. Mr. Cosgrave had told the packed audience that “the cinema is almost an international language”, and he went on to envisage an Irish film industry. The local paper reported that “traffic was halted as crowds greet screen celebrities”. A “Star Special” had come from Dublin bringing bringing top Rank executives. Mr. Elliman and Mr. Windles, together with screen celebri- Twenty-one is a time to celebrate, a time, also, to evoke with affection the memory of some of the steps and stumbles on the way to maturity. For the Cork Film International the first step taken in 1956 was at once the most imaginative and the most hazardous, in­ volving two baffling imponderables. How would an Irish provincial city muster the expertise to play host to a Flm Festival and, more dauntingly, how would the sophisticated world film community respond to the proposition? True, the founder and Director. Dermot Breen, had experience in organising the Irish tourist festival. An Tostal. displaying a flair for stage-manag­ ing a medley of events ranging from cycling competi­ tions to symphony concerts. He had also been the foun­ der-organizer of Cork International Choral Festival from 1953 and was to see it through its first seven for­ mative years. But a Film Festival conjured up the gloss, the skills and the great expectations of Cannes, Venice and Berlin. If Mr. Breen’s suggestion met with a prudent reserve from the Cork Tostal Council it was not altogether surprising. 5 �ties Maureen Swanson. June Thornburn. John Gregson, Noel Purcell. Josephine Griffin and Tony Wright. At the station “the party were escorted to a fleet of Rolls Royce cars, gaily beflagged.” When the President of Ireland. Mr. S. T. O'Kelly, officiated at the closing cere­ monies eight days later the Director and his band of voluntary associates had every reason to feel a quiet satisfaction. Sixteen countries had participated with 32 documentary and feature films. The jury had included Paul Rotha and Denis Johnston. Irish charm without any irresponsible blarney. If I sound too laudatory I note that there were delects, the most notable being the standard of the films shown. This, I think, was because of the half-hearted appro­ val of many film companies. The Rank Organization, the Italians, Herbert Wilcox, these and a few others were the only ones who seemed to think the Festival worthy of enthusiastic showmanship to back up the product screened. I predict that this Festival could be­ come very powerful, especially for trade personalities who would like a little serious discussion away from the distractions of bikinis and beaches”. What was the critical reaction? The Irish Tinies re­ ported Mr. G. G. Martin, Publicity Controller for Arthur Rank Ltd., in a most benign mood; asked how Cork had rated with Cannes and Venice, he replied: “Absolutely no comparison, here everything is so well organised”. But film festivals have a habit of throwing up sensations, contrived or spontaneous, and the Irish Press in describing the Cork event as “a triumph of organisation” went on as follows: “some of the Cork organisers’ satisfaction was diminished yesterday when an English Sunday newspaper carried a report that the Festival Executive Committee of twelve people, in­ cluding the Lord Mayor, his deputy, a member of the Senate. Mrs. J. Dowdall. and other leading personalities in the city and county were facing prosecution because none of the 25 films shown had been submitted to the Censor”. But the awesome spectre of the law never materialised! The same paper expanded more fully on the reality of what happened: “It was the Film Festival which brought the crowds, the car loads of youngsters from Kanturk and Clonakilty. the cynics from Dublin, and the impressionables from Wardour and Fleet Streets”. Writing in the same journal regarding the 1957 Festi­ val the veteran critic, Francis Koval, saw the perspec­ tive as follows: "although it would be quite unfair to compare Cork s modestly budgeted Film Week with the mammout festivals of the Continental holiday resorts it can be said without hesitation that it has a number of assets which give the event a standing of its own and a promise for the future. The atmosphere of warm­ hearted hospitality is recognised as one of Cork’s chief attractions; the enthusiasm of the organisers is another; while the whole-hearted support of the truly cinemaminded public, the best behaved cinema public I have seen, is most encouraging. Among those who have been watching the proceedings with a critical eye there are many who maintain that these assiduous audiences were not offered, as it were, their money’s worth be­ cause most countries did not send their best produc­ tions to Cork. There is a grain of truth in it. A dispas­ sionate observer, however, must admit that such com­ plaints are vastly exaggerated. After all, even at the old-established festivals masterpieces do not emerge in large numbers and. as for the 40 or more competing shorts the proportion of these distinguished by aboveaverage quality was roughly the same in Cork as in Cannes or Venice”. From Fleet Street there came a generous and percep­ tive comment when the distinguished film critic, Dilys Powell, wrote in the Sunday Tinies that “Cork was a model of efficiency. Cork has begun and is bound to continue on a scale that can make hospitality personal. The city has the surroundings, the organisation and the taste for cinema”. The trade journal. Kinematograph Weekly, reflected on the first Festival as follows: “Now the problem for the organisers of this under-publicised, pint-sized affair is: will the International Federation of Film Producers’ Associations recognise us next year? That recognition would be the reward for the local efforts that brought the Festival into being. Dermot Breen, the organiser, told me: ‘We worked hard to start it. We were told we hadn’t a hope of getting IFF PA approval this time, but we did. Do you think we deserve it next year?’ I do. This was a Festival of charm. And Cannes and Venice could take serious les­ sons from this newcomer on how to conduct a Film Festival. The films started on time; the officials were readily accessible to the press; the atmosphere was of If the Festival evoked much favourable comment it also had its taste of jouralistic acid, with the now­ defunct Dublin Evening Mail previewing the 1958 event with tart irritation: “I must confess,” wrote its film critic, "to a slight feeling of irritation when that pro­ vincial fixture, the Cork Film Festival, thrusts itself upon my notice. This week they have reminded me that their little fling will take place from September 22nd until the 28th. Speak softly, you common Dubliner. Remove your hat. You are in the presence of something aristocratic!” The Manchester Guardian saw it otherwise: “Dr. John Grierson, who is president of this year’s jury, made the point in London yesterday that at festivals such as Cork the unexpected can always happen. Two highlights this year will be a tribute to Robert Bresson, the brilliant French director, whose film ‘A Man Escaped’ won the Richard Winning6 �ton Award last year, and a visit by Mrs. Frances Flaherty who will present excerpts from a talk about the work of her late husband, Robert Flaherty, whose ‘Man of Aran’ is well remembered”. Specialising as it does in the documentary film, it was altogether appro­ priate that John Grierson came to Cork; it was he who coined the term “documentary” in 1925. makers and the people into one. They watch films to­ gether. browse in each other’s company in bars, and when they need to rest their eyes they take each other on long trips into the softly dreaming countryside. Mr. Breen commands his irregulars with a benign auto­ cracy, and there are 50 or 60 of them: professors of music and post office clerks, brewers and lady pharma­ cists and a journalist or two. Then the regular Army obligingly lends a captain and couple of colonels”. In an interview in Films and Filming in 1959 Direc­ tor Dermot Breen outlined the thinking behind the Festival’s speciality: “We have competitions for short films and we hold an exhibition of feature films. In the first year, 1956. it was a competition festival for fea­ tures as well. But we decided after that to develop this idea of a prestige festival where we would only show good-quality feature films without any competition of any kind. That year's jury included the Dutch director, Bert Haanstra and Charles Frend of Britain who had directed "The Cruel Sea” and “Scott of the Antarctic.” The tribute was to the Italian, Vittorio de Sica, who was present at the Festival. That year, too, saw the screening of the full-length Irish historical documentary, "Mise Eire”, directed by George Morrison for Gael Linn and "The Silent Art” by Louis Marcus, dealing with the noted Cork sculptor, the late Seamus Murphy. Referring to the "Mise Eire” premiere the Times Educational Supplement noted that “similar compila­ tions have so far been attempted only in Russia and in the United States, but neither of them is comparable to the Irish effort in size and scope”. The exigencies of space do not allow of more than a sample of impres­ sions from 1960 to 1975. But any notion that Cork and its audiences were wallowing in complacent turpitude must take account of the report put out by the United Press International regarding the 1967 event: “Angry spectators at the Cork Film Festival shook their fists and shouted ‘Down with the Festival’ on Saturday when the British avant garde film ‘Separation’ was banned at the last minute as not up to standard”. Personalities attending included Trevor Howard. Dame Flora Robson and David Tomlinson. I Again reverting to criticism of the standard of fea­ ture films, in 1970 the Financial Times correspondent, David Robinson, gave his assessment: “In my own ex­ perience of festivals the efficiency of its organisation, jointly subsidised by the Irish Tourist Board and Player-Wills, is unmatched anywhere in the world. There are technical reasons for the disappointing level at Cork. For a start, coming so late in the festival calen­ dar it is near the end of the queue for the best films of the year. Registered as a shorts festival, the regulations of the International Federation of Film Producers do not permit Cork to award for feature films, and feature film producers, by and large, will not exert themselves to send films without at least the prospect of some orna­ ment of the boardroom chimneypiece.” In 1974 Francois Truffaut came to Cork for the re­ trospective tribute to his work, described by the Irish Timts critic, Fergus Linehan, as being “predictably the plum of this year’s Cork Film International”. Complaints of cinematograph indigestion were voiced by the distinguished critic, Matthew Norgate, in 1975. In Films and Filming he advocated the showing of “far fewer films. The closing of the Savoy seems to indicate a drawing in of horns in 1976. and if this pro­ cess includes greater severity on the part of the selec­ tion committee, and a reduction not only in the num­ ber of films shown but in the number of daily sessions, that may be no bad thing”. A familiar figure over many years has been Father J. A. V. Burke from Britain; his retrospective assessment published in the Tablet might fittingly conclude this evocation of Cork and its Festival: “Having attended 19 of the Cork Film Festivals I look back with interest to the past. Since 1956 it has gone from strength to strength. It is obvious that no festival can be a collection of masterpieces, each one is an amalgam of good, bad and indifferent. So with Cork. The fact that 35 countries this year felt it worth­ while to send their films for viewing is testimony enough that it is taken seriously by the film world. Seriously, but not sadly. Cork remains the friendly festival”. That same year the London Times carried a tribute to the Festival organisers which would seem to express a prevailing sentiment among delegates, actors and the general public across the twenty-one years of the Festi­ val’s >ife: “The reason why the Cork Film Festival, just ended, counts more in these islands than Edinburgh or London is a matter of personal engagement. Everyone joins in. With a tiny paid staff and a large private army of volunteers Mr. Dermot Breen, the Director, has crea­ ted the best of festivals, that which draws the film - 7 �FESTIVAL JURY The International Jury for the Short Film Competition is SHEAMUS SMITH (Ireland) ROGER MANVELL (Gt. Britain) ERNST KRUGER (Federal Republic of Germany) CONOR SWEENEY (Ireland) SHEAMUS SMITH ERNST KRUGER Born in Ballaghadereen, Co. Roscommon, Sheamus Smith began his career as a press photographer. In 1958 he went to live in Vancouver where he was awar­ ded a scholarship to study film production at Univer­ sity of British Columbia. In 1960 he moved to Los Angeles where he worked as assistant director with Walt Disney Productions and the next year he returned to Ireland. As producer director at RTE he was responsible for a number of prize-winning programmes and represented RTE at the CIRA Festival of TV Films in Cannes. In 1969 he became senior producer of RTE's Seven Days and three years later became editor of that programme. In June 1976 he was appointed managing director of the National Film Studios of Ireland. Born in Western Prussia (now Poland) Ernst Kruger is chairman of the Freiwillige Selbsthontrolle dcr Filmwirtshaft. the self-imposed censorship of the film industry in his native land. He is a member of Deutsche Unesco Kommission, and has been associated with script writing, film production and cultural docu­ mentaries. He was a member of Cork Festival Jury in 1965 and has been a jury member at the Cannes and Venice Festivals. CONOR SWEENEY A native of Listowel where he was associated with Brian MacMahon in founding the Listowel Drama Group, and a graduate of the National University, Conor Sweeney moved to Dublin in 1955 to join the teaching staff of Blackrock College where he is Head of the Geography Department. One of the first writers in Gaelic to conduct a regular critical review of both films and theatre in the University magazine "Comhar for nearly ten years, he did a three year spell on Radio Eireann. broadcasting on theatre in Dublin once a week. This was followed by an eight years stint as drama critic for the Maynooth publication "The Furrow", and five years as television correspondent for “The Standard". In 1962 he joined the Fortnightly Review "Hibernia” as its film critic, a position he still holds, contributing critical reviews, general articles, ex­ tended profiles and book reviews on all aspects of the cinema, as well as writing a regular column pre-view­ ing films screened on television. He was closely asso­ ciated with Dermot Breen in establishing the Cork Film Festival in 1955, and represented Ireland on the Festival Jury previously in 1961. ROGER MANVELL Biographer, screenwriter, broadcaster, writer on film and TV. Roger Manvell is a graduate and Ph.D. of London University. In 1971 he became the first Doctor of Letters of Sussex University for his 25 years’ con­ tribution to film studies. His early career included university lecturing on literature, drama and film and the production of over 50 plays during the ten years 1929- 1939. Mr. Manvell has lectured on TV and film in some forty countries since 1945 and has served on t’..v jury the at film festivals in Venice, Moscow, Cracow, Mar del Plata and Locarne. F.,.- over 20 years he appeared in ni"'2 2._ I_2------- For c the well-known BBC— i.i.s programme. His novels --------- Critics programme, innclude The Dreamers and The Passion while The July Plot and The Lost Peace are among his best known plays. 8 �NOTES Films are listed numerically. The numbers correspond to those shown opposite the names of the films in the Coloured inset in this brochure. An account of the Special Tribute Programme devo­ ted to the work of Satyajit Ray on page 31. Cork Salutes 20th Century-FOX on page 30. Synopses of Films i Australia Sunday Too Far Away 6 Production : South Australian Film Corporation Producer : Gil Brealey and Matthew* Carroll Director : Ken Hannam Script : John Dingwcll Photo : Geoff Burton Music : Patrick Flynn (Time: 97 mins.) Bulgaria Lesson On Sociology (Ourok p« sotsioiogia) Production : Bulgarian Cinematography Director : Pentcho Bogdanov Script : Ivan Panajotov Photo: Nadejda Yancheva Music : Boris Karadimchev 2 Australia Kangaroo Island A hare is let loose, experimentally, in a lions’ reserve with unexpected results. (Time: 81 mins.) 3 7 Belgium Bulgaria Agulana A Real Man Producer: Frydman Gerald Script: Frydman Gerald Music : Alain Pierre Animated furniture. cartoon depicting people being engulfed (Cc Veritable Homme) Production : Bulgarian Cinematography Director : Alexander Obreshkov Script : Ivan Ostrikov Photo : Rumen Gcorgiev Music : Alexander Brusitsov by The story of Sucho, a charming young man, and Milka, a simple girl. (Time : 83 mins.) (Time: 151 mins.) 4 8 Belgium Canada At The Tip Of The Tongue Descent (La Dcscente) (Du Bout Dei Lcvrcs) Production : National Film Board of Canada Producer : Tom Daly and Desmond Dew Director : Giles Walker and Paul Cowan Photo : Paul Cowan and John Dyer Music : Ben Low Sound : Bev Davidson Production : Pierre Films Producer: Jacqueline Pierreux Director: Tom Ceone Script: Pierre Joassin Photo : Walther Van Den Endc and Rufus Boehz 5 David Murray of the Canadian ski team competes in a World Cup downhill race. (Time : 10} mins.) Belgium 9 The Nine Knights Canada (Time : 87 mins.) (Les Neuf Chevaliers) Goldwood Production : Gruppo Six Milano Director : Paolo Pivetti Script: Paolo Pivetti Photo : Angelo Beretta Music : Pino Massara Sound : Pina Massara Production : National Film Board of Canada Producer: Kathleen Shannon Director: Kathleen Shannon Script: Kathleen Shannon Photo: Blake James Music: Larry Crosley Sound : Gloria Demers Our Nine Cavaliers discover the advantages of pulling together. (Time : 11 mins.) Childhood in Northern Ontario remembered in paintings and then revisited thirty years later. (Time : 20} mins.) 9 �A little man told me everybirdy gets together with a Guinness. GD813 10 �10 15 Czechoslovakia Czechoslovakia Good Morning : A Trip : Pshsh Sirius (Dobre Jitro : Vylet: Pss) Production: Short Film Studio Gottwaldov Director : Frantisek Vlacil Script: Kamil Pixa and Dr. Jan Stibral Photo : Frantisek Uldrich Music: Zdenck Liska Production : Short Film Prague Director: Vaclav Bedrich Script: Vaclav Bedrich Photo : Dana Olejnickova Music : Jiri Kolafa A boy and his dog Sirius during the German occupation of Czechoslovakia. (Time: 51 mins.) A bird sings on a tree; a hen is shown the countryside; a pear grows : but each changes with human contact. (Time : 41 mins.) 11 16 Czechoslovakia I The Line And Me Czechoslovakia (Cara A Ja) Production : Short Film Prague Director: Zdenek Smetana Script : I. Rene Photo : Jiri Safar Cartoon on a decorator at work. The Spartakiad (Spartakiada) Production : Short Film Prague Director : Jan Spata Script: Rudolf Krejsik and Jan Spala Photo : Jan Spata Music : Jan Spata (Time: 101 mins.) 12 The 1975 Spartakiad in the Strahov Stadium in Prague. (Time : 201 mins.. Czechoslovakia Little Cock And Little Hen (O Kohoutkovi A Slcpicce) Production : Short Film Prague Director: B. Sejda Script: B. Sejda and J. Kubicek Photo: J. Forman HOTEL METROPOLE (Time: 4 mins.) 13 COM Czechoslovakia Mother (Mama) Production : Short Film Studio Bratislava Director : Stefan Kamenicky Script: Stefan Kamenicky Photo : J. Grossmann Time: L GRADE ’A’ Wishes the mins.) 14 CORK FILM INTERNATIONAL Czechoslovakia Every Success Prague Of The Jugendstil (Praha Secesni) in its 21st Year Production : Short Film Prague Director: Frantisek Vlacil Script: Frantisek Vlacil Photo: Frantisek Uldrich Music: Zdenek Liska Long may it Prosper Documentary on the sources of inspiration of modern creative art in Prague. (Time: 201 mins.) 11 �Welcome to Cork, the home of Beamish & Crawford It was not until the seventeen-hundreds that Cork city began to enjoy its first lengthy period of peace for some centuries. So the citizens took the opportunity to devote their energies to the development of trade. Among those citizens were a Mr. Beamish and a Mr. Crawford. Together they started a brewery. By 1792 people in the Cork area were enjoying their first pints of Beamish & Crawford porter. At less than a penny a pint! That was nearly two hundred years ago. Cork has since emerged as a huge trading city, vital to the country’s economy. The passing of time also brought about a change of tastes, a demand for a greater range of beers. c iZ1 _ ■'S g ili^Eg j TIT BEAMISH &CR/^ORDLOTTgL= ■J’WI Today, Bass ale, Carling Black Label lager, Beamish stout and Carlsberg lager are all brewed at Beamish & Crawford’s ultra­ modern brewery in Cork... on the same site as the original brewery which produced that first pint of porter in 1792. BEAMISH & CRAWFORD LIMITED. Master Brewers since 1792 , South Main Street, Cork. TO! L-a- Unlike the seventeen-hundreds though, these Cork-brewed beers are now enjoyed in all parts of Ireland. 12 i'P �17 20 Czechoslovakia France Tattoed By The Time Bailly — Coulange (Toto vane Casoni) Production : Concorde Europe Films Producer : Gilles Baillot and Bernard Paris Script : Bernard Paris and Gilles Baillot Photo : Bernard Paris Production : Film Studio Bratislava - Koliba Director: Zoro Zahon Script: P. Jaros Photo : D. Simoncic The technique Coulange. workmanship of Mireille Bailly- (Time : 11 mins.) 18 21 Federal Republic of Germany France Go And Win 4 and The One-Eyed Are Kings (Les Borgncs Sont Rois) Producer: Edmond Sechan Script: Edmond Sechan Production : Franz. Seitz Filmproduktion, Munich Producer : Franz Seitz Director : Gabriele Seitz and James Jacobs Script: Gabriele Seitz and James Jacobs Photo : James Jacobs Music : Dave King Sound : Paul Scholer How to assure the sympathy of everyone when one has a dog that is badly behaved and aggressive. (Time : 12 mins.) 22 France Raceweek in Baden-Baden. The Imprint (Time: 111 mins.) (L’Empreinte) Producer : Jacques Cardon Music: Henri Gruel Animation : Henri Lacam and Jacques Cardon 19 Federal Republic of Germany The imprint is of the sole and heel of a human foot. Why? (Time: 74 mins.) The Lord From Barmbeck (Der Lord Von Barmbeck) Production: Ottokar Runze Filmproduktion, Hamburg Producer : Ottokar Runze Script: Inken Sommer and Ottakar Runze Photo : Horst Schier and Michael Epp Music : Hans Martin Majewski Visitors to Cork Call and See our Varied Julius Adolf Petersen, burglar and gambler, and daytime gentleman, based on his manuscript autobiography. Selection of (Time : 107 mins.) WATCHES JEWELLERY WATERFORD GLASS After the Show come to . . and FESTIVAL CLUB HAND-MADE SILVERWARE Sponsored by Harp Lager (Ireland) Ltd. at the CITY HALL Wm. Egan & Sons Ltd. DANCING BARS RESTAURANT Jewellers - Silversmiths 31-32 ST. PATRICK STREET, CORK Club open daily 10 p.m.—2 a.m. 13 �There’s a lot of know-how behind this symbol (know how and the right paint for the job) Every paint from Harringtons and Goodlass Wall Limited is backed by the latest know-how. Extensive technical resources and wide-ranging research ensure that every paint bearing the HGW symbol is a top quality product whether for chemical or food processing plants, exposed surfaces in industrial areas, storage tanks, structural steel or domestic use. Because of this know-how, HGW have supplied paints to such specialised contracts as the Whiddy Island complex, the Pfizer Chemical plant at Ringaskiddy and the IDL Distillery complex at Midleton. Goodlass Wall & Co. of Liverpool, an HGW associate company, is a leading supplier of paint coatings to off-shore oil installations. There is a lot of know-how behind the HGW symbol. SLSS HARRINGTONS & GOODLASS WALL LTD., Shandon Works, Commons Road, P.O. Box 45, Cork. Tel. Cork 52381. Telex 6126 14 �23 27 France Great Britain Cousin Cousine Aces High Production : Les Films Pomcreu - Gaumont Producer: Bertrand Javal Director: Jean-Charles Tacchella Script: Jean-Charles Tacchclla Photo : Georges Lcndi Music: Gerard Anfosso Production : S. Benjamin Fisz Productions and Les Productions Pacques Roitfeld Producer: S. Benjamin Fisz Director: Jack Gold Script: Howard Barker Photo: Gerry Fisher Music: Richard Hartley It is wedding bells for Biju (Ginctte Garein) a 50-ycar-old widow and a grandmother, and for 60-ycar-old Gobert (Pierre Plessis) and there is a wedding party and lots of fun and laughing and singing but the real event is the meeting of Marthc (Marie-Christine Barrault), Biju’s daughter, and Ludovic (Victor Lanoux), Gobert’s nephew. (Time : 95 mins.) I Cast: Malcolm McDowell, Christopher Plummer, Simon Ward, Peter Firth, Sir John Gielgud, Trevor Howard, Richard Johnson, Ray Milland, Pascal eChristophe. Aerial combat above the Western Front in World War I and the story of courage, lunatic disregard for danger and the skill of one of the pilots, one of the Aces High. 24 (Time : 114 mins.) Great Britain Romance With A Double Bass Production : Anton Films Producer: Ian Gordon and David King Director: Robert Young Script: Bill Owen from a story by Chekov Photo: Clive Tickner Music: Robert Foley CITIBANK ¥>ur partner in Cork. Cast: Connie Booth, John Cleese, Denis Ramsden, June Whitfield, Graham Crowden, Freddie Jones. Take a company like yours. Successful. Progressive. Outward Looking. Add Citibank. An American bank in Ireland. Fully aware of the local situation. Part of an office network that covers more than 90 different countries. Now you have a combination that means success. Here in Cork. Citibank can provide you with particular needs. Short-term funds for working capital. Medium-term funds for your expansion. For your surplus funds, our deposit rates are the keenest, so talk to Ronan Murphy, our man in Cork. Internationally, Citibank provides a complete foreign exchange service and unravels the complexities of import/export business. Citibank offers corporate service in connection with mergers, new issues and acquisitions. Business is our business at Citibank; our backup services cover the World for you. The successful combination takes the world in its stride. The musician escorts the princess home with his double-bass (Time: 41 £ mins.) 25 Great Britain High Fidelity Production : British Film Institute Production Board and Christopher Robinson Director: Antoinette Starkiewiecz Music: Richard Hartley An animated fantasy of a girl in pursuit of a dream. (Time : 4| mins.) 26 1 CITIBANK Great Britain Locomotion Production: Geoffrey Jones Films Ltd. and British Transport Films Director: Geoffrey Jones Script: Geoffrey Jones Photo : Geoffrey Jones Music: Donal Fraser FIRST NATIONAL CITY BANK PARTNER* IR PROORRBR AROUND TN* WORUO Cork 12 South Mall. Telephone (021) 25042 and (021) 20167 Dublin 71 St. Stephen’s Green. Telephone 780488 Belfast 1/3 DoneRall Square South. Telephone (084) 45001 The history of British railways from the 1820s to the 1970s. (Time: 154 mins.) 15 �We who celebrate our 120th birthday this year, congratulate the Cork Film Festival on attaining its 21st. May we wish all our guests a most enjoyable visit to our native city. James J. Murphy & Co. Ltd., Lady’s Well Brewery, Cork. Established 1856. The only wholly Irish-owned Brewery. SJ i /I M // iCTOONER OB I DRAUGHT BEER DRAUGHT BSS I 16 J HQM �28 31 Great Britain Great Britain Web Of Life: The Living Woodland Romeo Of The Spirits Production : British Petroleum Co. Ltd. Director: Ronald Eastman Script: Ronald Eastman Photo : Ronald Eastman Music : Sidney Sager The English woodland throughout the four seasons. (Time: 27 mins.) Production : Thorntip Productions Ltd. Producer : Roberta Aarons Director : Nikolas Janis Script: Nicholas Janis from Shakespeare's Romeo and Juliet Photo : Stan Mestel Music : Prokofiev An alcoholic tramp recollects the part of Romeo. 29 Great Britain (Time: 20 mins.) The Speed Sailors 32 Production : Viscom Productions Ltd. Director : John Spencer Script: John Spencer Photo : Arthur Wooster and Eric van Haren Noman Sound : Peter Downey, Bill Barringer, Mike Sale Speed sailing at Castle Cove near Weymouth for the John Player World Speed Sailing Record. (Time : 27 mins.) Great Britain The Slipper And The Rose Production : Paradine Co-Productions Ltd. Producer : Stuart Lyons Director : Bryan Forbes Script: Robert B. Sherman and Richard M. Sherman Photo : Tony Imi Music: Richard M. Sherman and Robert B. Sherman 30 Great Britain This Is Your Guinness The story of Cinderella with Gemma Craven as Cinderella, Richard Chamberlain as The Prince, Edith Evans as The Dowager Queen, Annette Crosbie as The Fairy Godmother, Michael Hordern as The King, Margaret Lockwood as The Stepmother, Kenneth Moore as The Lord Chamberlain, Christopher Gable as John. (Time: 143 mins.) Production : Anthony Gilkison Associates Director: Arthur Wooster Script: Anthony Gilkison Photo: Arthur Wooster The brewing of Guinness. (Time 14} mins.) SOMETHING OLD — SOMETHING NEW The Imperial Hotel, on the fashionable South Mall, at the heart of Cork, blends 19th century elegance with the latest in modern facilities. The impres­ sive Victorian facade remains, but inside, each bedroom has its own private bathroom, telephone and radio. The restaurant, with a new menu, is quickly gaining renown as the place to wine and dine. The Hotel’s Lounge Bars and Grill Bar make it an elegant rendezvous. IMPERIAL HOTEL SOUTH MALL, CORK 021 -23304 17 �38 33 Ireland Hungary- Nano At The End Of The Road Production : Radharc Films Producer : Dermod McCarthy Director: Desmond Forristal Script: Desmond Forristal Photo: Brian O’Reilly Music : Fredric Bay, Anthony Sprugin and Gilbert Vintner Sound : Pat Carey Nano Nagle was the first person to bring organised educa­ tion to the poor children of Ireland. Foundress of the Pre­ sentation Order of teaching and nursing sisters her life is here portrayed using actors and actresses: Eithne Lydon (Nano); James N. Healy (Bishop Butler); Nora O’Mahony (Mother Kelly); Ronnie Walsh (Joseph Nagle); Marie O’Neill (Frances Nagle); Deirdre Maher (Sister Angela); Catherine Kavanagh and Jacqueline McNamara (children). (Time : 341 mins.) (Vcgul) Production : Hunnia Studio, Budapest Director : Gyula Maar Script : Gyula Maar Photo : Lajos Koltai An accident prevention supervisor retired from his job at the age of 60 faces the problems of retirement. (Time : 95 mins.) 34 Hungary Irregular Stories (Rendhagyo Tortenetek) Production : Pannonia Film Studios, Budapest Director : Attila Dargay Script : Attila Dargay Four mini-stories exploring the human situation, solo, duo, trio and quartet. (Time : 8J mins.) 39 Ireland Summer Silver 35 Production: Martello Films Producer: Neville Presho Script: Neville Presho Photo: Keith Wilkinson and Jerry Pass Sound : Nick Livingstone A day in the life of a salmon-fishing community in Donegal. (Time: 251 mins.) Hungary Parade (Diszlepes) Production : Pannonia Film Studio, Budapest Director: Jozsef Gemes Script : Jozsef Gemes What can be done if one of the marchers on parade has one leg shorter than the other? (Time: 8 mins.) 36 BARRY’S Ireland Horseabout Ireland Production : Film Consultants of Ireland Ltd. Producer: Tom Hayes Script: Tom Hayes Photo: Joe McCarthy Sound : Pat Hayes and Paul Flynn The horse scene in Ireland. (Time: 15 mins.) TEA 37 as well-known as Ireland Huanchaco Production : Radharc Films Director: Dermod F. McCarthy Script : Desmond Forristal Photo : Brian O’Reilly Shandon Huanchaco is a tiny fishing village on the coast of Peru. At first sight is seems just another fishing village where the natives fish from their beautiful beach, but behind the peace and beauty there is a more macabre reality, for it was on that beach that the Spanish conquerors landed and forced the natives to become Christians or die. (Time: 25 mins.) 18 �21st cork Alm rtant book re goers. international JUNE 5 — 12, 1976 N.B.— All Film Programmes will be screened at the Capitol Cinema, Grand Parade, Cork Saturday, June 5 3.30 p.m. Ref. No. 46 POZAR (Poland) TRAIN OF MEMORY (USSR) ... 62 10 DOBRE JITRO (Czech) THE LIVING WOODLAND (G. Britain) 28 ECHOES OF A SUMMER (USA) ... 53 7.45 p.m. Official Opening By MR. ROBERT SHAW Film Programme as at 3.30 p.m. Sunday, June 6 12 Noon — Festival Celebration — Concelebrated Mass at Church of St. Francis 2.30 p.m. CARA A JA (Czech) 11 CHRONICLES OF CHANGE (USA) THE SPEED SAILORS (G. Britain) 52 29 SOLDIERS OF FORTUNE (Italy) 41 Starring Bud Spencer, Frederik de Pasquale ankef ireoand 5.30 p.m. DEDALO (Italy) ... The bank of a lifetime 42 ACES HIGH (G. Britain) 27 8.15 p.m. — Film Programme as at 5.30 p.m. 11.15 p.m. School of Music Theatre SYMPOSIUM — “Writing for Vision” Speakers include — James Mitchell, Will Sterling, and Wolf Mankowitz I �Ref. No. 33 Monday, June 7 Hungary 9.30 a.m. At The End Of The Road (Vcgul) Production : Hunnia Studio, Budapest Director: Gyula Maar Script: Gyula Maar Photo : Lajos Koltai An accident prevention supervisor retired from his job at the age of 60 faces the problems of retirement. (Time: 95 mins.) 34 Hungary Irregular Stories (Rendhagyo Tortenetek) Production : Pannonia Film Studios, Budapest Director : Attila Dargay Script: Attila Dargay Four mini-stories exploring the human situation, solo, duo, trio and quartet. (Time: 8} mins.) 35 Hungary Parade (Diszlepes) Production : Pannonia Film Studio, Budapest Director : Jozsef Gemes Script : Jozsef Gemes What can be done if one of the marchers on parade has one leg shorter than the other? (Time : 8 mins.) 36 TRIBUTE TO SATYAJIT RAY Introduced by Marie Seton Film: The ADVERSARY 11.30 a.m. CORK SALUTES 20th CENTURY-FOX Film o INN OF THE SIXTH HAPPINESS Directed by Mark Robson Starring: Ingrid Bergman, Robert Donat, Curt Jurgens 2.30 p.m. VAL DOONICAN—FIRST THIRTY YEARS (Ireland) HORSEABOUT IRELAND (Ireland) ANY DAY NOW (Netherlands) ... Starring: Ton van Duinhoven, Wim de Haas 40 36 43 5.30 p.m. DAREK (Poland) THIS IS YOUR GUINNESS (G. Britain) COUSIN COUSINE (France) 45 30 23 8.15 p.m. — Film Programme as at 5.30 p.m. Tuesday, June 8 9.30 a.m. TRIBUTE TO SATYAJIT RAY Ireland Film: THE ADVENTURES OF GOOPY AND BAGHA Horseabout Ireland 11.30 a.m. Production : Film Consultants of Ireland Ltd. Producer; Tom Hayes Script: Tom Hayes Photo : Joe McCarthy Sound : Pat Hayes and Paul Flynn The horse scene in Ireland. (Time : 15 mins.) SALUTE TO 20th CENTURY-FOX Film: DRUMS ALONG THE MOHAWK Directed by John Ford Starring: Claudette Colbert, Henry Fonda 2.30 p.m. 37 Ireland Huanchaco Production : Radharc Films Director : Dermod F. McCarthy Script : Desmond Forristal Photo : Brian O’Reilly Huanchaco is a tiny fishing village on the coast of Peru. At first sight is seems just another fishing village where the natives fish from their beautiful beach, but behind the peace and beauty there is a more macabre reality, for it was on that beach that the Spanish conquerors landed and forced the natives to become Christians or die. (Time: 25 mins.) SPARTAKIADA (Czech) THE SISTERS (Netherlands) L’EMPREINTE (France) TIP OF THE TONGUE (Belgium) Starring: Marie Dubois, Olivier de Saedeleer 16 44 22 4 5.30 p.m. LESSON ON SOCIOLOGY (Bulgaria) IRREGULAR STORIES (Hungary) LES BORGNES SONT ROIS (France) W. C. FIELDS AND ME (USA) ... 8,15 p.m. — Programme as at 5.30 p.m. 6 34 21 58 �Wednesday, June 9 Ref. No. TRIBUTE TO SATYAJIT RAY rtantbook Film: APPARAJITO 11.30 a.m. SALUTE TO 20th CENTURY-FOX re goers. Film : THE LONGEST DAY Directed by Ken Annakin 2.30 p.m. HUANCHACO (Ireland) NANO (Ireland) ... PRAHA SECESNI (Czech) GOLDWOOD (Canada) SIRIUS (Czech) 1 37 38 14 9 15 5.30 p.m. ROMANCE WITH A DOUBLE BASS (G. Britain) DIZLEPES (Hungary) SPARTACUS (USSR) 24 35 60 Starring : The Bolshoi Ballet 8.15 p.m. — Programme as at 5.30 p.m. 11.15 p.m.—School of Music Theatre LECTURE (Illustrated) by John Huntley "NARROW GAUGE RAILWAYS OF IRELAND" Thursday, June 10 9.30 a.m. TRIBUTE TO SATYAJIT RAY Film : MAHANAGAR 11.30 a.m. SALUTE TO 20th CENTURY-FOX Film : GENTLEMEN PREFER BLONDES Directed by :Howard Hawkes Starring: Marilyn Monroe, Jane Russell, Charles Coburn (The Czech short film MAMA will be screened in this programme) 2.30 p.m. * i' ARABESQUE (U.S.A.) AGULANA (Belgium) LETTERS FROM TAIGA (USSR) THE DUEL (USSR) HIGH FIDELITY (Britain) SUNDAY TOO FAR AWAY (Australia) 50 3 61 59 25 1 5.30 p.m. SEE (USA) LOCOMOTION (G. Britain) TAXI DRIVER (USA) Directed by Martin Scorsese Starring: Robert de Niro, Cybill Sheperd and Jodie Foster 8.15 p.m. — Programme at as 5.30 p.m. 56 26 57 anKcFlrelanCL The bank of a lifetime �Ref. No. 33 Friday, June 11 Hungary 9.30 a.m. At The End Of The Road (Vcgul) Production : Hunnia Studio. Budapest Director : Gyula Maar Script : Gyula Maar Photo : Lajos Kollai An accident prevention supervisor retired from his job at the age of 60 faces the problems of retirement. (Time : 95 mins.) 34 Hungary Irregular Stories (Rendhagyo Tortenetek) Production : Pannonia Film Studios, Budapest Director : Attila Dargay Script : Attila Dargay Four mini-stories exploring the human situation, solo, duo, trio and quartet. (Time : 81 mins.) 35 Hungary Parade (Diszlepes) Production : Pannonia Film Studio, Budapest Director: Jozsef Gemes Script: Jozsef Gemes What can be done if one of the marchers on parade has one leg shorter than the other? (Time : 8 mins.) 36 TRIBUTE TO SATYAJIT RAY Film: COMPANY LIMITED 11 a.m. — School of Music Theatre Illustrated talk by Philip Jenkinson “LOST CLASSICS OF THE CINEMA'’ Clips from the original “Ten Commandments”, “The Viking”, “SOS Iceberg”, “Phantom of the Opera", etc. 11.30 fl.m. SALUTE TO 20th CENTURY-FOX Film: THE GRAPES OF WRATH Directed by John Ford Starring: Henry Fonda, Jane Marshall 2.30 p.m. SAUDADE (Spain) LITTLE COCK & LITTLE HEN (Czech) ... GO AND WIN (Federal Republic of Germany) KANGAROO ISLAND (Australia) Directed by Ron Lowe DER LORD VON BARMBECK (Federal Republic of Germany) Starring: Inken Sommer, Ottokar Runzc 47 12 18 2 19 5.30 p.m. DESCENT (Canada) CARNIVAL (USA) BAILLY — COULANGE (France) ROMEO OF THE SPIRITS (G. Britain) ... THE REAL MAN (Bulgaria) Starring: Stefan Danailov, Elena Dimitrova 8 51 20 31 7 Ireland Horseabout Ireland Production : Film Consultants of Ireland Ltd. Producer: Tom Hayes Script: Tom Hayes Photo: Joe McCarthy Sound : Pat Hayes and Paul Flynn The horse scene in Ireland. (Time : 15 mins.) 8.15 p.m. — Programme as at 5.30 p.m. Saturday, June 12 10.30 a.m. SALUTE TO 20th CENTURY-FOX 37 Ireland Huanchaco Production : Radharc Films Director : Dermod F. McCarthy Script: Desmond Forristal Photo : Brian O'Reilly Huanchaco is a tiny fishing village on the coast of Peru. At first sight is seems just another fishing village where the natives fish from their beautiful beach, but behind the peace and beauty there is a more macabre reality, for it was on that beach that the Spanish conquerors landed and forced the natives to become Christians or die. (Time: 25 mins.) Film : THE SOUND OF MUSIC Directed by Robert Wise Starring : Julie Andrews, Christopher Plummer 3.30 p.m. THE NINE KNIGHTS (Belgium) THE SLIPPER AND THE ROSE (G. Britain) 5 32 7.45 p.m. PRESENTATION OF AWARDS Film Programme as at 5.30 p.m. N.B. The Press Club will be situated at the Metropole Hotel �Avery important book for theatre goers. ■ Bank, tf*Ireland The bank of a lifetime �All the world’s our stage, V' f I ?■ ■ . V i• / / I i \ I »■ I 'J//,.. British airways We’ll take more care of you. 20 �43 40 Ireland Netherlands Val Doonican : First Thirty Years Any Day Now Production: O’Farrell Deasy Productions Producer : Rory O’Farrell Photo : Seamus Deasy (Vandaag Of Morgen) Production : Roeland Kerbosch Productions Producer: Rocland Kerbosch Script: Roeland Kerbosch and Ton Van Duinhovcn Photo: Hein Groot Vai Doonican remembers. (Time : 30 mins.) 41 Set in the year 1979 in a Europe isolated from the rest of the world, without any raw materials or other important com­ modities like fertilisers — a plea for understanding of what the Third World means in 1976. Italy Soldier of Fortune Director: Pasquale Festa Campanile Music: Guido e Maurizio de Angelis (Time : 88 mins.) (Time : 94 mins.) 42 44 Italy Labyrinth Netherlands (Dedalo) Sisters Production : Cinctcam Realizzazioni Director: Manfred Manfredi Script : Aldo Raparelli Photo : Sergio Faiella Sound : Aldo Raparelli (Jusjes) Producer: Marc Jambos Director : Marc Jambos Script: Marc Jambos Photo: Maarten Schmidt Music : Ruud Bos Sound : Gees Rijnings Fantasy of memories of an imagined happiness and of the fear of consequences of a violent act, never performed and perhaps never really desired. (Time: 12 mins.) (Time: 21A mins.) IRELAND’S MOST EXCITING FASHION STORES With the Compliments of RICHARD ALAN AT 63 OLIVER PLUNKETT STREET, CORK Phone 23759 58 GRAFTON STREET, DUBLIN 2 Phone 775149 21 �BEST OF ALL iboflor See Samples at your Local Carpet Store or contact HARCO LTD. CORK Loose Laid — Interchangeable — Mothproof Tel. 55033 ram 0® CHju UDT are now paying 12% return on investment Full details from Basil Mansfield or Helen Dennehy, at Cork 24361. Or post the coupon for a brochure. i To: Deposits Dept..United Dominions Trust (Ireland) Ltd. | Irish Life Building, la South Mall, Cork. i ' ' i J 1 J Please send me your brochure on Deposits } ■ < I NAME! I ■ i i i I I ADDRESS I I I I _____________ I I UDT BANK I I 22 ■ ■ ■ ■ ■ i ■ ■ C1FP 76 �45 49 Poland Switzerland Darek Dziedziech Pastoral Switzerland Production : Educational Film Studio, Lodz Director : Jadw iga Zukowska Script : Jadwiga Zukowska Photo : Jacek Mieroslawski, Stanislaw Sliskowski. Jacek Zukowski Production : Condor Film AG, Zurich Director: Nicholas Gessner Script: Nicholas Gessner Photo : Ronald Goodman Music : Beethoven The Swiss landscape from the Jura to the Tessin. (Time: 15 mins.) Everyday Darek goes to school across the ski-route from the Gasienicowa Valley to Zakopane. (Time : 33 mins.) 50 U.S.A. Arabesque Production : John Whitney Music : Manoocheher Sadcghi Music as a time sequence with score by the Iranian com­ poser Manoocheher Sadeghi. (Time : 61 mins.) 46 Poland Fire (Pozar) 51 Production : Miniature Film Studio, Warsaw Director: Witold Gicrsz Script: Witold Gicrsz Photo : Jan Tkaczyk Music : Jacek Ostaszewski U.S.A. Carnival Production : Noe and Ozen Seremetiev Productions Producer: Ozen Sercmetiev Director: Ozen Seremetiev Script: Nevil O. Ergin Photo: Ozen Seremetiev Fire destroys the forest but i seed that has survived starts to grow and life begins again. (Time : 8 mins.) Carnival time in Rio de Janeiro. (Time: 15 mins.) 47 THE MANAGEMENT OF: Spain Saudade THE CAMEO Production : Dedalofdms Director: Guillermo de la Cueva Alonso Script: Guillermo de la Cueva Alonso Photo : Alfonso Nieva Trabanco and Based on a poem by Rosalia de Castro which explores the landscape and life of the Galician provinces. (Time : 10 mins.) THE CLASSIC (Prop. Seamus Quinn) 48 Switzerland CONGRATULATE Mainly Sunny (Lago Maggiore) CORK FILM INTERNATIONAL Production : Condor-Film AG, Zurich Director: Herbert Seggelke Script: Herbert Scggclke Photo: Alexandre Barbey, Hans Liechti and Thomas Albrecht Music : Dvorak on Its 21st Impressions of the landscape bordering Lake Maggiore. (Time: 14 mins.) 23 �Facilities, Skills, Experience Clients of our Engineering Division include The Metal Products Group has the facilities, the ----UUI 11 Up, VJ Dll I VIII, skills and the experience to handle a wide range of Dunlop. Gulf Oil, DlCI 1ipvi 11 and Quigley Semperit ui ■ v VMiy — / mechanical and electrical engineering jobs from Magnesite. servicing and refitting complex machinery to The Contracting Division has extensive manufacturing industrial fasteners, from major experience of electrical installation contracts, electrical and mechanical services contracts to including factories and process plants for fabricating power transmission towers. 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Fj-ai------------------ ‘"™, g?1-?-™, grind, hone, mill, plane, punch, roll and spray. mm z m dm m d Metal Products Group Albert Street, Cork. Telephone 021-25091 24 ici �52 54 U-S.A. U.S.A. Chronicles of Change Mountain Music Production : Francis Thompson Inc. Producer : Don Guy Script: Robert McBride Photo : Don Guy Sound : Bill Blachly Production : Will Winton Productions Producer : Will Winton Director : Will Winton Script : Will Winton Music : Bill Scream and Paul Jameson The interaction of human and natural forces in the world. Cartoon in which the happy life of creatures down in the forest is changed by three musicians. (Time: 9 mins.) (Time: 16 mins.) 53 55 U.S.A. U.S.A. Reaching Out Echoes Of A Summer Production : Production : Par Films Producer: Patricia A. Russell Script: Patricia A. Russell Photo: David Sperling Music: Elizabeth Maze! United Artists Corporation Ltd. Producer : Sandy Howard and Richard Harris Director : Don Taylor Script : Robert W. Joseph Photo : John Coquillon Music: Richard Harris and Terry James (Time: 95 mins.) 56 Cast: Richard Harris, Lois Nettleton, Geraldine Fitzgerald, William Windom, Brad Savage, Jodie Foster U.S.A. See Dcirdre (Jodie Foster) a 12-year-old, has come to accept not only her own mortality but to celebrate life and to teach that same acceptance to her father Eugene Stridcn (Richard Harris), and his wife Ruth (Lois Nettleton) and to share it with her friend Phillip (Brad Savage). (Time : 98 mins.) Production : Opus Films, New York Producer : Robin Lehman Director : Robin Lehman The wonders of sea life. MEET AT CORK’S MOST POPULAR RENDEZVOUS 'AVER MARKET LANE (off Patrick Street) Phone 22716, 226351 25 (Time: 12J mins.) �BEST WISHES FOR HOTEL AND RESTAURANT on your CATERING 21st YOU CAN’T BEAT from COOK GAS J. Barter & Sons Ltd. w Travel Agents 92 PATRICK STREET. CORK Phone 25252 Phone 24261 s w SEE NAPLES AND 13 S3 VISIT TRAMMP'S E 1 AND LIVE DIE . . i Rub Shoulders I with the Famous in 13 f5=^T 13 U IS 13 13 13 CLUB ELIZABETHE'S lUK Q 1. I 61 El 13 3 3 3 3 g 3 3 3 3 3 £ 3 3 3 3 13 INTERNATIONAL |GlS1G]E]S]GlG]GlGlG1GlGlG]GlG1G]GlGinp]G]qGlE-|t?lGlE1E]G]G]S]E]EjG]G]Ejg]E]glB Two Fabulous Clubs in One Open 7 nights a week. Full Restaurant Facilities DRAWBRIDGE STREET (off Patrick St.) CORK 26 �57 59 U.S.A. U.S.S.R. Taxi Driver The Duel Production : Bill-Phillips, Columbia Producer: Michael Phillips and Julia Phillips Director: Martin Scorsese Distributor: Columbia-Warner Film Distributors Ltd. A portrait of a modern-day New York City psychopath. (Duel Poedinok) Production : Central Documentary Studio Director : I. Grigorynev Script: D. Ivanov Photo: R. Petrosov (Time : 112 mins.) Athletics in the Luzhniky Stadium, Moscow. (Time: 10 mins.) 58 60 U.S.A. U.S.S.R. W. C. Fields And Me Spartacus Production : Universal Producer: Jay Weston Director: Arthur Hiller Script: Bob Merrill, based on the book by Carlotta Monti and Cy Rice Production : Mosfilm Studio Director: Vadim Derbenev and Yuri Grigorovich Script: Yuri Grigorovich and Vadim Derbenev Photo : Vadim Derbenev and Vladimir Pischchalnikov Music: Aram Khachaturyan Rod Steiger plays the great comedian in a total recall based on the memoirs of Carlotta Monti (Valerie Perrine), his life­ long companion. (Time : 111 mins.) A centenary commemoration of the Bolshoy Ballet in a performance of Khachaturyan’s Spartacus, based on the revolt of the slaves against Rome. FITZGERALD’S MENSWEAR CONGRATULATIONS TO CORK FILM INTERNATIONAL ON YOUR 21st * from ☆ ☆ Agents for HICKEY & BYRNE CHESTER BARRY MAGEE, DAKS VAN HEUSTEN GRENSTON SHOES PRINTERS 41 MARY STREET & ☆ ☆ ☆ 1 SULLIVANS QUAY, 24 PATRICK STREET, CORK CORK Phone: 021 -20725 Phone 20095 27 �Congratulations to CORK FILM INTERNATIONAL and Every Success on your 21st ANNIVERSARY TADG LEHANE Artist 9 PATRICK STREET. CORK Display Artist to the Festival since its inception Order your A^terford Glass from the experts MANGAN for MUNSTER ARCADE CORK IRELAND Engagement and Wedding Rings Jewellery, Clocks and Watches Silver, Electro-Plate Waterford and Galway Crystal The MUNSTER ARCADE is one of Ireland’s most reliable, renowned and expert shippers of WATERFORD CRYSTAL and offer you a fast, efficient service on an ex-stock basis. also China Department MUNSTER ARCADE prices include FREE POSTAGE, JAMES MANGAN LTD., PACKING and INSURANCE 3-4 Patrick Street, (Opposite Statue) There's the world of Waterford Crystal at the CORK Estd. 1817 Tel. 30998 (Branch at High Street, Killarney) MUNSTER ARCADE PATRICK STREET, CORK. IRELAND 28 �61 U.S.S.R. Letter From The Taiga Congratulations to Director: V. Troshkin Script: V. Troshkin Proto : V. Gorbunov CORK FILM INTERNATIONAL The chronicle of building of the Baikal-Amur main line. and Every Success (Time : 10 mins.) 62 on your U.S.S.R. 21st ANNIVERSARY Train Of Memory’ Production : Soyuzmultfilm Studio Director : N. Serebryakov Script: A. Speshnev Music : G. Gladow DI The life and creative work of the Chilean poet, Pablo Neruda. 63 U.S.S.R. Europe’s Greatest Day D. & A. O'LEARY Production : Central Documentary Studio Director: V. Troshin Script: M. Sturua Photo: O. Artseulov, V. Kopalin, L. Maximov LIMITED The European forum in Helsinki. WASHINGTON STREET, CORK 64 Trio Yugoslavia Production : Zagreb Film Producer: Zlatko Grgic Script : Zlatko Grgic Photo : Franjo Malagorski PRINTERS (Time: 12A mins.) TO THE FESTIVAL INTERNATIONAL PRESS OFFICE SINCE ITS INCEPTION at Metropole Hotel Very kindly sponsored by Mr. Gerard Jones, Belgian Consul 29 �Cork Salutes 20th Century-FOX This year Cork has hit on a new idea for a Retrospective Programme and hopes to continue the policy for future years of honouring a leading world production organisation. This year Cork salutes 20th Century-FOX. The films selected are very varied and include a broad spectrum of the entertainment world of film. The films to be screened in this first CORK SALUTES programme at the Capitol at 11.30 a.m. are: — Monday. June 7 Inn Of The Sixth Happiness Director: Mark Robson Stars: Ingrid Bergman, Robert Donat, Curl Jurgens Tuesday, June 8 Drums Along The Mohawk Director: John Ford Stars: Claudette Colbert, Henry Fonda Wednesday, June 9 Longest Day Directors: Ken Annakin, Andrew Marton, Bernard Wicki Stars: Richard Burton, Sean Connery, John Wayne Thursday, June 10 Gentlemen Prefer Blondes Director: Howard Hawks Stars: Marilyn Munroe, Jane Russell, Charles Coburn Friday, June 11 Grapes Of Wrath Director: John Ford Stars: Henry Fonda, Jane Darwell Saturday, June 12 Sound Of Music Director: Robert Wise Stars; Julie Andrews, Christopher Plummer 30 �A Tribute to SATYAJIT RAY Before the Cannes Film Festival of 1956 the Indian cinema was as unknown and as neglected in the West as the Japanese had been before the showing of Kurosawa’s "Rashonion" some six years previously. India, like Japan, had been producing hundreds of films a year since 1920, the total output outnumbered that of Hollywood. But the artistic and technical qualities of these Indian films were abysmally low, and there was no interest in them in the international markets. Then with the screening of "Father Panchali" at Cannes the Indian film made its mark, and Satyajit Ray (pronounced Shotachit-Rye) emerged as one of the new and inter­ esting breed of directors. Ray had been drawn to the cinema by many influences. A ravenous film bull, even at the age of six he was proclaiming ‘Til go to Germany and come back and make films". He was one of the founders of the Calcutta Film Society, and he was fortunate enough to meet Renoir when he was shooting "The River". Ray's own family background engendered a deep love of the arts: he was the son of a famous author, artist and musi­ cian. he studied graphic art with Rabindranath Tagore, then was employed as a designer in an advertis­ ing firm. But it was not until 1950 when his firm sent him to Europe that Ray’s drcam assumed actuality. As soon as he arrived in London he contacted Lindsay Anderson and Gavin Lambert and joined the London Film Club. ’In four and a half months’, he later recalled ‘I saw ninety-nine films’. The past-war neo-rcalist movement had a great interest for him and he tells us that De Sica and "Bicycle Thieves" left an indelible impression. But not "La Dolce Vita"; as he put it ‘I don’t like the sordid, and I'm not part of the New Wave trend of to-day.’ When Ray returned to India in 1951 he resigned his job and embarked on his first film. "Father Panchali", the first part of a trilogy tracing the life and fortunes of a Bengali family. After five years of work, setbacks, crises, at the age of thirty-four Ray completed the film which took its place with "Shoe Shine". "Zero de Conduit" and "Les Quatre Cents Coups" as one of the most moving evocations of a boy’s world. When Ray was seven years old his mother took him to Tagore's university at Shantiniketan and asked Tagore to sign the child's autograph book. Tagore wrote: ‘I have travelled all round the world to see just rivers and the mountains ... I have seen everything, but I forgot to see just outside my house a dewdrop on a little blade of grass, a dewdrop which reflects in its convexity the whole universe around you’. Ray’s films also try to catch the presence of the essential thing in a very small detail. Ivo Jarosy said of Ray that ‘his vision is so luminous and intense that nothing appears insignificant, and even the smallest details of his characters’ daily lives become dramatic and engrossing’. Speaking of the Indian cinema Renoir once said to Ray: ‘If you could only shake Hollywood out of your system and evolve your own style, you would be mak­ ing great films here’. Ray has done just that. His filmic vision is a narrow one. his themes are the eternal ones of the old and the new, life and death; there is no portrayal of evil in the Christian sense, and he has jettisoned the staple ingredients of the Indian film — lust, murder and rape. His characters are mostly quiet sensitive people who become vulnerable to poverty and suffering. Many of them, all recognisably of the same type, move from film to film — Amal in "Charulata", the boy in “Kanchenjunga", the husband in "Devi'" — all eternal students, drunk on literature but overwhelmed by life. ‘Trofimovs in a ragged dhoti’ as Penelope Houston described them. But perhaps the best summing up of Ray’s outstanding achievement in cinema are the words that a Bengali doctor once said to Tagore about Yeats: ‘He has spoken out of life itself and that is why we give him our love . — Conor Sweeney Films by Satyajit Ray to the screened at the Capitol at 9.30 a.m. in the Tribute Programme are: Monday, June 7 Tuesday, June 8 Wednesday, June 9 Thursday, June 10 Friday, June 11 The Adversary The Adventure of Goopy and Bagha Apparjito Mahanagar Company Limited Each programme will be presented by Marie Seton, author of PORTRAIT OF A DIRECTOR (Dobson, 1971), a study of the life and work of Satyajit Ray, from which the quotations in above article have been taken. 31 �.... PACKETS CARRY A GOVERNMENT HEALTH WARNING �LECTURES 24th Cork International CHORAL and FOLK-DANCE FESTIVAL at the SCHOOL OF MUSIC at 11.15 p.m. Sunday, June 6 WRITING FOR VISION James Mitchell. Wolf Mankovicz and William Sterling Wednesday. June 9 LOST CLASSICS OF THE CINEMA (illustrated): Philip Jenkinson Friday. June 11 IRISH RAILWAYS OF THE PAST (illustrated): John Huntley CITY HALL CORK The Techniques of Film Making A course on the techniques of film-making for senior school students will be held at the Pavilion Cinema from Monday, June 7 to Saturday, June 12. The course will be conducted by Mr. Gerry O’Halloran of the British Film Institute. April 19th - 24th 1977 Join the FESTIVAL CLUB Information from: THE FESTIVAL OFFICE, Season Ticket Holders £3.00 15, BRIDGE STREET, CORK 33 �Cork Film International AWARDS A Bronze Statuette of St. Finbarr will be awarded by the International Jury to the outstanding film in each category (a) General Interest and Documentary; (b) Animated Cartoon: (c) Sport: (d) Short Fiction. Certificates of Merit will be awarded at the discretion of the Jury to particular films for outstanding aspects. Associate Members - 1976 Harris Rundle Ltd., Cork Brooks Haughton Ltd.. Cork Seamus and Mary Lantry, Cork [INTERNATIONAL CRITICS’ AWARD Jim O’Keeffe, Bandon A Waterford Glass Award will be presented to the best Irish-made film shown at the festival. The award will be made by the film critics attending the Festival. Quigley Company of Europe Ltd.. Cork Ashbourne House Hotel The Bank of Nova Scotia. Cork Allied Irish Investment Bank. Cork IRISH FILM SOCIETY’S AWARD Northern Bank, Cork A Jury of the Irish Film Society will present an Award for the best short film shown at the Festival. Mr. and Mrs. Alfred Navratil, Midleton Mr. A. J. Navratil, Midleton Accounting Services Ltd.. Cork Commission of the European Communities Maher’s Delicattessen, Cork Special Prize A. V. Dufficy, Dublin For the first time, the Commission of the European Communities (EEC) will present an Award at Cork 1976 for the Short Film, which in the opinion of the International Jury will contribute most to mutual understanding between people of the different European countries and of the common problems of contemporary society. Cooper Magennis. Cork Marathon Business Equipment Ltd.. Cork Business & Leisure Travel Jas. N. Healy, Theatre of the South Ltd. Clayton Love & Sons (Cork) Ltd. EEC JURY The International Jury for the EEC Award is: Odeon (Ireland) Ltd., Dublin Madame Vilmont (France) Eagle Printing Co. Ltd., Cork Mr. Emile Cantillon (Belgium) The Hammond Lane Metal Co. Ltd., Cork Mr. Conor Maguire (Ireland) Mr. Van Milleghem (Holland) Mr. Alan Watson (Gt. Britain) 34 �MTOnLEOGMTS Cork Film International owes its origin, in the main, to the financial support and encouragement of BORD FA1LTE EIREANN (The Irish Tourist Board). The Director and Council of the Festival express their deep appreciation to them. We arc also indebted to the following who have given considerable help to the Festival in various ways throughout the years of its existence: ARTHUR GUINNESS. SON & CO. (IRELAND) LTD. ALLIED IRISH BANKS BURMAH-CASTROL OIL LTD. MUNSTER ARCADE LTD. IRISH DISTILLERS LIMITED STARDUST CLUB, CORK SUNDAY WORLD TRACY SHOES SWAN BEDDING SALON and HAIR INTERNATIONAL D. & A. O’LEARY LTD. CORAS IOMPAIR EIREANN BRITISH AIRWAYS GESTETNER LTD. OYSTER TAVERN COLUMBIA-WARNER FILM DISTRIBUTORS C.A.B. LTD. WATERFORD GLASS LTD. C. P. & A. LTD. CORK EXAMINER — ECHO DENNEHY’S CROSS GARAGE MOTOLUBE (IRELAND) LTD. HENRY FORD & SON, LTD. O’MAHONY BROS. LTD. GERARD JONES, BELGIAN CONSUL SOUTHERN ELECTRONICS LTD. IRISH MIST LIQUEUR LTD. LONDON FRIENDS OF CORK joe McCarthy JOHNSON AND PERROTT LIMITED SUNBEAM LIMITED TOM KEATING TOM NICHOLAS TRUX LTD. BEAMISH & CRAWFORD LTD. HANK NIMWEGEN MURPHY’S BREWERY GEORGE BAKER CHRYSLER (IRELAND) LTD. EDDIE PATMAN JEFFERSON SMURFIT MARTINI IRISH BUSINESS SYSTEMS PERNOD ABBEY FILMS LTD. CORK-KERRY TOURISM LEP TRAVEL LTD. KEANES JEWELLERS MURTAGH PROPERTIES LTD. CASSIDY FABRICS THE JOHN DALY GROUP NATIONAL FILM STUDIOS OF IRELAND ESSO TEORANTA KELLY’S KITCHEN FRANK BOLAND LTD. CORK CORPORATION THE ARTS COUNCIL 35 �Appreciation . . Without the support of our promoters. Bord Faille and of our Sponsors and Advertisers Cork Film Interna­ tional could not be organised. The Council and Director express their sincere gratitude to them. Please ensure the Festival's Advertisers. continuation by supporting our Cover Design by Frank Sanquest Front of house display at Capitol Cinema by Tadhg Lehane A special tribute must be paid to the craftsmanship and infinite patience of the Staff of our printers, Messrs. D. & A. O’Leary. Ltd. While every effort will be made to adhere to this Pro­ gramme, the Cork Festival Council can accept no responsibility for errors, cancellations, or alterations. 36 � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Programme Content Source A related resource from which the described resource is derived Cork Film Festival Collection Publisher An entity responsible for making the resource available University College Cork Date A point or period of time associated with an event in the lifecycle of the resource 1956- Rights Information about rights held in and over the resource <a rel="license" href="http://creativecommons.org/licenses/by/4.0/"><img alt="Creative Commons License" style="border-width: 0;" src="https://i.creativecommons.org/l/by/4.0/80x15.png" /></a><br />This collection is licensed under a <a rel="license" href="http://creativecommons.org/licenses/by/4.0/">Creative Commons Attribution 4.0 International License</a>. All rights reserved. Please credit <a href="https://corkfilmfest.org/">Cork International Film Festival</a> &amp; provide a link back to this site. Format The file format, physical medium, or dimensions of the resource PDF Language A language of the resource English, eng; Irish, gle Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1956- Cork, Ireland Description An account of the resource A selection of programmes from the Cork International Film Festival. Subject The topic of the resource Cork Film Festival Programmes Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1976 Cork Film International programme content Subject The topic of the resource Cork Film Festival, Cork Film International, Satyajit Ray, India, London Friends of Cork, Dr SF Pettit, UCC, Tadg Lehane, 20th Century Fox Creator An entity primarily responsible for making the resource University College Cork, Cork Film Festival Source A related resource from which the described resource is derived Cork Film Festival Collection Publisher An entity responsible for making the resource available University College Cork Rights Information about rights held in and over the resource <span>This item is licensed under a </span>Creative Commons Attribution NonCommercial-NoDerivatives 4.0 International (<a href="https://creativecommons.org/licenses/by-nc-nd/4.0/">CC BY-NC-ND 4.0</a>) licence<span>.&nbsp;Please credit the&nbsp;</span>Cork International Film Festival Archive<span> and provide a link back to the site.</span> Language A language of the resource English, eng Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Cork, Ireland Description An account of the resource The 1976 festival programme cover is predominantly green-coloured with the image of a globe wrapped in a strip of film whose tip settles on the city of Cork. The strip of film spells out the word ‘Film’ across the lower half of the page. The programme cover was designed by Frank Sanquest.<br /><br />This was celebratory issue of the festival programme for the 21st edition of the festival costing 50 pence. The softbound 40-page programme was edited by Padraig O Maidin.&nbsp;<br /><br />The festival held a retrospective programme saluting 20th Century-FOX and screened some of their films for their CORK SALUTES programme. The programme notes include a retrospective view of the festival by Dr SF Pettit from University College Cork (pages 5-7) and a tribute to the Indian producer Satyajit Ray (page 31). The festival jury in 1976 included Sheamus Smith, Roger Manvell, Ernst Kruger and Conor Sweeny.&nbsp;<br /><br />We note the programme adverts include an acknowledgement to the artist Tadg Lehane, based on Patrick Street in Cork, who was the display artist for the festival since its inception in 1956 (page 28). Date A point or period of time associated with an event in the lifecycle of the resource 1976 Format The file format, physical medium, or dimensions of the resource PDF Type The nature or genre of the resource Programme Frank Sanquest London Friends of Cork London Friends of the Festival Satyajit Ray Tadg Lehane https://corkfilmfest.ucc.ie/files/original/eb5a62fca728b6e8db9ff6052ee1c69c.pdf c429909397789c97a9f18b1a4c00a416 PDF Text Text �FEILSCANNaN IDIRNaISIONTA CHORCAIGHE 22DDQI CCT’I FSOODl iDDjsramsl 1377 SATURDAY, 4 JUNE TO SATURDAY, 11 JUNE �The Festival Director introduces the 22nd Cork Film International. . . When the International Federation of Film Producers’ Associations granted our application for the First Cork Film International in 1956 we asked ourselves not only what we expected to gain but also what we had to offer in return. In our approach to the two questions the most outstanding thought was that since film had be­ come the greatest medium of mass communica­ tion and mass entertainment the world had ever known, it was of crucial importance that an appreciation of film as an art form should be made as widespread as possible among the public and that film makers should be provided with a Festival that would help them to achieve the technical and artistic potentialities that film offered. Last year we celebrated the 21st Cork Film International. This year, in the full maturity of the ideals that guided us in the beginning, we welcome you all to Cork 1977, and my sincere thanks to all of you for your unfaltering support. We have films from 25 countries and some special programmes for your interest and enter­ tainment. In our SALUTE Programme we honour this year COLUMBIA PICTURES INC. 4 �Our Films Technique Course is firmly estab­ lished and going from strength to strength. As always Bord Failte Eireann continues to be our main sponsor but Cork has many friends and benefactors and this year I would like to mention in particular the London Friends of Cork and the Dublin Friends of Cork. My thanks to the Directors and Staff of CorkKerry Tourism and to the many friends and sponsors who make Cork a worthwhile and joy­ ous occasion; to the many voluntary workers who make it all possible, and to the Press who bring Cork to the world and the world to Cork, And a special word of thanks to the Commu­ nity of St. Francis for arranging the Festival Mass. DERMOT T. BREEN, Director, Cork Film International 5 �SM0RTS JURY The International Competitions is: Jury for the Short Film JOAN BYRNE (Ireland) DEVENDRA KUMAR (India) J. HUNTER TODD (U.S.A.) JOHN EDWARDS (Great Britain) CHARLOTTE KERR-SOKAL (Germany) JOAN BYRNE Joan Byrne is a Director of the Irish Film Theatre, a company recently established by the Arts Council to provide a permanent repertory cinema in Dublin. She has long been active in the Film Society movement and has been hono­ rary secretary of the Irish Film Society of which she is the current vice-president. She has been a member of the International Federation of Film Societies jury at Venice and has twice acted on Film Society juries at the Cork Film Interna­ tional, to which she is a regular visitor. She is a keen traveller and in the course of journeys which have included visits to the USA, Africa and Soviet Central Asia, she has visited film studios in USA and Poland. By profession she is a microbiologist with a Ph.D. from Trinity College, Dublin. DEVENDRA KUMAR Born in the Tehri Garhwel State of the Hima­ layas, Devendra Kumar’s first work in films was in 1944 as dialogue director on the Hindi film Parinde. He is a founder member of the Federa­ tion of Film Journalists of India and its first secretary general. Of his half a dozen works on world cinema the most important are: Fifteen Years of World Cinema at Karlovy Vary and Indian Cinema, which have been translated into English, French and German and at present he is putting the finishing touches to a massive volume on Soviet Cinema. 6 �J. HUNTER TODD Born in New Orleans, J. Hunter Todd’s first documentaries were make for the U.S. Army, the U.S. Government and NASA. After military ser­ vice he worked in Los Angeles and with several major studios and TV networks before becoming Executive Producer of the U.S. State Depart­ ment’s documentary unit. With over 300 films to his credit and more than 100 international awards at major film festivals, he founded the Atlanta International Film Festival in 1968 as the First Annual Festival of the Americas which starting with 253 entries had grown to over 2.000 entries in 1976. The whole operation of the Atlanta Film Festival having moved to The Virgin Islands in 1975 with the total financial support of the Virgin Islands Government, it has become The Virgin Islands Film Festival, one of the most prestigious international film competi­ tions in the world. JOHN EDWARDS John Edwards directed his first film Trawling in 1962 at the age of 24; since then he has direc­ ted nearly 100 short and sponsored documen­ taries and scripted over 50 short and documen­ tary screenplays. He has had his work selected as Britain’s official entry at the major festivals and has won many awards including a top award at Cork in 1973 for The Worlds of Rudyard Kipling. More recently he has directed and scrip­ ted three of the programmes in the series The Amazing Years of Cinema and America’s Sweet­ heart, a feature documentary on the life and films of Mary Pickford. CHARLOTTE KERR-SOKAL Mrs. Kerr-Sokal began her career in films as an actress both on television and cinema, and from doing profile interviews for newspapers of interesting people added a camera, making por­ trait interviews for television. More recently, she has mode a series of documentaries on socio political subjects. 7 �SAN REMO PANORAMA The San Remo Azienda Autonoina Di Soggiorno (local Tourist Board of San Remo, Italy) wish every success to Cork Film International with flowers from our city. ITALIAN STATE TOURIST OFFICE, 47 Mcrrion Square, Dublin. Phone 766397 8 �Synopses of Films Notes Films are listed numerically. The numbers correspond to those shown opposite the names of the films in the Coloured inset in this brochure. 1 Australia — THE DEVIL’S PLAYGROUND Director: Fred Schepizi Script: Fred Schepizi Cast: Arthur Dignam, Nick Tate, Tom Allen, Thomas Kcnncally Pubescent boys and their tutors in a college seminary and in particular the 11-year old Tom Allen 2 Australia — THE GREEN MACHINE Production : Film Australia Director: Jerry Ohlsson Script: Jerry Ohlsson Photo: Guy Furner and Keith Lambert Sound ; David McConnachie The Australian Army in the Seventies. (Time : 18 mins.) 3 Australia — LEISURE Production : Film Australia Producer : Suzanne Baker Director: Bruce Petty Photo : Paul Whitbread, Jan Cregan Music : Michael Carlos Sound : Julian Ellingworth (Time: 14 mins.) 4 Bahrain — PICTURES OF AN ISLAND Production : Falcon Cinefoto Director: David Williams Producer : John Durst and Khalifa Shaheen Script: David Williams Photo : Ron Granville and Khalifa Shaheen Music: Simon Parkes and Achmed Fardan Contrasting scenes and ways of life on the Island of Bahrain, from the humble desert dweller to the swing­ ing international scene of commerce, oil and banking. (Time : 20 mins.) 9 �o la . -, ?■ d Zoom, inona^ Guinness GD885 �5 Belgium — MOI, TINTIN 6 Belgium — A PROPOSAL OF MARRIAGE (UNE DEMANDE EN MARIAGE) Production : Marc Levie Visuals—Tracol Film Director: Marc Levie Script: Marc Levie and Pascal Vrebos Photo: Alessandro Usai Sound : Daniel Van Bever Music: Paul Uy To Offenbach’s music a young man asks a mother for her daughter’s hand in marriage. The hand is given but only the hand. (Time: 11| mins.) 7 Bulgaria — THE COLUMN Production : Bulgarian Cinematography Director: Pcncho Bogdanov Script: Pencho Bogdanov and Dimiter Tomov Photo : Petko Slavov Music : Boris Karadimchen An impressive pillar with a human figure on top, when, resorting to all kinds of trickery, another figure takes its place, and then another, and still another. (Time : 6| mins.) 8 Canada — BLACKWOOD Production : National Film Board of Canada Director: Tony lanzelo and Andy Thompson Producer: Tom Daly Photo: Tony lanzelo Sound : Joseph Champagne Music : Angus Mowat Narrator: Gordon Pinsent David Blackwood, copper plate etcher and print maker from Wesleyville, Newfoundland, against the background of his home town. (Time: 28 mins.) FITZGERALD’S MENSWEAR Agents for MAGEE, DAKS, VAN HEUSEN GRENSON SHOES ATKINSONS POPLIN TIES ☆ ☆ ☆ 24 PATRICK STREET, CORK Phone 021 - 20095 n �03? EIZTHfl r.inn.iin LOW TAR AttteicnnincdtyFUneion UboriicriCT Ewtpc Lid. PACKETS CARRY A GOVERNMENT HEALTH WARNING 12 �9 Canada — THE STREET Production: National Film Board of Canada Director: Caroline Leaf Producer: Guy Glover Animation: Caroline Leaf Photo: Caroline Leaf Sound : Gloria Demers and Ken Page Script: Based on a short story by Mordechai Richter Then, one sunny Friday, the old lady died. “It’s re­ markable that she held out for so long”, said the Rabbi. And it was; for if strength came from the heart, she had little to live for. To the ones she loved, she had become a burden, a source of tension, an inconvenience (Time: 10 mins.) 10 Columbia — MONOLOGUE (HOY FUNCION DE GANCHO) Production : Cine Productions Setenta Director : Alberto Giraldo Castro Script: Alberto Giraldo Castro Photo: Enrique Forero Sound : Ingeson Music: Jos_e Buenagu As long as there are children, there will always be a circus. (Time: 13| mins.) '5 J® $ We’d like to give you Credit at no extra cost! Thinking of a new fridge for Summer — a washing machine? — a new carpet? Cashs will grant you 6 months credit interest free on household purchases, over £75 in value. For full details of our other credit facilities call to our credit office, 2nd Floor, where our friendly staff will be happy to help you. Cashs 13 �No matter what your own place is, HGW have the paint for it. From their modest beginnings in 1885 at Shandon Works, Cork, Harringtons and Goodlass Wall have grown today into Ireland’s largest paintmakers. Backed by extensive technical resources and research facilities, HGW produce such well-known paints for the home as Uno, Valspar and Dulux. If your own place needs timber protection there’s always Cuprinol; or if your own place is a farm, then Galoxide is the paint specially developed for all farm buildings — and safe for animals too! Even more specialised paints are sometimes required — and so HGW are proud that they provided these for many major contracts including the Wliiddy Island complex, tlae Pfizer Chemical plant at Ringaskiddy and Irish Distillers Ltd. at Midleton. An associate company, Irish Industrial Finishes Ltd., supplies industrial and automotive paints made by HGW to many large Irish manufacturers including Henry Ford & Son Ltd., Cork. So when your own place needs decoration or protection — think of the locals who are Ireland’s largest paintmakers. Harringtons &. Goodlass Wall. They have what it takes. Harringtons & Goodlass Wall Ltd. Ireland's largest paintmakers VJ 14 ■ �11 Czechoslovakia — A CONVERSATION ABOUT ONE CENTIMETRE OF HOPE (ROHOVER JEONOM CENTIMETRU NADEJE) Production : Slovcnska Filmova Tvorba Director : Peter Solan Script: Peter Solan Photo: Alexander Strelingcr Sound : Ing. Eduard Palcek Music : Zdenek Liska The continuing struggle against cancer. (Time: 18£ mins.) 12 Czechoslovakia — QUO VADIS Production : Kratky Film Director: Ivan Karasek Script: M. Jagr and I. Karasek Photo: Dagmar Fcrklova Colour animation using Pieter Brueghel’s painting The Blind Leading The Blind as a protest against war. (Time : 4$ mins.) 13 Czechoslovakia — THE PRESENT (PREZENT) Production : Slovenska Filmova Tvorba Director : Viktor Kubal Script: Viktor Kubal Photo ; Josef Ruzicka Sound : Alexander Pallas (Time: 6 mins.) SOMETHING OLD — SOMETHING NEW The Imperial Hotel, on the fashionable South Mall, at the heart of Cork, blends 19th century elegance with the latest in modern facilities. The impressive Victorian facade remains, but inside, each bedroom has its own private bathroom, telephone and radio. The La Duchesse restaurant is quickly gain­ ing renown as the place to wine and dine. The Hotel’s Lounge Bars and Grill Bar make it an elegant rendezvous. IMPERIAL HOTEL SOUTH HALL, CORK Tel. : 021 - 23304 15 �■A A* -A I * A- Ireland's International Star Youghal has glamour. Youghal has style. Youghal has star quality that wins applause at home and abroad. youotial □ciRpet.s ... the main event guaranteed "0 RMMW. 16 �14 Czechoslovakia — THE PALETTE OF LOVE (PALETA LASKY) Production: Barrandow Film Studio Director: Josef Mach Script: Frantisek Kozik Photo: Ivan Slapeta Music: Harry Macourek The life and work of the Czech painter Josef Manes (1820- 1871). (Time: 103 mins.) 15 Denmark — MONARCHY AND DEMOCRACY Production : Danish Government Film Office Director : Jorgen Roos Script: Henrik G. Pouls Isen Photo: Jorgen Roos Sound : Mikkcl Bo Music : Gunner Moller Pedersen Queen Margrethe of Denmark combines» a regal tradition a thousand yearsi old with to-day’s d( lemocratic ideals. (Time : 28 mins.) 16 Denmark— HEARTS ARE TRUMPS (HJERTER ER TRUMF) Production : Crone Films Director: Lars Brydesen Script: Jannick Storm and Lars Brydesen Photo: Mikael Salomon Music : Hans-Erik Philip Verner Nielsen, a man in his middle thirties, has a heart transplant, and discovers some extraordinary changes in himself and in his life. (Time: 85 mins.) 17 Egypt — THE SOUL (KA) Production : Horusfilm Director : Nagui Riad Script : Nagui Riad Photo : Refat Ragheb Sound : Naspi Abdel Nour Music : Soliman Gamil The ancient Egyptian concept of life after death. (27 mins.) JOSEPH BARTER & SONS LTD. TRAVEL AGENTS Est. 1856 92 ST. PATRICK STREET, CORK Phone 24261 29 WEST BEACH, COBH Phone 811202 Experts in all Travel Arrangements, Package Holidays, Travel Insurances, Travellers* Cheques. 17 �Welcome to Cork the home of Beamish & Crawford R®A A gp^iA^ t® BREWED BY BEAMISH&CRAWFORD LIMITED Master Brewers since 1792 South Main Street,Cork. 0 W_l~j 5%^ w" raw ■ 18 ’I �18 France — CAMERA 2 Production: Contrechamp Director : Christian Paureilhe Script: Christian Paureilhe Photo: Jean-Luc Rosier and Christian Paureilhe Sound : Jacques C. Duval Music: Olivier Dassault Some highpoints that may be overlooked in human life. (9 mins.) 19 ;i France — POUR GAGNER AU MAINS Production : Via Productions Director: Gerard Hameline Producer: Christian Ferlet Script: Gerard Hameline and Christian Ferlet Photo: Gerard Hameline and Bernard Lutic Music : Maurice Lecoeur (Time: 13 mins.) 20 France — OUR FRIENDS THE GERMS? (BACTERIES NOS AMIES?) Production : Via Productions Director: Michel Boschet Producer: Christian Ferlet Script: Michel- Boschet Photo : Michel Boschet A cartoon about the germs inside our bodies. (Time: 13 mins.) Two Letters Spell the Best Ice Cream 19 �“Can we help you?” 93 Europe The World 160 From London,British Airways fly direct to more European and worldwide destinations, more often than any other airline. For full details contact your local travel agent or telephone British Airways (01) 686666. ' British airways 20 �21 France — THE ELEPHANT WITH THE BIG TRUNK (UN ELEPHANT CA TROMPE ENORMENT) Production : Gaumont International and La Gueville Director: Yves Robert Producer: Alain Poire and Yves Robert Script: Jean Loup Dabadie and Yves Robert Photo : Rene Mathelin Music : Vladimir Cosma Cast: Jean Rochefort (Etienne); Claude Bras­ seur (Daniel); Guy Bedos (Simon); Victor Lanoux (Bouly); Daniele Delorme (Marthe); Anny Duperey (Charlotte); Marthc Villalonga (Mouchy); Louise Conte (Marrainc). Four men, forty years old, who stick together through thick and thin, specially when it comes to women, their own wives or other men’s, or just women passing in or out; but the women in the end create problems that each of the four must solve alone in his own way . aloi (Time: 107 mins.) i 22 France — THE PURPLE TAXI (LE TAXI MAUVE) Director: Yves Boisset Producer: Gisele Ribilion and Catherine Winter Script: Based on Michel Deon’s novel. itaii Cast: Fred Astaire (Dr. Seamus Scully); Peter Ustinov (Taubelman); Charlotte Rampling (Sharon); Edward Albert (Jerry); Agostini Belli (Anne); Philippe Noiret (Philippe Marchal). Filmed entirely in Ireland, mainly in Connemara and West Cork, with scenes in Cork City, featuring Fred Astaire as the ageless, fun-loving eccentric village doctor, Charlotte Rampling as the beautiful, wealthy American expatriate who came from New York to look after her brother; Peter Ustinov as the brash, vulgar and magnificent fraud Taubelman, whose daughter Anne (Agostina Belli) intrigues everyone, and Philippe Noiret as a French reporter, trying to escape the past, who seeks the real values of life on Ireland’s rugged West Coast. Best of all iboflor Hird wearing! i ■/SSI iboflor © / Loose Laid—Interchangeable—Mothproof See Samples at your Local Carpet Store or contact HARCO LTD CORK 21 Tel. 55033 �Avery important book for theatregoers. BanKcFlreiand The bank of a lifetime 22 �PEMJGBAMME N.B. AU Film Programmes will be screened at the Palace Theatre, MacCurtain Street, Cork SATURDAY, JUNE 4 3.00 p.m. LEISURE (Australia) 3 NATURE'S SYMPHONY (India) TAXI MAUVE (France/Ireland) ... 22 7.30 p.m. ©fficial ®2DemSnng By MR. SHEAMUS SMITH (Managing Director: National Film Studios of Ireland) in the presence of THE PRESIDENT OF IRELAND Dr. P. J. Hillcry and The Rt. Hon The Lord Mayor, Councillor Sean French, T.D. FILM PROGRAMME AS AT 3 p.m. SUNDAY, JUNE 5 12 Noon Festival Celebration — Concelebrated Mass at Church of St. Francis 2.30 p.m. MONOLOGUE (Colombia) ... 10 A REASON TO CARE (Rhodesia) ... 46 THE PALETTE OF LOVE (Czechoslovakia) 14 5.30 p.m. THE STREET (Canada) 9 A THOUSAND SOULS (Netherlands) THE MORNING SPIDER (G. Britain) HEARTS ARE TRUMPS (Denmark) 8.15 p.m. FILM PROGRAMME AS AT 5.30 p.m. 41 ... 57 16 �MONDAY, JUNE 6 9.30 a.m. 8 BLACKWOOD (Canada) Cork Salutes Columbia 69 Film: OLIVER 230 p.m. Y PARA QUE (Spain) 49 ANKUR (India) 26 5.30 p.m. THE PRESENT (Czechoslovakia) 13 POMPEII A.D. 79 (G. Britain) 51 UN ELEPHANT CA TROMPE ENORMENT (France) 21 8.15 p.m. FILM PROGRAMME AS AT 5.30 p.m. TUESDAY, JUNE 7 9.30 a.m. A CONVERSATION ABOUT ONE CENTIMETRE OF HOPE (Czechoslovakia) 11 CRUISIN (G. Britain) ... 52 BACTERIES NOS AMIES (France) 20 Cork Salutes Columbia Film: IT HAPPENED ONE NIGHT 68 2.30 p.m. CAMERA 2 (France) 18 ISFAHAN — CITY OF LIFE AND LIGHT (Iran) 31 THE LOVE SLAVE (U.S.S.R.) 67 5.30 p.m. QUO VADIS (Czechoslovakia) 12 LOVE IN ACTION (India) 30 ... THE INHERITANCE (Italy) 8.15 p.m. FILM PROGRAMME AS AT 5.30 p.m. 38 5 �WEDNESDAY, JUNE 8 9.30 a.m. PICTURES OF AN ISLAND (.Bahrain) 4 THE ROLE OF A GOOD COMPANY (Spain) 48 Cork Salutes Columbia Film : ON THE WATERFRONT 70 2.30 p.m. NOAH’S ARK (G. Britain) 58 THE SOUL (Egypt) 17 BLACK AND WHITE IN COLOUR (France) 73 S.30 p.m. HANNAH (G. Britain) 54 POUR GAGNER AU MANS (France) 19 SMILE (Federal Republic of Germany) 24 WAN PIPEL (Netherlands) 44 ... 8.15 p.m. FILM PROGRAMME AS AT 5.30 p.m. THURSDAY, JUNE 9 9.30 a.m. Cork Salutes Columbia Film: LAURENCE OF ARABIA 72 2.30 p.m. DONNA CLARA (G. Britain) 53 HIGH AS A KITE (G. Britain) 55 THE DEVIL’S PLAYGROUND (Australia) 1 5.30 p.m. THE COLUMN (Bulgaria) CITY OF ANGELS (Australia) A PROPOSAL OF MARRIAGE (Belgium) THE LATE SHOW (U.S.A.) 8.30 p.m. FILM PROGRAMME AS AT 5.30 p.m. 7 64 6 66 �I FRIDAY, JUNE 10 9.30 a.m. THE GREEN MACHINE (Australia) Cork Salutes Columbia Him: THE JOLSON STORY 2 71 2.30 p.m. FANTASIES AND CAPRICES OF THE ROMAN MANNERISM (Italy) 40 ROYAL WINDSOR HORSE SHOW (G. Britain) 60 ... FULL CIRCLE (Anglo/Canadian) 74 530 p.m. NIGHTLIFE (U.S.A.) 62 THE WAITING-ROOM (G. Britain) 50 ORCA — KILLER WHALE (G. Britain) ... 75 8.15 p.m. FILM PROGRAMME AS AT 5.30 p.m. SATURDAY, JUNE 11 9.30 a.m. MONARCHY AND DEMOCRACY (Denmark) THE RIVER (U.S.A.) 15 63 AMERICA’S SWEETHEART (G. Britain) 3.00 p.m. L’HISTOIRE D’EAU (G. Britain) 56 SKY RIDER (G. Britain) 59 DE RADIO DROOM (Netherlands) 42 ISLAND IN THE STREAM (U.S.A.) 61 7.30 p.m. PRESENTATION OF FESTIVAL AWARDS By the Rt Hon. Lord Mayor, Councillor Sean French, T.D., and OFFICIAL CLOSING By Mr, David Hemmings FILM PROGRAMME AS AT 3.00 p.m. N.B. The Press Office will be situated at the Metropole Hotel, MacCurtain Street (This Programme is subject to alteration without notice) The Festival Council can accept no responsibility for errors, cancellations or alterations. ■ 1 �23 Germany — STARBRIDGE FARM (STERNSTEINHOF) Production : Roxy Film, Munich Director: Hans G. Geissendorfer Producer : Luggi Waldleitner Script: Hans G. Geissendorfer and Hermann Weigel Photo : Frank Bruhne Music: Eugen Thomas Leni’s ambition is to become the owner of Starbridge Farm, high up on the hill — and nothing will prevent her. (Time: 125 mins.) 24 Germany — SMILE Production : Martin Schliessler Photo : Pavel Prochazka A satire on the motives that drive people to fight. 25 Germany — THE NET (DAS NETZ) Production : Roxy-Film, Munich Director: Manfred Purzer Producer: Luggi Waldleitner Script: Manfred Purzer Photo: Charly Steinberger Music: Klaus Doldinger (Time: 108 mins.) Meet at CORK’S MOST POPULAR RENDEZVOUS ■AVER MARKET LANE (off Patrick St.) Phone 22716, 226351 23 �It really takes a big word to cover the range of our activities atthe Metal Products Group. Because the thing they all have in common is that in one way or another they’re to do with metal and its engineering. A second thing our activities share is their size — which allows us to undertake some of the biggest contracts ever awarded in this country. Our Engineering Division has some of the best-equipped machine shops in Ireland, and can handle anything from the design and building of specialist machinery, to the repair and overhaul of land and marine machinery. It undertakes general steel fabrication and also manufactures the Murcopak waste compactor, which is revolutionising refuse disposal around the world. Our Contracting Division handles electrical and mechanical contracting, and is equipped to eal with everything up to the largest, most >mplex process plant installation. Our Manufacturing Division makes a wide ange of standard and special industrial fasteners, as well as a range of non-ferrous plumbing and other fittings. Its non-ferrous foundry can handle castings up to 800lbs. Oilfield Services serves the rapidly growing offshore industry with a 24-hour, seven-day specialist team backed up by the resources of the Engineering and Contracting Divisions. Head Office: Albert Street, Cork. Telephone (021) 25091 Engineering Division: Kinsale Road, Cork. Telephone (021) 23353 Contracting Division: Commons Road, Cork. Telephone (021) 51285 Manufacturing Division: Albert Street, Cork. Telephone (021) 25091 iiiaiHif 24 �26 India — ANKUR Director : Shayam Benegal 27 India — ARJUN PANDIT 28 India — THE GOLDEN PALM Production : Films Division, Ministry of Infor­ mation and Broadcastin ing, Bombay Director: Mushir Ahmad Producer: Yash Chaudhary Sound : A. Viswanatham Photo : Jayendra Desai Music : Vijay Raghav Rao Kerala is the coconut country, where the tall, slen­ der coconut palm tree provides not only its beauty, its religious significance, but a whole range of pro­ ducts serving cottage industry as well as the large coir, edible oil, and soap industries. (Time: 15 mins.) 29 India — THE MIDDLEMAN Director: Satyajit Ray 30 India — LOVE IN ACTION Production : Films Division, Ministry of Information and Broadcasting, Bombay. Director: B. N. Mehra Producer: S. N. S. Sastry Script: P. S. Lakhwara Sound : S. Selvaraj Photo: N. Narasingha Rao Music : Raghunath Seth Mother Teresa and the various activities of the Mis­ sionaries of Charity. (Time: 13 mins.) BARRY’S TEA As well-known as Shandon 25 �- I �31 Iran — ISFAHAN THE CITY OF LIFE AND LIGHT (ISFAHAN SHAHRE NOUR VE ZENDEGI) Production: Ministry of Culture and Arts, Iran Director : M. Tayyab Script : M. Tayyab lovanan Music: Louris Cheknovarian The texture of architecture in Isfahan in relation to individi lual and social needs. (Time: 35 mins.) 32 Ireland — THE BIG VISITOR Production : Cedar Productions Director: John Cox Script: Michael Fitzgerald Photo : Declan Langan The great basking shark off the Irish coast. (Time : 15 mins.) 33 Ireland — BETWEEN THE LINE Production : Hollywood Film Unit Director : John Davis Script: John Davis and Richard Sinclair Photo: John Davis Sound : Imelda Foley Music : James Herron Mi An artist and the razor-edges of sanity. (Time: 28 mins.) IRELAND’S MOST EXCITING FASHION STORES RICHARD ALAN At 63 OLIVER PLUNKETT ST., CORK Phone 23759 58 GRAFTON STREET, DUBLIN 2 Phone 775149 27 �J �31 Iran — ISFAHAN THE CITY OF LIFE AND LIGHT (ISFAHAN SHAHRE NOUR VE ZENDEGI) Production : Ministry of Culture and Arts, Iran Director: M. Tayyab Script: M. Tayyab Music : Louris Chckn< lovarian The texture of architecture in Isfahan in relation to individi lual and social needs. (Time: 35 mins.) 32 Ireland — THE BIG VISITOR Production : Cedar Productions Director : John Cox Script: Michael Fitzgerald Photo : Declan Langan The great basking shark off the Irish coast. (Time : 15 mins.) 33 Ireland — BETWEEN THE LINE Production : Hollywood Film Unit Director : John Davis Script: John Davis and Richard Sinclair Photo : John Davis Sound : Imelda Foley Music: James Herron An artist and the razor-edges of sanity. (Time: 28 mins.) IRELAND’S MOST EXCITING FASHION STORES RICHARD ALAN At 63 OLIVER PLUNKETT ST., CORK Phone 23759 58 GRAFTON STREET, DUBLIN 2 Phone 775149 27 �34 Ireland — BLACK CHAMPAGNE Production : Co-operative Workshop Director: Alan Stanford Producer: Brian Dick Photo : BrefTni Byrne Sound : Pat Hayes Music: Kurt Weill and Michael Dress (Time: 26J mins.) 35 Ireland THE KINKISHA Production : Tara Films Director: Tommy McArdle Producer: John O’Dowd Script: John McArdle Photo : Kevin Keelaghan Music: Micheal O Suilleabhain Cast: Barbara McNamara, Catherine Gibson, John McArdle, David Byrne, Eamonn Keane. (Time: 65 mins.) 36 Ireland — NOVEMBER (NEBELUNG) Production : Fairview Films Director: Terence McDonald Script: Gerard Willis Photo : Terence McDonald 11. A schoolteacher’s mental breakdown. (Time’: 11 mins.) 37 Ireland — BABEL YEMEN Production: Concern and Martin Benson Films Director: Paul Gane Photo : Michael Doheny Sound : Mike Billing Concern volunteers encounter an ancient civilization beyond the gate of Babel Yemen, the ancient citadel of Sanana. (Time: 34 mins.) Visitors to Cork Call and see our Varied Selection of WATCHES, JEWELLERY, WATERFORD GLASS HAND-MADE SILVERWARE Wm. Egan & Sons Ltd. Jewellers - Silversmiths 31-32 PATRICK ST., CORK 28 �38 Italy — THE INHERITANCE (L’EREDITA* FERRAMONTI) Production : Flag Production, Rome Director: Mauro Bolognini Producer : Gianni Hecht Lucari Script: Ugo Pirro and Sergio Bazzini Photo : Ennio Guarnieri Music: Ennio Morricone Cast: Anthony Quinn (Gregorio Fcrramonti); Luigi Proietti (Pippo); Adriana Asti (Teta); Fabio Testi (Mario); Paolo Bonacclli (Furlin); Rossella Rusconi (Floriana); Dominique Sanda (Irene). Grigorio Ferramonti is a powerful figure; from a simple baker he becomes a very wealthy man in a short ics c time — and money is everything to him and to his ■es family. Into the family comes the beautiful Irene, and ruthlessly she distroys each in turn as she reaches out for the Ferramonti fortune, but in Romi the politi­ Rome jgorio money ends cal situation is changing and Gregorio’s n up in the hands of a government official. (Time: 121 mins.) 39 Italy — IRENE, IRENE Director: Alberto Lattuda 40 Italy -- FANTASIES AND CAPRICES OF THE ROMAN MANNER (FANTASIE E CAPRICII DEL MANIERISMO ROMANO) Production: Corona Director: Luca Verdone Script: Luca Verdone Photo : Clelio Cicivelli Music : Benedetto Ghiglia (Time: 12 mins.) 41 (Netherlands — THE THOUSANDTH INHABITANT (DUIZEND ZIELEN) Production: Virginia Films Director: Rimko Haanstra Producer: Hans Klap and Jan Mey Script: Peter Romer, Hans Melissen and Rimko Haanstra Photo: Cees Samson Sound : Ben Sombogaard Music : Jurre Haanstra people of a small village await the birth of its The I idth citizen, but nobody cares about the oldest thousam inhabitant. (Time: 17 mins.) CORK FILM INTERNATIONAL wishes to thank CORK FILM SERVICES for supply of 16mm PROJECTORS 29 I �42 Netherlands — RADIO DROOM Production : Fugitive Films ip Director: Flip Jansen Producer: Wi /illem Thijssen Script: Flip Jansen Photo: Theo Van De Sande Thee Sound : Eric Langhout E.L Music: Flip Jansen and Clous Van Mechelen (Time : 20 mins.) 43 Netherlands — EVERY DAY’S A HOLIDAY (ALLE DAGEN FEEST) Production : Sigma Film Director: Ate De Jong Producer : xvxuti.njs Van Hcyningcn Matthijs Script: Guus Luytei ius Luytens Photo :: Theo Van I Sande De :en, poet, is at odds with society even Wessel Franken, po itching as society is catching up on him. (Time: 93 mins.) 44 Netherlands — WAN PIPEL Production : Scorpio Films Director: Pirn De La Parra Producer: Wim Verstappen and Pirn De La Parra Script: Pirn De La Parra and Rudi F. Kross Marc Felperlaan ies Sound : Hugo De Vries Surinam, formerly Dutch Guinea, is to-day a self governing colony, a racial melting pot, in which Roy, with a Creole, falls, in love v.’ith Rubia, a Hindustan. (Time: 110 mins.) 45 Poland — THE FAMILY (RODZINA) Production: Polish Corporation for Film Production Director: Krzysztof Wojciechowski Photo : Jacek Mieroslawski The The two sons having joined the co-operative farm, old the g parents are left on the family farm, too old to till it, afraid to bequeath it to their sons, and unable to understand the changes that are seeking to replace the individual family with a co-operative unit. HOTEL METROPOLE CORK GRADE “A” Wishes the CORK FILM INTERNATIONAL Every Success Long May it Prosper 30 �46 Rhodesia — A REASON TO CARE Production : Production Services Director : Richard Rayner Producer: Bev Clark Script: Louis Nell Photo: Geoff Peel Man, the destroyer of nature, now becomes her preserver. But how much time is left? (Time: 20 mins.) 47 Romania — EARTHQUAKE Director : Dugcn Atanasiu 48 Spain — THE ROLE OF A GOOD COMPANY (EL PAPEL DE UNA BUENA COMPANIA) Production: Zoom S.L. Director: Fernando Baulaz Perez Script: Fernando Bauluz Perez Photo : Augusto Fernandez Balbuena Music: Javier Kapta After holidays the children return to their small rural school in the Basque country and to a surprise project: paper. 12Z12Z12Z12Z12Z12Z J2H2Z12Z12Z12I12Z 12Z12Z12Z12Z12Z12Z mmm 12Z12Z12Z12Z12Z12ZI J2Z12ZJ2ZJ2H2Z12Z. UDT are now paying 12% return on investment. Full details from Basil Mansfield or Helen Dennehy, at Cork 24361. UDT BANK United Dominions Trust (Ireland) Ltd., Bankers. Irish Life Building, la South Mall, Cork. 31 �49 Spain — AND WHAT FOR? (Y PARA QUE?) Production : Dedalo Films Director: Guillerma de la Cueva Producer : Marino Mendez Script: Carlos de la Cueva Photo : Alfonso Nieva The horrors of war and world poverty. (Time: 8 mins.) 50 United Kingdom — THE WAITING ROOM Production : Gannet Films Director: Bob Kellett Script: Bob Kellett Photo: Norman Warwick The waiting room remains the same but each visitor reacts differently. GTinic: 22 mins.) 51 United Kingdom — POMPEII A.D. 79 Production: First City Film Productions Director: Tony Short Producer: David Powell Script : Tony Short and David Powell Photo : Robert Hunter Sound: Trevor Pyke (Time: 25 mins.) IRISH BUSINESS SYSTEMS LTD. The Office Equipment Specialists Everything for your office OFFICE MACHINES EDUCATIONAL EQUIPMENT OFFICE FURNITURE STATIONERY PHOTOCOPYING 35 MacCurtain Street, Cork Phone (021) 53433 (2 Lines) 32 �52 United Kingdom — CRUISIN Production : Curtis Clark and Tim Van Kellim Director : Curtis Clark and Tim Van Kellim im Kelli Script: Curtis Clark and Tim Van Kcllim Photo : Curtis Clark It’s Saturday night and Roger Scott hits the airwaves ;r with the vintage rock and roll sounds of his popular .1 radio show “Cruisin’’. (Time: 28 mins.) 53 United Kingdom — DONNA CLARA Production: Trick Film Studios Director: Charles Jenkins Script: Based on a poem by Heinrich Heine Photo : David Bailey Music: Peter Shade Animation and stills to interpret the mood of Heine’s poem. (Time : 10 mins.) 54 United Kingdom — HANNAH Production : West Surrey College of Art < Director : Annabel Jankel Script: Annabel Jankel The Statue of Liberty has a rampageous night out. (Time : 3 mins.) mins. Order your WATERFORD GLASS from the experts MUNSTER ARCADE Cork, Ireland The Munster Arcade is one of Ireland’s most reliable, renowned and expert shippers of Waterford Crystal. We offer you a Fast Effi­ cient Service on an ex-store basis. BANKERS CARDS WELCOMED Visiting Blarney? Then why not call to our Souvenir Shop in Hotel Blarney where you will find a Comprehensive Selection of Irish Made Souvenirs. There's the world of Waterford Crystal at MUSTER ARCADE PATRICK STREET, CORK, IRELAND 33 �Following the Kerrygdden Road to the Markets of the World. She's a pretty amazing Dairymaid. Has to speak a lot of different languages, and get a lot of different kinds of Irish quality Dairy Produce to a lot of different overseas markets-over eighty at the last count. Her range of products is extensive, and includes the well-known Kenygold brand name, as well as a wide variety of commodity products marketed through a well-established network of Associated Companies and agents throughout the world. Working from the lush green pastures of Ireland-"the Garden of Europe", she achieved more than £300m worth of exports last year alone. Some maid. Some dairy. Grattan House, Mount Street Lower, Dublin 2. , Telephone: 785788. Telex: Dublin 5128. London: Telephone 493 3602. Telex: 27627. Associated Company in the U.K. Adams Foods Ltd., Leek, Staffs. 34 �55 United Kingdom — HIGH AS A KITE Production : Mighty Movie Co. and AngloDutch Group Director : David Hughes Producer: Malcolm Paton Script: Michcil Bcishuizen Photo : Don Lord Music : Colin Frcchter, Bill Kimber and Gerard Christenhuis The thoughts of a dying man arc interrupted by a scries of divertissements in animation and live action. (Time : 26 mins.) 56 United Kingdom — L’HISTORIE D’EAU Production : London International Film School Director: Philippe Massonatt Script : Philippe Massonatt Sound : Dee Simpson Photo : Philippe Massonatt Non smoking campaign. (Time: 2 mins.) 57 United Kingdom — THE MORNING SPIDER Production : Counsel Films and Black and White Colour Film Co. Director : Julian Chagrin Producer : Mark O’Connor Script: Julian and Claude Chagrin Photo : Jamps Allen Music : Marc Wilkinson An insect fantasy. (Time: 20 mins.) 58 United Kingdom — NOAH’S ARC Production: Halas and Batchelor for Genesis Project Inc. ines and John Halas Director: Elphin Lloyd-Joi Producer : John Heyman and John Halas Script: Dino Kotopoulis Music: Wilfred Josephs (Time : 14 mins.) HICKEY & BYRNE PRINTERS 41 MARY STREET & 1 SULLIVANS QUAY, CORK Phone: 021 -20725 35 �59 United Kingdom — SKYRIDER Production — Halas and Batchelor Director: John Halas Script: John Halas Photo: Harold Whitaker A gentle satire on space research. (Time: 8 mins.) 60 United Kingdom — THE ROYAL WINDSOR HORSE SHOW Production : Merck Sharp and Dohme Director : Des Good Script: Caroline Allen Photo: Trevor Wrenn Sound : Alistair Crocker Music: Robert Sakcr and Stuart Leath wood (Time : 33 mins.) 61 U.S.A. — ISLAND IN THE STREAM Production : Paramount Pictures Director: Franklin J. Schaffner Producer : Peter Bart and Max Palevsky Script : Denne Bart Petitclerc, based on Hemingway’s novel Photo : Fred J. Koenekamp Music: Jerry Goldsmith Cast: George C. Scott, David Hemmings, Gilbert Roland and Claire Bloom. Island in the Stream was Ernest Hemmingway’s first posthumously-published novel in 1970. (Time : 105 mins.) FOR HOTEL AND RESTAURANT CATERING YOU CAN’T BEAT CORK GAS w Phone 25252 36 I �62 U.S.A. — NIGHTLIFE Production : Opus Films Director : Robin Lehman Producer : Robin Lehman and Claire Wilbur Photo : Robin Lehman Music: Walter Scar The variety and forms of life beneath the Irish JVil. nm mv 111SI1 Sea. (Time: 11 mins.) 63 U.S.A. — THE RIVER Production : American Film Institute Director : Barbara Noble Script: Barbara Noble Photo: Stephen Posey Sound : Mark Bovos Music : David Licbm: inn A neglected boy discovers the wonders of a river. < (Time:: 26 mins.) 64 U.S.A. — CITY OF ANGELS 65 U.S.A. — IRELAND : ONE DAY FREE 66 U.S.A. — THE LATE SHOW Director : Robert Altman Producer: Robert Benton Script: Robert Benton Cast : Art Kearney, Lily Tomlin, Bill Macy, Gene Roche, Joanna Cassidy. 67 U.S.S.R. — THE LOVE SLAVE TADG LEHANE Artist 9, PATRICK STREET, CORK Phone 24725 Oils, Watercolours, Acrylics Illuminating and Lettering, etc. Display Artist to the Festival since its inception 37 �CORK Salutes COLUMBIA In the Retrospective Programme this year Cork honours Columbia Pictures, Inc. founded in 1924 by Harry Cohn. During the 1930s and 1940s Columbia presented the gently satiric comedies of Frank Capra, one of the most famous of which was It Happened One Night, which won the Academy Award in 1934. During the 1950s and 1960s Columbia gained further honours with some award-winning films, includ­ ing From Here to Eternity (1950), On the Water­ front (1954). The Bridge on the River Kwai (1957), Lawrence of Arabia (1962) and A Man fcr All Seasons (1966) The films to be screened in this CORK SALUTES programme at the Palace Theatre, are: — 68 IT HAPPENED ONE NIGHT Stars: Clark Gable, Claudette Colbert 69 OLIVER Stars: Ron Moody, Shani Wells, Oliver Reed 70 ON THE WATERFRONT Stars: Marlon Brando, Eva Marie Saint 71 THE JOLSON STORY Stars: Larry Parks, William Demarest 72 LAWRENCE OF ARABIA Stars: Peter O’Toole, Sir Alec Guinness 38 �LATE ENTRIES 73 BLACK AND WHITE IN COLOUR (LA VICTOIRE EN CHANTANT). A Franco-Allcmandc Co-production Director : Jean-Jacques Annaud Producer : Gerard Crosnier and Timithe Dassori Cast : Jean Carmet, Jacques Dufilhs, Catterinc Rouvel 74 FULL CIRCLE: An Anglo-Canadian Production Director : Richard Loncrainc Cast : Mia Farrow, Kier Dullca, James Bennet,. Tom Conti 75 United Kingdom — ORCA KILLER WHALE Cast: Richard Harris, Charlotte Rampling MANGAN lor Engagement and Wedding Rings, Jewellery, Clocks and Watches. Silver, Electro-Plate, Waterford and Galway Crystal also China Department JAMES MANGAN LTD., 3-4 Patrick Street, Cork Estd. 1817 Tel. 20998 (Branch at High Street, Killarney) 39 �CORK FILM INTERNATIONAL Short Film Awards A Bronze Statuette of St. Finbarr will be pre­ sented by the International Jury to the outstand­ ing film in each category (a) General Interest and Documentary; (b) Animated Cartoon; (c) Sport; (d) Short Fiction. Certificates of Merit will be awarded at the discretion of the Jury to particu­ lar films for outstanding aspects. Irish Film Societies Award The Irish Film Society will present an award for the best short film shown during the Festival. IRISH FILM SOCIETIES JURY The members of the Jury for the Irish Film Societies Award is: TIM CORNISH (British Federation of Film Societies) ROBERT BUDDS (Dublin) MICHAEL DWYER (Tralee) FILM CRITICS’ AWARD The Waterford Glass Award will be presented for the best 16 mm. Irish film entered for the Festival. The entries will be screened on Thurs­ day, June 9 at a venue to be announced. The award will be made by the film critics attending the Festival. Commission of European Communities Special Prize The Commission of European Communities (E.E.C.) will present an award for the short film, which in the opinion of an international jury, will contribute most to mutual understand­ ing between people of different European coun­ tries and of the common problems of contem­ porary society. E.E.C. SHORT FILM AWARD JURY The Jury for the E.E.C. Award is: ALAN WATSON (United Kingdom) JOHN STAPLETON (United Kingdom) WILLIAM HARPUR (Ireland) JUDGE CONOR P. MAGUIRE (Ireland) 40 �The Techniques of Film Making A course on the techniques of film making for senior school students will be held in Connolly Hall, Cork from Monday. June 6 to Saturday, June 11. The course will be conducted by leading directors, actors, script writers, cameramen and editors. INTERNATIONAL PRESS OFFICE AT METROPOLE HOTEL Very Kindly Sponsored by MR. GERARD JONES, Belgian Consul Twenty-Fifth Cork International Choral and Folk Dance Festival At CORK CITY HALL, APRIL 5 — 9, 19 78 Information from: THE FESTIVAL OFFICE - 15, BRIDGE STREET, CORK 41 �ACKNOWLEDGMENTS Cork Film International owes its origin, in the main, to the financial support and encouragement of BORD FAILTE EIREANN (The Irish Tourist Board). The Director and Council of the Festival express their deep appreciation to them, and also to London Friends of Cork and Dublin Friends of Cork. We are also indebted to the following who have given considerable help to the Festival in various ways: ARTHUR GUINNESS, SON & CO, (IRELAND) LTD. IRISH DISTILLERS LIMITED STARDUST CLUB, CORK SWAN BEDDING D. & A. O’LEARY LTD. BRITISH AIRWAYS OYSTER TAVERN WATERFORD GLASS LTD. CORK EXAMINER — ECHO HENRY FORD & SON, LTD. GERARD JONES, BELGIAN CONSUL IRISH MIST LIQUEUR LTD. joe McCarthy BEAMISH & CRAWFORD LTD. SMURFIT CORRUGATED CASES LTD. IRISH BUSINESS SYSTEMS ABBEY FILMS LTD. MURTAGH PROPERTIES LTD. THE JOHN DALY GROUP SEAGRAM (IRELAND) LTD. ALLIED IRISH BANKS MUNSTER ARCADE LTD. SOUTHERN ELECTRONICS LTD. GESTETNER LTD. TOM KEATING PERNOD CORK-KERRY TOURISM CASSIDY FABRICS NATIONAL FILM STUDIOS OF IRELAND KELLY’S KITCHEN CORK CORPORATION THE ARTS COUNCIL SEAMUS QUINN CORK FILM SERVICES 42 �Without the support of our promoters, Bord Failte and of our Sponsors and Advertisers Cork Film International could not be orga­ nised. The Council and Director express their sincere gratitude to them. Please ensure the Festival’s continuation by supporting our Advertisers. * ☆ * Cover Design by Harry Wallace ☆ ☆ ☆ Front of house display by Tadhg Lehane ☆ ☆ * A special tribute must be paid to the crafts­ manship and infinite patience of the Staff of our printers, Messrs. D. & A. O’Leary. Ltd. ☆ ☆ ☆ WHILE EVERY EFFORT WILL BE MADE TO ADHERE TO THIS PROGRAMME, THE CORK FESTIVAL COUNCIL CAN ACCEPT NO RESPON­ SIBILITY FOR ERRORS, CANCELLATIONS, OR ALTERATIONS AFTER THE SHOW COME TO . . . THE FESTIVAL CLUB (Spoonsored by Harp Lager (Ireland) Ltd,) at the CITY HALL ☆ ☆ ☆ DANCING RESTAURANT BARS Tickets on sale at Festival Office Club open daily 10 p.m. — 2 a.m. 43 �ASSOCIATE MEMBERS P. J. Crowley, Scientific Instruments Brooks Haughton Ltd., Cork Seamus and Mary Lantry, Cork Jim O’Keeffe, Bandon Quigley Company of Europe Ltd., Cork Ashbourne House Hotel The Bank of Nova Scotia, Cork Allied Irish Investment Bank, Cork Northern Bank, Cork Mr. and Mrs. Alfred Navratil. Midleton Mr. A. J. Navratil, Midleton A. V. Dufficy, Dublin Cooper Magennis, Cork Business & Leisure Travel Clayton Love & Sons (Cork) Ltd. Odeon (Ireland) Ltd., Dublin The Hammond Lane Metal Co. Ltd., Cork Dowdall O’Mahoney & Co. Ltd. JOIN THE FESTIVAL CLUB Season-Ticket Holders £5.00 Others £10.00 Tickets available at Festival Office 44 � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Programme Content Source A related resource from which the described resource is derived Cork Film Festival Collection Publisher An entity responsible for making the resource available University College Cork Date A point or period of time associated with an event in the lifecycle of the resource 1956- Rights Information about rights held in and over the resource <a rel="license" href="http://creativecommons.org/licenses/by/4.0/"><img alt="Creative Commons License" style="border-width: 0;" src="https://i.creativecommons.org/l/by/4.0/80x15.png" /></a><br />This collection is licensed under a <a rel="license" href="http://creativecommons.org/licenses/by/4.0/">Creative Commons Attribution 4.0 International License</a>. All rights reserved. Please credit <a href="https://corkfilmfest.org/">Cork International Film Festival</a> &amp; provide a link back to this site. Format The file format, physical medium, or dimensions of the resource PDF Language A language of the resource English, eng; Irish, gle Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1956- Cork, Ireland Description An account of the resource A selection of programmes from the Cork International Film Festival. Subject The topic of the resource Cork Film Festival Programmes Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1977 Cork Film Festival programme content Subject The topic of the resource Cork Film Festival, Cork Film International, Columbia Pictures, London Friends of Cork, Festival Mass, Joan Byrne, Devendra Kumar, India, J Hunter Todd, John Edwards, Charlotte Kerr-Sokal Creator An entity primarily responsible for making the resource University College Cork, Cork Film Festival Source A related resource from which the described resource is derived Cork Film Festival Collection Publisher An entity responsible for making the resource available University College Cork Rights Information about rights held in and over the resource <span>This item is licensed under a </span>Creative Commons Attribution NonCommercial-NoDerivatives 4.0 International (<a href="https://creativecommons.org/licenses/by-nc-nd/4.0/">CC BY-NC-ND 4.0</a>) licence<span>.&nbsp;Please credit the&nbsp;</span>Cork International Film Festival Archive<span> and provide a link back to the site.</span> Language A language of the resource English, eng Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Cork, Ireland Description An account of the resource <span data-sheets-value="{&quot;1&quot;:2,&quot;2&quot;:&quot;The 1977 festival programme is slim with an abstract design on its cover in the form of elongated shapes, in various shades of green, stretching from the top to the bottom of the page. Text is presented in dark brown on the white strip along the right edge of the programme. The back cover is plain white. &quot;}" data-sheets-userformat="{&quot;2&quot;:11009,&quot;3&quot;:{&quot;1&quot;:0},&quot;11&quot;:3,&quot;12&quot;:0,&quot;14&quot;:{&quot;1&quot;:3,&quot;3&quot;:1},&quot;16&quot;:10}">This is a PDF of the 1977 festival programme for the 22nd edition of the festival. The slim 44-page card bound issue has an abstract design on its cover, designed by Harry Wallace. There is an acknowledgement to the artist Tadg Lehane for his work as a display artist to the Festival since its inception (page 37).<br /><br />Programme notes include a retrospective programme honouring Columbia Pictures including <em>It Happened One Night </em>with Clark Gable and Claudette Colbert and <em>On The Waterfront</em> with Marlon Brandon and Eva Marie Saint.</span> Date A point or period of time associated with an event in the lifecycle of the resource 1977 Format The file format, physical medium, or dimensions of the resource PDF Type The nature or genre of the resource Programme Charlotte Kerr-Sokal Columbia Pictures Devendra Kumar Festival Mass India J Hunter Todd Joan Byrne John Edwards London Friends of Cork Tadg Lehane