1 10 12 https://corkfilmfest.ucc.ie/files/original/b88831b8b0fc87827599c04af1f7beb0.jpg da8d5769234bdb52880589fa4905a7f2 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 Photographs Subject The topic of the resource Cork Film Festival Description An account of the resource A selection of photographs from the Cork International Film Festival Creator An entity primarily responsible for making the resource University College Cork 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- 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 Format The file format, physical medium, or dimensions of the resource Photo TIFF JPEG Rights Information about rights held in and over the resource Please see individual items for licencing information. ©Reproduction rights CIFF Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Photo Physical Dimensions The actual physical size of the original image 200 x 252mm 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 Theo Dorgan with a colleague and the 1986 festival programme Subject The topic of the resource Cork Film Festival, Theo Dorgan Description An account of the resource This is a black and white photo of the celebrated Cork-born poet Theo Dorgan, on the left in a leather jacket, with an unidentified companion. They are both looking down at the programme for the 31st Cork International Film Festival which took place in 1986 (and helps us date this photo). Dorgan had just taken over the film festival that year, along with Mick Hannigan, and this photo might be from the launch of that years’ festival. Dorgan’s name, together with Hannigan, is intrinsically tied up with the film festival in the mid-eighties and beyond. They took it on together in 1986 after the resignation of the then-director Robin O’Sullivan, who had gamely run it for some years following the unexpected death of festival founder Dermot Breen in 1978. Dorgan and Hannigan ran the festival together until 1989, when Dorgan moved on following his appointment as director of Poetry Ireland. Dorgan, a graduate of University College Cork - where he also taught - is a member of the Irish arts organisation Aosdána and was an appointee of the Arts Council from 2003 to 2008. His most recent work includes Liberty Walks Naked (from the French of Maram al-Masri) (Southword Editions, Cork, 2017), Orpheus (Dedalus Press, 2018), Bailéid Giofógacha (from the Spanish of Federico García Lorca) (Coiscéim, Baila Átha Cliath, 2019), and The Abduction (from the French of Maram al-Masri) (Southword Editions, Cork, 2020). 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 Date A point or period of time associated with an event in the lifecycle of the resource 1986 Format The file format, physical medium, or dimensions of the resource Photo TIFF JPEG Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1986 Cork, Ireland Language A language of the resource English, eng Rights Information about rights held in and over the resource This item is licensed under a Creative Commons Attribution NonCommercial-NoDerivatives 4.0 International (CC BY-NC-ND 4.0) licence. Please credit the Cork International Film Festival Archive and provide a link back to the site. Mick Hannigan Theo Dorgan https://corkfilmfest.ucc.ie/files/original/46742750706664bd1e5ab468aeb45c92.jpg 3cc9990ff07dba35db18d6164193d02d https://corkfilmfest.ucc.ie/files/original/f1b8a6bcb29680f15eb2981fee0bfd15.jpg 04b186f28b9182256ae7689e6952b940 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 Photographs Subject The topic of the resource Cork Film Festival Description An account of the resource A selection of photographs from the Cork International Film Festival Creator An entity primarily responsible for making the resource University College Cork 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- 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 Format The file format, physical medium, or dimensions of the resource Photo TIFF JPEG Rights Information about rights held in and over the resource Please see individual items for licencing information. ©Reproduction rights CIFF Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Photo 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 Mick Hannigan and staff at the festival office Subject The topic of the resource Cork Film Festival, Mick Hannigan, Festival staff, Theo Dorgan, Úna Feely, Indie Film Festival Description An account of the resource These black and white photos include Mick Hannigan who was the director of the Cork festival from 1986 and its CEO from 2009 to 2013. The photos are undated, but we might suggest they are from the late 1980s/early 1990s. We include the second photo of an unidentified person for its similarity to the first photo. It shows a festival colleague sitting in the same white-washed festival office as Hannigan, with its fern-like plant on the office cabinet and a poster of the German short Tour d'Amour (Veit El-Mer, 1989) which helps us date this image. The first photo shows Hannigan, mug in hand, working at his office desk under the painted cladding of the vaulted ceiling. Cork-born Hannigan had a keen interest in film since his time at University College Cork (UCC) as a member of its film society. He is a former member of the Irish Film Board, the European Film Academy, and worked as a programmer for the Irish Film Institute in the 1990s. As co-director of the Triskel Arts Centre in the eighties, Hannigan worked with Theo Dorgan, and together they ran the film festival after the resignation of O'Sullivan in 1985. In 2013, following his departure from the film festival, Hannigan set up the <a href="https://indiecork.com/">IndieCork Film Festival</a> with festival programmer Úna Feely who had worked for the Cork festival for many years. 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 Format The file format, physical medium, or dimensions of the resource Photo TIFF JPEG 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 Language A language of the resource English, eng Rights Information about rights held in and over the resource This item is licensed under a Creative Commons Attribution NonCommercial-NoDerivatives 4.0 International (CC BY-NC-ND 4.0) licence. Please credit the Cork International Film Festival Archive and provide a link back to the site. Festival Staff IndieCork Film Festival Mick Hannigan Theo Dorgan Una Feely https://corkfilmfest.ucc.ie/files/original/7691b94059279b6a11a507bac31e583c.jpg 9885396cbff23fee104c88368a1da998 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 Photographs Subject The topic of the resource Cork Film Festival Description An account of the resource A selection of photographs from the Cork International Film Festival Creator An entity primarily responsible for making the resource University College Cork 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- 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 Format The file format, physical medium, or dimensions of the resource Photo TIFF JPEG Rights Information about rights held in and over the resource Please see individual items for licencing information. ©Reproduction rights CIFF Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Photo Physical Dimensions The actual physical size of the original image 177 x 125mm 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 Poet John Montague and companion Subject The topic of the resource Cork Film Festival, John Montague, Theo Dorgan, University College Cork Description An account of the resource This is a colour photo of the Irish poet John Montague with an unidentified companion at a drinks reception. The photo is undated and uncredited but is of value to the archive given the legacy of Montague to poetry and his affiliation with the film festival through his friendship with the poet Theo Dorgan. Whilst born in New York, Montague came to Ireland as a child and ended up teaching at the University College Cork (UCC) at the invitation of the then Professor of English Seán Lucy. Montague spent almost sixteen years at UCC before teaching in America, Belfast and Dublin. His early work includes Forms of Exile (1958), Poisoned Lands (1961), A Chosen Light (1967) and The Rough Field (1972). By the mid-eighties he found a new publisher, Peter Fallon of Gallery Press, who revitalised Montague’s publishing oeuvre, including his fiction and memoir. Montague was a founding member of Aosdána, a founding president of the Triskel Arts Centre in Cork, and in 2010 he was made Chevalier de la Légion d’honneur in France, also receiving a doctorate from the Sorbonne. He died in 2016 in Nice, France, where he had a home with his third wife, the writer Elizabeth Wassell. Montague counted Samuel Beckett and Seamus Heaney as friends and was a charismatic and generous-spirited mentor to many poets in Cork and beyond, including the Cork-born poet Theo Dorgan. Dorgan, also a member of Aosdána, was a key player in the reimagining of the Cork Film Festival along with Mick Hannigan in the early eighties. 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 Format The file format, physical medium, or dimensions of the resource Photo TIFF JPEG 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 Language A language of the resource English, eng Rights Information about rights held in and over the resource This item is licensed under a Creative Commons Attribution NonCommercial-NoDerivatives 4.0 International (CC BY-NC-ND 4.0) licence. Please credit the Cork International Film Festival Archive and provide a link back to the site. Aosdána John Montague Theo Dorgan UCC University College Cork https://corkfilmfest.ucc.ie/files/original/9a4b2b875198b20e34ea560477a685e8.jpg 29ee8a7c74fbab7b2cfdcceb4f42aa88 https://corkfilmfest.ucc.ie/files/original/caf125bb9530f476b13f00497fabd045.jpg 6694e84c867d1d9155eb92e624325f4c 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 Photographs Subject The topic of the resource Cork Film Festival Description An account of the resource A selection of photographs from the Cork International Film Festival Creator An entity primarily responsible for making the resource University College Cork 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- 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 Format The file format, physical medium, or dimensions of the resource Photo TIFF JPEG Rights Information about rights held in and over the resource Please see individual items for licencing information. ©Reproduction rights CIFF Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Photo 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 Robin O'Sullivan and colleagues Subject The topic of the resource Cork Film Festival, Robin O'Sullivan, Charlie Hennessy, Mick Hannigan Description An account of the resource These black and white photos are of festival director Robin O’Sullivan and unidentified colleagues. They show the convivial Robin O’Sullivan, in photos marked 1980s, in conversation with festival attendees. O’Sullivan stepped in to run the film festival after the unexpected death of the festival founder Dermot Breen in 1978, and ran it until Mick Hannigan and Theo Dorgan took up the cudgels in the early eighties. O’Sullivan originally worked as a journalist for the then-Cork Examiner and as a reporter for RTÉ news. He set up his own PR company – O’Sullivan Public Relations Ltd – in the early eighties which has since amalgamated with the successful public relations company AM O’Sullivan PR, run by his daughter Ann-Marie O’Sullivan. At the 50th anniversary of the film festival the former festival president, Charlie Hennessy, acknowledged the contribution of O’Sullivan to the festival noting that he “kept this festival alive when it was in very low water”. (Michael Dwyer, ‘A half-century of movie memories’, irishtimes.com, 11.10.2005; Michael Moynihan, Crisis and Comeback: Cork in the Eighties, The Collins Press, 2018.) 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 Date A point or period of time associated with an event in the lifecycle of the resource 1980 Format The file format, physical medium, or dimensions of the resource Photo TIFF JPEG 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 Language A language of the resource English, eng Rights Information about rights held in and over the resource This item is licensed under a Creative Commons Attribution NonCommercial-NoDerivatives 4.0 International (CC BY-NC-ND 4.0) licence. Please credit the Cork International Film Festival Archive and provide a link back to the site. Charlie Hennessy Michael Moynihan Mick Hannigan Robin O'Sullivan Theo Dorgan https://corkfilmfest.ucc.ie/files/original/aa3736a1f93b339a3321ffedfefb697e.jpg 8accf9c3b97419569410927469971665 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 Photographs Subject The topic of the resource Cork Film Festival Description An account of the resource A selection of photographs from the Cork International Film Festival Creator An entity primarily responsible for making the resource University College Cork 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- 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 Format The file format, physical medium, or dimensions of the resource Photo TIFF JPEG Rights Information about rights held in and over the resource Please see individual items for licencing information. ©Reproduction rights CIFF Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Photo Physical Dimensions The actual physical size of the original image 241 x 194mm 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 Theo Dorgan and friend at Cork Airport Subject The topic of the resource Cork Film Festival, Theo Dorgan, Cork Airport Description An account of the resource This is a black and white photo of the poet Theo Dorgan with an unidentified companion at Cork Airport. They are both sheltering from the rain under a Ford-sponsored umbrella in front of the old terminal of Cork Airport. Prior to the arrival of Cork Airport over-seas visitors travelled to the festival on the Dublin-Cork train. The Irish actor David Kelly, recalling the train journey from Dublin to Cork, noted: "Irish hospitality was at its finest on that train, an elegant Orient Express atmosphere wrapped in a thoroughly Celtic welcome that made strangers who got on in Dublin lifelong friends by the time it arrived in Cork. Revelry and romance are the two words that come mostly to mind when I recall the journey." (John Daly, Irish Examiner, 04.11.2017) However, the arrival of the airport in 1961 was seen as a great opportunity for the festival to bring more tourists and delegates to the festival and many photographs in the archive show guests arriving, departing, or posing at the airport. The old airport was a convivial spot – children and adults would congregate on the upper floor watching the arriving and departing aircraft during an era when such things held a certain amount of awe. The old terminal was later decommissioned in 2006, on the opening of the new terminal just down the way, and with it the conviviality of the old gave way to the functionality of the new. 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 Date A point or period of time associated with an event in the lifecycle of the resource 1980 Format The file format, physical medium, or dimensions of the resource Photo TIFF JPEG 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 Rights Information about rights held in and over the resource This item is licensed under a 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. Please credit the Cork International Film Festival Archive and provide a link back to the site. Language A language of the resource English, eng Cork Airport Theo Dorgan transport https://corkfilmfest.ucc.ie/files/original/4fa903930765539ea7ff897fc4200eda.jpg 2cfa5f4ccf68e030d4e89e8276abee45 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 Photographs Subject The topic of the resource Cork Film Festival Description An account of the resource A selection of photographs from the Cork International Film Festival Creator An entity primarily responsible for making the resource University College Cork 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- 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 Format The file format, physical medium, or dimensions of the resource Photo TIFF JPEG Rights Information about rights held in and over the resource Please see individual items for licencing information. ©Reproduction rights CIFF Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Photo Physical Dimensions The actual physical size of the original image 194 x 252mm 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 Portrait of Mick Hannigan Subject The topic of the resource Cork Film Festival, Mick Hannigan, Theo Dorgan, Úna Feely, Indie Film Festival, The Kino Description An account of the resource This is a publicity picture of Mick Hannigan who was the director of the Cork Film Festival from 1986 and its CEO from 2009 to 2013. The photo is undated, but we might suggest that it is from the 1980s when Hannigan, along with the poet Theo Dorgan, took the helm of the festival from Robin O’Sullivan who had managed it magnanimously after the unexpected death of festival founder Dermot Breen in 1978. Hannigan and Dorgan were a formidable team and consolidated the work of the festival bringing short and independent films to big venues such as the Cork Opera House. In 1996 Hannigan opened the first art house cinema in Cork – The Kino – located on Washington Street, at the top of the Western Road. Its first film was the low-key British film Brassed Off (Mark Herman, 1996) but it was Shine (Scott Hick, 1996) that sustained an eleven-week run ensuring the early success of the Kino. It ran both popular and art-house films and, in conjunction with the Cork Film Festival, brought retrospective and cultural films to Cork. However, plagued by financial concerns, the Kino closed its doors in 2009 and the building, once a cultural hub for the city, is now destined for redevelopment. Following his departure from the Cork Film Festival in 2013, Hannigan set up the Indie Cork Film Festival with festival programmer Úna Feely. Feely had worked for the Cork Film Festival since 1995 and was its festival programmer from 2001 until her departure, with Hannigan, in 2013. Hannigan and Feely also run Green Ray Film Agency which provides a broad range of services to filmmakers, festivals, and event organisers. (Joe Lyons, 'The Kino', The Archive, Issue 17, 2013; Michael Moynihan, Crisis and Comeback: Cork in the Eighties, Collins Press, 2018.) 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 Format The file format, physical medium, or dimensions of the resource Photo TIFF JPEG 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 Rights Information about rights held in and over the resource This item is licensed under a 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. Please credit the Cork International Film Festival Archive and provide a link back to the site. Language A language of the resource English, eng IndieCork Film Festival Michael Moynihan Mick Hannigan The Kino Theo Dorgan Una Feely https://corkfilmfest.ucc.ie/files/original/80c01c00c708c49e8857619f9284e111.jpg 13c492c8ac1f53f74fa648c27517eef6 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 Photographs Subject The topic of the resource Cork Film Festival Description An account of the resource A selection of photographs from the Cork International Film Festival Creator An entity primarily responsible for making the resource University College Cork 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- 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 Format The file format, physical medium, or dimensions of the resource Photo TIFF JPEG Rights Information about rights held in and over the resource Please see individual items for licencing information. ©Reproduction rights CIFF Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Photo Physical Dimensions The actual physical size of the original image 254 x 202mm 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 Theo Dorgan and others with the 1986 festival programme Subject The topic of the resource Cork Film Festival, Theo Dorgan Description An account of the resource This is a black and white photo of the celebrated poet, writer, translator, and broadcaster Theo Dorgan with two unidentified guests at a drinks reception for the film festival. Dorgan, on the right in a light-coloured jacket and glass in hand, is looking down at the programme of the 31st Cork Film Festival which took place in 1986. He had just taken over the film festival, along with Mick Hannigan, and this photo might be from the launch of that years’ festival. The location is not identified but given the artwork hanging on the walls behind them we might suggest the Crawford Art Gallery in Cork. Theo Dorgan’s name, together with Mick Hannigan, is intrinsically tied up with the early days of Hannigan’s tenureship of the festival. Born in Cork in 1953, Dorgan was educated at the North Monastery School and University College Cork where he later taught. Dorgan managed the literature programme at the Triskel Arts Centre in Cork from 1977 to 1979 crossing paths with Mick Hannigan and together they took on the then-struggling Cork Film Festival in 1986. He was later appointed director of Poetry Ireland and moved on from the festival in 1989. Dorgan has presented Poetry Now, the Inprint series, and The Invisible Thread, on RTÉ and Lyric FM radio. His poetry collections include The Ordinary House of Love (Salmon Publishing, Galway, 1991) (which was republished in 1998 with Rosa Mundi in the single volume What this Earth Cost Us [Dedalus Press, 2008]), Sappho’s Daughter (Wave Train Press, 1998), Greek (Dedalus Press, 2010), and Nine Bright Shiners (Dedalus Press, 2014) for which he was awarded the 2015 Poetry Now Award. With a keen interest in sailing Dorgan published his memoirs Sailing for Home (Dedalus Press, 2004) and Time on the Ocean (New Island Books, 2010). He was appointed to the Irish arts foundation Aosdána in 1999 and was an appointee of the Arts Council from 2003 to 2008. 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 Date A point or period of time associated with an event in the lifecycle of the resource 1986 Format The file format, physical medium, or dimensions of the resource Photo TIFF JPEG Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1986 Cork, Ireland Rights Information about rights held in and over the resource This item is licensed under a 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. Please credit the Cork International Film Festival Archive and provide a link back to the site. Language A language of the resource English, eng Relation A related resource <a href="https://corkfilmfest.ucc.ie/items/show/612">1986 festival programme cover</a> Mick Hannigan Theo Dorgan https://corkfilmfest.ucc.ie/files/original/c3afc39530735fbdedc44f05cc5af8f1.jpg ff052d0035d3dac11be570e985d7441e 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 Miscellany Description An account of the resource A selection of items from the Cork International 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- Language A language of the resource English, Irish 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 Rights Information about rights held in and over the resource Please see individual items for licencing information. ©Reproduction rights CIFF Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Photo Physical Dimensions The actual physical size of the original image 253 x 201mm 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 Contact sheet with Mick Hannigan and Theo Dorgan Subject The topic of the resource Cork Film Festival, Contact Sheet, Mick Hannigan, Theo Dorgan, Festival Staff Description An account of the resource This is a black and white contact sheet of festival staff Mick Hannigan and Theo Dorgan. The contact sheet comprises four strips, with nine images in total. The numbered images show three head and shoulder publicity shots each of Dorgan and Hannigan and three images of them standing together. We kept some examples of these contact sheets in the archive to show how photographers used positive prints from the negatives on a roll of film. This enabled the photographer to scan a series of thumbnail images to find the ‘keepers’ or the ones chosen to be enlarged. The photojournalist Henri Cartier-Bresson is famously known for analysing other photographers' contact sheets as a means of judging their work. We can see how the photographer explored their subject in the expanse of a single sheet. In our example, we appreciate the images of the now-celebrated poet Theo Dorgan, and the cineaste Mick Hannigan who worked for the Cork International Film Festival for 27 years and now runs the <a href="https://indiecork.com/">IndieCork Film Festival</a>. 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 Format The file format, physical medium, or dimensions of the resource Photo TIFF JPEG 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 Language A language of the resource English, eng Rights Information about rights held in and over the resource <a href="https://creativecommons.org/licenses/by-nc-nd/4.0/">CC BY-NC-ND 4.0</a>. All rights reserved. Please credit <a href="https://corkfilmfest.org/">Cork International Film Festival</a> & provide a link back to this site. Contact Sheet Festival Staff IndieCork Film Festival Mick Hannigan Theo Dorgan 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> 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> & 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 This item is licensed under a 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. Please credit the Cork International Film Festival Archive and provide a link back to the site. 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 red.  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: Experimental Films from San Francisco: Boundaries of Film-Making curated by Karen Holmes (page 17). Festival notes also include an article on Cinema & Ireland, 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/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> 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> & 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 This item is licensed under a 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. Please credit the Cork International Film Festival Archive and provide a link back to the site. 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> <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 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. Festival films included Jesus of Montreal (Denys Arcand, 1989), Tour D'Amour (Veit El-Mer, 1989) and Fragments of Isabella (Ronan O’Leary, 1989) which received its world premiere that year. The programme also includes notes for Focus on John T Davis – the Irish filmmaker (page 59); Homage to Black & White Cinematography by Mick Hannigan (page 61); and Northern Lights – Video Work From Belfast & Derry (page 62). Eddie Noonan Festival Staff Kieran O’Connor Mick Hannigan Ronan O'Leary Theo Dorgan