1 10 3 https://corkfilmfest.ucc.ie/files/original/84427f0086d98603d51c46d0aa75b064.jpg 5af8375ebd0718065749b06fd6c00982 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 210 x 295mm 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 Guests including Ronan O'Leary Subject The topic of the resource Cork Film Festival, Jury, Ronan O'Leary Description An account of the resource This is a stylised black and white photo of three unidentified guests taken at the 1996 festival. They stand together laughing in front of a sign for Murphy’s 41st Cork Film Festival. Two of the guests are wearing lanyards – one of which identifies the wearer as a jury guest. He is also carrying a festival programme with the name ‘Ronan O’Leary’ marked on its cover. O’Leary is an Irish filmmaker who has served on juries in Cork, Berlin, Bosnia, and Croatia. 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 1996 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 1996 Cork, Ireland Language A language of the resource English, eng Rights Information about rights held in and over the resource <span>This item is licensed under a&nbsp;</span>Creative Commons Attribution NonCommercial-NoDerivatives 4.0 International (CC BY-NC-ND 4.0) licence<span>.&nbsp;Please credit the&nbsp;</span>Cork International Film Festival Archive<span> and provide a link back to the site.</span> Jury Ronan O'Leary https://corkfilmfest.ucc.ie/files/original/1819667edb8c17ca2beaa9a082798e2b.pdf b4c634c6983b47dbceb14b618088b0d8 PDF Text Text WHET �SEPTEMBER 8 - 19 OKLAHOMA by Rodgers and Hammerstein Irish Operatic Repertory Company 28-3 DIXIE by Sean McCarthy Storytellers Theatre Company OCTOBER 4-11 12 - 17 DANNY LA RUE Sun. 1 8 TOM PAXTON in Concert 19-21 PHILIPPE GENTY COMPANY from Dublin Theatre Festival 23 - 25 JUST THE TICKET CORK FILM FESTIVAL GUINNESS JAZZ FESTIVAL in association with RTE 27-31 G.U.B.U. 2 by Tony Doherty NOVEMBER 2-7 DANCING AT LUGHNASA by Brian Friel Abbey Theatre 8- 14 CHRISTY MOORE 16-21 GISELLE Cork Ballet Company Sun. 22 TUTTI FRUITI Rock n' Roll Show �MESSAGE BY THE RIGHT HONOURABLE THE LORD MAYOR I ALDERMAN MICHAEL MARTIN, T.D., Is mor an onoir dom mar Uachtaran na Feile failte Uf Cheallaigh a chuir roimh na hafonna agus cuairteoin go leir go Corcaigh i mbliana. Ta suit agam go mbainfidh sibh taitneamh as an tseachtain agus go dtiocfaidh sibh arais ans sa todhchai'. It is a great privilege and honour for me to act as President of the 37th Cork Film Festival. In that capacity I wish all our guests and visitors an enjoyable and fruitful week. The Film Festival is a major annual event in Cork's Festival Calendar. It is a quality Festival and because of this has built up a loyal audience locally, nationally and internationally. Its success to date, along with the Jazz, Folk and Choral Festivals has been instrumental in helping the city to develop into a Festival City of renown. The film industry in Ireland is underdeveloped. I believe it can become a powerful resource for the country, and should receive greater state funding. The Cork Film Festival has helped to keep the industry on the public policy agenda and we in Cork Corporation are delighted to have been of assistance in the past and will continue to do so in the years ahead. Finally I wish to thank the hardworking Festival Committee and the voluntary personnel who have displayed outstanding organisational skills in putting this comprehensive programme together. 37TH CORK FILM FESTIVAL: CREDITS TRANSPORT MANAGER Donal O'Sullivan PRESIDENT The Lord Mayor of Cork, Aid. Michael Martin T.D. PRINT TRANSPORT Helen Farrell Ben Reilly CHAIRMAN Charles Hennessy PRODUCTION MANAGER Joe Chalmers EXECUTIVE COMMITTEE Michael Gleeson Liam Kinsella Tiernan MacBride Dr. Rosmarie Manning Michael O'Connell Dr. A.J.F.O'Reilly David Puttnam R. Declan Scott RECEPTION Margaret Dorgan Una Feely JURY LIAISON Tony Devenyi DIRECTORS Fran Bergin Administration Donal Sheehan Programming FRONT OF HOUSE Tim Crowley Angela Dorgan OFFICE Kieran O'Connor Colette Sheridan SCHOOLS PROGRAMME Fiona Cunningham ACKNOWLEDGEMENTS The assistance of FAS and the Triskel Arts Centre is gratefully acknowledged. EXHIBITION Tony Devenyi PRINTED BY Lee Press Ltd PRESS OFFICER Ruth Riddick PROGRAMME PRODUCTION & GRAPHIC DESIGN Kieran O'Connor RADIO COMMUNICATION EQUIPMENT Southern Electronics Ltd ACCOMMODATION Helen Guerin FESTIVAL TROPHIES Kevin Holland FREIGHT AGENTS Diamond Freight Services LESBIAN & GAY FESTIVAL Maura O'Keeffe PROJECTIONISTS Declan Lynch Eddie Noonan Ben Reilly I CARS Henry Ford & Son 1 AUDITORS D.J. Coleman & Co �t AIB It’s not just A STAGE we’re GOING THROUGH. For several years now AIB ooo Off*ippntor <”»s has been participating in the Arts in Ireland. We have had many happy associations with productions both here and abroad. Through our 'Better Ireland Awards’ project we recognise groups and organisations making significant contributions towards enriching the quality of cultural life in Ireland. And we have a wide-ranging cultural programme planned for well into the future, ensuring that we play our part in the continued success of the Arts. A lot goes on behind the scenes in AIB. AIB You bring out the best in us 2 �For 37 years now the Film Festival has been a vital part of the cultural life of our city and country. We would like to think that the continued growth of interest in, and appreciation of, cinema in Ireland has been in some way forwarded by the energy and commitment of all who have worked on the Festival since its inception. The continued support of both the Arts Council and Cork Corporation have ensured the growth of this international Festival and we are very grateful for this. We are delighted to renew our association with Murphy’s Irish Stout as our main sponsor and would also like to thank Telecom Eireann and Hollywood Video for their sponsorship. We are deeply indebted to our patrons and advertisers for their support; quite simply we could not have brought you this Festival without them. I am particularly pleased that our relationship with our Sister City of San Francisco continues to grow and flourish, and I am happy to welcome to the Festival some of our keenest supporters from that city. We are also indebted to the marvellous corps of voluntary workers who continue to give of their time and talent unselfishly to the art of film and to the advancement of this city. I know that no effort has been spared in assembling a programme of films that will delight, entertain and intellectually challenge our audiences. We are proud to welcome to Cork the directors, producers, distributors and actors associated with many of our presentations and, on behalf of my hardworking Executive Committee and our Directors, I extend to you our audience, a hearty welcome. Charles Hennessy Chairman A Message from Michael Foley, Managing Director, Murphy Brewery Ireland Ltd. The Cork Film Festival has reached its 37th year due to the vision and tenacity of its organisers since its inception. The Festival has achieved an international reputation as a premier cultural event due to the commitment of Charles Hennessy and his executive committee and especially the tireless Directors and staff. * <I On behalf of Murphy Brewery Ireland Ltd. I am delighted to renew our association with the Cork Film Festival as its major sponsor. Murphy’s Irish Stout is a noted sponsor of the Arts including the Abbey Theatre, the Firkin Crane and recently the Shaun Davey Granuaile Suite at Cork Gty Hall. Of all the Arts, film has become the dominant medium of the twentieth century. It is an indication of the vitality of the Cork Film Festival that this year's programme is the most exciting ever. 3 �GRANT-AIDED BY THA ----------------- ■ Grant-aided by the Arts Council I We would like to express our sincere appreciation of the following organisations, companies and individuals whose generous support of the Cork Film Festival has enabled us to organise this year's event. The Arts Council PATRONS Cork Corporation Companies ABC Taxis Allied Irish Bank, pic Aer Rianta • * • ♦ ¥ Alcatel Ireland Ltd * ¥ * Astra Pharmaceuticals Bank of Ireland Barrys Tea Ltd Beamish & Crawford pic Boeing Computer Services Ireland Bord Gais Eireann Bourns Electronics (IRE) Ltd Brookfield Physiotherapy & Sports Injury Clinic Brooks Haughton Ltd James Bruen & Sons Ltd Patrick Buckley & Co C. A.B. Motor Co Ltd Church & General Insurance pic Ciba-Geigy Ireland Ltd Cilag Ltd CMP Dairy Daniel J Coleman & Co Coopers & Lybrand Cork Chamber of Commerce P.J.Crowley Ltd Dairygold Co-operative Society Ltd The European Commission RTE San Francisco Sister City Committee •oo•oo• o•o•o•o o o•••oo ••••••• oo*•too o•o•o•o •00*00* British Council D. O.C. Optical Co Ltd Deloitte & Touche Design Workshop D.F.Doyle & Co Ltd Eagle Oil Fitzgerald & O'Leary General Semiconductor Ireland Grainger Sawmills Ltd Guy & Co. Ltd P.J. Hegarty & Sons M.J. Horgan & Sons IDA Ireland Irish Distillers Ltd Irish Fher Laboratories Irish National Insurance Company Irish Steel Ltd Irish Trade Board Janssen Pharmaceutical Ltd Jardine Insurance Brokers Ireland Ltd Johnson & Perrott Ltd Jurys Hotel Cork Logitech Mac's Meats Kieran McCarthy & Co G. J. Moloney & Co Frank Murphy & Partners Musgrave Ltd New Ireland Assurance No 1 Launderette Kieran O'Callaghan & Co Ltd MAIN SPONSOR I A/SHSTO^ Murphy's Irish Stout SPONSORS TELECOM EIREANN Telecom Eireann Hollywood VideoHollywood Video 4 O'Donovan Cuddy & MacCarthy J.W O'Donovan & Co Ltd O'Flynn, Exhams & Partners Edward O'Mahony & Co O'Sullivan Public Relations Organon La bora tories/Axzo Ove Arup & Partners Ireland Parke-Davis Research Laboratories Penn Chemicals B.V. Pepsi-Cola Manufacturing (IRE) Ltd Pfizer Pharmaceuticals Project Management Ltd Quigley Company of Europe Ltd John Roche & Co Roche Pharmaceuticals Ronan Daly Jermyn Solicitors Sedgwick Dineen Group Ltd Signrite Smurfit Corrugated Cases Southern Fruit Distribution Co Statistical Softwear Ltd Stokes Kennedy Crowley True-Temper Ltd Trustee Savings Bank Turners Cross Motors University College Cork Weir & Ml Young Interiors Billy Wilson Associates Wyeth Laboratories Individuals Thomas Creed Kevin & Allison Cross Don Crewe Gene Fitzgerald, MEP Eamonn & Jane Fleming Harvey Kenny, BL Noel Locke Denis Lyons, T.D. Dr. Gillian McSweeney Dr. Rosemarie Manning Barry & Joan Murphy James O'Drsicoll Liam S. O'Raghallaigh Marie O'Meara Joe Shinkwin Mr and Mrs G. B. Nixon" �. .r RT./CORK ^ELAND’S EUROPORT ONLY CORK OFFERS liw 4 ■ SD3 S i 5L 1 ■ DIRECT CONTAINER AND ROLL-ON ROLL-OFF SERVICES TO MAINLAND EUROPE ■ SHORTEST CROSSING TO THE CONTINENT MORE LINES, MORE SERVICES, - SIMPLY BETTER FR1 PORT»/CORK BUILDING IRELAND’S FUTURE CORK HARBOUR COMMISSIONERS, CUSTOM HOUSE ST., CORK. TEL 021-273125 FAX: 021-276484 TELEX: 75848 Phone: 276433 <3 mm Bow Chow oa CAFE MEXICANA ALLIANCE FRANQAISE DE CORK SPECIALISTS IN FRENCH CORK'S Enquiries: Enterprise House 36, Mary Street Cork Tel: 021 310 677 MEXICAN ORIGINAL RESTAURANT Opening Hours • 12pm til Late 7 Days a week Special Dally Menu • 12pm to 6pm Sunday Lunch • 12pm to 6pm Children’s Menu available • Full Wine Licence 5 �s A fcsswrfihK When you're Hgj| - away from iS' -'--c R '■ mV • 'V > 2V ? 7^-V, -■ ^TSkeswIr “22"? ----------------------------------------------....... »,,j------------------------ I you can divert your phone and enjoy a night at the Opera a House |-A || -j Y. ' < V' y Vj■ & ’ kt - ya e-\ : -iggPy < - < ...... ------ Call Diversion is a helpful new service which allows you to divert calls to another phone when you're not at home.It is available to customers who are connected to digital exchanges. For more information Freefone 1800 500 500. TELECOM EIREANN Call Diversion a PHONEp&zJ service from Telecom Eircann 6 �4 J FT" ’ _____ ______ /o D U C T I O N IRISH SECTION The Festival aims to act as a show case for Irish film. Once again we have the privilege of screening the world premiere of a film by Ronan O'Leary, HELLO STRANGER. There is also a fine crop of new Irish shorts in the Triskel programme, including an exciting selection from the film schools in Dun Laoghaire and Rathmines. FOCUS For many years the Festival has considered devoting a focus section to the work of Michael Apted, one of the most distinguished British film makers of his generation. He has created a notable range of films both for cinema and for television. His work as a documentary film maker, as director for major Hollywood projects and as a producer are all remarkable. The fact that we are screening two of his latest films in the Opera House made this year an ideal opportunity to present a focus on his work. LESBIAN AND GAY FILM FESTIVAL A section of our audience from bygone days! We were delighted with the success of the First Irish Lesbian and Gay Film Festival in 1991. We are very happy to continue our close involvement with and support for an event that has, we feel, a bright future. VISITORS The festival is more than just a series of screenings. The core of the festival lies rather in the creative exchange of ideas nurtured by the open, convivial and relaxed atmosphere for which the city and the festival are widely known. This year we are delighted to welcome a record number of film makers and delegates from all over the world. PROGRAMME We have a strong and diverse programme of features this year and are particularly delighted to present the Irish Premiere of The CRYING GAME, the latest film by one of Ireland's most distinguished film makers, Neil Jordan. This year's record number of over 700 entries for short film and documentaries is testimony to the festival's growing international reputation. It is regrettable that we are only able to screen a fraction of the fine films that we are offered. We hope that you enjoy those we have selected. THANK YOU Michael Hannigan's recent departure from the director's chair marked a major transition in our organization. Michael played a key role in re-vitalizing the festival. He brought a new identity and sense of direction to a long established event at a crucial time in its history. Under his direction the festival has been re-established as Ireland's premier film festival. His commitment to building a professional team and assembling the resources needed to run a major cultural event should bear fruit for many year's to come. We wish him and the Irish Film Centre all the success they so much deserve COMPETITIONS The EUROPEAN SHORT FILM COMPETITION, with a prize of 10,000 ECU's funded by the European Commission, is the main competitive element in the Cork Film Festival. It is the richest prize for short film in Europe. The Festival is very grateful to the European Commission for their continued support of the competition. We are committed to the short film both as an art form in itself and as the seeding ground for new film making talent. The festival could not take place without the generous support of the film-makers, film-distributors and film­ organisations who each year entrust their prints to us. Without this support much of the festival's programme would never be seen by Irish audiences. Cork's BLACK AND WHITE COMPETITION is the only such event in the world and continues to attract world-wide entries from film makers working in glorious monochrome. The festival also provides the GUS HEALY AWARD and prize of £1,000 for the Best Irish Short Film. The unstinting work of the Festival's staff - the furiously paddling legs that keep the whole event gliding serenely forward - must be remembered. The pressure, the deadlines, the attention to detail that is essential in managing such a complex event all demand a level of commitment far beyond the financial rewards the festival can offer. EXHIBITION This year's Exhibition has a special importance for the festival. Over recent years we have worked to collect and preserve archive material relating to the Festival. The idea for an exhibition on the history of the festival arose naturally from this. We are particularly glad to assemble this tribute to the work, the ideals and the achievements of the people who initiated and developed the Festival. . Finally we must thank the people of Cork who form the bulk of our loyal audiences and in particular the generous financial support from Cork business people without which the festival could not happen. SEMINARS We aim to develop the seminar section as an integral part of the festival programme. This year we will deal with current issues in documentary filmmaking and with the perennial topic of low budget films. We are very pleased that the Copenhagen - based Project for the Creative Documentary has chosen to make tneir Irish presentation in Cork as part of the Documentary Seminar. Donal Sheehan Fran Bergin 7 Programming Director Administrative Director �Cinema IS truth twenty- four times a second Jean Luc Godard c on o' Z5 GO r-t rtf TJ on o‘ ZJ Art Memory Cinema * Cinemas ■s Temple Bar Dublin �SKiSi 5 Non MEMBERSHIP [_ S Festival-goers are obliged to become members of the 37th Cork Film Festival Association in order to purchase tickets for admission to screenings. The membership fee is £1. Membership is open to those over 18 years of age. Membership is non-transferable and Membership Card must be produced when buying tickets for screenings. Members may also be asked to produce Membership Card together with ticket, when entering the cinemas. Members may purchase admission for one guest for each screening. Members are advised that seats must be occupied ten minutes before a programme begins, otherwise we cannot guarantee that seats will be held. QJ IJ h The most talked about new TICKET PRICES INDIVIDUAL SCREENINGS: Opera House: 8.30pm & 11.30pm, £3.50 & £3 (concession) 2.00pm, 4.00pm & 6.00pm, £2 2.00pm & 4.00pm screenings free for Old Age Pensioners RESTAURANT IN CORK. Triskel Arts Centre: £2 & £1.50 (concession) Triskel Arts Centre Shorts Programmes: £1 Weekend Tickets: Valid for all screenings Friday 9th - Sunday 11 th: £20 Season Tickets: Valid for all screenings: £35 & £30 (concession) Special Season Ticket for Couples: £60 pair Patron Tickets Companies: £125 per pair Individuals: £100 per pair Lesbian & Gay Screenings: Crawford Gallery: £2.50 & £2 (concession) Triskel Arts Centre: £3 & £2.50 (concession) Check it out ADVANCE BOOKING Tickets for all screenings in the Opera House may be booked in advance. Box Office hours for advance booking: 10.15am - 7pm. Telephone bookings with credit card: Tel: (021)270022. Those booking by telephone must take out Membership before collecting tickets. Tickets for Triskel Arts Centre screenings available at door. CONCESSION RATES Available to those with appropriate ID: unemployment card, pension book, student card. Apply to Information Desks in Opera House or Triskel for details. ISAACS RESTAURANT Me CURTAIN ST. CORK, IRELAND TEL: 021 JOJ 805 All Inquiries to Information Desks In Opera House and Triskel Arts Centre. Telephone enquiries to: (021) 271711. 9 �Your membership card for the Cork Film Festival entitles you to FREE MEMBERSHIP and 2 FREE VIDEO RENTALS at any branch of Hollywood Video Branches at: 20, Pouladuff Rd., 33, Barrack St., 16, Anglesea St., Southern Rd., Me Curtain St., Old Youghal Rd., East End, Ballincollig, Main St., Ballincollig, Grangevale, SC Grange, Main Street, Carrigaline, Douglas Rd., Harbour View Rd., Hollyhill BEST WISHES TO THE 17TH CORK FILM FESTIVAL J1 FROM Er yrr. % ^INK KKHravel n n z While enjoying the Film Festival, why not drop into Clancy’s for a drink FLY TO THE STARS WITH CITY TRAVEL BEST SERVICE - COMPETITIVE FARES i SIS * mo B 15*16 Princes Street 29'30'31 Marlboro Street Phone: 271726 ☆ ☆ 34, OLIVER PLUNKETT ST. CORK, IRELAND TEL: 021 27362/271339 FAX: 011 272 136 TELEX: 755J7 10 �'SWA 3 7 T H 8:30PM CORK OPERA 5 CORK FILM FESTIVAL > “W" ©ala ©gening/ HOUSE 1 I m THE CRYING GAME NEIL JORDAN England/1992/35mm/112 minutes/Colour Executive Producer: Nik Powell. Producer. Stephen Woolley. Leading Players: forest Whitaker, Miranda Richardson, Stephen Rea, Adrian Dunbar. Script: Neil jordan. Photography. Ian Wilson. Editing: Kant Pan. Music: Anne Dudley. Production Company. Palace Pictures, Channel Four Films in association with Eurotrustees and Nippon Film Development and Finance inc. With the partnership of British Screen. Print Source: Mayfair Entertainment, 9 St. Martin's Court, London WC2N 4A), England. Tel: 071 89S 0328, Fax: 071 895 0329. THE CRYING GAME is a tale of love, loyalty, murder and seduction. Jody, a British soldier held hostage in a glasshouse in South Armagh by Fergus and his fellow conspirators, reminisces about his love for the beautiful woman whose photograph he carries in his wallet. In this tense, though intimate atmosphere, Fergus and Jody develop an unlikely rapport that can only have dangerous repercussions. Soon, on the run from his confederates, Fergus is also on a mission to carry out Jody's dying wishes to find Dil the woman in the photograph. Dil has long purple hair and irresistable allure. Hairdresser by day, singer in a bar by night, Dil is innocent of Fergus' past and, as they sip margaritas together, they gradually grow closer. Then there is Dave, Dil's ex from Essex, who's asking for trouble; Jude, a blonde in a brown wig who wants Fergus; and Maguire who wants revenge. Neil jordan draws together his collection of dreamers in a bizarre yet vibrant underworld - moving from the tension and conflict of Northern Ireland to the seedy twilight zone of London. THE CRYING GAME is tough and troubling, yet also filled with warmth, wit, magic and music. THE CRYING GAME will be preceded by JAZZ IN THE BOX, directed by Milan Grozdanic -AlFESTIVAL OPENING SPONSORED BY LWsWvJ 11 MURPHY'S IRISH STOUT �HORIZt^Rf COMPUTER SERVICES AppleCentre Lower Road Cork Telephone ♦ 353 21 ■ 50 74 28 Facsimile ♦ 353 • 50 54 79 BET ASHES CORK FILM FESTIVAL TO THE ...and anyone else you may care to treat Progressive Cuisine using the best of local O'Oduce coc<ea > an maginotive woy to ccn'p'ime''’ our interes’-ng and varied wine list Phoenix Street • (Near the GPO) 5 Minutes walk from the Opera House ♦BOOKING 2773871 ■ PARI Of THE HORIZON COMPUTER GROUP ■ DUBLIN CORK GALWAY • accBank BANKING SERVICES FOR BUSINESS and PERSONAL CUSTOMERS ♦ Home loan and commercial loan package ♦ Keenest car loan rates ♦ Flexible State guaranteed deposits For further details contact: ACCBANK, 41, South Mall, Cork 12 �>Smi j)i£\ 37TH CORK. GALA < < ■ £ BER 8:30PM CORK OPERA HOUSE FILM I FESTIVAL CTOSI NG < m THUNDERHEART MICHAEL APTED USA/1992/35mm/118 minutes/Colour Producer Robert De Niro. Leading Players: Vai Kilmer, Graham Greene, Sam Shepard, Sheila Tousey. Script: /ohn Fusco. Photography: Roger Deakins. Editing: Ian Crafford. Music: James Horner. Production Company: TriBeCa/ Waterhorse. Print Source: Columbia Tri-Star Films (Ireland), Merchants Court, Merchants Quay, Dublin 8, Ireland. Tel: 01 6798234 Fax: 01 6798237. THUNDERHEART deals with the position of the Native American in US society. It depicts events surrounding the investigation of a murder in the Badlands of South Dakota. Vai Kilmer stars as Raymond Levoi, Eastern urbanite and FBI agent, sent to investigate the murder of an Oglala Sioux. There he finds Sam Shepard's cynical FBI agent "Cooch" Coutelle conniving by default with local whites, and Levoi quickly realises that the situation is far more complex than the FBI bosses are willing to allow. Graham Greene plays tribal police officer, Walter Crow Horse who, with Grandpa Sam Reaches (73 year-old Chief Ted Thin Elk making his screen debut), are the instruments through which Kilmer comes to question his commitment to government and state - and to his own Sioux ancestry. His gradual shift from the perspective of Government employee to Native American supporter is a subtle and affecting performance, and the strong team who play the Reservations residents, are wholly convincing as the indomitable group fighting to keep alive their culture in a society that cares little for their customs and values. THUNDERHEART will be preceded by the winner of the European Short Film Competition. FESTIVAL CLOSING SPONSORED BY WsHsiowJ 13 MURPHY'S IRISH STOUT �TRISKEL ARTS CENTRE, SUNDAY 11TH, 16.00 OPERA HOUSE, THURSDAY 8TI AS HAPPY AS LARRY THE BEST INTENTIONS Riju Ramrakha DEN GODA VILJAN Bille August Australia/1991 /16mm/61 minutes/Colour Sweden/1991/35mm/180 minutes/Colour/Subtitles Producer. Riju Ramrakha, Patricia Lhuede. Leading Players: Max Cullen, Tony Harvey, Helen Mutkins. Script: Riju Ramrakha. Photography: Reynold Carlsen. Editing: Fiona Strain. Music: Robert Moss. Print Source: Far Sighted Films, 77, Elliott St., Balmain, NSW 2041, Sydney, Australia. Tel: 61 2 319 6178, Fax: 61 2 555 1937. Producer: Lars Bjalkeskog. Leading Players: Samuel Froler, Pernilia August, Max Von Sydow, Chita Norby. Script: Ingmar Bergman. Photography: jorgen Persson. Stills: Bengt Wanselius. Editing: Janus Billeskov Janson. Music: The Swedish Radio Symphony Orchestra. Production Company: Artificial Eye Film Company. Print Source: Artificial Eye Film Company, 211 Camden High Street, London NW1 7B,T, England. Tel: 071 267 6036. Larry and Bert live in a rundown terraced house in a decaying suburb of Sydney. Bert, a boozer and a gambler, is laid off from his boring job and plans to fulfil his dream of buying a greyhound and winning his fortune on the track. Larry, a schizophrenic, has an intense inner life and a sometimes tenuous grasp on reality. He hears voices, is convinced that he has telepathic powers and has occasional flashes of insight into the nature of God and time. He does admit, though, that occasionally, his mind does play tricks on him. While other people reckon that Larry is away with the fairies, Bert takes him at face value. They share a love of old movies on television and are both convinced that a big win on the Lotto is imminent This is the story of a family and a bygone era played out against the backdrop of a Sweden stifled by a rigid class system and in the throes of a general strike. Henrik, a poverty-stricken young theology student meets a beautiful and vivacious upper-class girl, Anna, who is adored by all, especially her father johan (Max Von Sydow). The pair fall in love, despite the opposition of the real head of the family, Anna's mother. THE BEST INTENTIONS traces the course of their love over a turbulent decade in Swedish history. While directed by Bille August (who won an Oscar in 1989 for his PELLE THE CONQUEROR),THE BEST INTENTIONS has the inimitable stamp of Ingmar Bergman on it. He wrote the script, based on the lives of his parents up to the time of his own birth, and many of the cast and crew were Bergman regulars. In the course of many months of pre-production on what turned out to be the most expensive Swedish film ever made, Bergman and August grew towards a shared vision of the film. What we are left with is a beautiful, epic film, a straightforward but deep tale of the vissicissitudes of love and the vulnerability of the human spirit. Bert buys his greyhound, who becomes like a second son to him. The dog is surprisingly successful at racing and while Larry finds the whole thing incomprehensible, he goes along with Bert just to humour him. Larry develops a crush on jenny, a girl who attends his daily group therapy sessions. She's brain damaged, but you can't have everything. Anyway, she's much less sexually threatening than some of the other people in the group. Unfortunately, Larry learnt all of his ideas about romance from discussions with Bert and from watching old TV movies, and things don't work out as planned. It's enough to put anyone in the nut house - and it does. I "...so gripping that at the Cannes screening that I attended, a good number of the spectators remained in their seats after the film ended, as if they wished the threehour film had been longer...Bille August's direction is sure and subtle...Ultimately, THE BEST INTENTIONS is a risky and successful journey led by a master storyteller into the labyrinth of the human heart." Marcelle Clements Premiere "A fine script and some well-judged performances make this a hugely watchable film." Melbourne Fringe Festival Winner 1992 Golden Gate Award for Fiction, San Francisco Film Festival. please note earlier starting time of this film i 14 �FT '[■ Il JSKEL ARIit-■ ■ ■V 16.00 OPERA HOUSE, SATURDAY 10TH, 18.00 iBROTHEETS CHAIN OF DESIRE Joe Berlinger, Bruce Sinofsky Temistocles Lopes USA/1992/16mm/117 minutes/Colour USA/1992/35mm/IO5 minutes/Colour ' K *■ Producer: Lindsay Law, foe Bedinger. Photography & Editing: Douglas Cooper. Music: Jay Ungar, Molly Mason. Print Source: Jane Balfour Films, Burghley House, 35, Fortress Road, London NWS 1AD, England. Tel: 071 267 5392, Fax: 071 267 4241. Executive Producer: Anant Singh. Producer: Brian Cox. Leading Players: Malcolm McDowell, Seymour Cassel, Linda Fiorentino, Grace Zabriskie. Script: Temistocles Lopes. Photography: Nancy Schreiber. Editing: Suzanne Fenn. Music: Nathan Nimbaum. Print Source: Distant Horizon, 52, Crescent Ave., St. George, Station Island, New York 10301, USA. Tel: 718 816 6732, Fax: 718 273 2766. A year in the life of murder defendant, Delbert Ward, an impoverished dairy farmer accused of suffocating his brother to death, is the focus of this non-narrated cinema verite feature film. Although devoid of scripts, actors and any re-creation whatsoever, the film unfolds like a dramatic fiction feature film. "Who slept with the person who slept with the last person you slept with?" This is the question posed in this comedy of sexual manners, a contemporary reworking of Max Ophuls' legendary LA RONDE. When Alma d'Angeli (Linda Fiorentino), a hot nightclub singer, sleeps with jesus, a married, Hispanic working-class man, they start a chain of erotic entanglements that cross many social and psychological boundaries. The film revolves around Delbert, Bill, Lyman and Roscoe Ward, four elderly dairy farming brothers. These nearlyilliterate bachelor brothers have never left their family farm in Central New York State. Occupying the same dilapidated two-room shack all of their lives, they have led a life that rural farmers might have led 200 years ago. Among those caught in this web of attractions are a renowned television commentator (Malcolm McDowell), his wife, a jaded millionaire, a famous painter, his jealous spouse and many others. The chain comes full circle when at the end, through coincidence and chance encounters, the story brings us back to Alma and the club in which she performs. One night, however, their quiet life was shattered when Delbert's bed-mate, Bill, 64, died in his sleep. The next day, Delbert, 59, was arrested and by late evening, he had confessed to suffocating Bill. Claiming he was innocent, the townspeople rallied behind Delbert asserting that he was coerced into signing a document he could neither read nor understand. They organised bail for him and retained a private investigator and a high profile lawyer to handle his defence. At the end of the three week trial held in March, 1991, Delbert was acquitted but the case raised many questions some of which remain unanswered today. This real-life story is revealed as it unfolded before the filmmakers' cameras. Instant attractions, convoluted strategies of seduction, jealousy, deceit, blackmail and romance are all part of this steamy chronicle of sexual politics in the '90's. ’ A stylish production with a dream cast of cult actors...packs an emotional charge that puts the likes of BASIC INSTINCT to shame." Edinburgh Film Festival ’Alluringly sexy...boasts a strong cast of talented names and promising newcomers.’ Variety "A poignant, riveting piece of Americana." Kenneth Turan, Los Angeles Times Winner, 1992 Sundance Film Festival Audience Award. Winner, 1992 Golden Gate Award, San Francisco Film Festival. ’...funny, intelligent, resonant and skilfully structured...’ Le Journal de Montreal 15 �TRISKEL ARTS CENTRE, THURSDAY 8TH, 1330 OPERA HOUSE, MONDAY 5TH, CHANGING OUR MINDS CHILDREN OF NATURE Richard Kurt Schmiechen Fridrik Thor Fridriksson USA/1991/16mm/75 minutes/Colour lceland/1991/35mm /85 minutes/Colour/Subtitles l Executive Producer: Intrepid Productions. Narrated by Patrick Stewart. Photography: /. Churchill, T. Adair, B. Megalos, C Zheutlin. Editing: Richard Kurt Schmiechen, Cail Yasunaga. Music: Absolute Music. Print Source: Intrepid Productions, 8265, Sunset Blvd, 4204, Los Angeles, CA 90046, USA. Tel: 213 656 5472, Fax: 213 654 6569. In CHANCING OUR MINDS, the Oscar - winning producer of THE TIMES OF HARVEY MILK presents to the world another memorable champion of gay rights, Dr. Evelyn Hooker. Dr. Hooker is the trailblazing psychologist who helped free gay people from the stigma of mental illness. ■ Producer: Fridrik Thor Fridriksson, Wolfgang Pfeiffer, Skule Erikson. Leading Players: Bruno Ganz, Gisli Halldorsson, Sigridur Hagaiin,. Script: Einar Mar Gudmundsson, Fridrik Thor Fridriksson. Photography: Ari Kristinsson. Editing: Skule Erikson. Music: Hilmar Orn Hilmarsson. Print Source: Ex Picturis Distribution, Fididnstr. 40, 1000 Berlin 61, Germany. Tel: 30 691 60 08/9, Fax: 30 692 9575 94. The first Icelandic film to receive an Oscar nomination, CHILDREN OF NATURE tells the tale of an elderly farmer from northern Iceland who decides to go and stay with relatives in the capital. But things don't work out as planned; his young relatives are from a different world and the farmer finds himself in a retirement home. In the 1950's gay love was still illegal and such diverse events as the McCarthy hearings and the publication of the Kinsey report justified the persecution of homosexuals as perverted and sick. For decades, the medical community had been trying to 'cure' homosexuality using appalling methods: lobotomies, electric shock therapy, castration. What Dr. Hooker established was that homosexuality was in no way an illness; her research showed that psychiatric experts could not tell the difference between 'gay' and 'straight' psychological profiles. It is there that he meets his first love, a woman who has now grown old like himself. Together, they decide to revisit the remote Hornstrandir, in the West Fjords, where they both spent their childhood years before their families moved away and they lost touch. They escape from the retirement home and steal a jeep. Finding that their village has been uninhabited for some time, the elderly pair submerge themselves in the idyllic landscape of the region. Nature's beauty is intertwined with childhood memories. The return to their former home leads to a respect for one another and acknowledgement of the coming departure from life. Dr. Hooker's findings sent shockwaves through the American medical community, which culminated in a landmark victory for gay rights: in 1974, the American Medical Association removed homosexuality from its list of mental disorders. "...a quixotic Bonnie and Clyde in a journey of love...stunning photography..." Screen International Now 84, Dr. Hooker recalls her past in vivid detail; how, as child in Colorado she was brought up far from the world of drag clubs and vice raids; how, while teaching at UCLA she was introduced by a friend to the then gay underworld and was implored to study them. How she became a pioneer in the world of psychology and a charismatic champion of human rights. ■ 16 �iRA HOU: TRISKEL ARTS CENTRE, MONDAY STH, 1330 CRUSH DREAMS AND SILENCE Alison McClean AHLAM Fl FARAGH Omar Al Qattan New Zealand/1992/35mm/97 minutes/Colour Belgium/Palestine/1991/16mm/52 minutes/ Colour/Subtitles Producer: Bridget Ikin. Leading Players: Marcia Gay Harden, William Zappa, Donogh Rees, Caitlin Boosley. Script: Alison MacLean, Anne Kennedy. Photography: Dion Beebe. Editing: /ohn Gilbert. Production Company: Hibiscus Film Ltd. Print Source: Metro Pictures, 79, Wardour St., London W1V 3TH, England. Tel: 071 734 8S08/9, Fax: 071 287 2112. Executive Producer: Centre de L'Audio-Visuel a Bruxelles. Script: Omar Al Qattan. Photography: Raymond Fromont. Editing: Greg Harris. Music Riccardo Castro. Print Source: Centre de L'Audio-Visuel a Bruxelles a.s.b.l. Rue Joseph 11, 18,8-1040, Brussels, Belgium. Tel: 02 218 40 80. Fax: 02 217 91 97. "I want a film to have the resonance and the pull of a deep, dark dream, with unsettling shifts of tone from tension and foreboding to ironic humour. CRUSH is a passionate story that deals with strong and often conflicting emotions: love, hatred and guilt." DREAMS AND SILENCE juxtaposes the daily life of a Palestinian woman, a refugee, with the polemics of an Islamic fundamentalist senator. While the military and political conflicts continue between the West and the Arab-Muslim world, and while Arab political movements are renewing their ideological arguments following the Gulf war, the film tries to replace these conflicts and arguments within their more natural framework - that of everyday reality, in order to avoid any sterile abstraction. Thus it confronts the political and social thought of the senator with the problems this woman faces; poverty, limited education, broken dreams of national liberation, limitations on her personal and social freedom as a woman. So speaks Alison McClean of her debut feature; one of the few to occasion impassioned debate at the Cannes Film Festival. CRUSH centres on a teenage girl's developing awareness of her own sexuality and power but is grounded in a powerfully enigmatic performance by Marcia Cay Harden as Lane, a malevolent American femme fatale with a powerful sexual presence, visiting New Zealand. Driving through a desolate volcanic landscape, Lane causes an horrific crash and leaves her journalist friend Christine for dead. While Christine languishes in the hospital, Lane turns her attentions on Colin, the writer to whom Christine was travelling to interview, and his troubled teenage daughter Angela. While distancing itself from the ideals of Islamic fundamentalism, and from the violence of the conflicts between the West and Islam, DREAMS AND SILENCE tries to put forth a more human point of view that casts the problems of the Middle East in a new light. Lane takes Angela out for a night on the town, forging a relationship with her that comes under stress when Lane initiates an affair with her father. Discovering Christine's existence in the hospital, Angela becomes her confidante and starts helping her through her painful recovery. As Angela starts to turn against Lane, she becomes devious and manipulative, using Christine to prove Lane's cruelty to her father. The film culminates in a welter of mixed emotions, double dealing and death. Awards: joris Ivens Award, Amsterdam International Documentary Film Festival, 1991. Official Selection, Festival of Human Rights, Strasbourg, France, 1992. 17 �TRISKEL ARTS CENTRE, SUNDAY 4TH, 1330 OPERA HOUSE, WEDNESDAY^Z' FIT: EPISODES IN THE HISTORY OF THE BODY CAS FOOD LODGmtG Laurie Block Allison Anders USA/1991/16mm/74 mlns/Black & White USA/1991/35mm/102 minutes/Colour ■ A!) Producer: Laurie Block. Narration: Linda Hunt. Script: Laurie Block, John Crowley. Editing: Howard Sharp. Music: Paul Ascenzo. Print Source: Straight Ahead Pictures, Box 395 Conway, MA 01341, USA. Tel: 413 369 4372, Fax: 413 369 4783. Producers: Daniel Hassid, Seth Willenson, William Ewart. Leading Players: Brooke Adams, lone Skye, Fairuza Balk, James Brolin. Script: Allison Anders. Photography: Dean Lent. Editing: Tracy S. Granger. Music: J. Masds, Barry Adamson. Production Company: Cineville and Seth M. Willenson Inc. Print Source: Mainline Pictures, Museum St., London WC1A 1LP, England. Tel: 071 242 5523, Fax: 071 430 0170. Our bodies are a realm that most of us consider to be absolutely personal and shaped by our own experiences; not something to be treated historically. This sharp and entertaining documentary turns this assumption inside out, demonstrating that our ideals of physical perfection are determined by political and cultural considerations rather than by any more objective standards. Each generation so takes for granted its own experience of the body that the memory of how the body was once experienced is lost. This is the story of a family of three women and the men whose lives they touch. The central character is the youngest daughter, Shade, who is poised between the innocence of childhood and the longing of adolescence. Shade maintains her optimism amidst the arid landscape of Laramie, New Mexico, by finding romance in the safety of the local Spanish cinema. Her beautiful but cynical older sister, Trudi (lone Skye), tries the family's patience with her anger and attitude. She buries her sexual secrets behind a tough-girl, promiscuous image. Their mother, Nora (Brook Adams), is a pretty waitress at the Pull-Off Plaza Truck Shop. Frustrated with raising two teenage daughters on her own, she worries they will end up just like her. Historically, it was believed that the human body was the repository of a certain amount of "vital energy". This force was limited and was dissipated by excessive exercise, breast-feeding, fornication and masturbation. In the 1890's, however, a movement promoting physical exercise sprang up in America to counter this notion. A generation of physical education teachers spread the gospel of exercise across America. Reinforced by Nickleodeon images of body builders, working out and the celebration of the body became part of America's psychic furniture. 11 As the family starts to fall apart, Shade takes on a mission: to find a new man for her mother, and track down her long-absent father. Meanwhile she pursues her crush on Darius, a schoolmate who is more infatuated with Olivia Newton John and platform shoes than he is with Shade. Trudi falls for a nice-guy geologist, who reveals a magical realm of glowing rock beneath the desert floor before disappearing, leaving her pregnant, with some difficult choices to make. Along the way, the movement was appropriated by, among others, the Eugenics movement, a proto-fascist pseudo-science that advocated 'proper" breeding practices for the white race and mass sterilisation of all people deemed to be inferior. With the world closing in on f them, things begin to change: Nora takes up with the comical Hamlet Humphrey, Shade finds her dad, finds love with javier, the Latino boy, and makes a magical discovery that brings the power of love back into all of their lives. Utilising a wealth of fascinating archival footage and narrated by actress Linda Hunt, FIT is a vivid, entertaining and very impressive chronicle of America's changing attitude towards the body. TELECOM EIREANN SCREENING SPONSORED BY TELECOM EIREANN 18 �OPERA HOUSE, MONDAY STH, 16.00 HELLO S i! i. THE HOURS AND TIMES Ronan O'Leary Christopher Munch lreland/1992/16mm/61 minutes/Colour USA/1991/35mm/60 minutes/Black & White 1 Executive Producer: Liam Miller. Leading Players: Tim McDonnell, Daniel /. Travanti. O.Z. Whitehead, /an Widger. Script: Truman Capote. Photography: Cedric Culliton. Editing: Patrick Mulvey. Music: Frank McNamara. Production Company: RTE Films. Print Source: RTE Films, Donnybrook, Dublin 4, Ireland. Tel: 01 643111. Producer, Script, Photography and Editing: Christopher Munch. Leading Players: David Angus, Ian Hart, Stephanie Pack, Robin McDonald. Music: Narvaez, J.S. Bach. Print Source:ICA, The Mall, London SW1Y 5AH, England. Tel: 071 930 049. Two men, T.C. and George Claxton, both aged 47, have known each other since prep-school days. They meet once a year for a ritual lunch. T.C. dreads this obligatory meeting as George, a stockbroker, is dull, conservative and predictable, and seems to cling to T.C.'s friendship. The friendship of Brian Epstein and John Lennon has long been the subject of speculation and myth. THE HOURS AND TIMES looks at a memorable holiday which Lennon and Epstein spent in Barcelona in the spring of 1963. More than a holiday, it marked a crucial juncture in both men's lives. While six months had yet to elapse before Beatlemania would fully engulf England (nine months before America), Lennon's first child had just been born and his marriage was beginning to stand the test of burgeoning stardom. But this year, T.C. is shocked to see George's condition; he is wearing dark glasses, looks drawn and gaunt, has lost weight and has become a heavy drinker. Gradually, over a sombre lunch, George tells an indifferent T.C. his tale of woe. At the same time, Epstein, whose affection for Spain was to last up until his premature death in 1967, was poised before the immense dizzying potential that lay just ahead his personal life a whirlwind of exultation and despondency. Within this tense historical context, the story unfolds. It centres around a 12 year old girl whose message-in-abottle he finds one day while out swimming. A secret correspondence develops between the unlikely pair. The girl may or may not be as innocent as she makes out to be. But the girl's parents find the letters and bring in the police to investigate. The film was shot entirely on location in Barcelona amidst landmarks of the great Catalan architect, Antoni Caudi. Much of the action occurs in the Avenida Palace, one of Europe's most majestic hotels. Additional photography took place in Liverpool. George's wife, Gertrude, is reminded of an incident seven years earlier when George was accused of indecent exposure to a young girl. At the time, George's declaration of innocence was believed by his wife and the police. But now, Gertrude believes that George was lying. From that moment on, Gertrude has lived as a stranger in George's house. The question posed concerns George's guilt or innocence. The viewer must decide for himself. Awards: Winner of The Wolfgang Staudte Prize - Berlin Film Festival 1992. Winner of the Special Jury Prize for Artistic Excellence - Sundance Film Festival 1992. Director Ronan O'Leary will be present to introduce the screening. WORLD PREMIERE 19 �I OPERA HOUSE, SATURDAY 10TH, 2030 OPERA HOUSE, TUESDAY 6TH HOW TO BE A WOMAN AND NOT DIE IN THE ATTEMPT INCIDENT AT OGLA W I X Michael Apted COMO SER MUJER NO MORIR EN EL INTIENTO Ana Belen USA/1992/35 mm/89 minutes/Colour Spaln/1991 /35mm/90 minutes/Colour/Subtitles Producer. Andres Vincente Gomez. Leading Players: Carmen Maura, Antonio Resines, juanjo Puigcorve, Carmen Conesa. Script: Carmen Rico-Coddy. Photography: Juan Amaros. Print Source: Overseas Film Croup, 8800 Sunset Blvd, Los Angeles, CA 90069, USA. Tel: 310 855 1199, Fax: 310 855 0719. Executive Producer: Robert Redford. Leading Players: Phyllis Diller, Whoopi Goldberg, Sandra Shamas, /enny Lecoot. Script? Photography: Maryse Albert. Editing: Suzanne Rostock. Production Company Seven Arts. Print Source: Guild Film Distribution, Kent House, 14-17, Market Place, Gt. Tichfield St., London W1N8AR. Tel: 071 323 5151, Fax: 071 631 3568. Carmen is a respected journalist in her 40s - professional, high powered and denied the promotion which is due to her. She gets the rough end of the stick in both her marriage and her career. While Antonio, husband number 3, concentrates his energies on beating the competition in the record business, Carmen stocks the fridge, shampoos the carpet, deals with the laundry and the kids' problems as well as maintaining the home as an oasis of comfort and calm. Like so many other women today, she works like a man but is still saddled with the duties traditionally ascribed to women. Late on the morning of June 16, 1975, FBI special agents, Jack Coler and Ron Williams, allegedly following a red pick up truck, illegally drove onto the Pine Ridge Reservation. A shoot out occurred in which both agents and a Native American were killed. The death of the agents led to the biggest manhunt in FBI history. INCIDENT AT OGLALA is a chilling account of the events of that morning and the subsequent relentless pursuit of suspect Leonard Peltier, uniquely told by the people who lived through them. Narrated by Robert Redford, INCIDENT AT OGLALA is about two standards of justice and the continued struggle of the Native American people to exist with dignity and sovereignty on their own land. Months and seasons pass, marked by a busy round of mishap, jealousy, argument and making up. Feeling overwhelmed by the build-up of problems and duties pulling at her, Carmen contemplates another divorce but does not want to sacrifice her respect and dignity. She works hard to juggle the many roles she is caught in, while trying not to abandon her personal goals. Just when the pressure begins to mount and Carmen feels that she must make a break, she turns to look for the love and support of her husband - in his subtle and indirect ways in hopes that she will find enough strength in him to continue her challenging life. Michael Apted's gripping documentary follows the recent focus on Native American culture and history. Like Errol Morris's THE THIN BLUE LINE (screened at the 34th Cork Film Festival), INCIDENT AT OGLALA is a campaigning film. Its obsessive re-investigation of the evidence and accounts of out-of-court confessions point strongly to the innocence of Peltier, who is still languishing in prison. The hope is that the film will lay the groundwork for a new judicial investigation of the case so that justice, finally, can be done. Michael Apted is the subject of this year's 'Focus'section i 20 �... OPERA HOUSE, WEDNESDAY 7TH, 16.00 .....J HIM THE S@'OL JUICE Alexandre Rockwell Ernest R. Dickerson USA/1991/35mm/93 minutes/Black & White USA/1992/35mm/92 mlnutes/Colour Producers: /im Stark Hank Blumenthal, in association with Alliance Co. Ltd., lapan, Pandora Film, Germany, Why Not Productions & Odessa Films, France, Alta Films,Spain, Mikado Film, Italy. Leading Players: Seymour Cassel, Steve Buscemi, /ennifer Beals, Will Patton. Script: Alexandre Rockwell. Photography: Phil Parmet. Stills: D. Yeandle. Editing: Dana Congdon. Music Mader. Print Source: /im Stark, 366, Broadway H2A New-York, NY 10013, USA. Tel: 212 964 7521, Fax: 212 964 7521. Producers: David Heyman, Neal M. Moritz, Peter Frankfurt. Leading Players: Omar Epps, Khalil Kain, fermaine Hopkins, Tupac Shakur. Photography: Larry Banks. Editing: Sam Pollard, Brunilda Torres. Music Hank Shocklee, The Bomb Squad. Production Company: Moritz/Heyman in Association with Island World. Print Source: Electric Pictures, 22, Carol St., London NW1 OHU, England. Tel: 071 267 8418, Fax: 071 636 1675. IN THE SOUP is loosely based on the director's own experiences as a struggling film-maker in New York. Desperate to make a movie but unable to scrape together enough money to stave off his rapacious Lower East Side landlords, would-be director, Adolpho Rollo reluctantly takes out an ad pitching his 500-page screen opus to the highest bidder. The taker is Joe, a small time crook, who makes Adolpho an offer he cannot refuse even though his motives have very little to do with producing movies. Totally naive, Adolpho finds himself sucked into a world where he makes a perfect accomplice to carry out Joe's various little crimes. JUICE is the first film by Ernest R. Dickerson, Spike Lee's award winning cinematographer. The film opens with Q, Raheem, Steel and Bishop rolling out of their beds heading for school. As usual, they never get there. They spend their days roaming the neighbourhood, shoplifting records and trading insults with rival gangs. All resonably innocent until one day Bishop cracks. Desperate to prove that he has some power and status - juice - he decides to test the limits by holding up a local grocery store. The others go along with him though Q, the aspiring disc jockey, questions his friend's actions and is fearful of the consequences. The incident ends in violence which in turn leads to further violence as Bishop gets more and more out of control, spiralling into a world of paranoia and ultimately using his friends as scapegoats. Gradually, this unlikely pair of opposites are drawn together in a relationship based on mutual admiration. Adolpho thrills to the excitement of joe's petty scams and is magnetised by the zest with which joe lives life. The tough joe takes a shine to Adolpho's charming innocence and even helps him strike up a romance with his next door neighbour. The rap/R&B/hip hop soundtrack is used to explosive effect. Written and compiled by Hank Shocklee (producer of Public Enemy and Ice Cube) and the Bomb Squad, it includes tracks by Eric B. & Rakim, Salt N' Pepa, Naughty by Nature and Big Daddy Kane, to name only a few. The two partners in crime stumble from one caper to another in a joyride that teaches Adolpho a thing or two about life and marks his coming of age as a film maker. With a strong cast of newcomers, and a list of supporting roles that reads like a Who's Who of the rap world, JUICE has been hailed both as an electrifying debut, and as one of cinema's most profound portrayals of Harlem ghetto life to date. Award: Grand jury Prize for Drama, Sundance Film Festival. Producer Jim Stark will be in attendance to introduce the screening. 21 �TRISKEL ARTS CENTRE, WEDNESDAY 7TH, 1330 OPERA HOUSE, WEDN] LAST YEAR IN GERMANY THE LIVING Eh O LETZTES JAHR IN DEUTSCHLAND Dagmar Benke, Jurgen Seidler, Lars Barthel, Beate Schonfeldt Gregg Araki USA/1991/16mm/90 minutes/Colour Germany/1991/16mm/100 mlnutes/Colour/Subtitles Executive Producer: Aufbruch Production. Photography: Lars Barthel. Editing: Eva Will. Music: Peter Unsicker. Print Source: Aufbruch Production, c/o D. Benke, /. Seidler, Courbierestrasse 6, 1000 30, Berlin, Germany. Tel 030 218 65 25, Fax: 030 262 86 23. Producers: Marcus Hu, ]on Gerrans. Leading Players: Mike Dytri, Craig Gilmore, Paul Bartel. Script, Photography, Editing: Gregg Araki. Stills: Michael Matson. Music Cole Coonce. Print Source: Desperate Pictures, 740 S. Detroit, N4, Los Angeles, CA 90036, USA. Tel: 213 857 5963, Fax: 213 937 4500. LAST YEAR IN GERMANY is a long-term observational documentary made by a mixed German team. Between November 1989 and December 1990, the filmmakers document the rapid and radical political changes in Germany and its effect on the daily lives of ordinary people. The film is constructed according to the various political events: from the peaceful revolution to the opening of the wall of 9th November, 1989; the first free elections in the GDR in March 1990, the monetary union in June, the reunification in October and the pan-Cerman elections in December. The first image of THE LIVING END, the sentence "Fuck the World" sprayed onto a wall covered in graffiti, is a fairly accurate description of the frame of mind of Jon and Luke, two HIV positive men. Luke is sexy and lets himself drift. Jon is a confused writer. Both of them are stuck in Los Angeles. The city seems cold and unfriendly, full of serial killers. Jon and Luke meet by chance and begin a stormy love affair. When Luke accidentally shoots a policeman, both find themselves on the run. In San Francisco, somebody they thought was their friend slams the door in their faces. The two men take off on an aimless odyssey, full of sexual excesses, across America. Their only contact with the "real" world are Jon's regular phonecalls to his friend, Darcy, who is more worried about the couple's difficult situation than they are. Against this background of "monumental political upheaval*, the film traces the stories, throughout the same year, of several people from the ex-GDR. These are friends, acquaintances and relatives of the filmmakers; they come from different regions all over the GDR and represent different social classes and age groups. The filmmakers' personal relationships to their protagonists have made possible a close examination of the lives of people whose attitudes have been deeply affected by the historical turmoil. These portraits are also influenced by the various personal stances of the filmmakers. The tension mounts and when a frustrated Luke fires at a cash point which refuses to give him any money, Jon decides he's had enough. He doesn't want to live out a romantic fantasy anymore. When he tells Luke that he has decided to go home, Luke holds his revolver at Jon's chest. During an intense emotional sexual struggle for superiority, things come to their unavoidable end. In addition, the film documents chance observations and encounters with people on a filmic journey right across Germany - both East and West. "Black humour doesn't get much darker than THE LIVING END ...Miraculously, it also has a buoyant, mischievous spirit that transcends any hint of gloom." Janet Maslin, The New York rimes 22 �HOUSE, OPERA HOUSE, FRIDAY 9TH, 18.00 ... LOSER MAN BITES DOG Erik Burke C'EST ARRIVE PRES DE CHEZ VOUS Remy Belvaux, Andre Bonzel, Benoit Poelvoorde Belgium/1992/95 minutes/35mm/ Blacks Whlte/Subtltles USA/1991/35mm/83 minutes/Colour Producer: Steven Deshler. Leading Players: Brendan Kelly, John Salemmo, Bernice DeLeo, Nadine Mirai. Script & Editing: Erik Burke. Photography: John Sheppird. Music: Joey Harrow, Matthew Fritz. Production Company: L.T.M. Inc. Print Source: Steven Deshler, Guerilla Films, 131 W. 82nd. St, Suite 1 New York, NY 10024, USA. Tel: 212 496 7032. Fax: 212 724 1436. Producers, Script: Remy Belvaux, Andrt Bonzel, Benoit Poelvoorde. Leading Players: Remy Belvaux, Andrt Bonzel, Benoit Poelvoorde, Jean-Marc Chenut. Photography: Andre Bonzel. Editing: Eric Dardill, Remy Belvaux. Music: JeanMarc Chenut. Production Company: Les Artistes Anonymes. Print Source: Metro Pictures: 79, Wardour St. London W1V 3777. Tel: 071 734 8508 This punchy, low-rent New York comedy turns the yuppie nightmare genre on its head by taking a lunkheaded nohoper and dropping him into Manhattan glitzery. Hank is at the bottom of the heap - out of work, money and love. Then he wins $200 million in the lottery and everyone wants to know him. Crammed with larger than life stereotypes - hopheads, hustlers and hipsters, LOSER is on the cutting edge, setting a new trend in 'guerilla' filmmaking today. Ben, a smalltime Belgian hit-man who makes his living bumping off little old ladies for their life savings, as well as any others who incur his displeasure, agrees to be filmed by a documentary film crew as he goes about his grisly trade. His one condition is that the film may only be shown after his death. The film crew are first repulsed by what they see, but as Ben explains the nuts and bolts of his trade - the weight ratio of ballast to corpse when submerging a victim, or how to save on the cost of a bullet - they are gradually drawn into their subject's way of life. When not killing people, Ben reveals himself as a confident, complex person with an appreciation of the finer things in life: of poetry, music and gastronomy; willing to divulge his innermost thoughts and reflect on his way of life. Such is his charm and persuasiveness that it is only a matter of time before the documentary crew end up helping him out as he goes about his gory crimes... LOSER treads a narrow line between crackerbarrel humanism and gleeful misanthropy, but mainly it exudes delight at its own cheerful sense of fun." Jonathan Romney, TimeOut Steven Deschler and Brendan Kelly will be in attendance to introduce the screening. By showing the documentary process as it happens on screen, this trio of Belgian filmmakers really force the audience to question where the line ought to be drawn between enjoyment and condemnation of scenes of gang rape or dismemberment. Disturbing and blackly comic in equal measure, MAN BITES DOG is one of the most intelligent and unique oddities to come from the continent in many years. "Reality programming meets HENRY: PORTRAIT OF A SERIAL KILLER...MAN BITES DOG provides clever patter with its splatter. Not for the righteous or the squeamish' Variety 23 �OPERA HOUSE, MONDAY STH, 20.30 OPERA HOUSE, SATURDAY 10TH, 23.30 MARQUIS MY NEW GUN Henri Xhonneux Stacy Cochran France/1989/35mm/83 minutes/Colour/Subtitles L USA/1992/35mm/100 minutes/Colour & Producer: Eric Van Beuren. Leading Players: Phillipe Bizot, Bien de Moor, Gabrielle Van Damme, Olivier Dechaveau. Script: Roland Topor. Photography: Etienne Fauduet. Editing: Chantal Hymans. Music: Reinhardt Wagner. Print Source: ICA Projects, The Mall, London SW1 5AH, England. Tel: 071 930 0493. Leading Players: Diane Lane, james Le Gros, Stephen Collins, Tess Harper. Script: Stacy Cochran. Photography: Ed Lachman. Editing: Camilia Toniolo. Music: Pat Irwin. Production Company: New Gun Inc., Print Source: IRS Media International, 3939 Lankershim Blvd, Universal City, C 91604, USA. Tel: 818 505 0555, Fax: 818 505 1318. MARQUIS is a bizarre and original film, a jokey dramatisation of the "divine" Marquis de Sade's final days in the Bastille - shortly before revolutionary violence destroyed the fortress prison. Inspired by his erotic writings, some of which are illustrated in cartoon form, MARQUIS features a cast of actors masked as animals. The prison governor is a philandering cockerel; the chaplain a camel; the warder a lascivious bisexual rat. De Sade himself is an amiable dreamy-eyed spaniel who engages in extended dialogues - on matters of philosophy and action, art and desire - with his erect and talkative penis. Debbie, a thirty-year old housewife, is married to Gerald, a radiologist in New jersey. During a dinner in their suburban home, Gerald's associate, Irwin and his girlfriend, Myra, announce that they will soon be getting married. By way of a present, Irwin offers his fiancee a diamond solitaire and a revolver. Although Gerald does not find this surprising, Debbie is horrified. A few days later, Gerald comes home from work and offers his own wife a revolver. Debbie is entirely opposed to the idea of this gift but gradually becomes obsessed by it. One evening, Skippy, their young, unreliable and mysterious neighbour appears at the kitchen window and asks Debbie to lend him her gun... "Occasionally surreal, occasionally cartoonish, Topor and Xhonneux’s conception is never less than brilliant, bringing together the virtues of the costume picture lavish detail, rich colour - and the sly wit of masquerade to create a film which is funny, obscene, discursive and wholly unique." Cinema Fantastique, Derby This new black comedy illustrates America's ambivalent fascination with weapons and how the right to bear arms as enshrined in the US Constitution has led to the creation of a society for which the prospect of violent death, even in one's own home, is never too far away. I I SCREENING SPONSORED BY THE SAN FRANCISCO SISTER CITY COMMITTEE 24 �l HOI >AY 9TH, 23.30 OPERA HOUSE, MONDAY 5TH, 18.00 aGHT ON EARTH OTHELLO jim Jarmusch Orson Welles USA/1992/35mm/120 mlnutes/Colour Morocco/1952/35mm/91 mlnutes/Black & White Executive Producer: jim Stark. Producer, jim Jarmusch. Co-Producer: Demtra /. MacBrlde. Leading Players: Winona Ryder, Gena Rowlands, Armin Mueller Stahl, Beatrice Dalle, Roberto Benigni. Script: jlm jarmusch. Photography: Frederick Elmes. Editing: jay Rabinowitz. Music: Tom Waits. Production Company: Locas Solus, Victor Company, Victor Musical Industries, Pyramide, Canal Plus, PAndora Film, Channel Four. Print Source:Electric Pictures, 22, Carol St., London NW1 OHU. Tel: 071 267 8418 Producer: Orson Welles. Leading Players: Orson Welles, Michedl Mac Uammoir, Suzanne Cloutier, Robert Coote. Script: William Shakespeare, adapted by Orson Welles. Photography: George Fanto. Editing: John Shepridge, jean Sacha, Renzo Lucidi, William Morton. Music: Francesco Lavagnini, Alberto Barberis. Print Source: Mayfair Entertainment UK Ltd, 9, St. Martin's Ct. London WC2N 4Al, England. Tel: 071 895 0328, Fax: 071 895 0329. Along with CITIZEN KANE and THE MAGNIFICENT AMBERSONS, OTHELLO is regarded as Welles' greatest film. Very much a labour of love, it is also his most personal. Welles financed it himself, largely on the proceeds of acting jobs, and the production was shot over four years in Morocco, Rome and various other locations across Europe, in a process entertainingly detailed by Micheal MacLiammoir (who played Iago) in his autobiography. The film won the Palme d'Or at Cannes in 1952, but only achieved a limited release in the US, vanishing for years and long presumed lost. The original negatives were found in 1989 and a long process of restoration, including a complete re-recording of the soundtrack commenced. The new print, crystal clear, with sparkling Black & White images is a rare treat, and the Cork Film Festival is proud to be able to screen this new version of a 'lost' masterpiece. NIGHT ON EARTH is a comedy in five sections, each focusing on the brief relationship between a taxi driver and his/her passenger(s) as they drive through the nijht, sharing the space of a car interior, suspended between fixed destinations. The film begins in LA just as the sunset is being replaced by darkness, with the tomboyish Corky (Winona Ryder) driving hotshot Hollywood casting agent Victoria Snelling (Gena Rowlands) to the airport. Victoria tries to convince Corky to audition for a part that she is casting, but Corky determined to become a mechanic, demurs. The location then moves into the night of New York, where a streetwise passenger takes over the cab from his disorientated EastGerman driver, a former circus clown. Paris is next, where the blind passenger (Beatrice Dalle) proves to have a better sense of direction than her driver, then Rome, where Gino (Roberto Benigni) confesses his bizarre sexual antics to his passenger, a horrified - and moribund priest, and finally Helsinki where, as the last sequence ends, the sun again rises, and the winter night fades back into daylight. The five tales are unrelated; all they have in common is that they occur simultaneously, they all feature chance encounters between ill-matched types, and they are suffused with the quirky, deadpan humour that Jim jarmusch has established in MYSTERY TRAIN and DOWN BY LAW as his stock-in-trade. is now in the City Centre Mercier Bookshop Academy Street/ French Church Street Cork 25 �TRISKEL ARTS CENTRE, SUNDAY 4TH, 11.00 TRISKEL ARTS CENT] PAINTING THE TOWN A PLACE OF LcAGE Andrew Behar Pratibha Parmar USA/1991/16mm/80 mlnutes/Colour England/1992/16mm/52 minutes/ Colour/Black & White/Subtitles Producer: Sara Sackner. Leading Players: Richard Osterweil. Script: Richard Osterweil. Photography: Hamid Shams. Editing: Sara Sackner, Andrew Behar. Music Peter Fish. Production Company: Padded Cell Pictures. Print Source: Padded Cell Pictures, 183, Fairview Rd., Ojai, CA 93023, USA Tel: 80S 640 Executive Producer: Debra Hauer. Producer: Pratibha Parmar. Photography: Nancy Schiesan. Editing: Anna Liebschner. Music: Prince, /anet Jackson, Mavis Staple Singers, Neville Brothers. Print Source: Pratibha Parmar, 78, Fonthill Rd., London N4 3HT, England. Tel: 071 281 1310, Fax: 071 281 3809. 8192. A PLACE OF RACE celebrates the political struggles of radical black American women. It focusses on the lives of political activist Angela Davis and poet and activist June Jordan. PAINTING THE TOWN introduces the delightfully eccentric Richard Osterweil, a downtown New York artist who leads a not-so-secret double life as an uptown New York socialite. Supporting himself as a cab driver and a coat checker, he has undertaken an obsessive and hilarious mission to crash parties of the rich and famous. The film looks at the role of black women in the 1950's and '60's, the growth of the Black Power movement and the involvement of black women in radical politics since then. It features the personal views and histories of Davis and Jordan, including their reflections on the position of black people in the United States today. Osterweil's ingenious infiltration of New York high society is recounted by himself with great amusement and elan. Talking direct to camera, he describes the $1000-a-plate dinners, benefits, galas, funerals and posh weddings he gets himself into, listing the celebrities in attendance, rating the hors d’oeuvres and the dips, and revealing the secrets of his gate-crashing success. He has hidden in broom cupboards, adopted false identities, donned elaborate disguises, (at one famous person's funeral he was mistaken for Creta Carbo), and has even had friends pose as paparazzi to surround him at whatever gate he was trying to crash. Angela Davis came to international prominence in the 1970's when the FBI declared her the most wanted woman in the US. Her fugitive status and subsequent arrest and imprisonment made her an indelible symbol of black radicalism in the US and throughout the world. June Jordan is a poet, writer and activist whose work has been an inspiration to feminists worldwide. She is a key figure in the quest of African-American women for justice and an uncompromising advocate of international struggles for freedom and self-determination. Director Andrew Behar and producer Sara Sackner, erstwhile neighbours of his, have filmed a funny, colourful, and eye-opening portait of a man who seems to embody the schizophrenic nature of New York’s, if not America's, celebrity-crazed and class-driven culture. Both sincere and irreverent, Osterweil adores the society life he sneaks into but would rather crash a party than receive a proper invitation to it. A PLACE OF RACE is an intimate account of these two extraordinary women. "An outstanding film in which Parmar manages to turn the documentary genre on its ear long enough to catch and hold the audience's attention." The Guardian A terrific new documentary...the film is lively, wellconstructed, finely edited, musically and visually evocative and it's very smart." Randy Turoff, San Francisco Bay Times i I 26 Sni fi �i V!jl£ 1 --aiFRE, FRIDAY 9TH, 16.00 OPERA HOUSE, THURSDAY 8TH, 16.00 POST MO BULLS PRAGUE Clay Walker Ian Sellar USA/1992/16mm/57 minutess/Black & White England/Scotland/France/Czechoslovakia/35mm/ 87 minutes/Colour Producer: Clay Walker in association with the Independent Television Service. Photography fir Editing: Clay Walker. Co-Producer & Sound: Marianne Dissard. Print Source: Clay Walker, P.O. Box 34321, Los Angeles, CA 90034, USA. Tel: 310 8386273. Producers: Christopher Young, Claudie Ossard. Leading Players: Alan Cumming, Sandrine Bonnaire, Bruno Canz, Raphael Meis. Script: Ian Sellar. Photography: Darius Khondji. Editing: lohn Bloom. Music Jonathan Dove. Print Source: The Sales Co., 62 Shaftesbury Avenue, London W1D 7AA, England. Tel: 071 434 9061, Fax: 494 3293. Political heavy-weights populate this urgent and humorous documentary on the detonative mix of art and politics as embodied in the work of infamous guerilla poster artist Robbie (Zonal, whose images-as-posters have been splattered across the United States' urban streets. Featuring dramatic night-time footage of Conal's guerilla troops disseminating satirical portraits of national and local politicians in the patrolled streets of Los Angeles, San Francisco, New York and Washington D.C., POST NO BILLS documents the process of creating Conal's topical art. Driven by an obsession, Alexander Novak travels to Prague, city of his grandparents, in search of a missing piece of film - newsreel footage of his family - a link to the vanished past. The city's magic immediately casts its spell on Alexander and from the moment of his arrival, nothing goes to plan: when he rushes to the aid of a stray dog, he almost drowns. At the film archive he meets Elena and is immediately beguiled by her open sensuality and unpredictability. After being introduced to one of her greatest passions - wrestling - an affair begins between them. In the foreground is the tension between the artist's creative process and the lures of a desperate notoriety achieved through catering to the news media's craving for controversy. Through Elena, he meets the director of the film archive, Josef (Bruno Ganz). Accepting an invitation to a weekend in the country, he discovers that Elena and Josef are lovers. Back in Prague things go from bad to worse when Elena dramatically announces that she is pregnant (with Alexander the father of the child) and simultaneously produces the lost film. Alexander thinks that his mission to Prague is nearing its conclusion but, unknown to him, it’s only just begun. POST NO BILLS reaches no easy conclusion nor does it offer a final judgment on Conal's work and life. The film centres on a timely poster of L.A.P.D. Chief Daryl Gates in the aftermath of the beating of Rodney King, hinting at the dissociation to be made between Conal and his subject matter but ultimately celebrating the power of his work. Wit, exoticism, complexity, sensuality; these qualities are possessed by Prague the city and PRAGUE the movie in equal measure. Setting out to create a film set in the physical and metaphorical heart of Europe, PRAGUE captures the beauty of its location while retaining a meaningful narrative at its core. 27 �OPERA HOUSE, SATUR1<- TRISKEL ARTS CENTRE, SUNDAY 4TH, 16.00 ■ IE.' SACRED SEX THE REINCARNATION OF KHENSUR RINPOCHE Tenzing Sonam, Ritu Sarin Cynthia Connop England/1991/16mm/62 mlnutes/Colour/Subtltles Australla/1991/16mm/92 minutes/Colour Producers: Tenzing Sonam, Ritu Sarin. Narrated by Ian Holm. Photography: Andrew Carchrae. Editing: Paul Shepard. Music: The Tibetan Institute of Performing Arts, Dharamsala Chaksampa, Berkely, California. Print Source: White Crane Films, 330, Harrow Road, London W9 2HP, England. Tel: 071 266 4259/289 5443, Fax: 071 286 4739 Producer: Ron Tanner, Cynthia Connop. Photography: Tony Wilson. Editing: Suresh Ayyar. Music Nick Palmer. Print Source: Helen Thwaites, Film Australia, Eton Road, Lindfield NSW 2070, Australia. Tel: 02 413 8777, Fax: 02 416 5672. Choenzey is a 47-year old monk living in exile in a monastery in Southern India. His spiritual master, Khensur Rinpoche, a revered high Lama, has been dead for four years. According to Tibetan belief, he will soon be reincarnated. It is Choenzey's responsibility, as his closest disciple, to find the reincarnation and look after him. SACRED SEX grapples with the post-AIDS new-wave sexuality sweeping the western world. It gives an inside view of the people practising it with real-life stories of couples and individuals seeking greater fulfilment in their lovemaking. This documentary is based on the premise that sex is not just something for pleasure, physical release or procreation. It can move onto another sphere. In many ancient civilisations, sex was an integral part of religious practise. The tantric tradition in India and Nepal and Taoism in China both embraced sex as the direct pathway to spiritual enlightment. Pre-Christians in Europe had religions which also encouraged sex, nature and fertility. The film begins in Southern India. News has arrived of a young boy in Tibet who displays unusual qualities. After consulting with the Dalai Lama, Choenzey travels to Tibet (in secret, so as not to arouse the suspicion of the Chinese) to bring the boy out. He turns out to be a charismatic and mischievous four-year old scamp who is unusually attached to Choenzey. Formally initiated as a monk by the Dalai Lama, he is recognised by all as the reincarnation of Khensur Rinpoche, yet he is also a child, full of life and good humour, liking nothing more than to play with his toys (illustrated in some delightful scenes of him playing with his Lego with a group of middle-aged monks). Choenzey formerly, he believes, his pupil, has now become his guardian. Many of these ancient erotic mysteries are beginning to resurface. Sexuality research and experimentation is moving away from the functional orientation of Masters and Johnson into the ecstatic states of extended love­ making, semen retention and meditative sex. The film explores the fun, fantasy and spiritualism of love making. It entertains while at the same time raising questions about our deeply held assumptions about sex and love. Sometimes shocking in its frankness, SACRED SEX is an absorbing, educational, shamelessly entertaining and frequently hilarious exploration of a subject which is of abiding interest to us all, but which rarely gets this kind of refreshingly open treatment. "What makes this film so compelling is that, as much as it's a poignant document of the Tibetan diaspora, it's also a portrait of fatherhood, working best when it allows the Lama's passion to guide the narrative." Village Voice if L ’Touching...in seeking a lost father [Choenzey] becomes one himself." Washington Post 28 I �TRISKEL1 CHURSDAY 8TH, 16.00 OPERA HOUSE, TUESDAY 6TH, 18.00 THE SAME AS YOU SLACKER Alan James Richard Linklater England/1991 /16mm/65 minutes/Colour USA/1990/35mm/97 minutes/Colour K TC: ' ; GYRO SantkicK 5 7J7 7 . Executive Producer. The National Film and Television School. Photography: Alan James. Editing: Ewa J. Lind. Production Company: National Film and Television School. Print Source: National Film and Television School, Beaconsfield Film Studio, Station Road, Beaconsfield, Bucks., HP9 1 LG, England. Tel: 0494 071234, Fax: 04 94 674 042. Producer and Script: Richard Linklater. Leading Players: Richard Linklater, Mark James, Bob Boyd, Terence Kirk. Photography: Lee Daniels. Editing: Scott Rhodes. Print Source: The Feature Film Company. Fax: 071 494 0309 Someone walking beneath the roundabout adjacent to London's Waterloo Station might just catch a glimpse of a ragged group of people drinking cans of beer. If that person's curiosity allowed him/her the time to stop and talk to Cary, Jed, Susie or Nicky, he/she would be irresistibly drawn into this fringe society which lives in a dark but supportive world of its own. An innovative film that builds on the mundane and the extraordinary from fragments of a day in the life of one hundred 'slackers', the new generation of beatniks identified in a recent New York Times report. Capturing some of the flavour of David Byrne's TRUE STORIES mixed with TWIN PEAKS, the film uses real people in fictional situations to create a storyline that is loosely spun from character to character. Instead of confining itself to the conventions of narrative film­ making, SLACKERS gives the impression of real time as it flows from school to street, street to nightclub, person to person and coincidence to conspiracy. The ultimate effect is somewhat akin to free-form jazz. Alan James's documentary reveals the everyday world of London's homeless. This could be anyone's life if they were pushed to the margins of society. It challenges our stereotypes of the homeless and the grotesque images portrayed in the British popular press. A 'seriously ironic' salute to individual liberty, SLACKER is also a testimony to the ingenuity and inventiveness of its film makers in creating such compelling snapshots of ordinary moments in private lives. 29 �TRISKEL ARTSGjI;--- OPERA HOUSE, SUNDAY 11TH, 16.00 STRAIGHT OUT OF BROOKLYN » 1F16.00 SUBMAKDE^E Matty Rich Mark Littlewood USA/1991/35mm/83 minutes/Colour Scotland/1990/16mm/53 minutes/Colour Executive Producers: Lindsaw Law, Ira Deutschman. Producer: Matty Rich. Leading Players: George T Odom, Ann D. Sanders, Lawrence Gilliard Jr., Mark Malone. Script: Matty Rich. Photography: John Rosnell. Editing: Jack Haigis. Music: Harold Wheeler. Print Source: Artificial Eye, 211 Camden High St. London NW1 7BT, England. Tel: 071. 267 6036. Fax: 071 267 6499. Producer Anita Oxburgh. Photography: Mark Littlewood. Editing: Jan Lemon. Music: Tom McKendrick, John Russell. Print Source: Barony Film & Television Productions, 4 Picardy Place, Edinburgh EH1 3JT, Scotland. Tel: 031 SS8 3275, Fax: 031 557 8498. Ray, a black man trapped for years in a low-paying job, blames white people for the fact that he cannot provide his family with even the basic necessities. He takes out his anger and resentment on his long-suffering wife, Frankie. Despite the savage abuse that she takes, Frankie does her utmost to hold the family together. In this richly textured film Mark Littlewood has captured the evolution of a childhood obsession into an exhibition. It tells the story of how artist and sculptor Tom McKendrick has become fascinated by submarines and how they have become a rich and ambiguous image in his work. McKendrick explains his fascination for the submarine and how his background of working in the shipbuilding town of Clydebank has shaped his artistic vision. Denis, Ray and Frankie's son, searches for a quick way out of this desperate situation and into the world of the American Dream which has been denied him for so long. He and his friends plot a high-risk robbery in the belief that this is their easy way "straight out of Brooklyn." The plan has a devastating effect on the Brown family. Through Littlewood's vivid interpretation of Tom McKendrick's art, free from the clutter of artistic jargon, we gain an insight into how an artist works. Matthew Satisfield Richardson wanted to be a filmmaker from the time he was ten years old. Now, at the age of 19, Matty Rich has completed his first film. STRAIGHT OUT OF BROOKLYN, a brutally frank drama based on Matty Rich's own life experiences, was inspired by the traumatic events involving a childhood friend and his aunt and uncle. Tom lives in a world of shapes, colours, textures and sounds and through his and Mark's eyes we are able to see, for example, the shipyards of Clydebank in a fresh light. The layers of paint on a gate evoke the toil of generations and the toll of time, whilst the Kellogg's "baking soda submarine" amusingly evokes Tom's boyhood wonder. Tom's infectious personality means we identify with his enthusiasm and fascination. 30 �OPERA r 9TH, 20.30 OPERA HOUSE, FRIDAY 9TH, 14.00 SWEET EMMA, DEAR BOBE SWOON Istvan Szabo Tom Kalin USA/1992/35mm/92 minutes/Black & White Hungary/ 1992/35mm/90 minutes/Colour/Subtitles -fl Producers: Lajos Ovari, Cabriella Cr6sz. Leading Players: Johanna Ter Steege, Eniko Borcsok, Ptter Andorai, £va Kerekes. Script: Istvan Szabo. Photography: Lajos, Koltai. Editing: Eszter Kovdcs. Production Company: Objektiv Filmstudio. Print Source: Hungarofilm. Bdthori UTCA 10, 11-1054 Budapest V, Hungary. Tel: 116 650. Screening Courtesy of Metro Pictures. Producer: Christine Vachon, Tom Kalin. Leading Players: Daniel Schlachet, Craig Chester, Ron Vawter, Michael Kirby. Script: Tom Kalin, Hilton Als. Photography: Ellen Kuras. Editing: Tom Kalin. Music James Bennett. Production Company: Intolerance Productions. Print Source: Christine Vachon, S2S Broadway, rm. 701, New York, NY 10012, USA. Tel: 212 219 1990, Fax: 212 274 8187. Emma and Bobe, two women from the country, have been working in a primary school in Budapest teaching Russian. However, after the social and political changes, Russian is no longer a compulsory subject in school. In order to keep their jobs as teachers, they attend evening classes in English and the next morning, they begin to teach their pupils what they have only begun to learn themselves. Tom Kalin's brilliant debut feature presents history as you've always dreamt it might be: with the personal, social and political perspectives all refracted through each other, and with a burning sense of the need to know and understand more and better. SWOON is based on the story of Richard Loeb and Nathan Leopold Jr., two wealthy, academically brilliant and utterly amoral 18-year olds from Chicago who became infamous in 1924 for their kidnapping and murder of a young boy named Bobby Franks. The crime was one of many planned by the two youths, the extreme outcome of a long and tangled relationship which revolved around an exchange of sex for criminal activity. The kidnapping was intended to be their 'perfect crime', a culmination of Nathan's obsessive love for Richard and Richard's lifelong fantasies of becoming a master criminal. Since they cannot afford their own apartment and they don't even earn enough to rent a furnished room, the two women have been sharing a room in the teacher's hostel for years. In order to improve their financial situation, Emma cleans the houses of wealthy people while Bobe picks up foreigners in hotel bars whom she persuades to invite her for dinner. A struggle for personal survival, SWEET EMMA...is a touching, heartwarming film, dealing with universal themes that reflect the consequences of the current political changes in Europe. The film reconstructs the murder, investigation, trial and the years that the pair spent in prison, drawing on the language of courtroom testimony, the gestures of melodrama, and the abundance of psychological and pseudo-psychological investigations that were made of the pair. Nominated for a FELIX award for European Film of the Year Shot in the hauntingly stylish manner of avant-garde advertising, this audacious debut is an unpredictable synthesis of the mannered and the real, an unsettling blend of Nietzschean arrogance and mad love. 31 �OPERA HOUSE, SAT] OPERA HOUSE, SATURDAY 10TH, 14.00 THIEF OF BAGDAD THIS BOY'S STORY Michael Powell et al John Roberts England/1940/35mm/102 minutes/Colour England/1992/35 mm/50 minutes/Colour Producer Alexander Korda. Leading Players: Conrad Veidt, Sabu, June Duprez, Rex Ingram, John Justin. Script: Lajos Biro. Dialogue: Miles Malleson. Photography: Georges Perinal. Editing: Charles Crichton. Music Miklos Rosza. Screening courtesy of Central Television Enterprise Ltd, Hesketh House, 43-4S Portman Square, London W1H 9FG, England. Tel: 071 486 6688/612 7323, Fax: 071 486 1707. Producer Michele Camarda. Leading players: Steven and Kevin Arnold, Jennifer Calvert, Simon Adams, Daryl Fishwick, Carl Chase, Arturo Venegas. Script: John Roberts, Andrew Simister. Photography: Cavin Finney. Editing: David Freeman. Music Julian Wastall. Print Source: The National Film and Television School., Station Road, Beaconsfield, Bucks., HP9 1LC, England Tel: 0494 671234, Fax: 0494 674042. The newly-restored print of THE THIEF OF BAGDAD reveals one of the most enduring classics of the cinema in its pristine glory. A hocus-pocus of colour, dashing adventure and special effects, it has been described as STAR WARS meets THE ARABIAN NIGHTS. The plot is pure hokum, centring around an all-seeing eye stolen from a Tibetan temple. The highlight has to be the genie (Rex Ingram) who escapes from the bottle and engages in witty repartee with elephant boy Sabu, whose position as the genie’s master is a precarious one to say the least. Set in the late '60s, the film tells the tale of two young brothers from a broken home, who set out on a mythical journey to Liverpool in search of their football hero, the legendary George Best (who makes a guest appearance). On their way they get lost and robbed, but their unswerving faith in 'Bestie' carries them through to a final, fateful, meeting. Awards: Student Oscars, 1992 winners. The film was made under the most difficult of circumstances. The elaborate special effects, the then-new technicolor process, and the hands of no fewer than six directors at its helm (not to mention World War II, which forced shooting to move from England to the US) meant that it was a wonder that it ever got made at all, let alone became such a spectacular success. It garnered three Oscars, made a star of the delightful Sabu and has endured where many films of more serious intent and elevated tone have not. THE THIEF OF BAGDAD is a must for children of all ages. It is a pure pleasure to watch, hearkening back to the days when the Saturday matinee was a staple of every kid's weekend. Visit Mary Rose Restaurants at the Savoy Centre and Queens Old Castle, for Morning Coffee, Lunch or Afternoon Tea, and enjoy the good food and service we provide. k ; j 32 �O4.00 TRISKEL ARTS CENTRE, TUESDAY 6TH, 13.30 TIME WILL TELL TOGETHER ALONE Declan Lowney P.J. Castellaneta England/1991/35mm/90 mlnutes/Colour USA/1991/16mm/87 minutes/Black & White Producer: Rocky Oldham. Print Source: Theatrical Experience, 56, Bishop's Mansions. Bishop's Park Rd., London SW6 6DZ, England. Tel: 071 371 9441, Fax: 071 371 7977. Producer and Script: P.J. Castellaneta. Leading Players: Terry Curry, Todd Stites. Photography: David Dechant. Editing: Maria Lee. Music: Wayne Alabardo. Production Company: P.J. Party Productions. Print Source: Forefront Films Inc., 507 17 th Street, Brooklyn, New York 11215. Tel: 718 832 4951. Fax: 718 832 4951 TIME WILL TELL is a celebration of the life and music of reggae legend Bob Marley. Without commentary - the only narrative is taken from Marley's own words and music - the film represents the first comprehensive portrait of his multifarious talents. Tracing the evolution of Marley's music from Jamaica to the world's concert halls, the film also gives us a unique insight into Marley the man: his personality, his politics and his religious beliefs. Bryan, a young gay man, feels insecure because of the AIDS epidemic. One evening, he happens to spend the night with a man, 'Bill'. Waking up from a vivid dream, Bryan talks to 'Bill'. Surprised, 'Bill' explains to him that his real name is Brian. This develops into the first of many disputes which continue throughout the night... At the end of the night, when the barriers between the two men have finally broken, they have both made some surprising discoveries - each for himself and both together. All the key moments of Marley's musical legacy are included in the film, with twenty two songs filmed over an eight-year period (1973-80). In addition to the Zimbabwe Independence ceremony material it includes Marley's historic performance at the One Love Peace Concert in Jamaica. The live footage is virtually faultless and the interviews informative and entertaining. "You can see it as a straight musical journey or as a political story, with Marley's growing musical sophistication mirroring his involvement in Third World politics. You can see it as documentary, of one man, or his country, trying to find a way forward untainted by Big Brother politics. You can see it as reggae music or an introduction to the religious and political beliefs of the Rastafari, rejecting Western society (Babylon) and drawn to a mystical past in Ethiopia. Whatever, just see it" Watch it! Ifork House GUESTHOUSE 3 , YORK 0 Director Declan Lowney will be present to introduce the screening. 2 1 ST., 5 0 1 O 5 CORK 5 BEST WISHES TO THE FESTIVAL! 33 �OPERA HOUSE, TUESDAY 6TH, 16.00 TRISKEL ARTS CENTRE, SATURDAY 1330 THE WATERDANCE WE ONLY LIVE ONCE Neal Jimenez, Michael Steinberg ON NE VIT QU’UNE FOIS Miel Van Hoogenbemt USA/1991/35mm/106 minutes/Colour Belgium/1991/16mm/52 Minutes/Colour/Subtitles Producers: Cale Anne Hurd, Marie Cantin. Leading Players: Eric Stolz, Wesley Snipes, William Forsythe, Helen Hunt. Script: Neal Jimenez. Photography: Mark Plummer. Editing: Jeff Freeman. Music: Michael Convertino. Print Source: The Samuel Goldwyn Company, St. George's House, 14-17, Wells St., London W1P 3FP, England. Tel: 071 436 5105, Fax: 071 580 6520. Production Company: Centre de L'Audio-visuel a Bruxelles. Script: Miel Van Hoogenbemt. Photography: Louis Philippe Capelle. Editing: Olivier Van Maidergham. Music Nicolas Thys, Frederic Vercheval. Print Source: Centre de L'Audio-visuel a Bruxelles, (CBA) 18, rue Joseph II, 1040 Brussels, Belgium. Tel: 32 2 218 4080, Fax: 32 2 217 9197. In one cruel twist of fate, novelist joel Garcia (Eric Stolz) finds his carefree existence instantly transformed when a hiking accident leaves him with a broken neck and permanent disability. Attempting to intellectualise the powerful sense of frustration and anger within him, he is wheeled into a physical rehabilitation centre where fellow patients include Bloss, a rough-and-tumble, racist biker bitterly pursuing a lawsuit against the man whom he considers responsible for his accident and a yarn-spinning ladies* man, Raymond (Wesley Snipes), whose brush with mortality came a little too late to save his marriage. No one can avoid growing old, but everyone worries about it, anxious because old age is the harbinger of death and, in the meantime, so often betokens loneliness and dependence. Is there some other way of growing old, of maintaining to the last the quality of one's life? In this film we meet the old: the weathered couples; the solitary men and women whose relationships have worn down or broken apart; and others who have only found love in their twilight years. We are offered a glimpse of their happy moments and their other moments, all so precious because we only live once. The men have nothing in common except their new­ found disability, but a shared understanding of what each is experiencing - expressed from wheelchair fist-fights to a sardonic sense of humour - eventually bonds them into a supportive 'family' unit. THE WATERDANCE is a quasi-autobiographical film from writer and co-director, Neal jimenez. It has a compelling emotional honesty expressing the confusion, despair, sexuality and resolution of men facing a new and difficult life. Physically constrained, the characters in the film unleash a torrent of sharp, tense dialogue cutting into areas with no easy answers: the tensions amongst black, white and hispanic; the real basis of sex and love, and the human potential for redemption. Claire D'Arcy :: J Bnn r b ooi BED & BREAKFAST 7 Sydney Place, Wellington Road, Cork. Telephone 021-5045221504658 34 j �1 TRISKEL ARTS CENTRE, SUNDAY 11TH, 13.30 ESDAY 6TH, 20.30 WILD WHEELS WHITE MEN CAN T JUMP Ron Shelton Harrod Blank USA/1992/35mm/115 minutes/Colour USA/1992/16mm/64 minutes/Colour Producers: Don Miller, David Lester. Leading Players: Wesley Snipes, Woody Harrelson, Rosie Perez, Tyra Ferrell. Script: Ron Shelton. Photography: Russell Boyd. Editing: Paul Seydor. Print Source: Twentieth Century Fox Film Co. Ltd., 5/7 Upper O'Connell St, Dublin 1, Ireland. Tel: 01 743 068, Fax: 01 743 069. Producer: Harrod Blank. Leading Players: Larry Fuente, Dalton Stevens, Jackie Harris, Cene Pool. Script: David Silberberg. Photography: Paul Cope, Harrod Blank, Les Blank. Editing: Harrod Blank. Music: David Mayers. Print Source: Harrod Blank, 1034 1, San Pablo Avenue, El Cerrito California 94530, USA Tel: 510 525-0942, Fax: 510 525-1204. WHITE MEN CAN'T JUMP is a comedy about two basketball hustlers who team up to run a smooth scam on Los Angeles' toughest courts. Directed by Ron Shelton, whose much-acclaimed debut, BULL DURHAM launched the careers of both Kevin Costner and Tim Robbins, the film is about relationships between the races and the sexes, the difficulties in communicating, and, of course basketball, the gritty ballet of the streets, which is as much an urban American ritual as the 4th of July fireworks. A personal exploration into the world of Car Art by filmmaker, Harrod Blank who drives his decorated VW bug across the U.S. in search of other cars modified beyond recognition. He finds 45 of the most bizarre cars anyone has ever seen; a brass hippo on wheels, a car covered with grass and a car shaped like a spaceship, to name but a few. Even more interesting are the people who drive these cars, and what motivates them. For example, one man attached 1400 toy horses onto his Buick to stop himself drinking. Another, suffering from extreme insomnia, covered his car, his suit, his guitar and practically everything else he owned with buttons. Yet another encrusted his Oldsmobile with water taps because Jesus told him to be clean. Sidney Deane meets Billy Hoyle on a public basketball court, where the sport is played as a cross between ritual combat, street theatre and a floating con-game. At first, Sidney thinks the goofy-looking newcomer is an easy mark, until he finds out that Billy's droopy socks and baggy shorts are just part of the con. So he proposes a partnership and Billy accepts. And now they're set to clean out everyone in town, including each other. For Sidney and Billy, the hustle never stops, off court and on. If only they could handle the women in their lives with as much finesse as they handle the ball. Blank's own experiences in his 'Art car', including numerous appearances before uncomprehending Southern magistrates, make for as entertaining viewing as the sundry other eccentrics that populate this engaging and amusing film. Being one of them himself, Blank is never patronising in his attitude towards them, but seeks to make them heard on their own terms. Although Shelton's story is about basketball as an arena where male egos lock horns, there are actually two smart women at its core. As the director once said on the set during production, "my movies are just a bunch of guys messing around while women get on with the real business of life." These cars are not your average hot rods, mere phallic substitutes for emotional inadequacy; they are genuine works of art: extensions of their owners’ personalities, acts of creative expression that are, in a real sense, shrines to the potent myth of the automobile and celebrations of eccentricity and personal freedom "WILD WHEELS is a lot of fun - an auspicious debut for Harrod Blank and a zany ode to offbeat, homegrown American art. In an age of institutionalised blandness, it’s soothing to spend time with Blank and his cheerfully noncomformist car-fetishist pals." San Frandsco Chronide 35 �OPERA HOUSE, WEDNESDAY 7TH, 18.00 YOU, ME AND MARLEY Say it witft Richard Spence England/1992/35mm/85minutes/Colour raline The Famous Belgian Chocolates Producer: Chris Parr. Leading Players: Marc O'Shea, Bronagh Gallagher, Michael Liebmann. Script: Graham Reid. Print Source: BBC Drama, Television Centre, Wood Lane, London W12 7RJ, England. Tel: 081 576 1890, Fax: 081 749 8755. Cork: 106 Oliver Plunkett Street Dublin: Royal Hibernian Way and 30 Mary St. It's Friday night on the streets of west Belfast and 16-yearold Sean O'Neill and his friends listen to Acid House and burn rubber. Joyriding has reached epidemic proportions and the local community wants action. The priests hold a public meeting which is gate-crashed by IRA hard men. The RUC lies in wait. The society that created Sean can do nothing as events spin out of control. (Free gift cards available) This powerful, controversial and hard-hitting drama, featuring Bronagh Gallagher (from THE COMMITMENTS) and written by Graham Reid, was extensively researched in the west Belfast community where it is set. This lends a commanding air of authenticity to the film, which underpins this sympathetic, sometimes humorous look at a disaffected and alienated group of teenagers and the repercussions of their behaviour on their families and society at large. The most relevant film of the year. Awards: Michael Powell award for best British feature film, Edinburgh, 1992, ’Scotland On Sunday' Critic's award. /V 40 Paul Street, Cork. 273555 and Douglas Village, Cork. 892415 RESTAURANT WINE BAR TRADITIONAL PIZZAS FRESH, HAND-MADE PASTAS CRILLS-FISH-OMELETTES FULL WINE LIST OPEN: 12, NOON - 11.30PM SUNDAYS: 5PM-11PM ECON RONAY RECOMMENDATION IL 36 �(WN MICHAEL APTED with STARDUST (1975) produced by the young David Puttnam and starring David Essex.This was followed by THE SQUEEZE (1977) a thriller starring Stacy Keach, and another ambitious Puttnam production, AGATHA (1979) starring Vanessa Redgrave and Dustin Hoffman. The success of COAL MINERS'S DAUGHTER (1980) firmly established Apted's reputation in the USA, winning an Oscar for Sissy Spacek's moving portrayal of country and western singer Loretta Lynn. Since then he has directed internationally working on a series of large scale Hollywood films but also on smaller productions in Britain and on a wide range of documentary projects. He directed CONTINENTAL DIVIDE in 1981 and GORKY PARK (1983). Also in 1983 he made the Channel 4 film P'TANG, YANG, KIPPERBANG for which he received another BAFTA award nomination. FIRST BORN (1984) was followed in 1985 by the Grammy Award winning music documentary BRING ON THE NIGHT which was screened at the Cork Film Festival that year. CRITICAL CONDITION (1987) was followed by GORILLAS IN THE MIST (1988) where Sigourney Weaver's performance as the doomed conservationist earned an Academy Award. In 1989 Apted travelled to the Soviet Union to make a remarkable documentary on the rock­ star Boris Brebenshikov - Russia's answer to Bruce Springsteen. In 1990 he directed CLASS ACTION starring Gene Hackman and also worked on ABC's MY LIFE AND TIMES. Michael Apted's new feature THUNDERHEART will close this year's Cork Film Festival. We are also screening INCIDENT AT OGLALA, the documentary that provides the real-life backround and inspiration for THUNDERHEART. No less than three Michael Apted films are being released in 1992 - INCIDENT AT OCUKLA, THUNDERHEART and 35 UP. We have taken this opportunity to dedicate a section of this year's programme to the work of Michael Apted - a tribute the Cork Festival has planned to make for some time. THE 7 UP SERIES The 7 UP series has been described as 'the most engrossing long-distance documentary project in the history of film'. Starting in 1963 Michael Apted has folllowed a group of 14 British schoolchildren through all the twists and turns of their lives. He revisits the same 14 every seven years to record how their plans and hopes have fared. The stories that emerge are utterly engrossing and extraordinary in the way only real-life can be. Watching the films also raises disturbing questions in the viewer. In speaking to the camera about their lives the participants position the viewer somewhere between a voyeur and a judge. It is hard not to feel that the we are being asked in some way to evaluate these lives. Born in 1941, Michael Apted could be seen as the exemplar of a generation of British filmmakers who made their reputation in television in the 1960zs and moved on to major careers in cinema. He studied law and history at Cambridge before joining the young Granada Television as a researcher. He established a career as a television director and investigative reporter covering a remarkable diversity of work ranging from weekly documentary reports for WORLD IN ACTION to directing episodes of CORONATION STREET. His best known work from 1960's television is the start of the 7 UP series, a unique, long-term documentary project which we are pleased to give our festival audience a rare opportunity to view. Over time the series has become very famous. Apted is the executive producer for Russian and American versions of the same concept. 28 UP, the fourth in the series, won the BAFTA award, the International Emmy and the International Documentary Award in 1988. The series is made for Granada Television. Over the years Apted has accumulated more than 60 separate television credits and two of his television series won BAFTA awards - THE LOVERS for Best Comedy series and FOLLY FOOT for Best Children's Series. Apted himself won Best Dramatic Director for ANOTHER SUNDAY AND SWEET F. A. and KISSES AT FIFTY. 7 UP 1963/42 minutes/Colour 7 PLUS 7 1970/55 minutes/Colour In 1972 Apted made a very successful feature film debut with TRIPLE ECHO, an adaption of the H. E. Bates story starring Glenda Jackson and Oliver Reed. He followed this 21 UP 1977/105 minutes/Colour 35 UP 1991/Colour 37 �e s t i v a I CORK OPERA HOUSE TRISKEL ARTS CENTRE SUNDAY OCTOBER 4TH 20.30 GALA OPENING 11.00 GARGANTUAN John Smith UK (1 m) JAZZ IN THE BOX WHITE BOYS CAN'T DANCE Milan Grozdanic FRANCE (5m) Liz Hinlein USA (11m) PAINTING THE TOWN THE CRYING CAME Andrew Behar USA (80m) Neil jordan UK (112m) 13.30 THE VACUUM Tim Roll UK (1 2 mins) STAR CROSSED LOVERS Irene Werner Stage DENMARK (21 m) FIT: EPISODES IN THE HISTORY OF THE BODY Laurie Block USA (74m) 16.00 THE DISCO YEARS Robert Lee King USA (30m) THE REINCARNATION OF KHENSUR RINPOCHE Tenzing Sonam/Ritu Sarin UK (62m) MONDAY OCTOBER 5TH 14.00 GOODNIGHT, ALDEN 11.00 CHILDREN OF NATURE Fridrik Thor Fridriksson ICELAND (85m) 16.00 SHORTS PROGRAMME 1 1 3.30 Jeff Leighton USA (15m) CHASING THE GRAIL WEEKENDER Daniel Robin USA (22m) NOW THAT IT’S MORNING Tehmina Khan USA (20m) Wiz UK (18m) IN THE LAST PASSAGE Neil Bartlett UK (1 Im) DREAMSAND SILENCE THE HOURS AND TIMES Omar Al-Qattan BELGIUM/PALESTINE (52m) Christopher Munch USA (60m) 18.00 ALL ABOARD! 16.00 MICHAEL APTED PROGRAMME 1 7 UP 7 PLUS 7 11.00 SHORTS PROGRAMME 2 13.30 Patrick Rufo FRANCE (7m) LOVE, JEALOUSY AND REVENGE OTHELLO Orson Welles MOROCCO (91m) 20.30 OMNIBUS Sam Karmann FRANCE (9m) MY NEW GUN Stacy Cochran USA (100m) TUESDAY OCTOBER 6TH 14.00 INCIDENT AT OGLALA Michael Apted USA (89m) 16.00 SPIRIT OF PLACE Oliver Harrison UK (10m) Michael Brynntrup GERMANY (7m) THE WATERDANCE TOGETHER ALONE P.]. Castellaneta USA (87m) Neal jimenez/Michael Steinberg USA (106m) 18.00 MR. CHOCOLATE MEETS MISS MILK 16.00 MICHAEL APTED PROGRAMME 2 21 UP 11.00 Thomas Meyer- Hermann GERMANY (6m) SHORTS PROGRAMME 3 SLACKER Richard Linklater USA (97m) 20.30 WINK Olias Barco FRANCE (6m) WHITE MEN CAN’T JUMP Ron Shelton USA (115m) WEDNESDAY OCTOBER 7TH 14.00 IEAN-LUC GODARD, OVER & DONE Danos FRANCE (8m) THE LIVING END 13.30 Greg Araki USA (90m) MOUTHPIECE Gerard Betts CANADA (3m) ASSASSINS LAST YEAR IN GERMANY Mathieu Kassovitz FRANCE (14m) 16.00 Benke/Seidler/Barthel/Schonfeldt GERMANY (100m) JUICE Ernest R. Dickerson USA (92m) 18.00 16.00 BODY BEAUTIFUL Joanna Quin WALES (14m) YOU, ME AND MARLEY Richard Spence UK (85m) 20.30 HEARTSONGS Sue Clayton UK (11 m) CAS FOOD LODGING Allison Anders USA (102m) 38 MICHAEL APTED PROGRAMME 3 35 UP �TRISKEL ARTS CENTRE CORK OPERA HOUSE THURSDAY OCTOBER 8TH 14.00 WHITE NIGHTMARE 11.00 SHORTS PROGRAMME 4 13.30 WHERE THE COWS GO Mathieu Kassovitz FRANCE (1 1 m) LOSER Erik Burke USA (83m) Maggie Ford UK (15m) KADDISH CHANGING OUR MINDS Serge Zeitoun FRANCE (12m) 16.00 Richard Schmiechem USA (75m) PRAGUE Ian Sellar UK/FR/CZ (87m) 18.00 16.00 ST. MULEKICKER Simeon Hutner USA (5m) CRUSH Alison MacLean NEW ZEALAND (97m) COLOURS 1939 THE BEST INTENTIONS Alexander van Dulmen GERMANY (29m) Bille August SWEDEN (180m) Please note earlier starting time 20.00 THE SAME AS YOU Alan James UK (65m) FRIDAY OCTOBER 9TH 14.00 RESONANCE 11.00 SHORTS PROGRAMME 5 13.30 S. Cummins/S. Hunt AUSTRALIA (1 2m) A PRAYER BEFORE BIRTH SWOON Tom Kahn USA (82m) 16.00 HOW MOVIES ARE MADE Jacqui Duckworth UK (20m) A.J. Hudson USA (4m) IN THE SOUP KHUSH Alexander Rockwell USA (93m) 18.00 Pratibha Parmar UK (26m) WITHIN GRASP A PLACE OF RAGE Veit Helmer GERMANY (7m) Pratibha Parmar UK (52m) MAN BITES DOG Remy Belvaux/Andre Bonzel/Benoit Poelvoorde BELGIUM (95m) 20.30 16.00 SOHO SQUARE SWEET EMMA. DEAR BOBE POST NO BILLS Istvan Szabo HUNGARY (90m) 23.30 SUBMARINE Mark Littlewood SCOTLAND (53m) Mario Cavalli UK (1 Im) Clay Walker USA (57m) THE BEACH Patrick Bokanowski FRANCE (14m) NIGHT ON EARTH Jim Jarmusch USA (120m) SATURDAY OCTOBER 10TH 11.00 LIFE'S A GAS 11.00 Philip Davis UK (11m) THIS BOY'S STORY 13.30 John Roberts UK (50m) 14.00 RELEASE ME Frances Lea UK (26m) THIEF OF BAGDAD STRANGER IN THE FAMILY Michael Powell UK (106m) 16.00 SHORTS PROGRAMME 6 Ewa Cieszewska UK (26m) RESURRECTION Ray Kilby UK (9m) WE ONLY LIVE ONCE SACRED SEX Miel Van Hoogenbemt BELGIUM (52m) Cynthia Cannop AUSTRALIA (96m) 18.00 SEMPER IDEM 16.00 Joachim Bode GERMANY (3m) Anders Sorensen DENMARK (22m) CHAIN OF DESIRE BROTHER'S KEEPER Tern is toe les Lopez USA (105m) 20.30 THE WONDERFUL TALE OF MUSIC joe Berlinger USA (117m) BLACK WIDOW Jesus Delgado SPAIN (16m) HOW TO BE A WOMAN AND NOT DIE IN THE ATTEMPT Ana Belen SPAIN (90m) 23.30 MARQUIS Henri Xhonneux FRANCE (80m) SUNDAY OCTOBER 11TH 14.00 TIME WILL TELL 11.00 SHORTS PROGRAMME 7 Declan Lowney UK (90m) 16.00 13.30 THE KINGS OF SIAM 57TH STREET SERENADE Ged Haney UK (12m) David Dobkin USA (35m) STRAIGHT OUT OF BROOKLYN WILD WHEELS Matty Rich USA (83m) 18.00 Harrod Blank USA (64m) IN UNCLE ROBERT'S FOOTSTEPS Myles Connell USA (24m) 16.00 PUBLIC ENEMY/PRIVATE FRIENDS HELLO STRANGER 20.30 Danny Thompson UK (18m) Ronan O'Leary IRELAND (61 m) AS HAPPY AS LARRY OFFICIAL CLOSING Awards Ceremony and screening of European Short Film Competition winner THUNDERHEART Michael Apted USA (118m) Riju Ramrakha AUSTRALIA (61m) Note: Programme correct at time of going to press. Alterations may occur without notice. 39 �PERSONALITY... CREDIBILITY QUALITY... STYLE ill FOR YOU ON THE RIGHT WAVELENGTH... S3EE OR 892 FM FAI __________________ 7/je l/e/ce ttf'&rk. French Alliance Francais Language New Wave Season, Rare Shorts, All Time Classics. In Association with Nov 6 - Nov 12 The Night is Young ToTo the Hero Delicatessen Au Revoir Les Enfants Nikita Le Cop 2 Cyrano de Bergerac & many more Film Festival Memberships and Tickets available from Capital Cineplex Grand Parade, Cork, Ph : 272216 1992 40 �1 IT FILI ■ GRAMMES AND EUROPEAN SHORT FILM COMPETITION Cork Film Festival is committed to supporting the short film. We believe that it is a specific art form with its own traditions, disciplines and aesthetic possibilities. The short form also allows for experimentation and innovation, thereby enriching the medium as a whole. Also, for many directors, with limited technical and financial resources available, the short is an invaluable stepping stone to feature production. We are confident that in the programmes below our audience will discover exciting new talent. This is true of the Irish films as much as the international. We are delighted that so many short-film directors have decided to travel to Cork for the screenings of their films. We believe that the experience of young directors meeting with their peers from other countries, seeing each others work, and meeting with their audience can be a valuable process which will assist their development as film-makers. Once again we must acknowledge the support of the European Commisssion in funding Cork's Short Film Award of 10,000 ECUs. This is a significant sum which has helped past winners reach a wider audience for their films and helped them advance in their film-making careers. The Cus Healy trophy, sponsored by Fianna Fail, and a cheque for £1,000 will be presented to the best Irish short-film in Competition. PROGRAMME 1 PROGRAMME 5 SHE'S JUST GROWING UP, DEAR lulia Tell, USA, 16m EMPIRE OF THE MOON * J.Haptas/K. Samuelson, USA, 17m Ashley McKinney, USA, 28m ANTHONY'S KITCHEN Brian Cange, USA, 15m THE GENE POOL Loren (f Kerry Weeks, USA, 12m THE WATCHMAN Ron Hagell, GERMANY, 24m FIRST COMES LOVE Su Friedrich, USA, 22m DEATH BY UNNATURAL CAUSES < K. Bellone/L. Rinzler, USA, 20m LITTLE SUCK-A-THUMB David Kaplan, USA, 15m ON HER BALDNESS Wendy Rowland, CANADA, 30m PROUSTS FAVOURITE FANTASY Richard Kwietniowski, UK, 2m SLUGS AND SNAILS Susan Brand, UK, 10m PROGRAMME 2 PROGRAMME 6 CREATURE OF HABIT * Joan Grossman, CANADA, 1 Om * THE COST OF LOVE Richard Kwietniowski, UK, 2m TWIST OF FATE Douglas Kunin, USA, 13m OOZAT Darren Walsh, UK, 6m SHOOTING TO STARDOM Kieron Walsh, IRELAND, 11m THE CHANTER Jon Love, UK, 30m PARADISE FISH BAR Tamsen Carter, UK, 10m THE DADASON RITES Garry Keane, IRELAND, 13m * THE LAST WORD Lee Rooney, IRELAND, 15m NOCTAVE Siochfradha Kelly, IRELAND, 10m MIND'S EYE Paul Giles, IRELAND, 14m BREATH OF LIFE Navin Thapar, UK, 28m GORILLA Kevin McMorrow, UK, 15m LOVE IS A VERY FICKLE THING * Mark Staunton, IRELAND, 3m PRO-CHOICE FILM Tony Kenny, IRELAND, 2m ROUNDABOUT PROGRAMME 3 CAT'S CRADLE ♦ Liz Hughes, AUSTRALIA, 12m DEATH IN THE ARENA M. Ingram/S. Oliveiro, AUSTRAUA 10m THE ILLUSTRATED AUSCHWITZ Jackie Parkas, AUSTRAUA, 13m EVERY LITTLE BREEZE... Maree Delofskl, AUSTRALIA, 24m A LARGER OR SMALLER ROOM Ann! Mokotow, AUSTRAUA, 17m WIRELESS NIGHTS Melissa Juhanson, AUSTRALIA, 12m PROGRAMME 4 NIGHT WINDOW Gunter Heinzel, AUSTRIA, 32m DID YOU DO THE NAPKIN TOPSI? Usa Doyle, CANADA, 7m MONA'S.PETS John David Allen, USA, 32m ROAD TO ALICE Stavros A. Efthymlou, AUSTRAUA, 29m PROGRAMME 7 THE BARBER SHOP Uam O'Neill, IRELAND, 23m BLIND ALLEY Paul Duane, IRELAND, 10m BOOTH Petra Conroy, IRELAND, 10m CHILDREN OF THE TIDE T. FLeming/N. Broderick, IRELAND, 1 Im INTO THE ABYSS Geraldine Creed, IRELAND, 13m TWO WASTERS Eoin McPolin, IRELAND, 21m CONNEELY'S CHOICE Barra de Bhaldraithe, IRELAND, 28m • A* �ALL ABOARD! ASSASSINS EN VOITURE! Patrick Rufo Christophe Rossignon France/1992/35mm/14 minutes/Colour/Subtitles France/1991 /35mm/7 minutes/Colour/Subtitles NOl FL W Executive Producer: Win Productions. Leading Players: Andre Badin, Inger Ekbom, Paul Pinceloup, Lorene Frejek. Script: Patrick Rufo. Photography: Dominique Pinto. Editing: Patrick Rufo. Music. Jean Pascal Gil. Print Source: Win Prockictions, 3, Rue de Duras, 75008 Paris, France. Tel: 43 65 37 70, Fax: 42 86 80 72. Producer: Christophe Rossignon. Leading Players: Marc Berman, Robert Cendreux. Script: Mathieu Kassovitz. Editing: Nathalie Goepfert. Print Source: Lazennec Tout Court, 36 Rue Rene Boulanger, 75010 Paris, France. Tel: 42 03 73 34. Ferrari, Jaguar, Mercedes, Rolls Royce...all the world dreams of such cars - especially the thievesl As has always been the tradition in the family, the elders teach the youngest how to be hitmen. Tonight, the hit is Mr. Vidal and Wagner transmits his knowledge to his younger brother, with blackly humorous results. ANTHONY'S KITCHEN THE BARBER SHOP Brian Cange Liam O'Neill USA/1992/16mm/15 minutes/Black & White lreland/1992/16mm/23 minutes/Black & White i Producer: Kevin Segalla. Leading Players: Joseph Ricca, Steve Roberts, David Eye, Dina Losita. Script: Brian D. Cange. Photography: Don Cornett. Editing: Bob Nichols. Music: Vincent De Selvo, Mark Reynolds. Print Source: Brian D. Cange, 70 Remsen Street, 1-h, Brooklyn, New York, 11201 USA. Producer: Breda Walsh. Leading Players: David Kelly, Peadar Lamb. Script: Liam O'Neill from a story by Joe Pleass. Photography: Shane O'Neill. Editing: Gaye Lynch. Music John Walsh, Peter Keenan. Print Source: Paradox Pictures, 6, Belvedere Place, Dublin 1, Ireland. Tel: 01 366 868, Fax: 01 679 6717. Tel: 718 596 2595. Anthony, a cynical and outspoken non-conformist finds his world starting to crumble in the face of progress as his neighbours celebrate his 65th birthday. This tragic comedy focusses on the plight of the elderly, treated as superfluous, if not downright disposable in modern America. The final hours of an old-fashioned barber-shop - a faded emporium of tonsorial opulence - are the location for this evocative and subtly- keyed drama of revenge and regret. 42 �T BLIND ALLEY H BEAG ■■ LA PLAGE Patrick Bokanowski Paul Duane lreland/1992/16mm/l0 minutes/Colour France/1992/35mm/14 minutes/Colour/Subtitles / II' I 1 TH | Producer: Kira BM Films. Photography: Patrick Bokanowski. Editing: Laure Budin, Dominique Greussy. Music: Michele Bokanowski. Print Source: Unifrance Film, 4, Villa Bosquet, 75007 Paris, France. Tel: 1 4 7 5 3 95 8 0, Fax: 1 47 05 96 55. Producer: Brendan Geraghty, Fiona Keane. Leading Players: Barry McGovern, Niall Toner Jr. Script: Paul Duane. Photography: Shane O'Neill. Editing: St Merry Doyle. Music Niall O'Sullivan, Stephen Pennicks. Print Source: Blind Alley Productions, 75 The Coombe, Dublin 8, Ireland. Tel: 01 546201. Combining live action, animation and special optical effects, THE BEACH creates an imaginary seaside world where ordinary holiday activities take on a surreal twist. A surrealistic thriller about a man facing death-by-video. Barry McGovern plays Roach who in his final moments, becomes aware of the lurking presence of a sinister cameraman throughout the whole of his life. BLACK WIDOW BODY BEAUTIFUL LA VIUDA NEGRA Jesus Delgado Spain/199T/35mm/16mm/Colour/Subtitles Joanna Quinn Wales/1990/35mm/14 minutes/Colour/Animation Producer. Jesus Delgado. Leading Players: Margarita Sanchez, Chema Adiva. Script: Jesus Delgado. Photography: Teo Delgado. Editing: Pablo Blanco. Music: Luis Mendo, Bernardo Faster. Print Source: Producciones Nictdlopes s.l. cjo Don Ramon de la Cruz, 115 2° Izda, 28006 Madrid, Spain. Tel: 1 402 6490. Producer. Les Mills. Leading Players: Menna Trussler, Rob Brydon. Animation, Photography, Editing: Ioanna Quinn. Music: Paul Hornsby, Nory Omar. Print Source: S4C, Parc Ty Gias, Llanishen, Cardiff, South Wales CF4 5DU. Tel- 0222 747 444, Fax: 0222 75 4 444. With a black widow spider on the loose, even safe sex is not without its dangers in this frankly hilarious comedy. Beryl and her friends work in a Japanese-owned factory in Wales. Subjected to constant harrassment over h,er weight by Vince, her narcissistic and loutish supervisor, Bpr.yl plots her deliciously ironic revenge. > K- . 43 �r BOOTH CAT'S CRADLE Petra Conroy Liz Hughes lreland/1992/16mm/10 minutes/Colour Australla/1991/16mm/12 minutes/Black & White I !. k •- V Producers: Susan Walsh, Lorraine Hayden. Leading Players: Brendan Cauldwell, Guy Carlton, Roisin De Freine, Ann Kent. Script: Damien O'Donnell. Photography: Dave Burrows. Print Source: Nora French, Communications Department, College of Commerce, Rath mines, Dublin 6, Ireland. Tel: 01 970 666 Nine minutes in the life of your average local photo­ booth. Award: Best Irish short film - Galway Film Fleadh, July 1992. A poor family cannot afford to pay for a funeral for their dead father. Trudging around the city with his stiffening corpse, they finally find a last resting place for him - in a cinema. BREATH OF LIFE 1 Executive Producers: Luigi Acquisto, Chris McGill. Producer: Jenny Sabine. Leading Players: Helen Rollinson, Ian Nash, Andrea Swifte, Imogen Gough, Paul Bajada. Script & Photography: Liz Hughes. Editing: Melissa Huhanson, Liz Hughes. Music: Paul Schutze. Print Source: Carol Gregory, V.C.A. Film & TV School, John Street, Hawthorn, VIC 3122, Australia. Tel: 61 3 8198328, Fax: 61 3 8198124. THE CHANTER Navin Thapar Jon Love England/l991 /16mm/28 minutes/Colour England/1992/16mm/30 minutes/Colour ■ Producer: Navin Thapar. Leading Players: Moshe Ivgi, Amir Korangi, Tariq Yunus, Avi Nassa. Script: Kulvinder Ghir, Nasser Memarzia. Photography: Jon Felix. Editing: Navin Thapar. Music Nial Walsh, Kent Brainerd. Print Source: Navin Thapar, 212 Malvern Ave. Rayners Lane, Harrow, Middlesex HA2 9HE, England. Tel: 081 426 8832, Fax: 071 494 1187. IH II Producer: Kate Swan. Leading Players: Frazer Morrison, Stephen Craig, Stuart Peebles. Script: Jon Love, Dennis McKay. Photography: Mark Partridge. Editing: Brian Kelly, Jon Love. Music Martin Swan. Print Source: NETS, Beaconsfield Film Studios, Station Road, Beaconsfield, Bucks., HG9 ILG, England. Tel- 0494 671234, Fax: 0494 674042. Set against the backdrop of continuing imprisonment and ill-treatment of political prisoners in the Middle East, BREATH OF LIFE is a harrowing depiction of the emotional bonds formed between six prisoners of conscience who find themselves sharing the same cell. Good luck is not just a matter of being in the right place at the right time - it's knowing that you're there. 44 i: �iiAsr < GRAIL niel Robin SA/1992/16mnj/.l2 minutes/Colour COLOURS 1939 Alexander van Dulmen Germany/1992/16mm/29 minutes/Colour & Black & White Producer, Script, Editing: Daniel Robin. Print Source: Daniel Robin, 1498 Guerrero, San Francisco, GA 94110, USA. Tel: 4 IS 821 4931 Producer & Script: Alexander Van Dulmen. Photography. Guido Frenzel, Hans Feierabend. Editing: Caroline Meier. Music: Georg Lob. Print Source: ARRI, Turtenstr. 91-93, 8000 Munich 40, Germany. Tel: 00 49 3809456. Combining introspection with contemporary social issues, the filmmaker explores her identity as an American jew in the context of her relationship with Israel. Cutting from modern Munich, filmed in grainy Black & White to the ominous pageantry of Nazism at its height in 1939 (from immaculately-preserved Technicolor footage), COLOURS 1939 explores our relationship with a past that is closer to us than we would sometimes care to admit. CHILDREN OF THE TIDE CONNEELY'S CHOICE Tadgh Fleming, Nuala Broderick Barra de Bhaldraithe I reland /1992/16mm/l 0 minutes/Colour lreland/1992/16mm/28 mlnutes/Colour/Irlsh Language Executive Producer Galway Film Resource Centre. Leading Players: Eoghan Fleming, Francio O'Brien, David O'Gorman, Martin Folan. Script and Photography: Tadgh Fleming, Nuala Broderick. Editing: Paddy O'Connor. Print Source: Galway Film Resource Centre, High Street, Galway, Ireland. Tel: 091 66744. Producer: Barra de Bhaldraithe. Leading Players: Brendan Gleeson, Treasa Ni Flatharta, Tomas 0 Ratharta. Script: Barra De Bhaldraithe. Photography. Cion de Buitlelr. Editing: St Merry Doyle. Musk: Donal Lunny. Print Source: Barra de Bhaldraithe, Scanndin Beal, c/o Loopline, 4, Beresford Place, Dublin 1, Ireland. Tel: 01 746303/4 Although the people have never owned the land, they have lived on it, worked on it and died on it - it should be their future. Award: 1st prize, Documentary section, Galway Film Fleadh, 1992. The seal legends of the Atlantic coast are examined in a modern-day Irish-Language drama. A seal woman is robbed of her hoodskin as she basks on the rocks. Without it, she cannot return to sea. 45 �THE COST OF LOVE THE DADASO Richard Kwietniowski Garry Keane England/1991/16mm/2 minutes/Black & White lreland/1992/16mm/13 minutes/Colour, Black & White SOUPS SNACXS RIT! DAIY SPECIA1 SANDWICH! $ i CHIDRP Ml I BL ' ' * Leading Players: Pendle, Rich Crafer, Jarther Taylor, Janet Jones. Script: Richard Kwietniowski. Photography: Frank Passingham. Stills: Tony Caney. Print Source: Alfalfa Entertainments, 225A Brecknock Road, London N195AA, England. Tel: 071 284 0551, Fax: 071 284 0617 Producer. Dun Laoghaire College of Art and Design. Leading Players: Cedi Bell, Padraic Murphy, Felicity Stewart, Jenny Glasgow. Script and Editing: Carry Keane. Photography: Maurice Sweeney. Music: Dee Armstrong. Print Source: Dun Laoghaire College of Art and Design, Kill Avenue, Carriglea Park, Dun Laoghaire, Co. Dublin, Ireland. Tel: 01 2801138. A photo romance featuring a number of activities which may be made illegal in England by Clause 25 of the Criminal justice Bill. A stylishly surreal drama dealing with sexual initiation. A father takes his young son on a dark journey to a brothel. CREATURE OF HABIT DEATH BY UNNATURAL CAUSES Joan Grossman Karen Bellone, Lisa Rinzler Canada/1991/16mm/10 minutes/Black & White USA/1991/16mm/20 minutes/Colour, Black & White Producer Joan Crossman. Leading Players: Nick Misura, Josh Epstein, Jackson Cole, Michael Jocelyn. Script: Neil Williamson. Photography: Joel Pickford. Editing: Christine Brewer. Music: Ray Sicora. Print Source: Vancouver Film School, 400-1168 Hamilton St., Vancouver, BC, V6B 2S2, Canada. Fax: 604-685 5830. I Executive Producer: Firewater Filmworks. Leading Players: Kid Congo Powers, Sally Norvell. Script: Karen Bellone, Lisa Rinzler. Photography: Lisa Rinzler. Editing: Anne Stein. Music: Arto Lindsay, Peter Scherer. Print Source: Firewater Filmworks, 176 Broadway 12F, New York, 100 38, USA. Tel: 212 732 3123, Fax: 212 519 0403. The decline of Mr. Gibbens, a staid middle-aged man who is driven crazy by his memories of being bullied as a schoolboy. A quirky story about power and humiliation. A visually stunning but visceral homage to those living and passing under the shadow of AIDS in a world run amok. It is the story of a woman who, in mourning for her lover, symbolically becomes the mourner for all humankind. Awards: Silver Hugo - Best Experimental Short, Chicago. 46 L �ATM [• I\ A;. :ael Ingn alla/1992/K THE DISCO YEARS T1E ARENA Robert Lee King Sebastian Oliveiro •i/IO minutes/Colour USA/1991/16mm/30 minutes/Colour I' i; Producer: Michael Ingram, Sebastian Oliveiro. Leading Players: Pavane Olivlro, Sebastian Oliveiro, Nicola Cassimaty, Malaki Coles. Script & Editing: Michael Ingram, Sebastian Oliveiro. Photography: Michael Ingram. Music: Igor Stravinsky. Print Source: Michael Ingram, 42 Regent St., Paddington, NSW 2021, Australia. Tel: 612-3615984, Fax: 612-9083151. Producer: Robert Lee King. Leading Players: Matt Nolan, Gwen Welles, Dennis Christopher. Script: Robert King. Photography: Greg Gardiner. Editing: Paul McCudden. Music Wendall & Yuponce. Print Source: Robert Lee King, J 7, 27th Avenue, Venice, CA 90291, USA Tel: 310 827 0291. Mythological icons collide with reality through dream and ritual as flesh gives way to the mechanism of sacrifice. Tom Peters, a gay teenager coming of age in the late '70's finds that the difficult process of coming out is helped by the disco-dancing lessons that his mother forces him to take. Awards: Cine Golden Eagle. DID YOU DO THE NAPKIN TOPS! ? EMPIRE OF THE MOON Lisa Doyle John Haptas, Kristine Samuelson Canada/1991 /16mm/7 minutes/Colour USA/1991/16mm/17 minutes/Black & White Executive Producer: Simon Fraser University. Script, Photography, Editing and Music Lisa Doyle. Print Source: Lisa Doyle, 402 - 634 East Georgia Street, Vancouver BC, Canada V6A 2A1. Producer and Editing: John Haptas, Kristine Samuelson. Photography: Ion Else. Print Source: John Haptas and Kristine Samuelson, 1028 Paradise Way, Palo Alto, California 94306 USA Tel: 4 IS 8S2 9291, Fax: 415 725 2472. A quirky look at the lot of the waitress. In oblique and humorous fashion, EMPIRE OF THE MOON considers the sacred and profane aspects of sightseeing and the yearning to possess the magic of a place. Awards: First Prize, New York Short Film Expo Experimental, Montana Film Festival, Kino Prize, Melbourne Film Festival, Golden Sheaf Yarkton. Awards: San Francisco International Film Festival (Special jury Prize), Charlotte Film Festival (Best Experimental documentary), American Film Festival. 47 �THE METROPOlE THE IDEAL VENUE ‘With, a range of newly refurbished suites and private function rooms to choose from, ^The Metropole Motet is ALWAYS THE CENTRE OF FESTIVAL FUN The welcome you experience as soon as you step into our foyer is one of warmth and helpfulness. Everything you need to make the festival more enjoyable is available at the Metropole * \ By The River/ Ensuke, Direct Dial WlC THE RIVERVIEW RESTAURANT BEDROOM ACCOMMODATION THE MET TAVERN and I.V. in all rooms ; r I HOTELg Mac Curtain St.,Cork.Tel: (021) 508122. Fax: (021) 506450. DOUGLAS INSURANCES GENERAL BROKERS LIMITED Morris House, Douglas West, Cork, Ireland. Telephone (021) 362697/362124 IS) Contact Peter Kirwin ji I ■ Phone: (021) 362697, 362291 or 362309 Fax:(021) 362124 0 Insuring the continued success of the CORK FILM FESTIVAL L 48 �LE BREEZE iree Deso’. / :stralia/199 i/; ..;.n/24 minutes/Colour FIRST COMES LOVE Su Friedrich USA/1991/16mm/22 minutes/Black & White ;i Producer: Pat Lovell. Leading Players: Odile Le Clezio, Fiona Press, Moya O'Sullivan. Script: Maree Delofski. Photography Louis Irving. Editing: Sara Bennett. Music John Stuart. Print Source: Maree Delofski, 62 Cavendish Street, Stanmore, NSW 2048, Australia. Tel: 02 5192883. Producer, Script, Photography and Editing: Su Friedrich. Music: Tina Turner, Janis Joplin, Marvin Gaye, Aretha Franklin. Print Source: Su Friedrich, 222 East Sth Street 6, New York, NY, 10003, USA. Tel: 212 475 7186. Rose and Wanda haven't seen each other since school. Their chance meeting on a bus sets up the desire to find their third school friend, Louise. A gently quirky comedy. A re-examination of the marriage ceremony through the eyes of an alternately hostile, infatuated and amused outsider. A film about rites and wrongs. "Elegant and uncluttered...a deceptively simple work [which]...recasts the personal as the political, makes the public curiously intimate." Manohla Dargis Village Voice 57th STREET SERENADE GARGANTUAN David Dobkin John Smith USA/1992/16mm/35 minutes/Colour England/1992/16mm/1 minute/Colour 1 $ I- Producer: Jonathan McCurdy. Leading Players: James DuMont, Brendan Burke, Christian McLaughlin. Script: David Dobkin. Photography: Jeff Venditti. Editing: David Dobkin. Print Source: David Dobkin, 1048 Grant Street, Santa Monica, CA 90405, USA. Tel: 310 450 7289, Fax: 310393 7608. Executive Producer: Arts Coundl/BBC TV, The Late Show. Leading Player: John Smith. Script and Editing: John Smith. Photography: Patrick Duval. Print Source: John Smith, 28, Colville Road, London Ell 4 EH, England. Tel: 081 556 4363. Despite the hardships of adolescence and the hostility of New York city, Billy, Poet and Marko manage to find a place to be together and happy...on a rooftop, far above the angry streets. A one minute eulogy to amphibians of all sizes. 49 i ■■■ �THE GENE POOL GORILLA Loren Weeks, Kerry Weeks Kevin McMorrow USA/1992/16mm/12 mlnutes/Colour England/1991/16mm/15 minutes/Colour Producer: 2 Weeks Productions. Leading Players: Libra Moore Cray, Paula Bolton, Steve Sutherland. Photography: Russel Fine. Print Source: 2Weeks Productions, 489, Stratford Rd., Brooklyn, NY 11218, USA Tel: 718 282 4293, Fax: 718 941 1942. A dry comedy of manners involving Southern hospitality, heredity and canine love. When a gorilla in a boiler suit and running shoes carries out a series of local bank robberies, the Chief Inspector's suspicions fall on a young detective in his team. The getaway car definitely belongs to the detective, but it's his elderly mother who is spending the loot... GOODNIGHT, ALDEN HEARTSONGS Jeff Leighton Sue Clayton USA/1991/35mm/15 minutes/Black & White i! Executive Producer: L.C.P.D.T., Film & Video Division. Producer: Wayne Waterson. Script: Kevin McMorrow. Photography: Lynda Hall. Editing: Kevin McMorrow, Wayne Waterson. Print Source: L.C.P.D.T., Film Sr Video Division, 6 Bock Hill, Clerkenwell, London EC1R SEN, England. Tel: 071 278 7445, Fax: 071 833 8842. England/1992/35mm/1 1 minutes/Colour .1} ■ I Executive Producer: Kim Decoste. Leading Players: Tom Marriott, Mark Miller, Jeff Trussell. Script & Music Jeff Leighton. Photography: Cabot Dixon. Editing: Kim Decoste, Jeff Leighton. Print Source: Leighton Films, 90S West Lenoir Street, Raleigh, NC 27603, USA. Tel: 919 828 8883. I ! liH Producer: Caroline Hewitt. Leading Players: Tom McCamus, Lorraine Segato. Script: Sue Clayton, Richard Burrige. Photography: Doug Koch. Editing: Annabel Ware. Music: Claude Desjardins. Print Source: Film Four International, 60 Charlotte St., London W1P2AX, England. Tel: 071 6314444 Fax: 071 5802622. Three soldiers during the American Civil War meet, as sentries, by the river. They trade defiant shots, then trade tobacco for coffee, as well as news of the war. Anger and bitterness flare between them. In the end, the burial of a fallen comrade serves as an acceptance, however brief, of their shared humanity. Adrift in a cold and moody Ontario landscape, Snipe drives on, tired and lost, until he comes across a small community where the locals are dancing the night away to the music from a Cajun band. Captivated by the wild Cajun rhythms, fast fiddles and haunting accordion, and obsessed by the lead singer Nell, he follows her home... 50 �i I AN M /ilES ARE MADE IN THE LAST PASSAGE i A. J. Hudson Tehmina Khan USA/1992/35mm/4 minutes/Colour/Anlmatlon USA/1992/16mm/20 mlnutes/Colour i Executive Producer. A.J. Hudson. Script, Photography & Editing: A.). Hudson. Print Source: American Motion Pictures, 429 West 24th St., Suite 3B, New York, NY. 10011, USA. Tel/Fax: 212 989 5523 Producer: Tehmina Khan. Leading Players -.Emily Shihadeh, Tehmina Khan. Script: Mahmoud Darwish, Hanan Ashrawi. Photography and Editing: Tehmina Khan. Music Dawlah. Print Source: Tehmina Khan: 554, 62nd Street, Oakland, California 94609. USA. Tel: 510 420 5858. This is a story of perception. It is the telling of a specific epic from a particular view point. However, the scope of its meaning can only remind us of our own desires to inflict upon any situation our own point of view. A rich, complex collage expressing Palestinian identity. It weaves together humour and poetic expressions of pain, anger and pride. Archival footage, journalistic photographs and newspaper texts come together in an ironic exploration of human dignity and pain. THE ILLUSTRATED AUSCHWITZ INTO THE ABYSS Jackie Parkas Geraldine Creed Australia/1992/16mm/13 minutes/Colour lreland/1992/16mm/12 minutes/Colour Producer: Jackie Parkas. Leading Player: Zsuzsi Weinstock. Script and Photography: Jackie Parkas. Editing: Kathy Drayton. Print Source: Australian Film Television & Radio School. Comer Balaclava & Epping Rds., North Ryde NSW 2113. Australia. Tel: 61 2805 6455, Fax: 61 2887 1030. Producer: Brendan McCarthy. Leading Players: Michelle Bibbi, Brid Mhic Shearai, Eamonn Hunt, Joe Rooney, Una Minto. Script: Geraldine Creed. Photography: Brendan Galvin. Editing: Gaye Lynch. Print Source: Blue Light Productions, 76 Irishtown Road, Dublin 4, Ireland. Tel: 01-687 781. The voice of a concentration camp survivor is scored with a collage of imaginings. Inspired by the work of the American writer, Jack London, INTO THE ABYSS deals with the plight of displaced people in the poor houses and on the streets of London at the turn of this century. 51 �F JEAN LUC GOE AND DONE IN UNCLE ROBERT'S FOOTSTEPS POUR EN FINIR AVEC JEAN-LUC Danos Myles Connell USA/1992/16mm/24 minutes/Black & White ,R J, € ARD France/1991 /16mm/8 minutes/Colour Executive Producer: Nye Heron. Leading Players: Patrick Fitzgerald, Nye Heron. Script: Myles Connell, Frank Shouldicc. Photography: Tim Naylor. Editing: Myles Connell. Music: The Chanting House. Production Company: Irish Arts Centre. Print Source: Alpha Cine, 1001 Lenora, Seattle 98121, USA. Tel: 206 682 8230, Fax: 206 682 6649. Producer: Shadows Film. Leading Players Aurele, Valerie,. Script: Danos Photography: Pat Marcel. Editing: Danos, Deseuze. Print Source: Shadows Film, 112 rue Courcelles, 75017 Paris, France. Tel: 33 1 43 80 36 06. jack Lawlor, a 24 year-old Corkman, arrives in New York, full of optimism and confident that his uncle Robert, a ’businessman’, will give him a start. But Uncle Robert is not all that he is cracked up to be - a gritty, humorous look at the misadventures of a young immigrant in the Big Apple, featuring Cork actor Patrick Fitzgerald. A quintessential!/ French look at life, love, philosophy and movies. JAZZ IN THE BOX KADDISH Milan Grozdanic Serge Zeitoun France/1991/35mm/12 minutes/Black & White France/1991/35mm/5 minutes/Colour ih ■ Producer: Patrick Villacampa. Leading Players: Cheik Doukourt, Jean Michel Martial, Rachel Genevin, Roger Le Mus. Script: Milan Grozdanic. Photography: Michel Rempenaux. Editing: Pascale Chrttien. Music: Nino Pimon. Print Source: Unifranee, 7 Villa Bosquet, 75007 Paris, France. Tel: 47 53 95 80, Fax: 47 05 96 55. An atmospheric evocation of the flavour of jazz and the mind of an artist. t Producer. Serge Zeitoun. Leading Players: Richard Berry, Jean Benguigui, Marthe Villanlonga. Script: Serge Zeitoun, Eric Oyono. Photography: Pierre Aim. Editing: Vera Memmi. Print Source: Unifrance Film, 4 Villa Bosquet, 75007 Paris, France. Tel: 33 1 4753 95 80, Fax: 33 1 47 05 96 55 His father dead, a young man returns to the family home r ‘ to join his mother in mourning. But the heart has secret seasons and refuses to unlock grief - until an unknown rabbi arrives in a new pair of shoes. 52 �UJSEh CRAWFORD GALLERY CAFE! Pt bha Par Er: '□nd/1991/l6i.lm/26 minutes/Colour Come and see I us BEFORE OR AFTER THE FILM, FOR TEA, COFFEE, HOMEMADE CAKES, e<*>'rOoe LUNCH OR DINNER. Print source: Pratibha Parmar, 78, Fonthill Rd..London N4 3HT, England. Tel: 071 281 1310, Fax: 071 281 3809. A fascinating collage of real and surreal images that highlight the experiences and explode some well-worn stereotypes of South African lesbians and gay men. Interspersed with interviews are Indian film footage, dance, stylised theatre, sculpture, music and disco scenes which are all used to make powerful symbolic statements. Open 10.30 - 5, Mon. - Sat 6.30 - 9.30 Wed, Thurs, Fri Tel: 274415 THE KINGS OF SIAM Ged Haney England/1992/35mm/12 minutes/Colour/Animation ifc Lgcy Mouse cork's ultimate entertainment venue 74, Oliver Plunkett St., Cork, Ireland. Tel: 021 270 074 1 Bar entertainment 7 Nites Progressive Nightclub plus >1 The best in Live Music Executive Producer: Channel 4. Producer: Lee Stork. Script, Editing (t Music: Ged Haney. Photography: Ted Gerald. Print Source: S.F.V.L., 8-14 Meard Street, London W1V, England. Tel: 071 4370831. every week at Gorby's This is the story of a pair of Siamese twins. The action takes place almost entirely within the confines of the fairground in which they live and work. The only time we see beyond the confines of this little world are in the twins' dreams of breaking free; of the fairground and of one another. group concessions Trust your basic instinct! & drop in 53 -2 �A LARGER OR SMALLER ROOM LIFE'S A GAS Anny Mokotow Philip Davis Australia/1991 /! 6mm/17 minutes/Colour England/1992/35mm/11 minutes/Colour Executive Producer: Peter Tammer. Leading Players: David Stanford, Bruce Kerr. Script: Anny Mokotow. Photography: Brent Crokett. Editing: Anny Mokotow. Print Source: Swinburne Film & TV School, 11, John St., Hawthorne, 3122 Victoria, Australia. Tel: 03 819 8328. Producer. Waldo Roeg. Leading Players: Dave Atkins, Lee Ross. Photography. Steve Bernstein. Editing: Scott Thomas. Music Julian Liftman. Print Source: Film Four International, 60 Charlotte Street, London W1P 2AX, England. Tel: 071 6314444, Fax: 071 5802622. A man, leaving an institution after many years, moves into an apartment building. There he finds a disturbing similarity between his new accommodation and his old. Danny and Donald haven't left their caravan for weeks. They've turned their backs on the world but it still oozes in through the cracks. Donald decides enough's enough; they hitch up their trailer and set out with the intention of drinking, eating and smoking themselves into extinction. THE LAST WORD LITTLE SUCK-A-THUMB Lee Rooney J I David Kaplan lreland/1992/16mm/15 minutes/Black & White USA/1991/16mm/15 minutes/Colour Producer. Martina Duroc, Lee Rooney. Leading Players: Brendan Conroy, Cina Moxley. Script and Editing: Lee Rooney. Photography: Mick Mahon. Music: Lance Hogan. Print Source: Dun Laoghaire College of Art and Design, Kill Avenue, Dun Laoghaire, Co. Dublin, Ireland. Tel: 01 2801138. i Producer David Kaplan. Leading Players: Cork Hubbert, Evelyn Solann, Jim Hilbert. Script and Editing: David Kaplan. Photography. Briggs Palmer. Music Schubert Moussorgsky. Print Source: David Kaplan, 95, Christopher Street 151, New York, NY 10014, USA. Tel: 212 242-5156. Eoin, a hearing-impaired bell ringer, and Brid, a hardnosed snooker hall manager lead separate and isolated lives within the confines of a small town. After their chance meeting neither the snooker hall nor the belfry will ever be the same again. ■ A cautionary tale about a childlike man whose grotesque mother warns him not to suck his thumb...or else. Awards: 3rd place, graduate Mobil awards, NYU Festival. 54 �MIND'S EYE VERY FICKLE ‘ liiW r ark Staunton Paul Giles lreland/1992/16mm/3 minutes/Black & White lreland/1992/16mm/14 minutes/Colour Executive Producer: Dogtown Productions. Leading Players: Sylvie Flouttard, Conor Lambert. Script and Photography: Marie Staunton. Editing: Conor Kenny. Music: Charles Trenet. Print Source: Dogtown Productions, 16, Exchequer Street, Dublin 2, Ireland. Tel: 01 710 487. Producer: Paul Godwin. Leading Players: Michael O'Reilly, Julie Hale, Gary Cooke. Script and Editing: Paul Giles. Photography: Lee Rooney, Maurice Sweeney. Print Source: Dun Laoghaire College of Art and Design, Carriglea Park, Kill Avenue, Dun Laoghaire, Co. Dublin, Ireland. Tel: 01 280 1138. A brief Film Noir romance set in Dublin. When three old friends come together for a dinner party, they have little idea that their idle conversation could lead them back to an incident that they would rather let lie. i MR. CHOCOLATE MEETS MISS MILK LOVE, JEALOUSY AND REVENGE LIEBE, EIFERSUCHT UND RACHE Michael Brynntrup Thomas Meyer-Hermann Cermany/1991/16mm/7 minutes/Colour/Subtitles Germany/1991/35mm/6 minutes/Black & White Executive Producer: Michael Brynntrup. Leading Players: Bev Stroganov, Jurgen Baldiga, Michael Brynntrup. Script ft Editing: Michael Brynntrup. Photography: Michael Brynntrup, Ole Kurp. Music: Dirk Schaefer. Print Source: Michael Brynntrup, Hermannstrasse 64, D-1000 Berlin 44, Germany. Tel: 621 78 00. Producer: Studio Film Bilder. Leading Players: Barbara Kraft, John Yamaha. Script & Animation: Thomas Meyer-Hermann. Musk: Udo Schobel. Print Source: Studio Film Bilder, Ostendstrasse 106, D-7000 Stuttgart 1, Germany. Tel: 0711 481 27, Fax: 0711 487 469. The film depicts, for example, "work in a parcel post office. We see parcels being received at the counter, how they are sorted and forwarded. Naturally, we are amazed by the quantity of parcels..." Michael Brynntrup. Warning: this film contains shockingly gratuitous scenesl A black and white painting, employing computer­ animation techniques, about strangeness between races and sexes. 55 �I NIGHT WINDO MONA S PETS NACHTFENSTER Gunter Heinzel John David Allen USA/1991/16mm/32 mlnutes/Colour Austria/1992/16mm/32 minutes/Colour/Subtitles I • i j I Xi I: ‘ Producer. John David Allen. Leading Players: Mary Ann Hagan, Taylor St. Clair, Joel McGinnis, Michael Ogletree, William Hendry. Script: John David Allen. Photography: Doug Smith. Editing: Amy Carey, John David Allen. Music OMI Production Company. Print Source: John D. Allen, 66, Golf Circle, Atlanta, GA 30309 USA. Tel: 404 874 3369. Ramona, her life temporarily on hold, returns to the house of her long-suffering mother and brothers, where she inadvertently unleashes a plague of cockroaches. After spending seven years in prison, Max Kulik returns to his house. Strange things start to happen there: bizarre flashbacks to his marriage and surrealistic horror fill his every day life. For a while, he becomes involved with his young neighbour, but events have arranged a nightmarish fate for them. MOUTHPIECE NOCTAVE Gerard Betts Canada/1992/16mm/3 minutes/Colour 1 Producer: Gunter Heinzel. Leading Players: August Schmolzer, Sophie Von Kenel, Alexandra Sommerfeld. Script: Gunter Heinzel. Photography: Thomas Padousek. Editing: Frank Soirou. Music: Franco Tortora. Print Source: Gunter Heinzel, Westendstr. 272, D-W-8000, Munich 21, Germany. Tel: 089 570 5603. Siochfradha Kelly lreland/1992/16mm/10 mlnutes/Colour I H Producer, Script, Photography and Editing: Gerard Betts. Music: Ted Koehler, Harold Arlen. Print Source: Sonolab 1900 4k Papineau, Montreal, Quebec, Canada H2K 4L9. Tel: 514 598 2947, Fax: 514 526 5346 ... Executive Producer: Siochfradha Kelly. Leading Players: Derek Reid, Cedi Bell, Marie Conmee, Sean Madden. Script and Editing: Siochfradha Kelly. Photography: Noel Donnellon. Music Miriam, Vivian Long. Print Source: Dun Laoghaire College of Art and Design, Carriglea Park, Kill Avenue, Dun Laoghaire, Co. Dublin, Ireland. Tel: 01 2801138, Fax: 01 2803345. Based on the practice of lip-reading, this short animated film explores the visual code of verbal pronunciation by animating lips cut out from magazines. A farcical comedy about a virtuoso who rises to world fame by discovering a ninth note in the octave. 11 56 i �ON HER BALDNESS ,'f GT'S I- "3RNL , Wendy Rowland J Bartlett Canada/1991/16mm/30 minutes/Colour England/1992/35mm/11 minutes/Colour % - i Producer: Simon Mellor, Esta Charkham. Leading Players: Malcolm Sinclair, Nicholas Pickard. Script: Neil Bartlett. Photography: Nina Kellgrew. Editing: Alan Knight. Music Nicolas Bloomfield. Print Source: Film Four International, 60 Charlotte Street, London W1P 2AX, England. Tel: 071 631 4444, Fax: 071 580 2622. Producer, Script & Editing: Wendy Rowland. Narration: Jackie Burroughs. Photography: Kim Derko. Music: John Gzowski. Print Source: Wendy Rowland, 304 E. Sth St., tlA, New York, NY 10003, USA. Tel: 212 995 0704, Fax: 212 979 1842. Set in 1961, NOW THAT IT'S MORNING tells the story of Gerald, a 45 year old man, and his relationship with Ian, a 15 year old boy, during the course of Gerald's birthday celebrations. The film focuses on six women whose baldness has forced them to confront issues of appearance, self image and sexuality. It challenges viewers to question and confront their own ingrained prejudices regarding the true nature of beauty and femininity. OMNIBUS Darren Walsh France/1992/35mm/9 minutes/Colour/Subtitles II OOZAT Sam Karmann i England/1992/16mm/6 minutes/Colour \ ■ .i Producer: Anne Bennet. Leading Players: Daniel Rialet, jacques Martial, Christian Rauth, Brigitte Auber. Script: Christian Roth, Sam Karmann. Photography: Daniel Diot. Editing: Robert Rongier. Music: jean Mallet. Print Source: Lazennec Tout Court, 36 Rue Rene Boulanger, 75010, Paris, France. Tel: 42 03 73 34. Producer: Darren Walsh. Leading Players: Chris Scott, Stefan Marjoram, jaio Mindang, Cary Carpenter. Script, Photography, Editing and Music: Darren Walsh. Print Source: Darren Walsh, 2, Yew Tree Walk, Frimley, Camberley, Surrey GU16 5LG, England. Tel: 0276 25373. jean-Louis has just discoverd that the train he has boarded for work no longer stops at his stop. Panic ensues: he'll be late for work, probably get fired, and his whole life will be drowned under a cascade of dramatic events. Errol, the train driver comes to his rescue. But the road to hell is paved with good intentions. Awards: Palme d'Or, Cannes Film Festival, 1992. On a night out with the lads, one individual decides that there is more to socialising than mere face value. 57 �PARADISE FISH BAR PRO-CHOICE HL Tamsen Carter Tony Kenny lreland/1992/16mm/2 minutes/Black & White England/1991/16mm/l 0 minutes/Colour Producer: Mark Carter. Leading Player: Tania Lawton Johnston. Script: Tamsen Carter. Photography: Nigel Kinnings. Editing: Anna Negri. Music: Andy Lovegrove. Print Source:, Adrian Heath, c/o London College of Printing and Distributive Trades, Film &. Video Dept., 6, Back Hill, Clerkenwell, London ECI R SEN, England. Tel: 071 278 7445, Fax: 071 833 8842. Producer, Photography, Editing, Music Tony Kenny. Print Source: Tony Kenny, 6 Mount Auburn, Killiney, Co. Dublin. Tel: 01 285 5272. Fax: 01 717 910. Mary, aged 12, works in her father's fish & chip shop in London. She is imaginative and quirky; he is fat and oppressive. This film touches on some of the emotional and sexual complexity of a girl in transition between child and woman. Through startling and original images, this film explores pertinent themes in contemporary Ireland. A PRAYER BEFORE BIRTH PROUST'S FAVOURITE FANTASY Jacqui Duckworth Richard Kwietniowski England/1991 /16mm/20 minutes/Colour England/1991/16mm/2 minutes/Black & White > Producer: CLA Film & Video. Leading Player: Adjoa Andoh. Script: Jacqui Duckworth. Photography: Clare Williams. Editing: Robyn Wright. Music: Cenene Edwards. Print Source: CLA Film & Video, cjo Lusia Films, 7 Earlham Street, London WC2H 9LL, England. Tel: 071 8365105, Fax 071 4970446. Producer, Script, Editing: Richard Kwietniowski. Leading Players: Noel Cries, Rich Crafer. Photography: Oliver Curtis. Music: Startled Insects. Print Source: Richard Kwietniowski, Alfalfa Entertainments, 225a Brecknock Rd., London N19 5AA, England. Tel: 071 284 0551, Fax: 071 284 0617. A drama based on the director's experience of coming to terms with multiple sclerosis; A PRAYER BEFORE BIRTH chronicles, with disturbing intensity, the physical and emotional traumas of a young woman's journey from able-bodied exuberance to the acceptance of disability. Marcel Pr st, in a hotel room with a gendarme and a chicken... 58 �I F BLSC i£NCn5 W/PRIVATE GABRIEL Dai sny Thompson England/1992/16mm/18 minutes/Colour HOUSE Summerhill, St. Lukes, Cork City. Tel: 021 500333 (4 lines) Fox: 021 500 178 All rooms en suite bath & shower, Direct dial 'phone, TV. From £15 p.p. sharing 7 Minutes walk from City Centre CITY CENTRE ACCOMMODATION KINGS Producer: Nadine Marsh-Edwards. Leading Players: Matthew Barrett, Peter Savizon, Paul Nathan. Script: Danny Thompson. Editing: Paul Hodgson. Music Danny Thompson. Print Source: Kate Mellor, BFI PRoductions, 29 Rathbone Street, London WIPIAC, England. Tel: 071 636 5587, Fax: 071 580 9456. 24, Princess St., Cork. Tel: 021 277 453, 500333 B/B from £10 per person sharing. Quality bar food served until 7pm Matthew, Peter and Paul, "The Young Disciples," are on a mission - the search for a missing ticket to a Public Enemy gig in the Brixton Academy. Can brother Prince of the Hustle or Beefy, The Original Atomic Dog help them to find it? In the end, help comes from a rather higher source. God,it turns out, is a Public Enemy fan too. From paperclips to laser printers ... PUBLIC TOILET OBRIEN Stephen Rennicks Ireland/1992/35mm/35 minutes/Colour OFFICE SYSTEMS ill The Business Centre COAAPUTERS COPIERS FAX FURNITURE COMPUTER SUPPLIES SHREDDERS DICTATION SYSTEMS SEATING WORD PROCESSORS THE BUSINESS CENTRE CLONTARF ST., CORK. TEL: 021 270666 FAX: 272 991 SCREENING CANCELLED DUE TO CIRCUMSTANCES BEYOND OUR CONTROL 59 I �RELEASE ME RESURRECTION Frances Lea Ray Kilby England/1991 /16mm/26 mlnutes/Colour England/1992/35mm/9 minutes/Colour Executive Producer: Nick Wright. Leading Players: Geoffrey Goodall, Lisa Stutts. Script: Frances Lea. Photography: David Hilton. Editing: Neil Bastian. Music: Heart ‘n’ Soul. Print Source: The Filmschool, Bournemouth and Poole College of Art and Design Wallisdown, Poole, Dorset, England. Tel: 0202 538204, Fax: 0202 537729. Producer: Fiona O'Doherty. Leading Players: jenny Hill, Anita Wright. Script: Charles Burkitt, Ray Kilby, from a short story by Rhys Davies Photography: John Stewart. Editing: Ray Kilby. Music: Steve Kilbourne. Print Source: Royal College of Art, Kensington Core, London SW7 2EU. Tel: 071 584 5020, Fax: 071 225 1487. Acted by and written about adults with learning difficulties, this extraordinary film shows the problems surrounding their intimate relationships and their struggle to make decisions for themselves. Awards: Angers Film Festival, 1992, Public Prize. Tel Aviv International Student Film Festival, 1992, Bilbao International Film Festival, 1991 Cold Mikeldi, Best Fiction. Meg's preference for men and whiskey had always been an embarrassment to her older sisters, Bertha and Ellen. With Meg now dead and firmly in her coffin, they can relax and look forward to the funeral...But they haven't reckoned on her ability to resurrect herself. RESONANCE ROAD TO ALICE Stephen Cummins Australia/1991/35mm/12 minutes/Black & White Australia/1992/16mm/29 minutes/Colour - AL ’. * Stavros Efthymiou • Producer. Paul Fogo. Leading Players: Christopher Ryan, Andrea Aloise, Yves Stening Script: Simon Hunt, Stephen Cummins. Photography: Brendan Young. Editing: Annette Davey. Music: Simon Hunt. Print Source: Resonance Productions, P.O. Box A306 Sydney South, NSW 2000, Australia. Producer: Frances McGrvern. Leading Players: Noah Taylor, Hugo Weaving, Helen Buday, Leone Carmen. Script: Stavros Andonis Efthymiou. Photography': Rohan Smith, Editing: David Hewitt. Music: Jim Bowman. Print Source: Australian Film, Television & Radio School, Corner Balaclava & Eppinq Rds North Ryde NSW 2113, Australia. Tel: 61 2805 6455, Fax: 61 2887 1030 Tel: 61 2 339 9537 Fax: 61 2 339 9506. Beginning with a gay bashing in the backstreets of Sydney, the film uses gesture, dance and interior monologue to explore this act of violence. Awards: Best Short Film 1991 Sydney Film Festival. Best Short Film, 1992 Turin Lesbian and Cay Film Festival. Special Commendation, 1991, Melbourne International Film Festival. On the road to Alice Springs - dead bodies, romance and an old black car. Jimmy owes Dimitri more money than he can spare. He decides that a holiday would be a better bet. On his travels, he meets Louis and things start to go wrong. 60 �I 1 i i s 61 �ROUNDABOUT ST. MULEKICGv Ashley Me Kinney Simeon Hutner USA/1992/35mm/28 minutes/Colour USA/1992/16mm/5 minutes/Black & White Producer: Ashley McKinney. Leading Players: Tiffany Anders, Lisa Cavanaugh. Script and Editing: Ashley McKinney. Photography: Costas Kitsos, Ellen C Burr. Print Source: Ashley McKinney, 905, 1/2 North Fairfax Avenue, Los Angeles, CA 90046. USA. Tel: 213 656 8618. Producer, Script: Simeon Hutner. Photography, Editing: Jennifer Kaufman. Print Source: Simeon Hutner, 931 N. Spaulding Ave., 7, West Hollywood, CA 90046. USA. Tel: 213 65 6 6847. Feeling invisible, Allie runs away from home and shows up at her older sister's doorstep. Her sister reluctantly agrees to let her stay for one week. As the week draws to a close, ■ Allie becomes convinced that their father will come for her. Ron Athey is a Los Angeles performance artist, who presents his powerful and disturbing work, (which relates to adornment and mutilation of the body) in underground clubs and alternative performance spaces. A complex and moving account of an individual contending with the extremes of the human experience SHE'S JUST GROWING UP, DEAR SEMPER IDEM Joachim Bode i Julia Tell Germany/1991/35 mm/3 minutes/Colour USA/1992/16mm/16 minutes/Black & White 1 I I JI Producer: Joachim Bode. Script, Photography and Editing: Joachim Bode. Music Wolfe Ingo Romer. Print Source: New Urge Filmcoop, Glashuttenstrasse 27, D-2000 Hamburg 36. Tel: 040 430 20 55, Fax: 040 430 27 03. Producer, Script, Photography, & Editing: Julia Tell. Print Source: Julia Tell, 5337 College Avenue, »S20, Oakland, California 94618, USA. Tel: 510 653 4423. An experimental cartoon and an animated sketch book in parts - although some people see it as a true documentation of what happens in East Germany today. This film concerns the emergence of personal memory of father/daughter incest. Through the constructed images of American family values, it voices the profound emotional ambiguity of incest and invites audience members to contemplate culturally-determined attitudes towards the feminine psyche. 62 �Si DOTE: j SOHO SQUARE TO STARDOM I Mario Cavalli Kies on J. Waish lreland/1992/16mm/11 minutes/Colour England/1991 /35mm/11 minutes/Colour \ , I ■. i Producers: Elaine Morris, Simon Wright. Leading Players: Owen O'Neill, Kenneth Cranham. Script: Owen O'Neill. Photography: Seamus McGarvey. Editing: Kieron /. Walsh. Music: Cathal Coughlan (Fatima Mansions.) Print Source: 1, Cervantes Court, Ruston Mews, London W11 1UE, England. Producer: Pam Dennis, Sue Paxton. Script: Mario Cavalli. Editing: Richard Harris. Music: Nick Franglen. Print Source: Pizazz Pictures, 30 Berwick Street, London WIV3RF, England. Tel: 071 434 3581, Fax: 071 439 2309. Stand up comic, Dan Cimeo, shoots his way to stardom one night in front of a truly terrifying audience. This story is based on fact, portraying what happened to Irish stand up comic, Owen O'Neill, in the early days of his career. An animated film which uses a painterly approach to colour and composition to evoke the atmosphere of Soho Square on a typical summer's day. All the scenes depicted in the film are based on real life characters. SLUGS AND SNAILS SPIRIT OF PLACE Susan Brand Oliver Harrison England/1992/35mm/10 minutes/Black & White I England/1991/16mm/10 minutes/Colour 9 I Producer. Nadine Schoen. Photography: Nina Kellgren. Editing: Susan Brand. Music: Julian Wastall. Print Source: National Film and Television School, Beaconsfield Studios, Station Road, Beaconsfield, Bucks HP9 ILC, England. Tel: 0494 671234, Fax: 0494 674042. Photography: Doug Foster. Music Oliver Harrison, Roger Bolton. Print Source: Cary Thomas, Arts Council, 14 Great Peter Street, London SWIP 3NQ. Tel: 071 333 0100, Fax: 071 973 6590. ln the relaxed seclusion of a beauty salon, three women 9’ve us their view on men and masculinity. From Karen who removes body hair from her seven year old son, to eyah who prefers Italian lovers because they wash more often, they describe what delights and disgusts them. Every room has a spirit which sleeps beneath the layers of peeling paint and wallpaper. SPIRIT OF PLACE observes the awakening of such a spirit, coerced into life by moonlight. 63 I �TWIST OF FATE STAR CROSSED LOVERS Irene Werner Stage Douglas Kunin Denmark/1991/16mm/21 minutes/ Black & White USA/1992/I6mm/12 minutes/Black & White Producer: Statens Filmcentral. Leading Players: Arya Y. Syuman, Kenneth Kreutzmann, Stephen Brinkmann, jordi Puidefabregas, Gitte Moller, Camilla I. Stage. Script: Irene Werner Stage. Photography: Henning Bendtsen. Editing: Kasper Schyberg. Music: Scriabin, Gustav Holst. Print Source: Statens Filmcentral, Vestergode 27, DK-14S6 Copenhagen K. Tel: 331 32686. Fax: 331 30203. A film about the androgyne; Male and female in one, the uniting of opposites, the symbol of supreme identity - the self. William, a homeless man (playing himself) roams the streets of Tarzana, California. A chance encounter and the gift of a pearl bracelet allow him briefly to realise his dreams. STRANGER IN THE FAMILY TWO WASTERS Ewa Cieszewska Owen McPolin England/1991 /I6mm/26Minutes/Colour I Producer: Douglas Kunin. Leading Player: William Renquyst. Script: Douglas Kunin. Photography: Angus Wall. Editing: Patrick McCarthy. Music: Eric Mandel. Print Source: Douglas Kunin, 5919 Tuxedo Tee. Los Angeles CA 90068 USA. Tel: 213 464 4057, Fax: 310 659 1001. lreland/1992/16mm/21 minutes/Colour > 1 I I J 4 Producer: Ewa Geszewska. Photography: Mike Fox. Editing: Richard Cox. Print Source: Ewa Geszewska, 7, Mary Wharrie House, Fellows Rd, London NW3 3LX, England. Tel: 071 586 4327. Producer Owen McPolin. Leading Players: Dermot Barrett, Chris Dalton. Script: Owen McPolin. Photography: Charles Ponniah. Editing: Owen McPolin. Music The 4 Of Us, Planxty. Production Company: Owen McPolin. Print Source: Ballyard Goss, Tralee, Co. Kerry. Tel: 066 22237. Involved in a near fatal car crash, Neil Fitzwilliam suffered severe brain damage and is now an emotional blank, unable to work, barely recognising his family, and prone to Jekyl-and-Hyde like changes in mood. This moving film sympathetically documents the efforts of his wife, Adrienne, and family to cope with this sad state of affairs. Hannah and Feeley, two Leaving Cert, students, are faced with difficult choices as they try to decide what they will do with the rest of their lives. Their frustration with life in a small town strains their relationship, as Hannah embarks on a plan to change things... 64 �1 i W: WEEKENDER JJM Wiz Tihi Rolt England/1992/16mm/12 minutes/Colour England/1992/35mm/18 minutes/Colour lji Executive Producer: Channel Four. Leading Players: Simon McBurney, Metin Marlow, Angela Clerkin, Nick Herrett. Script: Nick Herrett. Photography: David Scott. Editing: Justin Krish,. Print Source: Rapid Eye Movies, 113 Roman Road, London E2 OQN, England Tel: 081 981 6818, Fax: 081 983 4441. Producer: Adam Dunlop. Leading Players: Lee Whitlock, Anna Haig. Script: Wiz. Photography: Tim Maurice /ones. Editing: Robert Wallace. Music Flowered Up. Print Source: Adam Dunlop, c/o Medialab, Chelsea Wharf, 15, Lots Rd., London SW10, England. Tel: 071 351 5814. Colin's first vacuum cleaner experience changes his life. What starts out as a little necessary spring cleaning turns into a fantastic inner journey as he other residents at number 24, conspire to ensure that Colin will never be the same again in a comedy about the mysticism of household appliances. SATURDAY NIGHT FEVER meets QUADROPHENIA for the ecstasy generation - young people who are born on Friday night and die come Monday morning. WATCHMAN WHERE THE COWS GO Ron Hagell Maggie Ford Germany/1992/16mm/24 minutes/Colour England/1992/16mm/15 minutes/Colour ERE by Rosie Cullen GO THE COWS I I Producer. Ron Hagell. Leading Players: Ulllnca Schroeder, Martin Schurr, Trent Ci ray. Script: Ron Hagell. Editing: Rita Oakes. Music: Matthias Rave. Print Source: Tannus Film, GMBH, 6200 Wiesbaden. Germany. Tel: 49 611 531 0. fa: 49 611 522712. Producer: Florence Ayisl. Leading Players: Darby Hawker, Barbara Hicks, Victoria Alcock, David Crellin. Script: Rosie Cullen. Photography: Lincoln Ascott. Editing: John Edmonds. Print Source: 1, Brookside, Bakewell, Derbyshire DE4 1DW. England. Tel: 0629 814084 or 071 485 0077 or N.S.F.T.V Production Department. The story of a young man who sleeps and dreams while forking as a night watchman in a stage-theatre house. The man dreams of his childhood which was dominated by a tyrant father. He also dreams about his fantasy Wornan and is seduced by his desires. Caught kissing a girl - result? 40 years in a psychiatric hospital! Lily remembers young Lily, her humour, her rage and above all her deep attachment to cows. 65 �WHITE BOYS CAN T DANCE WINK Liz Hinlein CLIN D’OEIL Olias Barco USA/1991/16mm/11 mlnutes/Colour France/1992/35mm/6 minutes/Black & White f. ^-■xx^ flSH 1 llXX . XIi *Vx' ; x rV — TBSTIVB k. * Producer: Tracy McArdle. Leading players: Roy Wilson, Phillip Reese. Script: Liz Hinlein, Christina Pretto. Editing: Michelle Gorchow. Music: Public Enemy, MC Hammer, Harlem Tabernacle Church Choir. Print Source: Powerhouse Productions, 175 W. 72nd Street, New York, NY 10023, USA. Producer: Olias Barco. Leading Players: Malidc Bowens, Yvan Carouel. Script: Olias Barco. Photography: Thiezzy Arbogast. Editing: Cilles Benefice, Olias Barco. Music: Steve Potts. Production Company: Riveria Production, 114 Rue Cardinet, 7SO 17 Paris. Tel: 42 23 44 21. Print Source: Riviera Productions, 114 rue Cardinet, 75017 Paris, France. Tel: 42 23 44 21. A black comedy which focuses on Jeffrey, an affluent suburban Jewish boy who wants to be black. Billy is the first black male with whom Jeffrey comes into contact. Much to Jeffrey's surprise, he finds that being black is not all about rap, basketball and Air Jordans. Awards: Houston Film Festival - Cold Award. A misunderstanding between two men at a railway station leads to a silent war of nerves over a packet of biscuits Silver Award, Houston WHITE NIGHTMARE WITHIN GRASP CAUCHEMAR BLANC Mathieu Kassovitz ZUM CREIFEN NAH Veit Helmer France/1991/35mm/l 1 minutes/Black & White/ Subtitles Cermany/1992/35mm/7 mins/Colour Producer: Christophe Rossignon. Leading Players: Yvan Attal, Francois Toumarkine, Roger Souza, Jean-Pierre Darroussin. Script: Mathieu Kassovitz. Photography: Georges Diane. Editing: Nathalie Coepfert. Print Source: Lazennec Tout Court, 36, Rue Rene Boulanger, 75010 Paris, France. TeE 42 03 73 34. Executive Producer: Roman Blum. Producer: Veit Helmer. Leading Players: AnneMarie Bubke, Wolfgang Bauer. Script: Veit Helmer. Photography: Janucz Reichenbach. Editing: Oliver Gieth. Print Source: Veit Helmer, Wormserstr. 4, 1000 Berlin 30, Germany. Tel: 30 2181414, Fax: 30 8821671. In a Parisian suburb, like every Sunday night, four "Frenchmen* are waiting for the "darky* to appear within reach of their clubs. But this particular night, the expedition turns into a nightmare. Awards: Prize Perspectives Cannes, 1991. Prize of French Community, Namur, 1991. Anton is a construction worker. He transports concrete by means of a crane to the top of a building site. Tatjana is a nightowl. When she awakens, she finds flowers mysteriously placed on the balcony of her top floor flat. Will Anton and Tatjana meet during the mere seven minutes of this film? 66 �’ELL:..; J8GHTS When You’ve Tried • Conventional Hotel Accommodation M dissa Juhanson • Australia/1991/16mm/12 minutes/Colour You'll Find Our Suites More To Your Taste ■ Luxury A CCOMMODA TION 1 I I 11 ij. UH Uli ILEE lUlCJ I1_ , XI Executive Producer: Swinburne Film & TV School. Script: Melissa /uhanson. Photography: Liz Hughes. Editing: Melissa Juhanson. Print Source: Australian Film Institute, 49, Eastern Road, South Melbourne, Australia, 3205. Tel: 03 696 1844, Fax: 03 696 7972. ’ 3 EACH SUITE CONTAINS HALLWAY. SITTINGROOM. DINING AREA. LUXURY KITCHEN. BATHROOM AND A CHOICE OF ONE OR TWO BEDROOMS PLUS T.V.. TELEPHONE. FAX ETC. A variety of characters listen to talkback radio from dusk to dawn. Following the announcer's voice through the night, this film introduces the viewer to the private arena of /■K In The Heart Of Cork City, Particularly Ideal For The Business Person • Convenient Central Loca tion •Private Car Park • Full Accommoda tion •Bar & Restaurant /{nd All Giving You Better Value For Money £60 net Single £90 net Double Morrisons Island Hotel Morrisons Island, Cork, Ireland. Tel: 021 275858 Fax: 021 275833 people who both ring and listen to talkback radio. THE WONDERFUL TALE OF MUSIC Anders Sorensen Denmark/1991/16mm/22 minutes/Colour ■e? Freshly Baked Traditional and Deep Dish Pizzas and best Pasta Dishes. Opening Hours - 12pm to 1 am 7 Days a week Producer: Statens Filmcentral and Landscentralen for Undervisningsmidler. Script; Anders Koppel, Anders Sorensen, Per Tonnes Nielsen. Photography: Malene Vilstrvp. Editing: Anders Sorensen. Music Anders Koppel. Print Source: Statens Filmcentral and Landscentralen for Undervisningsmidler, Vestergade 27, DK-14S6 Copenhagen K DenmariuTel: 33132686, Fax: 33130203. 34 Patrick Street. Entrance off Cook Street. Humorous animated cartoon without narration and dialogue. In music and drawings, the film illustrates how history has always influenced music and art. And vice versal Tel. 272895 67 I �■ DIAMOND FREIGHT . ^ei^± INTERNATIONAL FREIGHT FORWARDERS CORK AIRPORT ■ CORK • IRELAND Tel. 353 21 311333 Fax 353 21 312601 ■ I 68 _____ �-■v] 7 Pools programme The Schools' Programme is presented by the Cork Film Festival in association with theTriskel Arts Centre. We aim to screen a range of Irish and International films suitable for younger audiences that will encourage school groups to take part in the festival. In many cases the Schools' Programme allows students the opportunity to meet and discuss films with filmmakers attending the festival. Admission is £1 per student, per show. Booking is through teachers and by application only. For further information contact Schools' Programme Co-ordinator, Fiona Cunningham atTriskel Arts Centre, Tel: 021 272 022. Screenings take place at the Capitol Cineplex on Grand Parade at 11.00am from Monday the 5th through Thursday the 8th of October. The screening on Friday 9th starts at 10.00am. The organisers wish to thank Mr. Leo Ward of Abbey Films and the management and staff of the Capitol Cineplex for all their help in facilitating these screenings. IN UNCLE ROBERT S FOOTSTEPS Myles Connell USA/1992/16mm/24 minutes/Black fir White Jack, a young lad from Cork, arrives in New York where his Uncle Robert is supposed to have a job lined up for him. Sadly, all does not go too well in this cautionary tale of life in the Big Apple. MONDAY 5TH______________________________ SHORT FILM PROGRAMME 1 Suitable for Pupils 12 years and older. THE WONDERFUL TALE OF MUSIC Anders Sorensen Denmark/1991 /16mm/22minutes/Colour/Animation A very funny mini-history of music in cartoon form. WEDNESDAY 7TH Suitable for pupils 12 years and older. THE VACUUM Tim Rolt UK/1992/16mm/12minutes/Colour Surreal, off-beat comedy about a man being eaten by a vacuum cleaner and then re-born. THE END OF THE GOLDEN WEATHER Ian Mune New Zealand/1991/35mm/95 minutes/Colour In New Zealand in the 1930s 12 -year old Geoff wants to be a writer. His friend, Firpo wants to win the Olympic Carnes. When Firpo accepts an impossible challenge to run a race on the beach, Geoff tries everything to help him win - bodybuilding, weights, diets ... even prayer. An exquisitely photographed film telling a poignant and funny tale of the loss of innocence. SHOOTING TO STARDOM Kleron J. Walsh lreland/UK/1992/16mm/11 minutes/Colour A stand-up comic tries a last, desperate joke in front of a hostile audience but ends up in a nightmare of misunderstandings. PARADISE FISH BAR Tamsen Carter UK/1991/16mm/1 Ominutes/Colour Mary, aged 12, works in her father's fish and chip shop in London. She is imaginative and quirky, and caught between being a child and becoming a woman. THURSDAY 8TH Suitable for Pupils 12 years and older OTHELLO Orson Welles Morocco/1952/35mm/91 minutes/Black St White Orson Welles' classic version of Shakespeare's play won the Palme d'Or at Cannes in 1952 but no complete print was known to survive. Now, after years of research, a pristine print of the film as Welles intended it has been produced. Starring Micheal MacLiammoir, the film was acclaimed as a masterpiece when it was screened at this year's Cannes Film Festival. WHITE BOYS CAN'T DANCE Liz Hinleln USA/1991/16mm/11 minutes/Colour The misadventures of an affluent New York, Jewish boy who wants to be black. To his surprise he discovers that being black is not all about rap, basketball and Air Jordans! CREATURE OF HABIT John Crossman Canada/1991 /16mm/10 minutes/Black fir White A middle-aged office worker is driven crazy by his memories of being bullied as a schoolboy. A gruesomely funny look at power and humiliation. FRIDAY 9TH________________________________________ Suitable for pupils 16 years and older AKIRA Katsuhiro Otomo Japan/1988/35mm/l 24 minutes/Colour/Animation This cult animation classic, set in post-holocaust Tokyo in the year 2019, has a complex plot ranging from a feud between rival gangs of youths to military coups, mutating into urban terrorism, techno-mysticism and exploding universes. TUESDAY 6TH____________________________ SHORT FILM PROGRAMME 2 Suitable for pupils 16 years and older RELEASE ME Frances Lea UK/1991/16mm/26 minutes/Colour Prize winning film written and acted by young people with learning difficulties. A sensitive and entertaining film. note: This programme starts at the earlier time of 10.00am and will be followed by a discussion chaired by the Education Officer of The Arts Council, Mr. Kieran Walsh. 57TH STREET SERENADE David Dobkin USA/1992/16mm/35 minutes/Colour Despite the hardships of adolescence three boys growing up in New York find a place to be together and happy - on a rooftop, far above the angry streets below. 69 i �2ND IRISH LESBIAN & CAY FIL In 1991 the First Irish Lesbian and Gay Film Festival was very successfully launched and the Cork Film Festival is very happy to continue our support for the Festival in 1992. The full programme for the Lesbian and Gay Film Festival will be available in a separate festival catalogue. HIGHLIGHTS OPENING FILM THE LIVING END Greg Araki/USA/1991 Just opened to great acclaim in New York, THE LIVING END has been aptly described as 'a homo THELMA AND LOUISE1. The film is a black comedy about two fatalistic L.A. boys (one's an impulsive, on-the-edge psycho cutie; the other listens to the Smiths a lot and likes Godard movies) who discover they are HIV positive and set off on a serio-comic spree of violence and abandon. 'A new landmark in unapologetic, spit-in-your-face gay filmmaking." Al Weiss NYQ SWOON Tom Kalin/USA/1992 The story of the 1924 Chicago Leopold and Loeb murder case in which two wealthy law students kidnapped and murdered a young boy. SWOON is both an assault on the notion of 'positive images' and a study of how images of of queerness and homosexuality have actually been constructed. Previous films on the case including Hitchcock's ROPE and Richard Fleischer's COMPULSION sidestepped the sexual content - SWOON puts the homosexuality back into homicide. ;! II rl A still from ROSEBUD by Cheryl Farthing A PLACE OF RAGE MASSILLON William Jones/USA/1991 Pratibha Parmar/UK/1991 An uplifting celebration of the lives and political struggles of radical black American women that focuses on the political activist Angela Davis and poet and activist June Jordan. If you can't go home, at least you can make a film about it. MASSILLON is a film about how identity and sexuality are constructed. There is no dramatic action in the conventional sense, with the visuals consisting largely of shots of his home town. The drama is in the narration, as Jones tells his stories. It is up to the spectator to imagine the action against the background of empty mid-western landscapes. 'The best gay documentary of the year' LA Weekly 'Terrific...musically and visually evocative and very smart' San Francisco Bay Times FLESH HISTORIES ! FLESH HISTORIES is a collection of short film and video assembled by Tom Kalin, director of SWOON. Spanning a range of subject matter and approach - including alternative public service announcements, safer sex enticements, revisionings of the erotic and the pornographic, and re-examinations of personal confessions as social and political critique - FLESH HISTORIES uses media as a mirror to reflect and refract the strategies of a media obsessed culture. HOME STORIES/ COMEDY IN SIX UNNATURAL ACTS Jan Oxenburg/USA Jan Oxenburg has a unique place in lesbian film history. Two lesbian classics from the 1970's MAYA DEREN PROGRAMME Four films by the leading American avant-garde film maker and theorist of the 40's and 50's who helped establish New York's underground film circuit. 70 �■ IM:;,. .. •.......... jB i r j 3 ; ./a\T ffi® M2 The number of film makers and delegates attending the Cork Film Festival has increased steadily over the past decade. The Festival works to create an atmosphere of friendliness, conviviality and informality for our guests, delegates and everyone taking part in the week. The creative interchange of ideas is the essence of a successful festival. The Seminar Programme is one formally structured part of this process. CINEMA TRISKEL FESTIVAL FILMS ALL YEAR ROUND! HIGHLIGHTS INCLUDE MY OWN PRIVATE IDAHO LA BELLE NOISEUSE PROSPERO'S BOOKS DELICATESSEN FANTASIA The Seminars are designed to open an agenda for discussion and stimulate debate on issues that are relevant to Filmmakers and delegates attending the festival. This year we have selected two topics - Low-Budget Film-making and Documentary Film-making. DOCUMENTARY SEMINAR ’’REPRESENTATION OF ACTUALITY - The Nature and Financing of Documentary Today" Thursday 8th October, Crawford Gallery The morning session of the Documentary seminar will deal with current trends and issues affecting documentary film makers. The afternoon session wHI deal with the perennial question of finance and marketing. FOR FURTHER INFORMATION, SEE THE TRISKELODEON BROCHURE, AVAILABLE AT ALL GOOD ARTS CENTRES! The afternoon session will centre on the information session for Ireland by the Project for the Creative Documentary, Copenhagen. Mr Thomas Stenderup, Secretary General of the Project will be present. The Project for the Creative Documentary provides development funding for documentary projects and promotion and packaging funding for existing films. Lovitts Quo/ Cork Tel 272139 This Seminar is organized by The Media Desk in conjunction with the Cork Film Festival. LOW BUDGET SEMINAR BAXTERSJI Friday 9th October, Crawford Gallery One of the most successful films in Cannes this year (the Belgian film MAN BITES DOG, scheduled for screening during the festival) was made for $15,000. It grossed $80,000 on its first weekend in Brussels. Every time a low budet film succeeds people wonder why it does not happen more often. But of course there is always opposition within the industry to low budget projects. By some standards all film-making in Ireland is low-budget, yet it would be impossible to make a feature in Ireland for anything remotely like £8,000. Known for the best home-cooked lunch in Cork The Low Budget Seminar aims to allow film makers from Ireland, Britain, Europe and the States to share their very varied experiences of making successful low-budget films. Jim Jarmusch's producer, Jim Stark who has production credits on three films in Cork this year (IN THE SOUP, THE LIVING END and NIGHT ON EARTH) will lead the panel. -c- -x- Just around the corner from the Opera House For further Information on the Seminar Programme contact the Festival office on 021-271711. 71 �FT I‘V ’ THE I‘ LONG VALLEY BAR BEST DRINKS BEST SANDWICHES IN IRELAND BEST OF COMPANY like the 37th Cork Film Festival we bring you the best of everything BEST WISHES FROM Humphrey and Rita Moynihan 72 .. . �CORK FILM FESTIVAL RETROSPECTIVE EXHIBITION This year's Exhibition is of special importance. Culled from our archives, it aims to present a portrait of the Festival's 37 year history. The founding and development of the Cork Film Festival was, by any standards, a remarkable achievement in the Ireland of the 1950's and 1960's. The exhibition is a tribute to the work, the ideals and the achievements of the people who initiated and developed the Festival. It also documents a fascinating piece of social history. Over the years the Festival has generated its share of lore and legend. Much of what actually happened is as extraordinary as the legends. A sense of the Festival's past is recreated through a collection of press clippings and photographs from local and international journals. The exhibition emerges from on-going work on preserving and collating the historical material relating to the festival. EXHIBITION SPONSORED BY i fl 73 THE CORK BUSINESS ASSOCIATION �ACKNOWLEDGEMENTS lane Sim We would like to express our appreciation and thanks to the following people and organisations, without whose help and support - in providing films and services - the festival would not be possible. 3, AYutton Lane (off Patrick St.), Cork 2/3 471 Mr. Michael Hannigan, Cinemas Director, Irish Film Centre. Ms. Anne O'Sullivan and staff of Triskel Arts Centre. Mr. Gerry Barnes and staff of Cork Opera House. Mr. Peter Murray, Ms. Nuala Fenton and staff of Crawford Municipal Art Gallery. Mr. Derry Creedon, Henry Ford & Sons. Mr. Fred Hill and staff of the Capitol Cineplex. £amon Young, Brendan Murphy, FAS; Jim Davis & Co.; Brendan Cotter; Paddy McCarthy, Southern Electronics; Stephen Coughlan; Robin O'Sullivan; Veda Breen; Tom Curtin; Aylene Kelleher; Colette O'Sullivan; Joe MacNamee; Joe Finnerty; Joy Gerrard; Mr. & Mrs. Daly; Staff of Grand Parade Post Office; Tom Curtin, Design Workshop. Famous for the quality of its drink and the excellence of its home—maide Irish food When in the country, why not drop jn to. the . ... Angler’s Rest, Leemount, Carrigrohane,- Robert Beeson, Ellie Pole, Artificial Eye Film Co.; Tony Bloom, Colin Birch, Mainline Pictures; Tony Kirkhope, Christine, Metro Films; Tim Highstead, ICA Projects; Paul Janssen, Distant Horizon; Peter Rommell, Ex Picturis; Liz Wren, Emma Davie, Jane Giles, Electric Pictures; Victoria Cantrell, Overseas Filmgroup; Cindy Sison, IRS Media; Robert Mitchell, Buena Vista; Elfyn Morris, Granada; Megan O’Neill, Forefront Films; Gerry Mulcahy, Columbia TriStar; Brendan McCaul, Twentieth Century Fox; Robert Mitchell, Buena Vista; Lyndy Saville, Theatrical Experience; Jim Stark, Jim Stark Productions; Greg Araki, Desperate Pictures; Joe Berlinger; Richard Schneider, Intrepid Productions; Su Friedrich; Stephen Deschler; Colin Hankins, Winstone; Ritu Sarin & Tenzing Sonam, White Crane Films; Simon Hunt. Tel: 021 871 167 ' •1: I Satwant Gill, Ken Churchill, The British Council; Martine Moreau, French Cultural Service; Gill Henderson, Birmingham Film & T.V. Festival; Sally Ann O'Reilly, Galway Film Fleadh; Roisin Hogan, Anne O'Leary, Dun Laoghaire College of Art & Design; Sinead Lemass, Rathmines College of Communications; Karin Farnworth, National Film & Television School Beaconsfield; Christine Gendre, Unifrance Film International; Christine Vachon, Apparatus; Carole Wood, CTE; Siobhan O'Donoghue, Media Desk; Pratibha Parmer; Michael Dwyer; Declan Hassett, & The Cork Examiner. 2 1 & Wholefool We would also like to thank our advertisers for their support; our volunteers for their tremendous help; and in particular, all the film-makers represented in the Festival for allowing us to screen their work. RESTAURANT OPEN 10am-1030pm Mon to Sat Wholefood Store open: 9.30am-6.30pm Mon-Sat 24 SULLIVANS QUAY Late Opening Thurs & Fri 021-317660 74 �I j'iiil IN COMPETITION JS BLACK & WHITE SECTION In 1990, Cork Film Festival introduced a special section for those contemporary film-makers who choose to make films in black and white. Awards winners in 1991 were Yevgeny Tsymbal for DEFENSE COUNCIL SEDOV (Best B & W Feature), Dan Bootzin for SIX POINT NINE (Best B & W Short) and Chris Newby for RELAX (Best B & W Cinematography). We are pleased by the support of film-makers for this venture and continue the competition with another Fine selection of monochrome titles. iXMwews kitcheft ^jTcI^LL™ E OOZAT ^RD^URFO^HABIT ~~ ^AtflRE OF THE MOON KHUSH KINGS OF SIAM, THE LAST WORD, THE LIFE'S A GAS LOVE IS A VERY FICKLE THING LOVE, JEALOUSY AND REVENGE MIND'S EYE MR. CHOCOLATE MEETS MISS MILK NOCTAVE NOW THAT IT'S MORNING OMNIBUS 7 ^SZ^°M¥/LOVE IIISTORl IN THE UF THE HUMAN BODYVGeODhllCI IT, ALDEN— \ vKgURS AND TIMES, TEttr \7N UNCLE ROBERT'S FOOTSTEPS ykADDFNt ? WORD, THE ?VE IS A VERY FICKLE THING Pan bites dog (r) -CHOCOLATE MEETS MISS MILK T NO BILLS -CHOICE FILM UST'S FAVOURITE FANTASY {RESONANCE vgfa^fJST GROWING UP, DEAR----- ‘ 2 #TCIT OF PLACE vST. MULEKICKER \J I / y/OON ( •pt ETHER ALONT y WIST OF FATE yHITE NIGHTMARE VINK 7 PARADISE FISH BAR PRAYER BEFORE BIRTH, A PRO-CHOICE FILM PROUST'S FAVOURITE FANTASY PUBLIC ENEMY/PRIVATE FRIENDS RELEASE ME RESURRECTION SEMPER IDEM SHOOTING TO STARDOM SLUGSAND SNAILS SOHO SQUARE SPIRIT OF PLACE f STRANGER IN THE FAMILY TWO WASTERS VACUUM, THE WATCHMAN, THE WEEKENDER WHERE THE COWS GO WHITE NIGHTMARE WINK WITHIN GRASP WONDERFUL TALE OF MUSIC, THE IRISH SHORT FILMS IN COMPETITION BARBER SHOP, THE BLIND ALLEY BOOTH CHILDREN OF THE TIDE CONNEELY’S CHOICE DADASON RITES, THE INTO THE ABYSS LAST WORD, THE LOVE IS AVERY FICKLE THING MIND'S EYE NOCTAVE PRO-CHOICE FILM SHOOTING TO STARDOM TWO WASTERS EUROPEAN SHORT FILM COMPETITION ALL ABOARD! ASSASSINS BARBER SHOP, THE BEACH, THE BLACK WIDOW BLIND ALLEY BODY BEAUTIFUL BOOTH BREATH OF LIFE CHANTER, THE CHILDREN OF THE TIDE COLOURS 1939 CONNEELY’S CHOICE COST OF LOVE, THE DADASON RITES, THE GARGANTUAN GORILLA HEARTSONGS INTO THE ABYSS JAZZ IN THE BOX JEAN LUC GODARD-OVER AND DONE KADDISH * 2<* 23 75 �INDEX OF TITLE TITLE PACE NO. AKIRA ALL ABOARD! ANTHONY'S KITCHEN AS HAPPY AS LARRY ASSASSINS BARBER SHOP, THE BEACH, THE BEST INTENTIONS, THE BLACK WIDOW BLIND ALLEY BODY BEAUTIFUL BOOTH BREATH OF LIFE BROTHER'S KEEPER CAT'S CRADLE CHAIN OF DESIRE CHANGING OUR MINDS CHANTER, THE CHASING THE GRAIL CHILDREN OF NATURE CHILDREN OF THE TIDE COLOURS 1939 CONNEELY'S CHOICE COST OF LOVE, THE CREATURE OF HABIT CRUSH CRYING GAME, THE DADASON RITES, THE DEATH BY UNNATURAL CAUSES DEATH IN THE ARENA DID YOU DO THE NAPKIN TOPS! DISCO YEARS, THE DREAMS AND SILENCE EMPIRE OF THE MOON END OF THE GOLDEN WEATHER, THE EVERY LITTLE BREEZE... 57th STREET SERENADE FIRST COMES LOVE FIT: EPISODES IN THE HISTORY OF THE BODY GARGANTUAN GAS, FOOD, LODGING GENE POOL, THE GOODNIGHT, ALDEN GORILLA HEARTSONGS HELLO STRANGER HOURS AND TIMES, THE HOW MOVIES ARE MADE HOW TO BE A WOMAN AND NOT DIE IN THE ATTEMPT ILLUSTRATED AUSCHWITZ, THE INCIDENT AT OGLALA IN THE LAST PASSAGE IN THE SOUP INTO THE ABYSS IN UNCLE ROBERT'S FOOTSTEPS JAZZ IN THE BOX JEAN LUC GODARD- OVER AND DONE JUICE KADDISH KHUSH KINGS OF SIAM, THE LARGER OR SMALLER ROOM, A LAST WORD, THE LAST YEAR IN GERMANY LIFE'S A GAS LITRE SUCK-A-THUMB LIVING END, THE LOSER LOVE IS A VERY FICKLE THING LOVE, JEALOUSY AND REVENGE MAN BITES DOG MARQUIS MIND'S EYE MONA'S PETS MOUTHPIECE MR. CHOCOLATE MEETS MISS MILK MY NEW CUN NIGHT ON EARTH NIGHT WINDOW NOCTAVE NOW THAT IT'S MORNING OMNIBUS ON HER BALDNESS OOZAT OTHELLO PAINTING THE TOWN PARADISE FISH BAR PLACE OF RAGE, A POST NO BILLS PRAGUE PRAYER BEFORE BIRTH, A PRO-CHOICE FILM PROUST'S FAVOURITE FANTASY PUBLIC ENEMY/PRIVATE FRIENDS PUBLIC TOILET REINCARNATION OF KHENSUR RINPOCHE, THE RELEASE ME RESONANCE RESURRECTION ROAD TO ALICE ROUNDABOUT SACRED SEX SAME AS YOU, THE SEMPER IDEM 7 UP 7 PLUS 7 SHE'S JUST GROWING UP, DEAR SHOOTING TO STARDOM SLACKER SLUGS AND SNAILS SOHO SQUARE SPIRIT Of PLACE ST. MULEKICKER STAR CROSSED LOVERS STRAIGHT OUT OF BROOKLYN STRANGER IN THE FAMILY SUBMARINE SWEET EMMA, DEAR BOBE SWOON THIEF OF BAGDAD 35 UP THIS BOY'S STORY THUNDERHEART TIME WILL TELL TOGETHER ALONE 21 UP TWIST OF FATE TWO WASTERS VACUUM, THE WATCHMAN, WATERDANCE, THE WE ONLY LIVE ONCE WEEKENDER WHERE THE COWS GO WHITE BOYS CAN'T DANCE WHITE MEN CANT JUMP WHITE NIGHTMARE WILD WHEELS WINK WIRELESS NIGHTS WITHIN GRASP WONDERFUL TALE OF MUSIC, THE YOU, ME AND MARLEY 69 42 42 14 42 42 43 14 43 43 43 44 44 15 44 15 16 44 45 16 45 45 45 46 46 17 11 46 46 47 47 47 17 47 69 49 49 49 18 49 18 50 50 50 50 19 19 51 20 51 20 51 21 51 52 52 52 21 52 53 53 54 54 22 54 54 22 23 55 55 23 76 ACE NO. 24 55 56 56 55 24 25 56 56 57 57 57 57 25 26 58 26 27 27 58 58 58 59 59 28 60 60 60 60 62 28 29 62 37 37 62 63 29 63 63 63 62 64 30 64 30 31 31 32 37 32 13 33 33 37 64 64 65 65 34 34 65 65 66 35 66 35 66 67 66 67 36 �It was a French idea, or so the story goes. And for an overheated US army fighting in France in 1917, it was a lifesaver. 1 I I ’ The T-Shirt joined the Army. But what was regulation for decades became rebellion when adopted by Brando. Oozing body heat and rampant, raw appeal. Sullen and sweaty In a Streetcar. It survived the tie-dyed days of the '60’s. And being torn apart in V the 70’s. I Now wearing it is the only state’ ment worth making. Blue jeans and a plain white t-shirt. No fuss, no more, no less. Somehow, it says it all. It isn’t for everyone. But then neither Is Murphy’s. ITS A DIFFERENT STORY. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Programme Content Source A related resource from which the described resource is derived Cork Film Festival Collection Publisher An entity responsible for making the resource available University College Cork Date A point or period of time associated with an event in the lifecycle of the resource 1956- Rights Information about rights held in and over the resource <a rel="license" href="http://creativecommons.org/licenses/by/4.0/"><img alt="Creative Commons License" style="border-width: 0;" src="https://i.creativecommons.org/l/by/4.0/80x15.png" /></a><br />This collection is licensed under a <a rel="license" href="http://creativecommons.org/licenses/by/4.0/">Creative Commons Attribution 4.0 International License</a>. All rights reserved. Please credit <a href="https://corkfilmfest.org/">Cork International Film Festival</a> &amp; provide a link back to this site. Format The file format, physical medium, or dimensions of the resource PDF Language A language of the resource English, eng; Irish, gle Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1956- Cork, Ireland Description An account of the resource A selection of programmes from the Cork International Film Festival. Subject The topic of the resource Cork Film Festival Programmes Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1992 Cork Film Festival programme content Subject The topic of the resource Cork Film Festival, Mick Hannigan, Fran Bergin, Donal Sheehan, Michael Martin, Lord Mayor, Kieran O'Connor Creator An entity primarily responsible for making the resource University College Cork, Cork Film Festival Source A related resource from which the described resource is derived Cork Film Festival Collection Publisher An entity responsible for making the resource available University College Cork Rights Information about rights held in and over the resource <span>This item is licensed under a </span>Creative Commons Attribution NonCommercial-NoDerivatives 4.0 International (<a href="https://creativecommons.org/licenses/by-nc-nd/4.0/">CC BY-NC-ND 4.0</a>) licence<span>.&nbsp;Please credit the&nbsp;</span>Cork International Film Festival Archive<span> and provide a link back to the site.</span> Language A language of the resource English, eng Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Cork, Ireland Description An account of the resource This is a PDF of the 1992 Cork Film Festival programme. The cover, designed by Kieran O'Connor, depicts a photographic montage of a gritty realist scene comprising a large silver film reel in the upper right corner against a concrete distressed-coloured grey/blue-black background tinted with reddish tones. The programme includes an introduction by Donal Sheehan (programming director) and Fran Bergin (administrative director) and references the recent departure of the festival director Michael Hannigan.<br /><br />The programme notes the success of the 1st Irish Lesbian and Gay Film Festival held in 1991 and includes the details of the 2nd Irish Lesbian &amp; Gay Film Festival. Films that year include <em>The Crying Game</em> (Neil Jordan, 1992), <em>You, Me &amp; Marley</em> (Richard Spence, 1992) and <em>Hello Stranger</em> by Ronan O’Leary (1992). O’Leary was present to introduce his film that year. Programme notes include Focus on Michael Apted (page 37). Date A point or period of time associated with an event in the lifecycle of the resource 1992 Relation A related resource <a href="https://corkfilmfest.ucc.ie/items/show/114" target="_blank" rel="noopener">1992 festival cover</a> <br /><a href="https://corkfilmfest.ucc.ie/items/show/79" target="_blank" rel="noopener">1992 festival poster</a> Format The file format, physical medium, or dimensions of the resource PDF Type The nature or genre of the resource Programme Contributor An entity responsible for making contributions to the resource Kieran O'Connor, Donal Sheehan, Fran Bergin, Lord Mayor Michael Martin Donal Sheehan Festival Staff Fran Bergin Kieran O'Connor LGBT Lord Mayor Michael Martin Mick Hannigan Ronan O'Leary https://corkfilmfest.ucc.ie/files/original/77eb6d16bd130f7bcfc105a65024b387.pdf 5892326f5b01d5572a100851c3215433 PDF Text Text r CORK FILNv FESTIVAL 34 1-8 October CORK OPERA HOUSE and Triskel Arts Centre Information: Tobin Street, Cork, Ireland Tel. (353 21)271711 Fax. (353 21)273704 Grant Aided by: Art» Counci j Cork Corporation Cork Enterprise Board RTE FEILE SCANNAN CHORCAI �The people of Cork bring out the best in us I Understanding the needs of our customers, and responding to them, is what everybody at Allied Irish Bank aims to achieve. We know we have some way to go before we can really understand and respond to all our customers needs. But we’re working every day to continuously improve the service we provide for you. We aim to be the best, not simply to satisfy our own ambitions, but for our customers’ sake. It’s the needs of the people of Cork that bring out the best in us. (X? Allied Irish Bank You bring out the best in us. �CHRiSSIE AHERNE, LORD MAYOR I am delighted once again to extend a warm welcome to everyone attending the 34th Cork Film Festival For thirty four years now, the Film Festival has been an integral part of the civic and cultural life of our city. Our lives have been immeasurably enriched by those thousands of films from the four corners of the world which the Festival has brought to life in our midst, and I would hope that our many visitors over the years have taken away with them fond memories of the riches they have experienced here as our guests. One of the oldest film festivals in the world, Cork has long enjoyed a reputation for conviviality. This reputation has been earned not only by the Festival organisers, but by the people of Cork, a people with a proud tradition of hospitality. I trust that our many guests this year will enjoy the experience of being taken to our hearts. 34th CORK FILM FESTIVAL PRESIDENT The Lord Mayor of Cork, CLLR. Chrissie Aherne. CHAIRMAN Charles Hennessy EXECUTIVE COMMITTEE Michael Gleeson Liam Kinsella Tiernan McBride Michael O'Connell A.J.F. O'Reilly Robin O'Sullivan Aidan Stanley R. Declan Scott DIRECTORS Theo Dorgan Michael Hannigan ADMINISTRATOR Fran Bergin PRINT TRANSPORT Helen Farrell John Halpin RECEPTION Anne Kennedy ACCOMMODATION Helen Guerin PROJECTIONISTS Declan Lynch Eddie Noonan Ray Wynman TRANSPORT Donal O’Sullivan PRESS Kieran Cronin Robert McDonald DRIVERS Tony Connolly Jonjo Murphy Paddy Murray Jim Sorenson RADIO COMMUNICATION EQUIPMENT Southern Electronics THE TRISKEL TEAM Vai Bogan Mary Buckley John McDonald Robert McDonald Ger O'Riordan Anne O'Sullivan Tony Sheehan Pat Kearney Kieran Walsh Mark Hathaway Mary McCarthy COVER DESIGN AND POSTER Graphiconies FREIGHT AGENTS Dellar Freight ACKNOWLEDGEMENTS The assistance of FAS is gratefully acknowledged AUDITORS Arthur Young and Company PRINTED BY Lee Press Ltd., 20 South Terrace, Cork 1 �This is not the biggest ad in the programme but then we’re not the biggest photo shop in Cork QUALITY Cameras Binoculars Film Accessories Processing JUST THE BEST BACK BY4.30. p.m. Ph.02274935 �CHARLLo -NNESSY Chairman 1 For thirty four years now the Film Festival has been a vital part of the cultural life of our city and country. We would like to think that the continued growth of interest in, and appreciation of, cinema in Ireland has been in some way forwarded by the energy and commitment of all who have worked on the Festival since its inception. In recent years we have deliberately sought to encourage as best we could the young film-makers on whom the future of the Irish film industry must depend. We have been rewarded with some memorable screenings, and more so by the enthusiastic participation in the Festival of so many talented young people. With this perspective in mind, I must particularly pay tribute to Warner Home Video and TV 3 who have come forward with funding for awards to Irish film-makers. Their generosity, and their principled commitment to indigenous talent, is warmly appreciated. As our Directors have elsewhere noted, it has been a particularly good year for film internationally. We are proud to present festival audiences with the strongest line-up of films for many years, and happy to welcome to Cork the directors, producers, distributors and actors associated with many of our presentations. PATRONS Individuals and Companies who contribute to our Patron Scheme play a significant part in keeping the festival's finances healthy. In return for a donation of £100, Patrons receive a pair of Season Tickets and invitations to the Festival receptions.lt has proved a popular way of showing support for the Festival and the backing of our Patrons is greatly appreciated. If you would like to become a Patron of the Festival please contact our office. The following list is complete at time of going to print. I I Individuals Clayton Love Jnr. Mr. Peter Barry TD Garry Nixon Gene Fitzgerald, M.E.P. Dermot Gleeson Joan Costello Peter Fleming Rosemary Manning Mrs. Vera Owens Joe Shinkwin Conal Creedon Companies AIB Corporate & Int. Division Allied Irish Banks Ballyclough Cooperative Creamery Ltd Bank of Ireland Biocon Biochemicals Ltd C.A.B. Motor Co. Ltd. Coras Trachtala Cork & Limerick Savings Bank E.G.Pettit & Co. Ferrero Ireland Ltd. Fitzgerald & O'Leary, Solicitors G.J.Moloney & Co. Guy & Co. Ltd Horizon Computers Irish Civil Service Building Society Irish Fher Laboratories Ltd Irish Steel J.W.O'Donovan & Co. Ltd Kelly Barry & Associates M. J. Horgan & Son Murray O'Laoire Architect Murphy Brewery Ire. Ltd Nat Ross New Ireland Assurance Co. O’Flynn Exham & Partners O'Keeffe Buttimer Martin J. Brendan O’Herlihy, Solicitors P.W. Keane & Co. Ltd Project Management Quigley Company of Europe R&H Hall Pic Smurfit Corrugated Cases Ltd St. Patricks Woollen Mills Ltd Touche Ross United DominionsTrust GRANT AID The Festival is grant-aided by the following: The Arts Council, Cork Corporation, Cork Enterprise Board, San Francisco Sister City Committee, European Commission, The British Council, Co-operation North SPONSORS Dr. A.J.F.O’Rellly Allied Irish Banks pic Henry Ford and Sop Ltd Warner Home Video TV 3 ■ * �□ Best Wishes to CORK FILM FESTIVAL ’89 from CITY TRAVEL The agency for the discerning traveller WHY NOT VISIT THE LOCATIONS OF YOUR FAVOURITE FILMS? "ROOM WITH A VIEW" OUT OF AFRICA" ...."Dr. ZHIVAGO"... WHEREVER YOU GO - CITY TRAVEL promises best service and competitive fares. Travel 34 OLIVER PLUNKETT STREET. CORK. IRELAND Tel 021-273621 / 021-271339 Telex • 75537 THE USER FRIENDLY Port of Cork CORK HARBOUR COMMISSIONERS Custom House Street, Cork. Ireland Tel. (021) 273125. Telex ’5H-iH. Fax (021) 276h«4. 4 �■ ERECTORS AND STAFF OF FESTIVAL B• LEFT TO RIGHT. FRAN BERGIN. THEO DORGAN. JOHN HALPIN, EDDIE NOONAN. KIERAN OCONNOR, MICK HANNIGAN There are debts to be acknowledged as we launch this Festival, the 34th since its inception. The oldest of these is to the men and women who had the courage to start the whole mad business in the first place, and after that to all those who kept it alive. More proximately, we owe thanks to all those who have worked with us on this Festival, for their energy and cheerfulness and sheer, unremitting hard work. The Festival is the result of team-work, and it has been a pleasure to work with the team who put this together. It is a pleasure also to acknowledge with thanks all those who have contributed to the Festival’s financing, either by way of direct grant or sponsorship, or through the funding of the Festival's awards. It is particularly important to record the Arts Council’s support this year, not just because it is our major financial lifeline but also because it signifies recognition of what we have always argued, that film festivals are an essential and integral part of the cultural life of the nation. Insofar as funding a proper National Film Corporation goes, this perception has yet to gain ground with the government, and the talents and skills of our film artists and technicians continue to be shamefully under-used. The Arts Council, we recognise, is attempting to hold the line, but it would be absurd to expect them to shoulder the entire burden of supporting a native film industry. For that we need a properly constituted agency, and the sooner the better. We owe thanks also to the many hundreds of film-makers and distributors, national film agencies and producers who have made their films available to us. In the end, though, our greatest debt is to those who have gifted us with the products of their imaginations, the film-makers themselves. Long after the final credits have rolled in the Opera House and Triskel, what will remain, we hope, will be those magic moments of cinema that make it all worthwhile. THEO DORGAN i i There is, by now a certain shape to the Cork Film Festival, a particular style. In programming the festival we deliberately cover a wide range of film culture. While the core of the festival is a strong programme of feature films from throughout the world, we are committed to providing a platform for other expressions of film art. Cork’s is one of the few international festivals to champion the art of the short film. This would not be possible without the continuing support of the European Commission which this year enables us to offer a prize of 10,000 ECU's. The quality of this year’s Short Film Programme is exceptionally high and, to encourage greater attendances, screenings are free to those holding Festival Membership Cards. The documentary form enables film makers to engage with a wide range of political, social and artistic issues. Some excellent examples of the documentarists’ can be seen throughout the festival at the Triskel Arts Centre. Having in the past, introduced particular film makers' work to an Irish audience, it is a source of satisfaction to us to be able to present their latest films. In ‘86 the festival’s closing film was Deny Arcand’s THE DECLINE OF THE AMERICAN EMPIRE, this year we open with his magnificent JESUS OF MONTREAL. In ‘86 also, we screened Jane Campion’s work. We are pleased to include her first feature film SWEETIE in ‘89. Having premiered Ronan O’Leary’s RIDERS TO THE SEA in ‘87, we now present the first public screening of the compelling, FRAGMENTS OF ISABELLA. Last year’s winner of CFF's European Short Film Competition was Mike Leigh. This year we include his wonderful satire HIGH HOPES. Another previous prizewinner Hartmut Jahn is again in competition with THE DESTRUCTION OF EUROPE. We welcome the many film makers who have travelled to Cork from the US, Canada, the USSR, Germany, France, the Netherlands, Scotland, England.Wales and from throughout Ireland. 7o Belfast film maker John T Davis, the first Irish subject of our ‘Focus' section we offer a special welcome back. MICHEL HANNIGAN 5 �Creativity is one of our greatest native attributes. At Bank of Ireland we are moulding a service equipped to support the expression of that talent in every field. Bankwhat can we do for you? tf*Ireland. Now, �I BOOKING INFORMATION MEMBERSHIP Festival-goers are obliged to become members of the 34th Cork Film Festival Association in order to purchase tickets for admission to screenings. The membership fee is £1. Membership is open to those over 18 years of age. Membership is non-transferable and card must be produced when buying tickets for screenings. Members may also be asked to produce card, together with ticket, when entering the cinemas. Members may purchase admission for one guest for each screening. Members are advised that seats must be occupied ten minutes before a programme begins, otherwise we cannot guarantee that seats will be held. TICKET PRICES Season Tickets: £35 and £30 (concession), valid for all screenings at Opera House and Triskel. Membership is included in the cost of a Season Ticket. TRISKEL FILM CLUB 1 Dark FESTIVAL FILMS 'ALL YEAR ROUND Eyes B? r 4-. Salaam • Bombay! ! Individual Screenings: Opera House: £3.50 and £3 (concession) Triskel Arts Centre: £2 and £1.50 (concession) i. K * Special Season Ticket for Couples - £60 pair ‘ Special Opera House Only - Individual screenings 2pm and 4pm Monday 2nd October - Friday 6th October £2 only * Weekend Tickets - Valid Friday 6th through Sunday 8th for all Films - £20 ADVANCE BOOKING Tickets for all screenings in the Opera House may be booked in advance. Box Office hours for advanced booking: 10.30am to 7.30pm. Telephone bookings with credit card: Tell. (021) 270022 Tickets for all screenings in Triskel Arts Centre will be available at the door with the exception of season ticket holders who may book in advance. i I CONCESSION RATES are available to those with appropriate ID - unemployment card, pension book, student card. Apply to Information Desks in Opera House or Triskel for details. Shorts Programmes in Triskel are free to Festival Membership Card holders. SMOKING IS NOT ALLOWED IN THE CINEMAS I All inquiries to Information Desks in Opera House foyer or to Triskel Arts Centre. Telephone inquiries to (021) 272022. ! I Distant Voices, THURSDAYS, FRIDAYS, SATURDAYS AND SUNDAYS 8pm On the Black Hill ADMISSION £2.50 £2.00 (cone) Club membership £1 per annum Au Revoir Les Enfants TRISKEL ARTS CENTRE Tobin Street,off South Mam St. 7 �CRAWFORD GALLERY CAFE! CHOCOLATES QUALITY and VALUE Lunches served 12-2.30 p.m. Available at CORK: 106 Oliver Plunkett St. (opp. G.P.O.) DUBLIN: For Coffee, Tea and Homemade Cakes. Royal Hibernian Way and 30 Mary St. Bollymoloe Pre-Theatre Dinner from 6.30 p.m. on Wed., Thurs., Fri with live classical music. We are situated next to the Opera House. (next to Marks & Spencer) TELEPHONE 274415 for reservations D.K.O. Trading Ltd. 106 Oliver Plunkett St. Tel: 021-276970 COME AND SEE US Lee Press Ltd (C16 na Laoi Teo.) SOUTH TERRACE, CORK. Telephone: 021-271272 □ □ □ □ □ 8 LITHO LETTERPRESS RUBBER STAMPS POSTERS TYPESETTING T PROCESS COLOUR CATALOGUES BOOKS MAGAZINES PHOTOCOPYING �CORK OPERA HOUSE OFFICIAL OPENING SUNDAY 1ST OCTOBER, 1989 8.30 p.m. JESUS OF MONTREAL 1989 J6sus de Montreal Denys Arcand Canada Colour 118 minutes I *>■ I . a Producer Leading Players Johanne-Marie Script Photography Editing Music Production Company Print Source I I Roger Frappier, Pierre Gendron Lothaire Bluteau, Catherine Wilkening, Tremblay, Remy Girard Denys Arcand Guy Dufaux Isabelle Dedieu Yves Lafferriere Max Films Productions inc., Telefilm Canada Taken with the idea of staging The Passion According to St. Mark, the most famous story in the world, and playing the part of Jesus, Daniel sets off in search of actors who are willing to drop everything and follow him. He finds Constance, Martin, Mireille and Rene and has no trouble taking them away from a hostile working environment. While researching his subject, Daniel makes startling discoveries on the life of Christ, discoveries that hold a powerful fascination for him. The show takes place on a hot and muggy summer night. Grandiose, provocative and disturbing, it proves upsetting to its audience, questioning their deepest beliefs and naive faith. Who,then,was Jesus? Every night, an increasingly unorthodox audience makes its way to the entrance to the sanctuary on the hill. Mingling with the faithful are artists, esoteric disciples, young people in search of a powerful experience and hard-nosed reporters convinced that they have discovered the “show" of the summer. Some perceive Daniel as the prophet of a New Age or of the Apocalypse, some as a rising star on the Montreal entertainment horizon, while others see him as a lucid young man waging a desperate struggle against the system. " We ask ourselves, and we will continue to ask for a long time, the same old questions: who are we, where do we come from, where are we going...Therefore, we are trying, as does Jesus/Daniel, to find a kind of code of ethics, a moral doctrine, in the midst of endless contradictions..." Denys Arcand i JESUS OF MONTREAL will be preceded by the screening of THAT’S ALL RIGHT, Director Billy McCannon (4m) and SUNDAY, Director John Lawlor (10m) 9 �LONG VALLEY BAR BEST DRINKS * BEST SANDWICHES IN IRELAND * BEST OF COMPANY I Like the 34th Cork Film Festival We bring you the best of everything Best wishes from HUMPHREY and RITA MOYNIHAN 10 �CORK OPERA HOUSE OFFICIAL CLOSING SUNDAY 8th OCTOBER, 1989 8.30 p.m. EAT A BOWL OF TEA 1989 Executive Producer Producer Leading Players Script Photography Editing Music Production Company Print Source i I Lindsay Law, John K. Chan Tom Sternberg Victor Wong, Lee Sau Kee Yuen Yat Fai, Lau Siu Ming Judith Rascoe, based on the novel by Louis Chu Amir Mokri Richard Candib Mark Adler American Playhouse Artificial Eye Ltd Wayne Wang USA 102 minutes Colour From the 1880's until after the Second World War, The United States operated an immigration policy designed to exclude Asian immigrants and reduce the extant Asian-American population. No Chinese immigrant could become an American citizen, and from 1924 no Chinese woman could enter the country even if her husband or father was a US citizen. Thus, the male-female ratio in the Chinese-American community nationwide was about 25:1. This created what was in effect a bachelor society, wherein most of the Chinese men had no idea what it was like to be married. Described as ‘a comedy about sex, marriage and grandchildren’.'Eat A Bowl Of Tea' deals with what happened when these laws were repealed after the War. Ben Loy (Russell Wong) brings a bride. Mei Oi( Cora Miao) back from China. The couple anticipate a life of wedded bliss together but nothing in their experience has prepared them for what lies ahead: everyone’s watching and waiting for children, while Ben Loy tries to hold down a big job and please his wife and his father at the same time. It all proves too much for Ben Loy, and he becomes impotent. The marriage begins to fall apart. Mei Oi takes a secret lover and becomes pregnant. Everybody celebrates until the rumour gets out that Ben Loy was not the father. . . after much scandal, fighting and separations, however,the couple are reunited and leave New York to begin a new life in San Francisco. EAT A BOWL OF TEA will be preceded by the presentation of Awards and the screening of the Award-Winning Film from the EUROPEAN SHORT FILM COMPETITION j 11 �Opera House Saturday, Oct 7th 14.00 Opera House Sunday Oct 8th 13.c ARIEL CAMP THIAROYE Aki Kaurismaki Ousmane Sembfcne, Thierno Faty Sow Finland/1989/ 35mm/ 73 minutes/ Colour/ Subtitles Senegal/1988/ 35mm/152 minutes/ Colour/ Subtitlos Producer Leading Players Script Photography Editing Production Company Pont Source Aki Kaurismaki Turoja Pajala, Susanna Haavisto, Man Pellonpaa Aki Kaurismaki Timo Salminen Raija Talvio Villealfa Filmproductions Oy The Finnish Film Foundation Producer Leading Players Script Photography Editing Music Production Company Print Source When the mine where his father has worked all his life closes down, Taisto (Turoja Pajala) drives south through a winter landscape to Helsinki, looking for work and a future. But life in the capital is uncertain with the constant threat of violence and the insecurity of employment on the docks. When he parks his car in a restricted area one day, Taisto meets Irmeli (Susanna Haavisto) for whom life as a traffic warden is only one form of employment in an unending struggle to make ends meet as a single parent. Taisto and Irmeli take an instant liking to each other and he gets on well with her ten year old son: but life is even less of a joke if you are trying to establish a family, and a single, justifiable mistake puts Taisto on the wrong side of the law. In prison he finds himself sharing a cell with Mikonnen (Matti Pellonpaa), an old lag whose gruff, uncommunicative exterior conceals a vast capacity for friendship and trust. It is the beginning of an unpredictable series of events as Taisto takes to a semi-incompetent life of crime from which he seeks a possible avenue of escape for himself and Irmeli. “A darkly humorous, unclassifiable film... that begins like a Wenders road movie and develops into a terse, laconic thriller with an unexpected but satisfying ending." Cambridge Film Festival Catalogue 12 Mamadou Mbenge Ibrahima Sane, Sigiri Bakara Ousmane Semb^ne, Thierno Faty Sow Ismail Lakhdar Hamina Kahena Attia- Riveill Ismaila Lo SNPC (Dakar), ENAPROC (Algiers). SATPEC (Tunis) Metro Pictures Camp Thiaroye was a transit camp in West Africa where ’trailleirs', or colonial African troops who had fought for France in the War were sent before repatriation to their native villages. In the camp, the food is foul and the conditions worse. The racist and perfunctory treatment of the trailleurs by the white officers, and the appalling conditions of the camp (little better than the concentration camps that some of the trailleurs had just left), rankles with the inmates of the camp, whose five years in the European Theatre have heightened their political awareness. The last straw is the attempt by the French military to cheat the trailleurs out of their back-pay. In desperation, they kidnap the General and hold him hostage. The French appear to capitulate, but tragedy strikes... �Ope: ^>day Oct 5th 20.30 Triskel, Wednesday Oct 4th 16.00 •> CEl CHARLOTTE’S DIARY Ann Turner Puck Goosen Australia/ 1988/ 35mm/ 103 minutes/ Colour Netherlands/1988/ 16mm/ 40 Minutes/ Colour (• * Executive Producer Leading Players Producer Script Photography Editing Music Production Company Print Source I I Bryce Menzies Rebecca Smart. Nicholas Eadie, Maryanne Fahey, Victoria Longley Timothy White Ann Turner Geoffrey Simpson Ken Sallows Chris Neal Seon Films Kim Lewis Marketing It’s the start of the summer holidays and Celia Carmichael turns nine years old. Her world is made up of best friends and arch-enemies, story-book monsters and oaths of everlasting loyalty. Her closest friends are her Granny and her pet rabbit, Murgatroyd. Then, one day, Granny dies. In the deep of the night the monstrous Hobyahs, frightening demons, start climbing in the window. In the day, Celia’s father pays the next-door neighbour Alice an unusual amount of attention. Life is beginning to change. Celia's familiar world of backyards, blood-brothers and blissful innocence is about to end. Set in Melbourne, Australia, in the 1950's, the mood echoes with personal observation, and director Anne Turner works with subtle, understated eloquence to reveal Celia’s heart and a world seen through the frighteningly clear windows of a child's eyes. When Celia’s next-door neighbours are hounded out of town for their political beliefs and her beloved rabbit is taken by the Government in a State-wide muster, her world is threatened and Celia learns that she must either give in or fight back. She fights. In a chilling climax, she draws on the strength of her fantasies to strike out against the forces of bigotry and repression which threaten all that she holds dear. Her innocence surrendered, Celia is corrupted into adulthood. "By any measure Celia is a remarkable film. It is also a striking debut for Ann Turner..." SCREEN INTERNATIONAL Producer Scrip Photography Editing Print Source Roy Dames tPuck Goosen Stef Tijdink, Jules van de Steenhoven Teun Pfeil MusicChopin Roy Dames Film-en Videoproducties ! Charlotte is a 53-year old metalworker. In 1985 she began the hormone treatments and psychological counselling that are the preludes to the operation that would complete her transformation into a woman. Three years later that operation took place. The film follows Charlotte as she goes about her business both before and after the operation. The camera captures her daily life as she struggles to cope with her new identity. One striking image, that of Charlotte ( who is still working in heavy industry ) removing her gloves and protective overalls and changing into women's clothing, exposes the extent to which we have been conditioned to regard certain occupations as being the preserve of one sex or other. Her diaries, which provide the basis for this rivetting documentary, reveal the anguish and self-doubt faced by someone who ’stands between men and women’, feeling comfortable with both but belonging to neither. �Triskel, Thursday Oct 5th 16.00 Triskel, Tuesday Oct 3rd 16.00 CHINA DIARY COMRADES AND FRIENDS Jinhua Yang Nick Godwin, Suri Krishnamma China/USA/1989/ 16mm/ 51 minutes/Colour Britain/ 1989/ 16mm/ 54 minutes/ Colour A, > Producer Script Photography Editing Music Print Source Jinhua Yang Jmhua Yang Zhang Xuku Jinhua Yang Li Feng. Tony Cummings Jinhua Yang A film that would be fascinating even without the topicality that recent events have thrust upon it, ‘China Diary’ is a journal of the return to China of Jinhua Yang, after five years of studying in the US. Her astonishment at the changes that have been wrought in her absence echoes throughout the film. She reels from an individually-owned beauty parlour to a radiator factory and a rural hotel now owned by The peasants". She encounters the richest peasant entrepreneur of a small town living in a house with catalogue-ordered Louis XIV furniture, all with its plastic slipcovers intact. Even more suspect in Yang’s eyes is a swimsuitjudged beauty contest - once unthinkable - into which she is press-ganged as a judge due to her status as visiting celebrity, “is this real beauty ?” she worries. No, but it’s real capitalism. “If you want to . . .understand some of the ferment behind the tragedy we’ve all been watching on television, try “China Diary". It"s riveting." I 14 Executive Producer Producer Photography Editing Print Source ‘( National Film and Television School Nick Godwin Nick Godwin Ewa J. Lind N.F.T.S.Beaconsfield Studios In early 1988 Tony Benn announced that he was challenging Neil Kinnock for the leadership of the British Labour Party, with Eric Heffer standing as his deputy. The party leadership was, furious, claiming that once again, Benn was damaging Labour’s hopes for recovery. Benn had almost no chance of winning but he argued that the campaign would regenerate the socialist debate and challenge the rightwards drift of the party, which had now been in opposition for nine years. ‘Comrades and Friends’ follows Benn’s campaign and explores his radical arguments for democratic socialism. With almost unlimited access, the filmmakers were able to observe a side of political life usually ignored by journalists and commentators. The film also becomes a portrait of one of the great veterans of the British Labour movement, a man variously seen as the paradigmatic “loony leftie", and one of the most gifted politicians and orators of our time. �Opera /iday Oct 6th 18.00 Triskel, Saturday Oct 7th 16.00 CONQUEST OF THE SOUTH POLE DEREK JARMAN - YOU KNOW WHAT I MEAN Gillies MacKinnon Laurens C. Postma Scotland/ 1989/ 16mm/ 90 minutes/ Colour 1988/ Britain/ 16mm/ 52 minutes/ Colour a Executive Producer Producer Leading Players Script Photography Editing Music Production Company Print Source John Kelleher Gareth Wardell Steven Rimkus, Laura Girling, Leonard O’Malley, Gordon Cameron Gareth Wardell, based on a play by Manfred Karge Sean Van Hales Steven Singleton Guy Wolfenden Jam Jar Films Liberty Films This fast-paced and energetic film concerns five young men in their early 20’s facing the soul­ destroying tedium of permanent unemployment who, finding their existence aimless and boring, decide to re-create Roald Amundsen's heroic expedition to the South Pole. Their route out of the misery and boredom of their lives will be through the gate of the imagination. Through a series of humorous and comical escapades, they gradually acquire all the paraphernalia, including ski equipment, huskies and penguins, needed for their epic journey. The only problem is that their adventure is confined to their home town, Leith, the Port of Edinburgh. The group act out their roles as Norwegian explorers among the docks, ships, warehouses, cranes and ice-stores of their own backyard. Producer Script Photography Editing Music Print Source 1 Philip Bartlett Laurens C. Postma Nick Beek- Saunders, Diviio Ringressi Hussein Younis Andre Shapps. Simon Turner YO-YO Films This film celebrates the life and work of one of Britains most gifted and controversial film-makers. From his first film, ‘Sebastiane’, with its acres of naked flesh and a script in Latin, Jarman has been outstandingly successful in raising the hackles of the Whitehouse Brigade. His films, ‘Jubilee’ and ‘The Last Of England' caused endless patriotic outrage in England when they appeared, and his recent ‘Caravaggio’ elicited a strongly homophobic reaction, as does most of what he makes, writes, and says. Combining the body of Jarman's work with originallyshot material, Laurens C. Postma has created a startling poetic image of an extraordinary filmmaker’s life. ‘Directed with brilliant agitation' The Guardian Gradually, what started out as a bit of fun begins to take on real meaning for them until, after a series of confrontations, they walk the 175 kilometres to their Pole. Based on Manfred Karge's stage play, the film opens out into a determinedly cinematic, humorous and unsentimental view of wasted lives and the resilient human spirit. 15. I Vi I �Triskel, Wednesday Oct 4th 16.00 Triskel, Sunday Oct 1st 13.30 EAT THE KIMONO AN EMPTY BED 20th Century Vixen Mark Gasper England/1989/16mm/ 60 minutes/ Colour USA/1988/ 16mm/ 56 minutes/ Colour 1 ■ Producer Featuring Script, Photography & Editing Music Print Source ! 20th Century Vixen Hanayagi Genshu 20th Century Vixen, Traditional Japanese Music, HanayagiGenshu 20lh Century Vixen Hanayagi Genshu is no ordinary dancer. She has shocked the traditional elements of Japanese society with her avant-garde performances and her radical politics. When, in 1980. she stabbed the leader of Japan's most renowned dance school as a protest against the corrupt hierarchies which operate in Japan’s cultural world, she achieved instant notoriety and served eight months in prison. ‘Eat the Kimono’ shows the strength of a woman prepared to flout all the conventions of her culture. In denouncing Emperor Hirohito while he was still alive, she made herself the target of right-wing death­ threats, but this has not deterred her from her campaign against the legacies of the Imperial System. From the makers of the controversial 'Fireraiser’ which was shown at last year’s festival. Executive Producer Producer Leading Players Script Photography Editing Music Print Source Awards Edward B. Via Mark Gasper, Victoria Larimore John Wylie, Mark Clifford Smith,Thomas Hill Mark Gasper Oren Rudavsky Gloria Whittemore Glen Roven The Yankee-Oriole Company Houston Film Festival: Bronze Plaque Atlanta Film and Video Festival: Honourable Mention A day in the life of Bill Frayne, a gay man in his sixties, living alone in Greenwich Village. During the course of this typical day, Bill encounters objects, people and places which stir and revive ghosts from the past. Unfolding non-sequentially, the film mirrors Bill Frayne's memory processes by connecting random thoughts and events into a full picture of his life. The dialogue is sparse and pointed, allowing the story to be told through an expressive collage of images.A sensual and evocative work, “An Empty Bed" deals honestly with aging and being gay in contemporary society. In a world where youth is put on a pedestal, ‘An Empty Bed’ is unique because of its full, well-rounded portrayal of people retired from the workplace and left to fend forthemselves. Rarely for films dealing with gay life, ‘An Empty Bed’ does not focus on promiscuity, cruising, pederasts or AIDS. By treating Bill Frayne as a human being who happens, as an aspect of his personality, to be gay, the film exposes the unconscious reaction to gay people (even by people who support gay rights) as somehow ‘other’. What comes across most strongly from the film is how normal Bill is. His position, his life, could be that of anyone in contemporary society. �Open. ■ . ?.y Oct 16.00 FRAGMENTS OF ISABELLA Opera House, Saturday Oct 7th 23.30 HEATHERS Ronan O’Leary Michael Lehman Ireland/1989/ 35mm/ 77 minutes/ Colour USA/ 1989/ 35mm/102 minutes/ Colour PW v 4 Executive Producer Producer Leading Players Script Photography Editing Music Print Source Noel McKeown Ronan O'Leary, Michael Scott Gabrielle Reidy Ronan O'Leary,Gabrielle Reidy, Michael Scott From the book by Isabella Leitner Walter Lassally Gerald Hambling Carl Davis Vattington Ltd Isabella Leitner, a young Hungarian girl (played with extraordinary quality and sensitivity by young Irish actress Gabrielle Reidy ), was the first survivor of the Holocaust to reach the safety of the United States in 1945. She had witnessed the death of her mother and youngest sister at the hands of the Nazis, the break-up of her family, and the persecution of the Jewish race in Europe. Her horrific experiences in Auschwitz during the last year of the war shaped her life forever. i I Thirty years later, in 'Fragments of Isabella’, she introduced the rest of the world to her personal loss, with all the poetry and feeling of a great writer. Her story, nominated for a Pulitzer Prize, is a testament to the will of the human spirit to survive and endure. In a performance which calls to mind irresistibly that of Falconetti in Dreyer's 'The Passion of Joan of Arc', Gabrielle Reidy searingly captures the agony, indomitable strength of will, which was Isabella Leitner's personal experience of the Holocaust. OFF is proud to present the World Premiere of this Irish film. Executive Producer Leading Players Script Photography Editing Music Print Source Christopher Webster Winona Ryder, Christian Slater,Shannen Doherty, Lisanne Falk Daniel Waters Francis Kenney Norman Hollyn David Newman New World Pictures r School is an arena fraught with vengeful competition, a peer-pressure cooker wherein getting ahead is more important than geting along. Looks, money, a great wardrobe, and an insatiable hunger for power, are what it takes to climb to the top. At the apex of this seething morass of greed and envy are the 'Heathers’, an elite quartet, three of whom are called Heather. The fourth member, Veronica, is extremely popular and much envied. But she is also profoundly unhappy about her situation. Founder and queen bitch of the group is Heather No.1, who has a devastating comeback for every occasion. This super-smart black comedy about high school politics and teenage angst leaps into life when Veronica decides, in the best interests of all concerned, to murder Heather No. 1 and make it look like suicide. "Daniel Waters' enormously clever screenplay blazes a trail of originality through the dead wood of the teen comedy genre...brilliantly insolent and irreverent insights into school-age caste systems, power structures and social rituals..." VARIETY "The best surprise from America was 'Heathers’... a teen movie to end all teen movies...one-third black comedy, onethird ironic parody and one-third thriller, [Heathers]. . bites at the conventions of its genre until real blood flows along with the tears of laughter." Derek Malcolm THE GUARDIAN “No amount of production sheen or acting skills seems excuse enough for the film’s scabrous morality or its unprincipled viciousness." LOS ANGELES TIMES k 17 �Opera House, Tuesday Oct 3rd 18.00 Triskel, Tuesday Oct 3rd 13.30 HIGH HOPES IN FADING LIGHT Mike Leigh Amber Films England/1988/ 35mm/112 minutes/ Colour England/ 1989/ 35mm/104 minutes/ Colour Executive Producer Producer Leading Players Script Photography Editing Music Production Company Print Source J Tom Donald Simon Channing-Williams, Victor Glynn Philip Davis. Ruth Sheen Edna Dore, Philip Jackson Mike Leigh Roger Pratt Jon Gregory Andrew Dixon Portman Productions lor Film Four International Palace Pictures. Dispatch rider Cyril Bender (Philip Davis)lives in a tiny London flat with park gardener Shirley (Ruth Sheen) and her splendid collection of cacti (including one nicknamed 'Mrs. Thatcher’ because it pricks one in the backside as one goes out the door). Normally loving and good-humoured, the couple is going through something of a mid-life crisis: should they have a child? Shirley wants to, but Cyril reckons that until his minimum demands of a world where everyone has enough to eat, a job and a decent place to live, are met, then he can't regard the world as a fit place to bring up children. Added to this are Cyril’s mixed feelings about his responsibility to his aged mother. When Cyril's neurotic sister, Valerie, and her womanising husband throw a surprise 70th-birthday party for Mrs. Bender.it ends in dismal, squabbling failure but things appear to turn out for the best as, with Mrs. Bender asleep in their bed, Cyril and Shirley make love in the spare room - and this time, for once, not for recreational purposes... “The [New York Film] festival’s only memorable discovery" New York Times Produced and executed by Leading Players Script Music Print Source Amber Films Joe Caffrey. Maureen Harold Dave Hill, Brian Hogg Tom Hadaway Alasdair Robertson, Ray Stubbs The Waterboys Amber Films Eighteen year old Karen Olsen comes to North Shields looking for her father, Alfie, a Grimsby fishing boat skipper who Idft his wife and daughter six years previously. She finds him in somewhat straitened circumstances, with the owner of the boat threatening to sell him out and the generally moribund state of the fishing industry a constant source of worry to him. Karen’s arrival and subsequent joining of father and crew on a fishing trip engenders hostility and suspicion both on board and on shore. She is faced with accusations of sexual misconduct and ancient maritime superstitions about women on ships. Eventually she comes to realise that her father doesn’t match up to her expectations, that she is alone and has to take control of her own destiny. 'In Fading Light’ tells a tale of epic proportions: high seas, the struggle for survival, and emotional conflict - told with an almost documentary realism that rejects melodrama in favour of acute observation and quirky humour. Amber's experience in the integration of actors with ’real life’, combined with 20 years of documenting working lives in the North-East of England, lends this film a unique authenticity. These qualities, in tandem with stunning visuals and the closely-observed tragic/comic dialogue, come together in a film that not only tells a deeply moving story but gives us a profound experience of another way of life. �Triskc •H 15.00 IRISH WAYS Arthur MacCalg France/ 1989/ 16mm/ 53 minutes/ Colour Opera House, Thursday Oct 5th 18.00 THE LEGEND OF THE HOLY DRINKER Ermanno Olmi Italy/ 1988/ 35mm/125 minutes/ Colour Producer Photography Editing Sound Production Arthur Mac Caig Jean-Marc Pillas Dominique Greussay Frederic Gremeaux CompanyTeleconcept/F. Productions Producer Leading Players Continental media present the conflict in the North very differently to the style in which Irish and British television, operating under severe legal constraints, can function. Including interviews with members and former members of the IRA, and footage of an IRA unit on patrol in a housing estate, this documentary will have an edge of unfamiliarity for Southern audiences. The producers describe the film as 'a voyage into a European War' -- a perspective which has led to charges of glamourisation and romanticisation. 'Irish Ways' shows the armed conflict as so many hundreds of millions have seen it on the continent, and indeed around the world. Audiences have the opportunity to interrogate this version, and to match it against our own, received domestic images. i " ’Irish Ways' is a voyage into a European war: the conflict in the North of Ireland which has opposed Irish nationalists and the British army for the past twenty years nbw. It is a war seen from the interior, through the eyes and the emotions of various protagonists, men and women, directly implicated in the Irish troubles. Here for the first time, members of the I.R.A., past and present, and unmasked, talk of their experiences." From the Production Notes. Script Photography Editing Music Print Source Awards Roberto Cicutto, Vincenzo de Leo Rutger Hauer, Anthony Quayle Sandrine Dumas. Dominique Pinon Ermanno Olmi, Tullio Kezich from the novel by Joseph Roth Dante Spinotti Ermanno Olmi Stravinsky Artificial Eye Golden Lion, Venice 1988 Silver Ribbons 1989 - Best Italian Film. Best Screenplay Italian ‘Oscars' 1989 ■ Best Film, Best Director Based on a novel by the Austro-Jewish writer, Joseph Roth, ‘Legend of the Holy Drinker' is set in Paris in an indeterminate era, neither 1930’s nor the present (photographed with a superb, dream-like aura by Dante Spinotti). Rutger Hauer plays Andreas, an ex-miner who has served a prison term for murder and now lives down and out on the city streets. A mysterious stranger (Anthony Quayle) gives him 200 Francs on condition that he repay it the following Sunday at a church containing the statue of St Therese of Lisieux. A series of chance encounters with old acquaintances threaten to prevent Andreas from fulfilling his promise, but each time the money is spent, he wakes up after sleeping rough by the Seine to find that the banknotes have miraculously returned to his wallet. People he knew in his former days reappear, mysteriously transformed: the woman whose husband he killed is now wealthy and sophisticated; a fellow miner is now a world famous boxer and he treats Andreas to a stay in an expensive hotel where he meets a beautiful dancer from a bizarre theatrical troupe. These interludes, through which Andreas strays bemusedly, are alternated with scenes in his usual drinking place, a decrepit and crumbling bar. 'Convincing, moving and beautiful' Sight and Sound 19 1 i �Opera House, Friday Oct 6th 23.30 Opera House, Thursday Oct 5th LENNY LIVE AND UNLEASHED JO LET’S GET LOST Bruce Weber USA/1989/ 35mm/119 minutes/ Black and White Andy Harries England/1989/ 35mm/ 94 minutes/ Colour Producer Leading Players Script Photography Editing Music Production Company Print Source Martin Auty, Andy Harries Lenny Henry, Robbie Coltrane, Jeff Beck Kim Fuller, Lenny Henry Peter Sinclair Gerry Hambling Steve Nieve Palace Pictures/, Sleeping Partners Palace Pictures The British comic Lenny Henry is best-known to Irish audiences from his television appearances, but television is a notoriously sanitised medium. This film provides a rare opportunity to catch the kind of material that would be banned from BBC 1, although the vulgarity is never gratuitous or in bad taste. Mind you, Richard Pryor, a Henry hero brilliantly caricatured here, might not be too taken with Lenny's “That time I set fire to myself I got enough material for six shows", while macho Eddie Murphy, caught in an hilarious spoof, would certainly not be amused at Henry's deadly-accurate guying of his foul-mouthed, crotch­ grabbing mannerisms. I When Henry finally takes the stage as himself, clad in baggy trousers and large yellow jacket, he has exorcised the presence of the people with whom he is most likely to be compared, and from then on the show is entirely his inimitable own. 1 I The movie features all of his best-known creations: Theophilus P. Wildebeeste, soul singer extraordinaire, Dental Virtue the evangelist preacher, and Low Down Finger-Lickin’ Hound Dog Smith (in a blues duet with Jeff Beck), among others. He combines sketches with an extended monologue containing - among other things - a wild Prince impersonation, and a remarkable impression of Steve Martin. What comes over best of all is the endless, reckless prodigality of talent and invention that have made Lenny Henry the best-loved British comic of our time. Executive Producer Producer Leading Players Photography Editing Music Production Company Print Source Nan Bush Bruce Weber Chet Baker, Carol Baker, Vera Baker Jeff Preiss Angelo Corrao Chet Baker Little Bear Films Zeitgeist Films A portrait of the great jazz trumpeter Chet Baker, 'Let's Get Lost' visually shimmers with dark chiaroscuro shadows, the filmic equivalents of his music. Baker died at the age of 57 in May 1988 and director Bruce Weber (better known as a fashion photographer) does not shirk from showing us the often squalid circumstances - high living, drugs, association with gangsters (who, among other things, knocked his front teeth in) - that made his tragically early demise inevitable. Weber films his subject and edits his shots like the blues. He cuts in archival footage, where Baker appears in the triumphant bloom of his youth, adored by his fans. He then cuts to images from a recent interview where the man appears terribly aged, wrinkled, worn out. "Weber is able to bring to life a man who looks as if he's been dead for many years.. . the highs and lows of Baker’s career are charted, leaving numerous images etched on the memory long after the plaintive soundtrack of the interviews with friends and lovers have been forgotten" Dylan Jones The Face �Triskel, ■nd i3.30 LIGHTING OVER BRADDOCK: A RUSTBOWL FANTASY Opera House , Friday Oct 6th 16.00 MALPRACTICE Bill Bennett Australia/ 1989/ 16mm/ 90 minutes/ Colour Tony Buba USA/1988 /16mm/80 mlnutos/Colour Producer Leading Players Script Photography Editing Music Sound Production Company Print Source Tony Buba Sal Caru, Sieve Pellegrin .J.Roy, Nr ilk Voslakov, Ernie Spisak, Tony Buba Tony Buba Brady Lewis Tony Buba Steven Pellegrino Susan Howard, John Blick Tony Buba Productions Zeitgeist Films Executive Producers Producer Leading Players Script Photography Music Production Company Print Source Tnstram Mi all, Aviva Ziegler, Bruce Moir Tristram Maili Ca2 Lederman, Bob Baines, Ian Gilmour, Pat Thomson Jenny Amge Steve Arnold Michael Atkinson Film Australia Film Australia Pty Ltd Called "the Faulkner of Allegheny County, the Flaherty of the frozen blast furnaces", Tony Buba has spent fifteen years documenting through film various aspects of his home town, Braddock, Pennsylvania; once a thriving steelmill town, now moribund with the recession in the world steel industry. 'Lightning Over Braddock’ marks Buba's feature debut and his first departure from documentary form. I It’s Saturday morning in a city maternity hospital and a young registrar, Frank Harrison, is the only doctor on duty with full obstetrics training . Coral Davis goes into labour with her third child. The baby is slow in coming and the fcetal heart monitor shows signs of distress. When Harrison is called away to an emergency, Margaret Beatty, the experienced midwife, knows exactly what ought to happen; but when Harrison returns, he has other ideas... Buba himself is the central character in this ambitious leap into surrealism, mixing fact with fantasy (and incorporating sequences from his own earlier films into the scripted narrative). A very funny, foul-mouthed street hustler named Sal (from Buba's earlier film, Sweet Sal) competes with striking steelworkers and the filmmaker himself for star billing, against the backdrop of a decaying steeltown , accompanied by such musical treats as "Braddock City of Dreams" and "Death of the Iron Age Cafe". 'Malpractice' is an emotional portrayal of a family’s efforts to come to terms with the result of medical malpractice; and a mother’s need to find out the truth. "When Tony Buba gets to the Pearly Gates, if St. Peter isn’t there to pass judgement, Saccho and Vanzetti will let him in for sure." KAY ARMATAGE With an impending medical tribunal hearing, Frank Harrison realises that he too must face the truth and the judgment of the law. Most of the characters in this dramatised documentary are portrayed by actors, but some of the hospital staff play themselves, and the members of the legal profession in the film are all portrayed by practicing solicitors and barristers. The findings of the tribunal are not scripted , but are determined by the presentation of the case. �FT Opera House, Tuesday Oct 3rd 16.00 MANIKA-MANIKA '\ri spAjlpih pA/iAC THE GIRL WHO LIVED TWICE France/1989/ 35mm/ Colour 1g caOairhc c) 1779 28/29 souch imp surccc. coi?h. ceL (021)277949 Producer Leading PLayers Script Photography Music Print Source Raoul Katz Julian Sands, StGphane Audran Ayesha Dharker, Jean-Philippe Ecolley Francois Villiers, Brian Phelan Alam Levant Naresh Sohal Labrador Films S.A. In a small coastal village, on the edge of the Indian Ocean, ten-year old Manika announces that she has had a previous existence, that her husband was a rich Brahmin, and that she died giving birth. Her teacher, Father Daniel, is an Irish Jesuit priest who has only recently been appointed to his post and whose new ideas have already earned him the disapproval of his superiors. He tries to reconcile Manika to a more immediate reality. music nijjhclq - 6ai? pood dAllq CAR ISCCACh 6cibh pAilce ROlmh Ct PRE-SCHOO^ The child, seeking her own form of truth runs away and makes the dangerous journey to Nepal in the hope of finding the husband from her former life. Father Daniel is sent to find her, but their mutual curiosity persuades him to help her reach her destination. In Nepal, she recognises a number of places from her former existence, and confides in Father Daniel her husband’s name. This, combined with her very adult reasoning, disconcerts Father Daniel, who cannot reconcile the compelling evidence for reincarntion that Manika represents with his own religious faith. When they finally meet the husband, who belives that reincarnation is not only possible but entirely natural. Father Daniel experiences a terrible crisis of faith. He retreats to a hermitage in the Himalayan foothills, run by Sister Ananda, where he tries to resolve his internal conflicts. Will he be able to return to his mission and take up his duties? Will Manika stay with the man she believes is her husband? Will she ever return to the fishing village where her parents anxiously await her? Which path will they choose? j., Lil 22 ___ mIooIM 24 SULLIVANS QUAY CORK Tel. 021 317660 RESTAURANT LUNCHES & EVENING MEALS + Teas, Coffee & Snacks • Wine Licence BOOKSHOP New & Secondhand Books, Magazines, etc. NATURAL FOOD STORE Whole Foods, Fresh Fruit & Organic Vegetables. Local Dairy Produce, etc. RESTAURANT: 10 - 9 Monday - Saturday SHOP: 10 -6 Monday - Saturday, Late opening to 8 p.m. Thursday & Friday. UNWAGED DISCOUNT — A WORKERS' CO OP �Ope: ■ ■ 32, Monday Oct 2nd 16.00 MELANCHOLIA Andi Engel England/Wost Germany/ 1989/35mm/ 87 minutes/ Colour Triskel, Friday Oct 6th 16.00 MY NAME IS BERTOLT BRECHT - EXILE IN USA Norbert Bunge, Christine Flscher-Devoy West Germany/1989/ 16mm/ 95 minutes/ Colour Producer Leading Players Script Photography Editing Music Production Company Colin McCabe Jeroen Krabbe, Susannah York Ulrich Wildgruber, Jane Curnelt Andi Engel Denis Crossan Christopher Roth Simon Fisher Turner British Film Institute, in association with Lichtblick Filmproduktion GmbH In this gripping thriller, David Keller, a German veteran of the civil unrest of 1968, is now in his forties, living in London, working as an art critic and drinking more than he should. He is utterly dissatisfied with his life, his work, and the world in general. After the events of '68 were followed by the violence of the '70’s and the resurgence of the Right in the '80’s, he feels that the battle is lost and the only choice available is between orderly and disorderly retreat. Then, one Friday afternoon, he receives a call from Manfred, a friend from Keller's student-radical days. Manfred asks him for once in his life to live up to his political ideals of 20 years ago and to assassinate a Chilean military doctor, a known torturer, who is on his way to London for a conference. But that murder leads him onto a second and then a third killing. . . 'Melancholia' is a film about exile: physical, political and emotional. The London in which the central character lives is a foreigner's London: Hyde Park, Tower Bridge, Victoria Station. Disillusionment has exiled him from the ideals of his past, and the acts of violence exile him from civil society. "At the end of the film", says director Andi Engel,"the guy is really dead, though in strictly clinical terms, he is holed up in a farm in Tuscany." "As a cry against today’s complacency, it’s more than just a thriller, though it works well on that level too. In all, a very promising debut." Producer Photography Editing Music Production Company Print Source Norbert Bunge Norbert Bunge Ron Orders. Arpad Bondy Hanns Eisler ,Song by Sylvia Anders Norbert Bunge Film production Ex Picturis Filmdistribution This film deals with a relatively unknown chapter in the life of Bertolt Brecht: his years of exile in the USA between 1941 and 1947 as a refugee from the Nazis. Arriving in Los Angeles in 1941, he tried to find work in Hollywood as a script writer. He also wrote several poems and plays, some of which appeared in English, such as 'Galileo Galilei', which was written in collaboration with Charles Laughton. Despite this productivity,however, Brecht's years of American exile were a time of misfortune and resignation. The myth of ‘America’, which many German writers of his generation had cultivated, was destroyed by his experience of American reality. The final straw was provided by the hearings of the House Unamerican Activities Committee (HUAC), to which Brecht was summoned in 1947 together with the directors and screenwriters of the 'Hollywood Ten’. Brecht left America the following day. 'My Name is Bertolt Brecht. . .’ uses only first-hand source­ material: Brecht’s diary, his poems, as well as some interviews with close friends and colleagues from the period in question. The film also includes archive material of the 'Galileo' production with Charles Laughton and of the HUAC hearings. "Confirmed Brechtians will be enthralled.. Variety David Stratton Variety 23 'Ti �Opera House, Wednesday Oct 4th 20.30 Triskel, Sunday Oct 8th 16.00 MYSTERY TRAIN 1996 Jim Jarmusch Karl Francis USA/1989/ 35mm/113 minutes/ Colour England/ 1989/ 35mm/ Colour Executive Producer Producer Leading Players Script Photography Editing Music Production Company Print Source Kunjiro Hirata, Hideaki Suda Jim Stark YoukiKudoh, Masatoshi Nagase Cinque Lee, Screamin' Jay Hawkins Nicoletta Braschi, Elizabeth Bracco, Joe Strommer, Rick Aviles, Steve Buscemi Jim Jarmusch Robby Muller Melody London John Lurie JVC, Mystery Train Inc. Palace Pictures The three episodes of MYSTERY TRAIN - linked by their setting in the same seedy hotel where the great comedy duo of Screamin' Jay Hawkins and Cinque Lee is on duty in the lobby - playfully observe strangers in the lost paradise of Memphis, haunted by the ghost of Elvis. A chattering Japanese couple explore the mysteries of a place whose language they do not understand; an Italian widow is conned, sees the local ghost and meets a Jarmusch lady; a wandering Brit (Joe Strummer) holds up a liquor store. The film is more or less the final part of a trilogy formed with 'Stranger Than Paradise' and 'Down By Law'. "’Mystery Train' is in fact itself a trilogy which includes three separate but conected stories, like those Japanese films made up of several ghost stories, or the Italian ones consisting of several romantic comedies...Although the characters never really meet...the episodic form is really just a disguise, and the three stories just separate cars pulled by the same train,a modern, minimalist version of 'The Canterbury Tales.’" Jim Jarmusch " ’Mystery Train’ rides a network of tracks that intersect at a puzzle switch, and it changes routes, passing from one life to another. It's a little bit about the legend of the King, and a bit about the romances and ghost stories and slapstick farces that are occurring to people while you sleep.lt’s about night in the South, refracted through the meditative lens of Robby Muller and echoed through John Lurie's blues-tinged score.’’ Luc Sante 24 Script Leading Players G.F. Newman Keith Barron, Alun Armstrong Gillian Eaton. Dudley Sutton BritainJn the mid 1990’s has become an even more divided and violent nation, with crime, civil disorder and urban terrorism on the increase. Law and order can only be maintained by means of a permanently armed police force, organised into large regional units, and backed up by harsh legislation which gives them wide-ranging powers of arrest and detention. Commander Jack Bentham, is one of the most respected senior detectives in the Metropolitan Province, and it is no surprise when he is brought in to head an internal investigation into the shooting of three radical nurses by the police during a violent demonstration. Bentham is subsequently instructed to take on a second investigation into another series of shootings in the Welsh Province. Gradually he uncovers evidence of a complex web of corruption, sexual scandal and deceit which appears to involve the highest levels in the Establishment. As he doggedly pursues his line of enquiry, key witnesses are murdered and he finds his own life at risk. Strongly reminiscent of events surrounding the Stalker affair, this hard-hitting thriller examines with pace and flair the possible implications of the erosion of civil liberties and the increasing militarisation of the police force in contemporary British society. �Opera •;l 2nd 18.00 Opera House, Wednesday Oct 4 18.00 PAIhii cl? FACES THE PHILOSOPHER Qi Xiao Fu Alex Law Der Philosoph Rudolph Thome Hong Kong/ 1988/ 35mm/118 minutes/ Colour/ Subtitles West Germany/1988/ 35mm/ 84 minutes/ Colour Producer Leading Players Script Photography Editing Production Company Print Source Mabel Cheung, Alex Law Samo Hung, Cheng Pei-pei, Lam Ching-ying, Kam-bo Yeung-ting David Chung Kwong Chi Leung, Timothy Yu Golden Harvest/ Shaw Brothers Golden Communications Ltd Jackie Chan, Sarno Hung and Yuen Biao are three of Hong Kong's most popular movie stars. Their now-legendary climb to stardom began when they were children, indentured to a Peking Opera Academy in the early '60s. ‘Painted Faces' is a lyrical retelling of the ten years that these three spent under the iron thumb of Master Yu, their fierce and dedicated situ at the Academy. Relentlessly drilled in the traditional acrobatics, martial arts and songs of the Peking Opera, all the boys want is to listen to the Beatles, wear bell-bottoms and learn to dance with girls. In spite of their infatuation with Western culture, and their constant disobedience, the three are hammered into fabulous and disciplined artists by the merciless but devoted Master Yu. < 'Painted Faces’ is photographed in stunning, sorribre tones and features a remarkable young cast, including some perfect look-alikes for the future superstars. Director Alex Law has created not only a fond look back at a crucial period of Hong Kong cinema history, but also an elegiac tribute to the dying art-form of the Peking Opera and the beloved Master Yu. Producer Leading Players Script Photography Editing Music Production Company Print Source Rudolf Thome Johannes Herschmann, Adnana Altaras, Friederike Tiefenbacher Rudolf Thome Reinhold Vorschneider Done Volz-Mammarella Hanno Rinne Moana-Film, Berlin Mainline Pictures ■ The naive and virginal young philosopher enters a clothes shop, only wanting to buy a new suit; but the three graces who work in the shop decide to take him up, body and soul. Claiming to be “time agents” who have been searching for him, they seduce him into a four-in-a-bed menage, caring for his every need, nursing him when he is sick,recapturing him when he flees, and finally reconciling him to this cosy arrangement. On the surface, just another male wish-fulfillment fantasy, 'The Philosopher” has intentions that go somewhat beyond this: "I am playing and also I am extremely serious" says director Rudolf Thome. "I know that implies a contradiction. And yet it is the truth. In the film there are also contradictions difficult to solve. If reality is contradictory, we must change our ways of thinking. And if we change our ways of thinking, the meeting with the three goddesses is no longer something as absurd as it first seemed to our Cartesian mind." “[The Director] handles it all with a brisk sense of humour. The actors enter into the spirit of the fun, disrobing regularly for the numerous bed scenes." David Stratton Variety I 25 i �I Opera House, Saturday Oct 7th 16.00 Opera House , Wednesday Oct PLAY ME SOMETHING A PRIVATE LIFE 16.00 Timothy Neat Francis Gerard Scotland/1988/35mm/ 80 minutes/ Colour South Afrlca/England/ 1989/ 35mm/ 95 minutes/ Colour Executive Producer Producer Leading Players Script Photography Editing Music Production Company i Pnnt Source fI Colin McCabe Kate Swan John Berger, Hamish Henderson Margaret Bennett, Tilda Swinton John Berger Chris Cox, Timothy Neat Jean Mohr Russell Fenton Jim Sutherland British Film Institute/ Channel Four/ Scottish Film Production Board British Film Institute 'Play Me Something’ is set in the waiting room of the world’s only tidal airport, in Barra in the Outer Hebrides. Planes land here, on the cockleshell beach, to a timetable dictated by the rising and falling of the tides. A group of travellers are waiting for a delayed flight to Glasgow. The island electrician (Hamish Henderson) arrives by horse and cart to mend the waiting room television. He is a singer and has a 'conspiratorial' relationship with a stranger (John Berger, the distinguished art historian and author, in his first acting role), who arrives in from the beach, sits down with the assembled group and recounts the tale that lies at the heart of this film: a love story, set in Venice .that tells of the meeting of Bruno and Marietta, who meet at a festival organised by the Communist daily newspaper 'L’Unita' on the island of Giudecca. The development of their relationship is presented in a series of black and white photographs, reflecting Berger’s and Neat’s commitment to making a film faithful to the formal distancing from reality you get in the narrative of a storyteller. The result is a blend of documentary realism with a love story told through folk tales, poetry and song which was a deserving winner of this year's best film prize at Barcelona. 26 .... Executive Producer Producer Leading Players Script Photography Editing Music Production Company Print Source Francis Gerard, Roland Robinson Francis Gerard Bill Flynn, Jana Cilliers Kevin Smith, Ian Roberts Andrew Davies Nat Crosby Robin Sales Trevor Jones B.B.C. Enterprises Hobo Film Enterprises 'A Private Life’ documents the true story of Jack and Stella Dupont in their efforts to live an ordinary, private life across the horrific colour bar of Apartheid. They are not political activists - just ordinary people who want to do the decent thing by marrying and raising a family - a right the rest of us take for granted. But Jack is 'white’ and Stella is ’coloured’ and in 1950 the laws of Apartheid stated that for people of different races it was now a crime to marry, live together, or have sexual contact. Jack and Stella’s relationship is against the law and their life together is almost destroyed. The Dupont’s thirty-year fight against this monstrous injustice is echoed in director/producer Francis Gerard's fight to get the film made the way he felt that it needed to be - using a South African cast and filming in South Africa. Finally, with governmental permission to re-enter South Africa and the approval of the African National Congress, , the cameras finally started rolling, granting us this unique opportunity to see what life is really like under Apartheid. �Triske PRC ,6.00 ro KEEP Opera House, Saturday Oct 7th 20.30 ROSALIE GOES SHOPPING Ginny Durrin Percy Adlon USA/ 1988/ 16mm/ 57 mir.utos/ Colour West Germany/ 1989/ 35mm/ 94 minutes/ Colour Producer Leading Players Script Photography Editing Music Production Company Ginny Durrin Marrin Sheen (Narrator). Mitch Snyder Aviva Kempner (Narration) Giny Durrin Reuben Aaronson Marian Hunter The Richard Smallwood Singers Durrin Films Producer Leading Players Script Photography Editing Music Production Company Print Source Percy Adlon. Eleanor Adlon Marianne Sagebrecht, Brad Davis, Judge Reinhold Erika Blumberger Percy Adlon. Eleanor Adlon Christopher Doherty Bernd Heinl Jean-Claude Piroue Bob Telson Pelemele Film Mainline Films The promise is an undertaking by the US government to turn a rundown building into a shelter for the homeless. When it becomes clear that no funds are forthcoming for the project, Mitch Snyder and 11 others decide to go on a hunger strike. From his deathbed 51 days later, Mitch succeeds in his mission. 'Promises to Keep' the latest film from award-winning documentary film director Ginny Durrin combines revealing portraits of bureaucrats, activists and homeless people as they meet in controversial public hearings and confrontations. Narrated by Martin Sheen, it is a powerful indictment both of America's record of caring for its less fortunate citizens and of the insensitivity of bureaucrats everywhere. With her seven children and innocently infatuated husband, a cropduster pilot afraid that he can no longer see well enough to retain his pilot's licence, she lives in Stuttgart, Arkansas, a land of open prairies and bright, childish primary colours. The main pastime of this family appears to be merrily chanting the refrains of TV commercials. Life offers a wealth of opportunities, and Rosalie's gift lies in never resisting temptation. ". . .Worthy of Frank Capra for the way it pits stubborn idealists against an aloof and even vindictive bureaucracy.” Washington Post I 'Rosalie Goes Shopping' features Marianne Sagebrecht, heroine of 'Bagdad Cafe’, as a lady who looks and speaks and smiles like a large soft-centred confection topped with whipped cream, but comports herself as a human computer programmed with implacable greed to stock up on worldly goods. From a little light forgery and manipulation of credit cards, Rosalie moves swiftly on, hacking into the bank’s computer system, going corporate, threatening to go multinational. Everything, more or less, is confided in her priest (Judge Reinhold), who emerges from the confessional and takes to the financial pages. 'Adlon's latest. . . is not so much a satire on consumerism as a fantasy about a barracuda disguised as a cream bun.’ Penelope Houston Sight and Sound 27 �Opera House, Monday Oct 2nd 20.30 Opera House, Tuesday Oct 3rc SIGNS OF LIFE 30 SPLENDOR John David Coles Ettore Scola USA/1988/ 35mm/ 91 minutes/ Colour Italy/France/1988/ 35mm/ 99 minutes/ Colour/ Subtitles p—7 Executive Producer Producer Leading Players Script Photography Editing Music Production Company Print Source Cary Brokaw, Lindsay Law Marcus Viscidi, Andrew Reichsman Beau Bridges, Vincent Phillip D’Onofrio Arthur Kennedy Mark Malone Elliot Davis William A. Anderson, Angelo Corrao Howard Shore Avenue Pictures Virgin Vision There’s a flicker of magic in the fishing town of Easthasset, Maine, and more than meets the eye among the lobster boats and warehouses of her sagging waterfront - love, loss, the insults of age, and the first cry of the newborn. i The juxtaposition of hope and hopelessness, beginnings and endings, and all the contradictory joys and sorrows that make up our experience of the ordinary - are the basis of this charmer of a picture. In one extraordinary 24 hours, the lives of Owen Coughlin and his small group of shipyard workers are turned upside down as the grip of progress (in the form of fibreglass boat construction) tightens around the tiny shipyard that has borne the Coughlin name for generations. 'Signs of life’ is the story of a group of people faced with the end of everything that they knew. But it is also much more. As one man loses his job, another walks side by side with the affable ghost of his father. While a woman seduces her wandering lover in the front seat of his '69 Chevy, a couple of miles away a boy thought dead starts back to life. Throughout Easthasset, the ordinary embraces the magical, amd suggests that there is an order and balance to even our most frenzied days. 'Signs of Life' speaks of the possibilities of hope and renewal. “A heartwarming gem of a film, made in the same vein as ‘Local Hero” Variety . .gifted director John Coles, making his debut, and a superior cast handle (the film] with enthusiasm, skill and determination.. John Griffin 28 Producer Leading Players Script Photography Editing Music Production Company Print Source Mario Cecchi Gori Marcello Mastroianni, Massimo Troisi, Marina Vlady, Paolo Panelli Ettore Scola Luciano Tovoli Francesco Malvestito Armando Trovaioli Cecchi Gori Group, WarnefeBrothers In the small town of Arpino, in Italy, the Splendor cinema is being dismantled, pending redevelopment, watched sadly by its owner, Jordan (Marcello Mastroianni) and usherette Chantal (Marina Vlady). With his father,who ran a mobile cinema, Jordan had travelled about the country providing the musical accompaniment to films like 'Metropolis’. The Splendor was inaugurated in 1937 with a screening of 'Scipione L’Africano' and the enthusiastic endorsement of the Fascist government. Jordan went on to spend two years in the Italian army and two years with the Yugoslav partisans. The Splendor went through many good years after the War, aided in part by the ample figure of Chantal, who had many admirers in the audience, drawing warnings of hellfire and damnation from the priest. With the advent of television, though, attendances began to fall (cheap horror films and the projectionist’s idea of a Soviet season didn’t help). Two staunch regulars remained, however: Cocomero, local film critic, and Signor Paolo, who was in love with Chantal. Even their support could not prevent the Splendor's eventual demise as financial problems mounted and a local industrialist forced Jordan to sell out. He takes ten million Lira off the selling price for the satisfaction of slapping the industrialist’s face. He remembers coming home from the War to find the entire population of Arpino enthralled by the uplifting ending of Frank Capra’s 'It’s A Wonderful Life.’ As he watches his cinema being taken apart, he is startled to see (or imagine) all the townsfolk flocking inside, sitting on seats before they can be removed, singing Auld Lang Syne (in Italian), and recreating the happy ending of 'It’s A Wonderful Life’, a community momentarily united by the rapture of the screen. “An affectionate valentine. . . There is a delicious mood to its nostalgia” International Herald Tribune �Opera Ho Oct 7th 18.00 SWEl Jane Campion Australia/ 1989/ 35mm/ 97 minutes/ Colour Opera House, Friday Oct 6th 20.30 TRAGEDY IN THE ROCK STYLE Savva Kulish U.S.S.R./ 1989/ 35mm/150 minutes/ Colour/ Subtitles Producer Leading Players Script Photography Editing Music Production Company Print Source John Maynard, William MacKinnon Genevieve Lemon, Karen Colston, Tom Lycos Jon Darling Gerard Lee Sally Bongers Veronika Haussler Martin Armiger Arena Film Pty. Ltd. Australian Film Commission Leading Players Script Photography Music Production Company Print Source Kay is frightened of the future and of the present, of life and of death, of loneliness and of love; she’s frightened of trees that wither and die, frightened of shadow and of light, frightened of giving herself up to her dreams and her memories. When a clairvoyant describes minutely the man in her life, Kay, suddenly strong and decisive, sets up home with Louis, the ex-boyfriend of a colleague. After a year of apparent happiness, however, her fears gradually reemerge; she turns away from Louis and begins to withdraw inexorably into herself. That's when her older sister, Sweetie, appears. Sweetie is fat, whining, retarded, given to appalling tantrums. She loses no time in turning Kay’s world upside down with her capricious demands, her voracious sensuality, her enormous appetites and terrifying rages. I Kay struggles gamely with this whirlwind, and with her useless parents, but she cannot escape from Sweetie’s overpowering influence, her thirst for love, her terrifyingly inexhaustible energy. When in the end Sweetie disappears, Kay, now calmer, rediscovers the pleasures of life and of love... Yuri Lazarev. Alexei Shkatov Albert Filozov Savva Kulish Vladimir Klimov, Vladimir Fastenko Oleg Karavaichuk Sergei Kuryokhin Moslilm Studio (U.S.S.R.), Cosmos (France) So vex portfilm On the cutting edge of Glasnost, 'Tragedy in the Rock Style’ has shocked Soviet audiences with its frank sexual content and its (hitherto unheard of) revelations of the use of drugs by Soviet youth. "Before Gorbachev, I just couldn't have done anything like this. . . “ says director Savva Kulish. “ When I first proposed the idea seven years ago they all told me ‘Savva, You’re mad’. Times have changed." The film tells of a teenager, Vitja Bodrov, whose world is torn apart when his father is arrested for corruption. Formerly a student of some promise, Vitja becomes manicdepressive and falls under the influence of a sinister, charismatic, shaven-headed mystic called Kumir. Kumir leads Vitja into a twilight world of drug-addiction, wild orgies and organised crime. In scenes unprecedented in Soviet cinema, the audience is shown in graphic detail intravenous drug use and an orgy which culminates in the on-screen rape of Vitja's step-sister by his 'spiritual master'. Vitja’s tragedy is complete when, following a spectacular car­ chase, he crashes his father’s car head-on into a bridge in a vain attempt to avenge himself on his tormentor. "(The film] is made according to the laws of a classic tragedy, the characters of which die. So in genre it is a tragedy and rock is a musical essence of our time. ...narcoticism is not the main thing. The film tells of spiritual addiction, the victim of which is a boy, betrayed by his own father...” Sawa Kulish I "The scenes of [Vitja’s] degeneration are notable for the extraordinary camera-work, taking on Dali-esque visions." International Herald Tribune 29 ■ . �Trlskel, Saturday Oct 7th 16.00 Opera House, Sunday Oct Sth TWILIGHT CITY . 0 VENUS PETER Reece Augulste Ian Sellar England/1989 / 16mm/ 52 minute*/ Colour Scotland/1989/ 35mm/ 94 minutes/ Colour r ! Producer Script Photography Editing . Music Print Source I I Avril Johnson Edward George Jonathan Collinson Brand Thumin Trevor Mathinson Black Audio Film Collective After thirty-five years of living in London, Olivia’s mother, Eugenia, returns to Dominica, vowing never to return. Ten years later, a letter from her breaks the silence. Eugenia wants to come back. Olivia is a journalist, researching ‘The New London and the Creation of Wealth’. The ‘New London’ ,a fading world of being and unbelonging - Clause 28, 'Invisible Communities’, the homeless and displaced, and voracious 'redevelopment' - has all but annihilated the London of Olivia’s youth. She wonders what she is going to tell her mother. Using a combination of fictional biography, archive footage, and narration, "Twilight City” shifts between being a documentary meditation on the increasingly dystopian effects of untrammelled redevelopment, and a journey through landscapes of disenchantment. Executive Producer Producer Leading Players Script Photography Editing Music Print Source Colin McCabe Christopher Young Ray McAnally David Hayman Sinead Cusack Gordon R. Strachan Ian Sellar, Christopher Rush Gabriel Beristain David Spiers Jonathan Dove Recorded Releasing Ltd. A christening in seawater gives young Peter (9 year old Gordon R. Strachan in a brilliant, touching first performance) an unusual start in life and an insatiable passion for the sea and his grandfather’s fishing boat, the Venus Peter. He imagines his mysteriously absent father to be a ship’s captain, dreaming of his return in a ship so large it will fill the whole harbour; but he finds himself closest to his grandfather (Ray McAnally in one of his last screen roles). Grandfather’s gift of a telescope opens up new worlds to him, and the world of Peter’s imagination merges with the real world of the eccentric inhabitants of the little Scottish fishing town Peter's life is full of events: he almost drowns; a whale is beached on the shore, and Peter tries unsuccessfully to kill it with his grandfather’s harpoon; the tyrannical village teacher suddenly dies, and her young successor stirs Peter’s dormant interest in poetry. He falls in love with her but falls out of love again when he witnesses her, through his telescope, making love with a stranger on Halloween night. Peter’s world is further eroded by the return of his father, who, much to his disappointment, is not a seacaptain but an ordinary businessman, and by the sale of the Venus Peter due to the depletion of the fish stocks. The film ends on an optimistic note as the Venus Peter is driven out of town on a lorry and Peter returns to the sea the carved model of the ship under which he was baptised. "...one of the outstanding debuts of the year, both for its control and its lack of easy sentimentality.” Derek Malcolm The Guardian I ao �(6.00 Triskel, S VOIC )M . ;Oi.. THE ATTIC Debbie Goodstein USA/ 1988/ 16mm' 57 minutes/ Colour Trlskel, Monday Oct 2nd 16.00 WHERE THE HEART ROAMS George Csicsery USA/1987/16mm/81 minutes/Colour I ... Producer Script Photography Editing Music Print Source Awards Debbie Goodstein Debbie Goodstein, Jim Butler Oren Rudavsky Toby Shimin Ken Masur, Russ Landau, The Penguin Cafe Orchestra Siren Pictures Corp. Golden Gate Award, San Francisco 'Voices from the Attic' is a moving personal document of Holocaust remembrance from a second-generation American perspective. Filmmaker Debbie Goodstein and five of her cousins travelled to Poland with their aunt to see for themselves the peasants' attic where their parents and relatives hid during the war. This two year long hell of starvation, claustrophobia, sweltering summers and freezing winters had bled into the collective psyche of the survivors’ children. The young people had all experienced a fascination with attics and experienced a deep subconscious terror when in a small room or subway. The viewer witnesses a partial exorcism of this fear through visiting the places and the people that shaped this traumatic family history. ( Producer Leading Players Script Photography Print Source George Csicsery Barbara Cartland. Janet Dailey, Chelley &Ted Kitzmiller George Csicsery John Knoop New Yorker Films 'Where The Heart Roams’ follows the journey of Chelley Kitzmiller, a Californian housewife - who credits an historical romance novel, 'Sweet Savage Love' with changing her life. The book inspired in her to a consuming passion for the romantic genre that eventually led to 'The Love Train’ - a 3082 mile rail trip organised by Kitzmiller to transport a contingent of romantic novel-addicts from Los Angales to the Romantic Novel Booklovers Convention in New York in 1982, which the 'Queen Of Romance’ and world’s best­ selling novelist, Barbara Cartland (370 novels written, over 400 million copies sold of such heart -throbbers as ‘Velvet Ecstasy) was gracing with her presence. On board the Love Train, apart from the hordes of fans, were several best­ selling romance authors,and a cynical 'Playgirl' reporter. Along the route, the Train stops to meet the fans, who treat them like rockstars, and provide the viewer with an insight into a bizarre publishing phenomenon that counts some 20 million American women among its devotees. While observing all that is about him with a cool and nonjudgmental eye, Csicsery focusses at the same time on some additional elements."...The industry....created another forum for all kinds of societal issues to be debated: questions of sex, feminism, types to male heroes, different behaviours” Highlight of the film is the rendition, by Miss Cartland of “A Nightingale Sang in Leicester Square", her hesitant,86-year-old soprano making flesh the void of loneliness and quiet despair in the hearts of so many women that is filled only by such slush as "Soar and Surrender" or "Passion's Proud Promise"."A fascinating look at an American subculture" Variety 31 �34th CORK FILM FESTIVAL - FULL PROGE ME TRISKEL ARTS CENTRE CORK OPERA HOUSE SUNDAY Oct 1 SUNDAY Oct 1 20.30 OFFICIAL OPENING THAT’S ALL RIGHT B. McCannon IRL (4m) SUNDAY John Lawlor IRL (10m) JESUS OF MONTREAL Denys Arcand CAN (118m) 11.00 13.30 Shorts Programme US and Canada 1 OUT OF THE RAIN P. Beere Briggs US (21m) AN EMPTY BED M. Gasper US (56m) VOICES FROM THE ATTIC D. Goodstein US (59m) PROMISES TO KEEP G.Durrin US (57m) MONDAY Oct 2 MONDAY Oct 2 14.00 Hommage Section CITIZEN KANE Orson Welles US (119m) THE KITCHEN CHILD Joy Perino England (11m) MELANCHOLIA Andi Engels England ( 87m) ONE MAN’S MEAT Lai Ngan Walsh England (11m) PAINTED FACES Alex Law Hong Kong(118m) ANIMATED SELF PORTRAITS (8m) DARK SLIDE OF A TROMBONE H. Toint BEL(14m) SIGNS OF LIFE J. D. Coles US (91m) 11.00 Shorts Programme Europe 1 LIGHTING OVER BRADDOCK T.Buba US (80m) WHERE THE HEART ROAMS G.P.Csicery US (81m) 16.00 18.00 20.30 16.00 13.30 16.00 TUESDAY TUESDAY Oct 3 14.00 ! Oct 3 Hommage Section HIGH NOON, S. Kramer US (85m) GEH KINDE GEH Crispen Reece England (11m) MANIKA MANIKA (THE GIRL WHO LIVED TWICE) F.Villiers France THE HANGOVER Giblets England (11m)HIGH HOPES Mike Leigh England (110m) THE BURDEN G. Breaud France (13m) SPLENDOR Ettore Scola Italy (125m) 11.00 Shorts Programme US and Canada 2 IN FADING LIGHT Amber Films England (104m) COMRADES AND FRIENDS N. Godwin/S. Krishnamma, England, (54m) THE WORLD IS WATCHING P.Raymont CAN (59m) 16.00 18.00 20.30 13.30 16.00 WEDNESDAY Oct 4 WEDNESDAY Oct 4 14.00 11.00 16.00 i■ 18.00 20.30 Hommage Section THRONE OF BLOOD A. Kurosawa Japan (105m) DARK ROOM J.Bernard France(14m) A PRIVATE LIFE F. Gerard South Africa (95m) THE ABDUCTION OF EUROPE Hartmut Jahn F(13m) THE PHILOSOPHER Rudolf Thome FDR (84m) YOUR OPINION PLEASE H. Honigmann NL (12m) MYSTERY TRAIN J. Jarmusch US (113m) 13.30 16.00 Shorts programme Ireland 1 Focus Section SHELLSHOCK ROCK (50m) SELFCONSCIOUS OVER YOU (40m) EAT THE KIMONO 20th Century Vixen England (60m) CHARLOTTE’S DIARY P.Goossen NL (40m) J �>PERA HOUSE HURSDAYC. . 14.00 TRISKEL ARTS CENTRE THURSDAY Oct 5 Hommage Section MANHATTAN Woody Allen US (96m) LET'S GET LOST Bruce Webber US (119m) LALALA HUMAN SEX DUO NO. 1 B. Herbert CAN (8m) THE LEGEND OF THE HOLY DRINKER E. Olmi Italy (125m) PAS A DEUX M. Renault/ G. van Dijk NL (6m) EXTERIOR DAY FOREST M. Salmon FR. (5m) CELIA Ann Turner AUS (103m) 11.00 FRIDAY Oct 6 FRIDAY Oct 6 14.00 Hommage Section WINGS OF DESIRE Wim Venders FDR (128m) MAIDER Arantxa Lazkano Spain (13m) MALPRACTICE B. Bennett AUS (90m) BEYOND REACH D. McArdle IRL (17m) CONQUEST OF THE SOUTH POLE Gillies MacKinnon Scotland (90m ) HINDU KUSH B. Trautmann FDR (11m) TRAGEDY IN THE ROCK STYLE S. Koulish USSR (152m) WORK EXPERIENCE J. Hendrie England (11m) LENNY LIVE AND UNLEASHED A. Harries England (94m) 11.00 Shorts Programme US and Canada 3 Focus Section POWER IN THE BLOOD MY NAME IS BERTOLT BRECHT N.Bunge/C.Fisher-Defoy FDR (95m) 16.00 18.00 20.30 16.00 18.00 20.30 23.30 SATURDAY Oct 7 13.30 16.00 13.30 16.00 Shorts Programme Europe 2 Focus Section ROUTE 66 (120m) CHINA DIARY J.Yang US (57m) IRISH WAYS A.MacCaig FR (53m) SATURDAY Oct 7 THE HILL FARM Mark Baker England (18m) ARIEL A. Kourismaki FIN (74m) BLACKWATER SUMMER L. O’Connor England (29m) PLAY ME SOMETHING T. Neat Scotland ’ (80m) KITCHEN SINK A. Maclean NZ (14m) SWEETIE Jane Campion AUS (97m) 6/4/33 H. Hess IRL (9m) TOUR D’AMOUR V. El-Mer FDR (9m) ROSALIE GOES SHOPPING P. Adlon FDR (94m) DICK J. Mennell US (15m) HEATHERS M. Lehmann US (102m) 11.00 SUNDAY Oct 8 SUNDAY Oct 8 13.30 CAMP THIAROYE O. Sembene/T. Faty Sow Senegal (150m) NIVIS S. Goulet CAN (10m) FRAGMENTS OF ISABELLA R. O’Leary IRL (77m) THE LOUNGE BAR D. McGIashan/H. Sinclair NZ(12m) VENUS PETER I. Sellar Scotland (92m) OFFICIAL CLOSING Awards Ceremony, followed by screening of the prize-winning Short Film. 11.00 NORTHERN LIGHTS Programme 1 NORTHERN LIGHTS Programme 2 1996 K. Francis Wales 14.00 16.00 18.00 20.30 23.30 16.00 18.00 20.30 13.30 16.00 13.30 16.00 Shorts Programme Ireland 2 Focus Section DUST ON THE BIBLE TWILIGHT CITY R.Auguiste England (52m) DEREK JARMAN - You Know What I Mean L.Postma England (52m) NOTE: All films will be screened in the above order. For details on the Shorts Programmes see separate page. ♦ EAT A BOWL OF TEA W. Wang US (104m) 4 33 . *r it r ■ w \ �Trlskel, Tuesday Oct 3rd 16.00 THE WORLD IS WATCHING Peter Raymont Canada/1988/ 16mm/ 60 minutes/ Colour ft; dcLacv Jtcnisc 74 OLIVER PLUNKETT STREET CORK, IRELAND Telephone (021)270074 CORKS LEADING ENTERTAINMENT VENUE Producer Script Photography Editing Music Production Company Print Source i Harold Crooks, Jim Monro. Peter Raymont Harold Crooks. Peter Raymont Dan Holmbereg, Martin Duckworth, Frank Pineda John Kramer Doug Wilde Investigative Productions Inc. Telefilm Canada Who decides what is news? How do they decide? How much of what we see and read is true, or even factual? And what of the men and women in the field; are foreign correspondents allowed to tell all that they see, or are they just mouthpieces for an invisible editorial line? ‘The World is Watching’ examines these issues - the key moral questions of the electronic age - by focussing on several journalists working in Nicaragua during the negotiations surrounding the Arias Peace Plan in November 1987. The filmmakers won unprecedented access to film inside ABC TV News - following a crew on the ground in Nicaragua, while simultaneously documenting the editorial process in the ABC newsroom in New York. Through them, and other journalists on the spot, they examine how the news business works - revealing the inevitable distortions that become part of the process. Journalists criticise their profession from the inside. They question the enormous pressures they face: the deadlines, the demand for sensationalism, and editorial decisions that are made far from the action. "We have to acknowledge that the notion of journalistic objectivity is nonsense," says director Peter Raymont. 'Every time you turn on a camera, you’re expressing a point of view." "A brilliant piece of work, documentary-making of the highest order.’ The Nation “Nothing could illustrate more clearly the extent of news management than ‘The World is Watching’. The Independent Wishes the 34th Cork Film Festival the best of luck and continued success. de-Lacy House > a luxurious Lounge Bar With Meals Served Daily plus The Best of Live Acts Why not drop by for a visit 40, Paul Street, Cork and Douglas Village, Co. Cork. RESTAURANT WINE BAR TRADITIONAL PIZZAS FRESH HAND-MADE PASTAS GRILLS - FISH - OMELETTES FULL WINE LIST 34 OPEN: 12 noon - 11.30 p.m. Sunday 5 p.m. - 11 p.m. �Luxury by the, Lee f ‘or [uTQiry, friendliness and efficiency the Metropole s bars and restaurant can't be beaten. P ‘ rinters Printers and Stationers 41 Paul Street, Cork Tel: (021) 277707 Continued success to the Cork Film Festival COUNTRY CLUB HOTEL I McDonalds Me Donal | TM 4/5 Winthrop Street, Cork Montenotte, Cork City Grade ‘A’ Bedrooms Excellent Restaurant Luxury Lounge Bars For further details Telephone (021) 502922 Tel: (021) 272175 Fax: 272116 Congratulates The Cork Film Festival 1989 OPENING HOURS: Sunday: 10 a.m. to 11 p.m. Mon/Tues/Weds: 11 a.m. to 12 p.rp. Thurs/Fri/ Sat: 10 a.m. to 12 p.m; I �SHORT FILM PROGRAMME AND EUROPEAN SHORT I COMPETITION Europe 1 Cork Film Festival has, since its inception championed the art of the short film and remains one of the few international festivals to include a Short Film Programme.This year we have had an unprecedented number of entries. Of the films selected for screening, some will be shown accompanying features in the Opera House. Others have been grouped into the short film programmes below and will be screened in Triskel Arts centre. The Festival is proud to have the support of the European Commission for its European Shorts Film Competition. This year we are enabled to award a prize of 10,000 ecus to the winning film, which must be 30 minutes or less and originate in a member stae of the Council of Europe. The festival’s wish is that the prize money be devoted to having the winning film subtitled or dubbed into Community languages, thus aiding the film in achieving the maximum possible audience. We are grateful to Mr. Terry Stewart, Director of the EC Dublin Office for his continued support of the competition. The Gus Healy trophy and a cheque for £1,000 will be awarded to the director of the best Irish short in competition. We are grateful to Warner Home Video (Ireland) for their sponsorship of this prize. Admission to the Triskel Shorts Programmes is free to those holding Festival Membership Cards. GRAND NATIONAL. Sue Loughlin. GB. 8m KRAUSE .. . , Christoph Doering, FDR, 12m SAHARA, Francois Loubeau, Fr, 4m THE UNKINDEST CUT, Jim Shields, GB. 10m WATER'S EDGE, Suri Krishnamma, GB, 35m Europe 2 THE WASTED CALL, Tim Rolt, GB, 10m REMORSE, Simon Howard, GB, 13m A PLACE AWAY, Ellie O'Sullivan, 10m GRAN DE CIEL, Manual Sanchez, Fr, 12m LA CHAMBRE, Joelle Bourvier, Regis Obadia, Fr, 9m L'ETREINTE, Joellle Bourvier, Regis Obadia, Fr, 5m THE SOULFUL SHACK, John Roberts, BG, 12m Ireland 1 A COWBOY ON JUPITER. Stephen Kane, 11 m COGITO ERGO PHUQ, Tony Kenny. 10m POOCHERS, Denis McArdle, 17m LEMON, Tony Fitzpatrick, 16m END OF PART 3, lain Keeney, 13m BIG SWINGER, Declan Recks, 15m Ireland 2 THE METAL MAN, Brendan McCarthy, Geraldine Creed, 12m OICHE ST, Steve Woods, 6m SPLICE OF LIFE, Martin Duffy, 15m SUSPICIOUS MIND, Hugh Farley, 18m LONDON SUITE, Vivienne Dick 28m SEMINAR SHORTS PROGRAMME US and Canada 1 I THE AFTERLIFE OF GRANDPA, P.J. Pesce, US 24m AMERICAN EXIT Egidio coccimiglio, Canada 10m A CONSTANT STATE OF DEPARTURE, Lidia zajko, US 11m A LIGHT AND EVERYTHING, T.W. Oliphant Jnr., US 14m OUTRAGEOUS TAXI STORIES, JOE BERLINGER, US 1 I 25m =1 US and CANADA 2 TRACKS, Rupert A. Nadeau, US 22m PARIS X 2, Jay Rosenblatt, US 26m ONE DAY AT A TIME Richard Morasci US 11m SWINGIN' IN THE PAINTER'S ROOM, Greg Mottola, US 14m HIRAEZH, Christine Leahy, US 20m US and Canada 3 MULTIPLY CHOICE, Debbie McGee, Canada, 23m JUST A CARTOON, Jon Minnis, Canada, 6m THUNDER AND LIGHTING, Jonathan Nordlict, US 13m A SHRINE ON THE ROAD, Liam Lockhart, US KYRIE ELEISON, Assad Fouladkar, 25m ■ LOCAL FILM MAKING - CULTURE & COMMERCE The seminar will explore the current state of film funding in Ireland, Scotland, Wales and England and through the MEDIA 92 Programme, and its implications for the nature of the productions which secure funding. Among those participating will be: Penny Thomson, Director of the Scotish Film Production Fund which invested in the three Scottish features showing at the festival, PLAY ME SOMETHING, VENUS PETER and CONQUEST OF THE SOUTH POLE; Cathal McLaughlan, founder member of Belfast Independent Video, director of MOVING MYTHS, screening in the 'Northern Lights" section and currently working as co­ ordinator of the Network of Workshops. Alan Gilsenan, founder member of Yellow Asylum Films, director of 'Eh Joe' and 'The Road To God Knows Where', and Chairperson of the Action Committee for a Single State Agency for Film. The seminar will take place in the lecture theatre of the Crawford Municipal Art Gallery on Friday October 6th at 11.00 am. Admission is free. 36 �TE /-■ URO iON OF AMERICAN EXIT Egldlo Coccimiglio Canada/1988/ 16mm/10 minutes/ Black and White -ie Entfuhrung Europas Hartmut Jahn West Germany-’ 1988/ 35mm/ 13 Minutes/ Colour Producer and Script Photography Editing Music Print Source Hartmut Jahn Carlos Bustamante Inge Schneider Ulrich Bubu Bauer Hartmut Jahn Producer Script, Photography & Editing Music Print Source Christopher Porter Egidio Coccimiglio Frank Sinatra. Mahalia Jackson, The Falcons Egidio Coccimiglio A contemporary reflection on the old European mythology of the abduction of Europe. An experimental mix of film and video, brought to us by the makers of ‘Berlin Blue’, one of the hits of the 1987 festival. A ten-minute poetic documentary that takes the viewer on a nostalgic trip through the ’sixties - a decade full of promise but riddled with contradiction. THE AFTERLIFE OF GRANDPA ANIMATED SELF-PORTRAITS P.J. Pesce USA/ 1988/ 16mm/ 24 Minutes/ Colour Producer Leading Players Script Photography Editing Music Print Source Awards P.J. Pesce Matteo Canmzaro, Frank Vincent Heather Juergensen, P.J. Pesce P.J. Pesce Paul Gibson P.J Pesce Greg Ribot Gobbadosta Productions. 1989 Houston Int. Film Festival Special Gold Jury Prize - Top Student Film A dramatic comedy about the ghost of an old Italian grandfather who, returns to try to seduce his grandson’s girlfriend. International Animators USA/ 1989/ 35mm/ 8 Minutes/ Colour/ Animation Producer Animators from Print Source David Ehrlich USA, Yugoslavia, Estonia, Czechslovakia. Japan International Animators Nineteen animators from five countries join together for a series of animated impressions of themselves 37 �Dll DELLAR FREIGHT LTD. INTERNATIONAL FREIGHT FORWARDERS Unit 4, Ballycureen Industrial Estate Airport Road, Cork. Tel: (021) 311427. Fax: 314107 I DOUGLAS INSURANCES I GENERAL BROKERS LIMITED Morris House, Douglas West, Cork, Ireland. Telephone (021) 362697/362124 i Ii> Contact Peter Kirwin Phone: (021) 362697,362291 or 362309 Fax: (021) 362124 ,-s^i wi Insuring the continued success of the CORK FILM FESTIVAL �EYC \CH BLACKWATER SUMMER 'ills McArdle Chris Dudman l.ind/1989/ 35nm;/ 17 minutes/ Colour Britain/ 1989/ 35mm/ 29 mlnutas/ Colour Executive Producer Leading Players Script Photography Editing Music Print Source Denis McArdle Dave Carey, Mai Whyte, Ger Ryan Denis McArdle Jack Conroy Oliver Fallen Jim Lockhart Denis McArdle Robert, a lonely artist, is haunted by the image of a mysterious woman. He becomes obsessed with capturing this image in order to prove his sanity. Photographed by Jack Conroy, whose credits include work on 'My Left Foot.' BIG SWINGER Producer Leading Players Script Photography Editing Music Print Source Awards Penny Lane, Lance O'Connor Ray Brooks, Sharon Duce, Maya Spiers Chris Dudman Josh Goodswen Giles LLewellyn-Thomas Teresa Flisek Royal College of Art 2nd Academy Oscar, Golden Square Films Award The endless summers of memory, and of childhood. A perfect place on an island in the Blackwater estuary. Suddenly this paradise of the innocent is shattered by tragedy. THE BURDEN Declan Recks Le Fardeau Guillaume Breaud Ireland/ 1989/ 16mm/15 minutes/ Colour France/1988/ 35mm/13mlnutes/ Colour/ Subtitles Producer Leading PLayers Script Photography Editing Music Print Source Declan Recks, Cathy Davis Tom Hickey, Kevin Reynolds Charlie Roberts, Donncha Crowley Declan Recks Liam O'Neill Anne O'Leary, Declan Recks John Rabbitte Declan Recks/Cathy Davis Jimmy is an ex-showband drummer who runs a pirate radio station in a small Midlands town. When the signals from Jimmy’s transmitter start interfering with passing aeroplanes, the authorities send in the heavies to close down the station, but Jimmy isn’t going to give in without a fight... Producer Leading Players Script Photography Editing Music Print Source Dantd Desarthe Malcom Scrannage. David Nataf, Louise Boisvert. Pauline Dairou Nathalie Duong Minh Tam N Guyen Krishna Levy Baobab Production, Dant6 Desarthe Two children try to dispose of their dead mother's body, but problems emerge... 39 �CORK OPERA HOUSE The Premier Venue for Entertainment Plays • Musicals • Concerts Opera • Traditional Music Ballet • Panto Review & Variety Specialists in arranging FESTIVALS PRODUCT LAUNCHES & CONFERENCES CORK OPERA HOUSE pic, Emmet Place, Cork Spacious Bars and Catering Facilities available Programme Information: (021) 276357 Booking Office: (021) 270022 (usual cards welcome) The Opera House is grant-aided by Cork Corporation I WXRNER HOME VIDEO ■ are delighted to sponsor this years “Irish Film Director” Award. T 0 i N i IK X c. a\ ■I tr t.hpsn Irich I ^^-*i**^ Exclusive distributors for these Irish Productions which also include: Charles Haughe/s Ireland, The Dubliners Dublin, The Wolfe Tones and Tim & Judy. Coming Soon: The Irish R.M. and Simply Painting - with E A. Clarke. 40 �TER than Tammu E in/ 1989/35mm/11 !. •uiss/ Colour A CONSTANT STATE OF DEPARTURE Lidia Szajko USA/1989/ 16mm/11 minutes/ Black and White 4 ft <WanTA"’ „ OF r I < Producer Leading Players Script Photography Editing Music Production Company Print Source Deborah Carter Alun Armstrong, Lindsay Duncan Lucy Rivers Lib Stephen Jason Lehel Terry Rawlings Julian Nott Film Four International in Association with British Screen Film Four International Eight-year old Betty is sent to stay with her aunt on a remote Welsh farm while her mother has a baby. Her stepfather tells her that Uncle Stefano is accustomed to eating little girls who misbehave. COGITO ERGO PHUQ Producer, Script, Editing And Photography Leading Players Narrator Print Source Lidia Szalko Peter Chan, Lezlie Vincent Claire Chafee Lidia Szajko Productions A chronicle of the process of coming to terms with the inevitable loss of a relationship between dear friends, one of whom is dying of AIDS. The story is told through interior monologue and illustrated by the unfolding of a series of symbolic images. Tony Kenny . A COWBOY ON JUPITER Ireland/1989/ 16mm/10 minutes/ Colour/ Animation Stephen Kane lreland/1989/ l6mm/11mlnutes/Colour Producer, Animation, Script, & Editing Photography Print Source Tony Kenny Tony Fitzpatrick Tony Kenny Producer Script Leading Players Photography Editing Music Print Source A one-part animated soap-opera about the history of the world, starring Elvis Presley as God. Ben Yeates, Stephen Kane Jacqueline Mulvey, Michael O'Reilly Jr., Joe Hanley, John Kane Joe Tanham, lain Keeney Anne O'Leary. Amanda Sutton, Stephen Kane Barry Nolan Stephen Kane Jessica, a Leaving Cert student,attempts to psycho­ analyse Christie, whose odd ambitions range from being an astronaut to being a cowboy on theArizona Plains. 41 �GRAND PARADE HOTEL an sRoiOBbaaiLe ‘THE VILLAGE’ IMAGINE AN OPEN TURF FIRE TRADITIONAL MUSIC AND SET DANCING IN AN AUTHENTIC OLD IRISH VILLAGE OPEN EVERY NIGHT COME ALONG AND ENJOY YOURSELF If * 'f i a |p- A NEW (OLD) CONCEPT IN IRISH HOSPITALITY For late people, a late bookshop. ■ V; 69, Patrick Street, Cork. Tel: (021) 276522,276002 Open: Mon. - Fri. 9 am. 9 p.m. Sat. 9 a.m. - 7 p.m.. Sun. 12 noon - 7 p.m. 42 �DICK RK E Jo Menell |._ ;hambre Noir Bv lard Jourdain USA/1989/15 minutes/ Black and White Franco/ 1988/ 35mm/ 14 minutes/ Colour/ Subtitles Leading Players Script Photography Editing Music Print Source Berangere Bonvoisin, Jean O’Cotrell, Dems Lavant Nathalie Loubeyre Michel Pasquier Anmck Baly Jean-Christophe Desnoux Austral Film A man. A woman. A fortuitous encounter on the side of the road. Two solitary people who decide to share the night. A journey, a long journey. The search for a place lost since childhood. Words of love, of terror. . . the cry of a man lost in 'the marsh’. THE DARK SLIDE OF A TROMBONE TROMBONE EN COULISSES Hubert Toint Producer Leading Players Photography Editing Music Print Source Jo Menell 1000 men, represented by their penises Jo Menell B. Moel John Cale Jo Menell, Bobo Movies This eye-opening parade of a thousand penises in fifteen minutes, accompanied by comments by one hundred women, is guaranteed to be a revelation to all. "The organs are more various than the creatures on Noah’s ark, and the movie is funny, revealing, wholly unprurient and oddly liberating" Philip French The Observer END OF PART 3 lain Keeney Ireland, 1989,16mm, 12 minutes, Colour Belgium/ 1989/ 35mm/14 minutes/ Colour/ Subtitles Producer Leading Players Script Photography Music Print Source Awards Genevieve Robillard Daniel J&gou. Adrian Brine Victor Gurnicky Walter Vanden Enden Denis Levaillant Atelier Jeunes Cindastes Best Film - Belgium A beautifully-made, surreal fable of the use of tradition - and trombones - as a means of social control. Producer Photography Script & Editing Leading Players Print Source Rachel Galligan Declan Recks lain Keeney Mai White, Jane Snow Arranmore House A story of love and romance; a dinner party shared by two people who once loved each other; a dinner of fine wines, fine foods...and doggie chunks. 43 �FAT FREDDY'S PIZZERIAS PIZZA AND BURGER RESTAURANT CAREYS LANE CORK TEL: 277915 14a FRENCH CHURCH STREET open midday till late phone - (021)272875 for reservations 1 X JI office systems I Our Star Cast [TOSHIBA] Ibfotherl FAX /OFFICk COt-ll US IfMEFAX I / it i tlfCTHONlC IVk'IrtHIII US CAICUI AIOHS/VII WII xl sihh [^PHILIPS, OiCIATlNG SVSIIUS OF F ICI I HHMTUKl 20 COOK ST. CORK TEL.021.270666 FAX. 272091 44 �FOREST h. R I! '■ GRAIN DECIEL Manuel Sanchez £xterleur Join Salmon F France/ 1988/ 35mm/ 12 minutes/ Colour :o/ 1988/ 35mm/ 5 minutes, Colour/ Subtitles Fl j Lv ■ -J r 4 J Producer Leading Players Script Photography Editing Music Print Source Marc Salmon Audr6 Obadia, Jean Clement. Vincent Chateau Marc Salmon Ghislam Vidal Pierre Didier Jean-Yves Peter Medium 5 Producer Leading Players Script Photography Editing Music Print Source Helene Viard Paul Bisiglia, Christophe Waiss Manuel Sanchez Miguel Sanchez Helene Viard Etienne Perruchon Orlando Films Two explorers and a porter are lost in the jungle, Three times, Tarzan the ape-man comes to their aid. An angel falls in a French village. GEH KIND GEH GRAND NATIONAL Crispin Reece Sue Loughlin England/ 1989/ 35mm/11 minutes/ Colour Britain/ 1989/ 35mm/ 8 minutss/Colour/ Animation Producer Leading Players Script Photography Editing Music Production Company Print Source Tina Jamieson Mana Charles, Bernard Spear Elizabeth Counsel, Peter Birell Julie Wassmer Michael Coulter Ian Weil Graham Presket Film Four International in association with British Screen. A Knowledge Production Film Four International After the death of Mendel Baruch, his son Lionel decides to invite some old family friends from New York for a funeral to remember. Producer & Animator Music Print Source Awards Sue Loughlin Peter Bridgman N.F.T.S. Beaconsfield Studios, Annecy 1989: Press Critics’ Prize The build-up to the climax of the Grand National horse race 45 �THE HANGOVER HINDU KUSH Giblets Hindu Kusch Benno Trautmann England/1989/ 35mm/11 minutes/ Colour West Germany/ 1988/ 35mm/11 minutes/ Colour Subtitles Producer Leading Players Script & Editing Photography Animation Music Production Company Prim Source lain Brown Kevin McNally Giblets Denis Crossan Miki Sumpter Mark Bedford. Terry Edwards Film Four International in association with British Screen Film Four International After a riotous party in his flat, Colin wakes to find that he has the world’s worst hangover . . . THE HILL FARM Mark Baker England/1988/ 35mm/18 minutes/ Colour/ Animation Producer Leading Players Script Photography Editing Music Print Source Harun Farocki Peter Fitz Benno Trautmann Igor Luthor Benno Trautmann George Winston, Gene Krupa, Erroll Garner Harun Farocki Filmproduktion Two friends, a book-keeper and a chemist, are working in a nuclear power plant. One night, one drags the other to a bar and makes a bizarre confession : one that involves 56 kilos of plutonium! HIRAEZH Christine Leahy USA/1987/89/ 16mm/ 20 minutes/ Colour X / s i Script Editing Music Awards Print Source Mark Baker Annie Kocur Julian Nott BAFTA Animation Award 1989 Annecy: Grand Prix 1989 Munich Student Festival: Most Entertaining Film 1988 N.F.T.S, Beaconsfield A hardworking farming family is visited by country-lovers. I I 46 Producer, Editing & Photography Leading Players Music Print Source Christine Leahy Alan Stiveil Robert Gitzen Christine Leahy For director Christine Leahy, Alan Stivell, one of the world’s leading Celtic harp players .and a musician at the vanguard of Celtic folk music scene, embodies this complex and quintessentially Celtic emotion, ’Hiraezh’, �N Lh< ' EVER\ THE KITCHEN CHILD Joy Perino England/1989/ 35mm/11 minutes/ Colour T.W. Oliphant Jr. USA/ 1989/ 16mm/ 15 minutos/ Colour Producer Leading Players Producer Leading Players Script Photography Music Print Source T.W. Oliphant Jr. Lauren Unbekant, Charles Staropoli.Geri Ann Rosenberg, Alain Rosenberg T.W. Oliphant jr. Jeffrey Makesovas, T.W. Oliphant Jr. T.W. Oliphant Jr. A tale of intense desire and yearning to be someone or somewhere else. JUST A CARTOON Jon Minnis Canada/ 1988/ 16mm/ 6 minutes/ Colour/ Animation Producer. Animation & Editing Music Print Source Jon Minnis Bowser and Blue Jon Minnis 'She was for real, She could vote, she could feel She could buy things on credit, and think She had elbows and veins and two lungs and a brain And he was just pencil and ink' Script Editing Music Production Company Print Source Peter Jacques Garry Halliday, Annene Badland, Paul Brooke Susan Campbell. Photography David Tattersail Justin Krish Justin Adams, Sheridan Tongue Film Four International in association with British Screen. A Techniques of Persuasion Production Film Four International There is great excitement in the Kitchen at the imminent arrival of a gourmet French Due and his valet. Instead of preparing endless sandwiches, the fat cook can at last practice her culinary art, but she is distracted by a pair of intrusive hands. . . KITCHEN SINK Alison Maclean New Zealand/ 1989/ 35mm/ 14 minutes/ Colour Producer Leading Players Script Photography Editing Music Production Company Print Source Bridget Ikin Theresa Healy Alison Maclean Stuart Drysburgh David Coulson The Headless Chickens Hibiscus Films New Zealand Film Commission A woman re-fashions a monster from the kitchen sink into a man, and finds herself falling for her creation. A dark fable about fear and desire. 47 �KRAUSE, or trying to describe a film is like telling a story about a lunch KRAUSE oder eln beschrlebener Film 1st halt wie ein erzahltes Mittaqessen LA CHAMBRE Joelle Bouvier, R6gls Obadia France/ 1988/ 16mm/ 5 minutes/ Black and White Christoph Doering West Germany/1988/ 16mm/12 minutes/ Colour Producer Leading Players Script Photography Editing Music Print Source Awards Christoph Doenng Luaa Stefanel, Michael Krause Doering/Aschalfenburg S. Schweitert, C. Schweinheim C. Damm Gasi Twist, Ralf Buron Haibach Filmproduktion Audience Prize. 10th Bonn Kurzfilmfestival 1988 1st Prize, 10th International Young Filmmakers' Festival, Montreal A visually compelling drama that juxtaposes experimental and more conventional film genres to startling effect. KYRIE ELEISON - GOD HAVE MERCY ASSAD FOULADKAR USA/ Lebanon/ 1989/ 16mm/ 25 minutes/ Colour Producer Script Photography Editing Music Print Source Marie Descourtieux Laurence Leopold Jacques Bouquin Jo£lle Bouvier, R&gis Obadia Levaillant, Frize L'Esquisse In a room, a woman speaks of fatigue, waiting and the price of desire. LALALA HUMAN SEX DUO NO.1 Bernar Hebert Canada/ 1988/ 35mm/ 8 Minutes/ Black and White 4 ! i i 9 I I = i 2 ii Producer Leading Players Script Photography Editing Music Pnnt Source Assad Fouladkar Samar Zein, Soleyman El- Basha Assad Fouladkar Hassan Nimani Assad Fouladkar Ziad Rahbani. Gillermo GaJlindo Assad Fouladkar A building in Beirut collapses after a bombardment. Its tenants get trapped in the basement. Lacking in food, water, and oxygen, and fearful of gunmen, the tension mounts... 48 Producer Leading Players Script Photography Editing Music Print Source Michelle Ouellette Marc Beland, Louise Lecavalier Edouard Lock Daniel Jobin Gaetan Huot David Van Tieghem Agent Orange c/o An underwater shot reveals the remnants of a ballroom. A man and a woman are standing at one end of the room. The dance begins. . . �Li )N Ton Patrick Irelan LONDON SUITE I I (getting sucked in) 39/ 16mm/ 16 min Vivienne Dick UK/1989/16mm/ ccolour/-28 minutes ,r Producer Leading Players Script Photography Editing Music Print Source Tony Fitzpatrick Mick Lally Tony Fitzpatrick Tony Kenny Anne O’Leary Barry Nolan Tony Fitzpatrick Lonely by choice, a man attempts to repair and return a found model of a church while befriending a snail found in the model. L’ETREINTE Joelle Bouvier, R6gis Obadia France/ 1988/ 16mm/ 5 minutes/ Black and White Producer Leading Players Photography Editing Music Print Source Vivienne Dick Ray Hogan, Tadhg MacSweeney Helen Rutherford G. Woods. M. Duffield, V. Dick V. Dick, C Clear M. Wheeler Mayday Productions I London’s cultural diversity unfolds as expatriate Irish filmmaker, Vivienne Dick portrays her friends, their lifestyles, what they talk about and how they talk. In this kaleidoscopic arrangement of encounters and re­ enactments, equal weight is given to the passionate and the banal. THE LOUNGE BAR The Front Lawn ( Harry Sinclair, Don McGIashan) New Zealand/1988/ 35mm/13 minutes/ Colour Producer Script Pnotography Editing Music Print Source Marie Descourtieux Laurence Leopold Jacques Bouquin Joelle Bouvier, R6gis Obadia Frize. Vivaldi L’Esquisse A man and a woman on the edge of dreaming. . . Producer Leading Players Script Photography Editing Music Production Company Print Source Grant Campbell Harry Sindair, Lucy Sheehan Don McGIashan The Front Lawn Leon Narby John Gilbert The Front Lawn Grant Campbell New Zealand Film Commission Sheltering from a rainy night, a man and a woman meet for the first time. Or is it? What bizarre web of fate links them -u.z 2. to the singer, his song, and his sideburns? 49 t �KS & B-S OUT Cork Film Festival and Radio South FM have a lot in common. the best in Film, the best broadcasting, can dynamic and positive. We both believe in a distinctive Cork identity and we believe it sits comfortably with a sense of excellence. The differences? Well. Cork Film Festival is in its 34th year — Radio South FM is just three months old. The power of the media is a force which should never be underestimated — and, like We just seem like old friends! BROADCASTING ON 96.4 F.M. Horizon Computer Services AppleCentre Z At N Specialist suppliers of all Apple Computer equipment including the new range of Macintosh Ilex computers. We would like to congratulate the Cork Film Festival for organising an excellent festival of film. S E S A x I R A u M A A F__ B s H p X L M S Y o R W Best wishes to the 34th COBK FILM FESTIUBL The AppleCentre also stocks a wide range of Apple Macintosh Software. 63, Lower Albert Road, Sandycove, Co.DubI i n, I r e I and TEL: 01 806 524 Horizon Computer Services AppleCentre Lower Road TeL (021) 502428. Fax: (021) 505429 50 E N E R �M Arai azkano Spain 35mm/13 mini'' MULTIPLE CHOICE ER Debbie McGee • ;.iour Canada/ 1989/ 16mm/ 23 minutes/ Colour I IW... Si •£Producer Leading Players Photography Editing Music Print Source Arantxa Lazkano Coro Pereira. Kandido Uranga Gonzalo f. Berndi Julia Juaniz Malevaje and Astor Piazzola Arantxa Lazkano Producer Leading Players Script Photography Editing Music Production Company Print Source Debbie McGee Lois Brown. Rick Boland.Andy Jones Debbie McGee Michael Jones Petra Valier. Debbie McGee Paul Steffler New And Improved Films Atlantic Independent Media An erotic love game played out by a man and a woman who have been married for several years. Meg Harris, a researcher, is coming to grips with the reality, of poverty . She tries, as usual, to sort out her internal conflicts through compulsive shopping. . . THE METAL MAN NIVIS Simon Goulet Brendan McCarthy Ireland/ 1989/ 16mm/ 12minutes/ Colour Producer Leading Players Script Photography Editing Music Print Source Brendan McCarthy Thom McGinty Brendan McCarthy. Geraldine Creed Brendan Galvin Geraldine Creed Michael Makes Blue Light Productions A magical journey through a boy’s imagination, revolving around a metal figure erected on a cliff in the 1820's in commemoration of a great sea disaster. Canada/ 1988/ 35mm/10 minutes/ Colour Producer Photography Editing Music Print Source Awards Simon Goulet Simon Goulet Simon Goulet Robert M. Lepage Productions Amomak Best Documentary, (Montreal) Best Technique. (Montreal) A lyrical film about snow and snow removal. Contains beautiful close-up, slow-motion footage of snow falling, to a sound-track of diesel engines and snow-blowers. 51 I �OfCHE SI ONE MAN’S ME Steve Woods tire/1988/ 16mm/ 7 ndimdld/ Dalle/ Cartun Lai Ngan Walsh England/ 1989/ 35mm/ 11 minutes/ Colour Producer. Script, Photography, & Editing Music Print Source Steve Woods Ronan Browne Steve Woods Eachtra do bheirt leanai nach dtig leo dul a’chodladh. Beireann cat draoichta go ghleann na real! iad ONE DAY AT A TIME Richard Morasci USA/1989/ 16mm/11 minutes/ Colour Executive Producer Producer Leading Players Script Photography Editing Music Production Company Print Source Stewart Richaros Alison Barnett Sebastian Chee Lai Ngan Walsh Dems Crossan Alan Knight Frank Meagher Film Four International in association with British Screen. A Panda Pictures Production. Film Four International Tung, a young Chinese boy brought up in London, develops a fascination for Western Junk food. OUT OF THE RAIN Pamela Beere Briggs USA/ 1988/ 16mm/ 21 minutes/ Colour Producer Photography Editing Print Source Richard Morasa Freyr Thormodsson, Richard Morasci Richard Morasd Richard Moraso Producer. Script & Editing Leading Players Photography Music Print Source A brief portrait of Paul Carey, a person with AIDS who lives in San Francisco. He discusses the following questions: who most influenced him in dealing with , how his relationship with his sister has changed since his diagnosis, what keeps him going, and what his legacy might be. I I 52 Pamela Beere Briggs Denise Simone, Anna Deveare Smith William McDonald Anne Rasmussen Pamela Beere Briggs In the middle of a rainstorm, two women find hope in a shared cup of tea. �O£ SI Joe E TAXI iAG' •JEES PAS A DEUX Monique Renault, Gerrit Van Dijk Netherlands/1988/ 35mm/ 6 minutes/ Colour/ Animation ..nger USA/ 19S'J I6mm/ 25 minutes' Colour I P iH Producer Photography Still Photography Editing Music Print Source Joe Berlinger Robert Richman Derek Berg, Susan Pollack Bruce Sinofsky Wendy Blackstone Creative Thinking International Producer.Script & Animation Editing Music Print Source Celia & Gernt Van Dijk Germ Van Dijk Skittle Productions, Wim Schroder Cilie Van Dijk ‘Outrageous Taxi Stories’ capitalises on the mystique that surrounds the New York Taxi Driver.The six tales, told by five cabbies and one passenger, range from the bizarre to the ridiculous to the sublime,and are punctuated by unusual photographic images(shot over a two-year period)which pay homage to the New York City Cab Driver. Various stars and celebrities: The Pope, Liza Minelli, Superman, Joan of Arc, dance to the rhythms of our era in an animated waltz extravaganza. PARIS x2 A PLACE AWAY Ellie O’Sullivan Jay Rosenblatt USA/ 1988/ 16mm/ 26 minutes/ Colour England/1989/ 16mm/10 minutes/ Colour i Producer Leading Players Script & Editing Photography Print Source Jay Rosenblatt Hagit Farber. Kris Olsen Martien Lateur Jay Rosenblatt Jay Rosenblatt. Sylvie Carnot Jay Rosenblatt An experimental re-telling of a love-affair through fragments and distortions of memory. The narratives and myths of romantic love are explored against a backdrop of Paris and Hollywood. Producer, Script. Photography. Editing Leading Players Music Print Source Ellie O'Sullivan Filmmaker's Own Family The Chieftans. Mana Scalai Ellie O'Sullivan Eileen, the mother of two illegitimate children, is forced to flee Ireland because of the stigma attached to illegitimacy in this country. In England, Eileen is able to re-establish herself as a 'good ' woman but is unable to avoid the conflict between the role she wishes to play and the role that society expects of her. 53 �SAHARA POOCHERS Denis McArdle Francois Loubeau Ireland/1989/ 16mm/17 minutes/ Colour France/1988/ 16mm/ 4 minutes/ Colour Producer Script Photography Editing Music Print Source Denis Me Ardle Dems McArdle Lawrence Manly Anne O'Leary, Denis McArdle “The Hell Fire Club” Denis McArdle Producer Leading Players Script Photography Music Print Source Arcem Film Loic Bougamvilliers. Groseille Hervd & Francois Loubeau Jean-Claude Riviere VJadimir Matusiak Arcem Film A day in the lives of four 'Poochers’, or scrap merchants, purveyors of a maligned but essential service. Almost at the point of no return, a lost desert travellerfinds refreshment. There's a slight problem, however. . . REMORSE A SHRINE ON THE ROAD Liam Lockhart Simon Howard England/ 1989/ 16mm/13 minutes/ Colour i s' i I Associate Producer Producer Leading Players Script Photography Editing Production Company Pnnt Source Michael Cowan Fiona Ross Daniel Massey.Sarah Swmgler Michael Howard Matthew Savison Adrian Golding Royal College ol Art Simon Howard A man, cocooned in a conservatory, has as his only contact with the world a telephone answering machine. Here, he hears his estranged wife tell him of the disappearance of his child. 54 USA/ 1988/ 16mm/ 21 milnutes/ Colour Producer Leading Players Pnotography Editing Music Production Company Liam Lockhart Glenn Backes. Liam Lockhart, Heidi Metcalf Ara Madzouman Liam Lockhart Ara Madzouman. Mark Metcalf Hollyfox Films A blend of the surreal, mythic and fantastic, involving a young junkie, haunted by the ghost of his dead buddy, who sets out on the road to Mexico to find the site where his friend died and exorcise his spirit. �r SPLICE OF LIFE 6/4 Harry Italy/ In Martin Duffy 39/ 35mm Executive Producer Script Photography Editing Music Print Source ..olour/ Animation Harry Hess Harry Hess Paul Gallagher Philip Cullen Dems Woods Sweetpea Films Ireland/ 1988/ 16mm/19 minutes/ Colour Producer Leading Players Script Photography Editing Music Print Source Emer Reynolds Paul Bennett. David Heap, Jim Bartley, Liz Bono Martin Duffy Breffm Byrne Martin Duffy Fran Dempsey Looking Glass Films An animated delight set in a fantastic two-dimensional landscape. A film editor, bored with his life, decides that it could do with some re-editing to his own liking. THE SOULFUL SHACK SUNDAY John Roberts John Lawlor England/ 1988/ 16mm/12 minutes/ Colour lreland/1988 / 35mm/10 minutes/ Colour Producer Script Leading Players Photography Editing Music Print Source Michele Camarda John Roberts Joanne Dukes, Ainsley Harriott Nigel Kinnings Carole Lyon Julian Wastall N.F.T.S. Beaconsfield Studios A simple, touching, witty tribute to Marvin Gaye, in a Cinderella wrapping. Producer Leading Players Script Editing Music Sound Production Company John Lawlor Anne Brogan, Lisa O’Reilly, David Hood John Lawlor Oliver Fallon John Lawlor. Jacques Leroid Jacques Leroid John Lawlor I I An Irish family of seven are sitting down eating their Sunday dinner. During this traditional repast, on the seventh day, only seven words are spoken-by the seven-year old son. 55 I �SUSPICIOUS MIND THAT’S ALL R Hugh Farley Billy McCannon Ireland/USA/ 1989/ 16mm/ Colour/18 minutes -JT Ireland/ l989/35mm/ 4 minutos/Colour Producer & Script Leading Players Photography Editing Music Production Company Print Source Hugh Farley Charles Barker, Ken Fischer Caroline Magee, John Daniels Tricia Govoni Yogi Cohen John Walsh, Peter Keegan, Flo New York University Film Department Hugh Farley. New York, July 1945. The first G.I.’s are returning from the European theatre after the capitulation of the Nazis. Among their number is Frank Burgess. Within a week of his return full of hope for a quiet life, Frank suddenly finds himself accused of a murder he didn’t commit, and at the centre of a sinister conspiracy. . . SWINGIN’ IN THE PAINTER’S ROOM Producer Leading Players Script Photography Editing Music Print Source Billy McCannon. Brendan Galvin Hugh Linehan M.ck Lally. Selina Gunnery Billy McCannon, Brendan Galvin Brendan Galvin Susan Gill Elvis Presley Billy McCannon A couple relive old memories on the rainy night that Elvis dies. THUNDER AND LIGHTNING Jonathan Nordlicht USA/ 1989/ 16mm/ 13 minutes/ Animation/ Colour Greg Mottola USA/ 1988/ 16mm/14 minutes/ Black and White Producer Leading Players Script Photography Print Source Greg Mottola Andy Brown, Agnes Boucher, Greg Mottola John Inwood Greg Mottola, A comedy about a smug young New York artist who is throwing a party for himself to celebrate the fact that he has just secured his first gallery show. 56 Producer. Pnoiography & Editing Script Print Source Awards Jonathan Nordlicht Lillian Nordlicht Jonathan Nordlicht. Director's Choice award. Nashville Tennessee Sinking Creek International Film Festival. Honourable Mention Rochester International Film Festiva The Hopi Indian Creation Myth describes four worlds. ■Thunder and Lightning' recounts the travels of Kowitoma through these worlds. The symbolic animal characters that he meets appear repeatedly in Hopi Legend: especially the Legend; figure of Coyote, the Trickster. 57 �TOU THE UNKINDEST CUT AP. Jim Shields Veit El-M West Gorm i89/35mm'9 i ! . - England/ 1988/ 16mm/17 minutes/ Colour . Colour/Subtitles pf------ « A i Producer Leading Players Script Photography Editing Music Print Source Gunter Fenner Dominique Horowitz. Beate Jensen Veil El Mer Janucz Reichenbach Rolf Wolkenstein Junj Panfilowitsch Lustspiellilmproduction Shy Anton is obsessed with a stranger: Babette, an unusual way of making contact with her. . . Producer Leading Players Script Photography Editing Print Source He finds Gary Smyor Peter Gluckstein, David Miller, Ann Firbank Gary Smyor Christine Lloyd-Fitt Ann Kocur N.F.T.S. Beaconsfield Studios A Jewish Comedy. TRACKS THE WASTED CALL Rupert A. Nadeau Tim Rolt USA/ 1988/ 16mm/ 22 minutes/ Colour England/ 1989/ 16mm/ 10 minutes/ Colour * 1 I i Producer Leaoing Players Script Photography Editing Music Print Source Rupert A Nadeau Carlo Michael Mancini. Victoria Veiiux. Rupert A Naaeau Mark Gerard Kevin Tent Jon Huck Charging Rhmo Productions A Tale of Love, Death, and Vacuum Cleaners. A vacuum cleaner salesman kills his wife and her lover, and with their bodies in tow. makes tracks across the country, keeping up a running monologue with his silent companions as he travels. Producer Leading Players Script Photography Eamng Music Print Source Tim Roll Nick Herren. Nella Mann Phyllis King David Scott Revel Fox Ivor Culler Rapid Eye Movies Why is Elsie driven to eating flies? Why won’t the sausage fit into Ronnie’s mouth? And why will the 6:30 down train interrupt the sago pudding? A tantalising vignette of a couple you need to know more about! 57 I I �WATER’S EDGE YOUR OPINION Suri Krlshnamma HA UW MENING GRAAG Heddy Honigmann England/1988/16mm/ 35 minutes/ Colour Netherlands/ 1988/ 35 mm/ 12 minutes/ Colour' Subtitles Producer Leading Players Script Photography Editing Music Pnnt Source Awards Amanda Partridge Dudley Sutton, Leza Webb, David Knight Ashley Pharoah David Kerr Carole Lyon Julian Nott N.F.T.S. Beaconsfield Studios Bilbao 1988: Gold Mikeldi for Fiction Anger 1988: At the bottom of the village pond a World War II Spitfire pilot lies in peace. This is Lucy’s secret until Sarah discovers it and is forced to reveal all to the Vicar. WORK EXPERIENCE James Hendrie England/1989/ 35mm/11 minutes/ Colour Executive Producer Producer Leading Players Script Photography Editing Production Company Print Source Ann Wingate Mary Bell Lenny Henry, Kathy Burke, Neil Pearson, Shelagh Fraser James Hendrie Robin Vidgeon Annabel Ware Film Four International in associationwith British Screen. A North Inch Production. Film Four International Terence Weller cannot get a job because he has no work experience. Can you get work experience without a job? 58 Producer Leading Players Script Photography Editing Music Print Source Rolf Onhel Anneke Blok, Titus Tiel Groenestege Heddy Honigmann Goert Giltay Frans van de Staak Wouter van Bemmel De Nieuwe Ume, Rolf Orthel A young woman called Bonni takes a critical look at her sex-appeal. �■ r FOCL ON N T. DAVIS Our FOCUS section in 1989 looks at the work of one of Ireland’s most gifted filmmakers John T Davis. Davis shot to notoriety in 1979, when his first film 'Shellshock Rock' was banned at the last minute by the then organisers of the Cork Film Festival. The publicity subsequently generated by the actions of the Festival selection committee led to widespread exposure of the film, culminating in its receiving the Silver Award at the New York TV and Film Festival. Shellshock Rock' was followed by ’Protex Hurrah', and 'Self Conscious Over You', forming a trilogy documenting the innocent beginnings of New Wave music in Ireland. Shortly thereafter, Davis embarked on the 2-hour epic documentary, 'Route 66', which achieved, in England, the highest ratings for a TV documentary shown in 1985. Various pop videos (notably Van Morrison's 'Have I Told You Lately That I Love You') and TV documentaries have served to consolidate Davis' reputation. 'Power in the Blood', made last year for the BBC's flagship arts programme 'Arena', has been described by one commentator as possibly the best documentary ever made in Northern Ireland. SELF CONSCIOUS OVER YOU The second of Davis' dynamic documentaries on the Punk music scene in Belfast, 'Self Conscious Over You’ is the record of The Outcast's amazing benefit concert for Terri Hooley's ailing record shop. Much more than just another concert film, however, 'Self Conscious Over You' introduces and comments on the main concert footage with searing images of the social reality of life in modem Belfast; the throb of the music underlining the more painful throb of a society under siege. Placed in this context, the Outcasts' songs assume a power and a relevance that transcends mere pop sensibility, just as Davis' film transcends the conventions of the concert movie genre. The Festival will also be showing some of John T. Davis' acclaimed rock videos, for bands that include Van Mornson and In Tua Nua CFF is proud to have the opportunity of screening the World Premidre of John T. Davis' latest film 'Dust on the Bible'. Its innovative blending of documentary realism and poetic expression, elaborated with his customary visual panache, firmly establishes him as one of Ireland's most talented filmmake SHELLSHOCK ROCK ROUTE 66 Northern Ireland/ 1979/ 16mm/ 50 minutes/ Colour AN ALTERNATIVE BLASTEROM BELTAST Produced, Written Photography Editor Music Print Source John T. Davis John T. Davis, Alwyn James Tommy McConville John T. Davis, Ross Graham The Undertones, The Outcasts Stiff Little Fingers Protex, Rudi, The Idiots, Rhesus Negative DBA Television Ltd The film that initially caused all the stir at the 1979 Film Festival, 'Shellshock Rock' is a dazzling collage of music, interviews and images of the once vibrant Punk scene in Belfast. The guru of Belfast Punk, Terri Hoolcy owner of Good Vibrations Records, and mentor to such luminaries as The Undertones and Stiff Little Fingers, was instrumental in creating a scene in Belfast that was notable for its raw energy, the creativity of its musical approach and, above all, the complete absence of sectarian divisions among its adherents. ". . . kids didn't know anything but bombing, shooting and violence and suddenly here they were doing this." Davis said. "I had to document it.” John T. Davis takes us on an epic musical journey in a cherry-red '68 Chevy Impala along Route 66,thc once great artery,that curved across America from Lake Michigan to the Pacific shores. More than just the quickest way from A to B, Route 66 has entered the popular consciousness as a symbol of the American Dream: "Get your kicks on Route 66". And like the American Dream, it has become tarnished with the stain of disillusionment. Overtaken by the transcontinental superhighways, the inhabitants of route 66 have been bypassed; left in a vast, deteriorated cultural museum, with little left but memories. We get to meet some of the people whose lives have been irrevocably linked with the road: the Greyhound Bus driver of 20 years who said "Ha?mhorroids and ex-wives are the first things you gel on this job," the born-again Reaganite pawnbroker, the prematurely-aged drifter, and of course, the fundamentalists and hot-gospellers whose majority here is much more than a moral one. Much more than a documentary, 'Route 66' is an elegy on the demise of an American myth and an intimate portrait of a depleted hinterland and its people. "I felt transported and educated by the experience" Daily Telegraph "hypnotic and unforgettable. TTtz Guardian 59 = �POWER IN THE BLOOD DUST ON TH - / . J"** 4.- ’ Produced, Written Photography Editing John T. Davis David Barker Sc Merry Vernon Oxford is an ex-Nashville country singer turned fundamentalist preacher. He offers a full service preaching, speaking in tongues, healing over the telephone, and receiving sinners into Jesus. His mission, to go into the heart of the Loyalist enclaves of Northern Ireland and preach the word of the Lord, is the subject of this film. The inspiration for the film was, as Davis says, that "Really, there is no difference between Tulsa, Oklahoma and Northern Ireland", and its catalyst was the burgeoning friendship between the preacher and Wilfie Cummings, a Loyalist prisoner serving life in the Maze prison. I he film follows Oxford into shebeens, mission halls,a pirate radio station m Monaghan, and into the Pnson Officers' Soaal Club in the Maze Prison.He speaks to the experience of many people here, particularly the Protestant working class faithful; a group much maligned and much under-represented by the media 'Power in the Blood' is above all a film about them and their worldview. Observed with candour and sympathy, they are revealed in their true colours: a much richer palette than the standard one of red, white, and blue. BIB r>COD SUJVEQTM WORL ■ CAVE « ONLY BECOTTEf TW WHOSOEVER BFUEVETM WORLD PREMIERE On street corners, in tabernacles, at cattle marts, and in large convention centres, the people of Ulster are reminded in ringing tones of the Day of Judgment - The Apocalypse Only God's chosen people will be spared the anguish of the final conflict. Hellfire and Brimstone in vast quantities will descend upon those not saved, who shall perish in unimaginable agony. Or so the story goes. 'Dust on The Bible' is a film about the people who deliver this message - the laltcrday prophets, burning with Old Testament zeal, whose Ives are devoted to receiving sinners into Jesus before it is too late. At the heart of the film is a collection of testimonials from a range of preachers, bearing witness to their beliefs. As a counterpoint to this stands a semi-fictional everyman character who floats, Candide-like, through the film, and a still, quiet voice reading extracts from the Book of Revelations. All of this set in a landscape which seems to echo the moods of the preachers, creating from what appears to be a set of disparate ideas a coherent, visually striking and highly personal statement. IL ft i JOHN T. DAVIS: FILMOGRAPHY SHELLSHOCK ROCK 1979 SELF CONSCIOUS OVER YOU 1979 PROTEX HURRAH 1979 ROUTE 66 1985 POWER IN THE BLOOD 1989 DUST ON THE BIBLE 1989 An exhibition of black and white photographs from the above films are on display at the Triskel Arts Centre. 60 John T. Davis �ir vIMA BLACK &WHITE CINEMATOGRAPHY . MATTER OF LIFE AND DEATH, the Marius Goring character, having descended to In ■ ell & Press-: r . ear: - from a monochic::. heaven, playfully remarks “we’re starved for technicolour up there" That was in 1946. In 1989 I sometimes fee: then we now have rather too much colour which cannnot match the brilliance and beauty of black and white. One of the perks of programming the festival is the opportunity to indulge an enthusiam for black and white movies. I nope this enthusiasm is shared by our audience. M. Hannigan Woody Allen’s MANHATTAN Movies shot in black & white have a particular style and beauty, a particular aesthetic. The fact that a movie is shot in monochrome can impart a mood , an ambience more effectivly than dialogue or narrative.. In this hommage we look at just a few examples of that art. The selection is necessarily limited and there are many titles we would have liked to include but could not. ‘Citizen Kane’ is one of cinema’s acknowleged masterpieces, regularly topping critics’ polls as the greatest film of all time. Not the least of Orson Welles’ achievements is his collaboration with cinematographer Gregg Toland in combining deep focus photography - made possible by developments in studio lighting and light sensitive lenses with masterful mise en scene to create a stylistically complex and innovative work of art. Technicolor has existed since 1935 yet many film makers, for aesthetic reasons choose to shoot in black & white. Stanley Kramer has been vociferous in his opposition to moves to tamper with his classic ‘High Noon’ by ‘colourizing’ it. Much has been written of the film’s social message and the quality of the editing but the wonderful look of the film on screen is central to its impact. 'Throne Of Blood’, Akira Kurosawa’s 1957 version of ‘Macbeth’, is a treat to look at. The new print which has recently been struck by the British Film Institute restores its splendour. Scorsese in 'Raging Bull’, Copolla in ‘Rumble Fish’, Jarmusch, in 'Down By law’ Spike Lee in ‘She's Gotta Have It’, have all demonstrated the virtues of working with black & white. Woody Allen has repeatedly worked in the medium with his regular photographer Gordon Willis. We take the opportunity of screening ‘Manhattan’, filmed on technicolor and printed on black & white. New York is its star, serenaded by Gershwin and glorious in monochrome. For what is perhaps the most luminous film in recent year’s, ‘Wings Of Desire’, Wim Wenders sought the assistance of one of cinema’s greatest artists, the cinematographer Henri Alakan. In ‘Wings’, Alekan, gives us the experience of the silver screen. We regret that we were unable to secure a good print of Cocteau’s “lunar bright “ ‘La Belle Et La Bete’shot by Alekan in 1946. Five titles can give but a taste of the wealth of black & white material available. This is a seam Cork Film Festival will continue to mine. Also, the 1990 festival will have a special section devoted to contemporary films shot in black & white. In the meantime this year’s programme includes a number of recent black & white films; Bruce Weber's documentary on Chet Baker, ‘Let’s Get Lost’ (those who saw ‘Broken Noses' in ‘88 will not be disappointed); Alison Maclean’s impressive short film ‘Kitchen Sink’, and a number of dance related shorts, ‘La Chambre’, L’Etreinte and ‘LaLaLa Human Sex Duo’. NO 1 �I NORTHERN LIGHTS -Video Work From Bella. & L i i The North of Ireland has become over the past 15 years one of the most photographed, most documented places in the world. For the most part this media coverage is sensationalist, superficial, interventionist and censored. Both Belfast Independent Video and Derry Film & Video Workshop were formed by local people to make an indigenous contribution to media representation of their lives. Both groups are Channel 4 Workshops franchised under the A.C.T.T. Workshop Declaration. The following two programmes, representing a large portion of the groups’ production to date, will be screened in the Triskel Arts Centre. Representatives of Belfast Independent Video and Derry Film & Video Workshop will be present to introduce the screenings. Programme 1, October 8th, 11.00 Belfast Independent Video OUR WORDS JUMP TO LIFE 1989, 52 minutes Usually, when television probes youth issues: unemployment, schools, emigration, it wheels in the experts: politicians, schoolteachers, priests, and perhaps even the token few young people... i i * ■ I 'Our Words Jump To Life’ represents a chance for young people to speak out for themselves about how these issues affect them. The programme unfolds as we follow a young street poet who gobs incisive witty comments at our sacred cows ... ten year olds sing their own song of nothing to do, seven days a week ... a young boy sings of lost innocence in a nursery rhyme with more sinister connotations ... a young graphic artist becomes a character in his own cartoons as he takes to the road to London and relates his experiences of emigrating ... we are taken on a photographic tour of Belfast by a young unemployed photographer who captures images relevant to him, we see him photographing a graveyard where he spent a year of his life on a youth training scheme writing down inscriptions from the gravestones ... four teenagers talk from the street corner where they were brutally gunned down ... and of course there is the obligatory Protestant and Catholic reconciliation wekend ... but with a difference. y Programme 2, October 8th, 13.30. Derry Film & Video Workshop STRIP SEARCHING, SECURITY OR SUBJUGATION 1984, 44 minutes The systematic strip-searching of women prisoners in Armagh Gaol was introduced in 1982, allegedly as a security measure. The practice is directed in particular at remand prisoners, unconvicted of any offence, and at Irish women political prisoners . This documentary contains interviews with ex-prisoners, relatives of prisoners, Church, legal and trade union representativbes, and a leading Irish psychiatrist, all of whom express concern at this process. PLANNING 1985, 23 minutes 'Planning* concerns the redevelopment of the Brandywell and Bogside areas in Derry in the past ten years. It explores the extent to which local people have been involved in planning decisions and in particular at the implications of British Army strategy in local planning. MOTHER IRELAND 1988, 52 minutes Mother Ireland explores the development and use of images and music which personify Ireland as a woman in Irish culture and nationalism. These images and music influence the idealised model of womanhood in Irish society e.g. the archetype of the Irish Colleen or the endlessly devoted Irish mother. It uses this exploration to address the more general question of the perception of women in Irish culture and society, past and present. It approaches the history of Irish nationalism from a unique and enlightening perspective. that of the women’s movement in Ireland since the 1920’s This film was the first to have been banned under the Britishn Government’s recently introduced restrictions on broadcasting reportage on the North of Ireland. MOVING MYTHS 1989, 52 minutes A critical look at at the Protestant and Catholic institutions in Ireland, revealing the experiences of who have been brought up in those traditions but who now regard themselves a athiest. From the Derry priest who left the Church because he disagreed with its teachings on contraception to the Sligo youth worker who was sacked because she tried to empower the young people she worked with, this film listens to the voices of people who have repudiated the dogmas of the various churches. The above videos are available from: i Belfast Independent Video 9 Winetavern Street Belfast BT1 1JQ N. Ireland Tel: 0232 245495 62 Derry Film & Video 1 Westend Park Derry BT48 9JF N. Ireland Tel: 0504 260326 Bernadette McAlliskey who appears in Mother Ireland �acknov edgl ENTS We would like to express our appreciation and thanks to the following people and organisations, without whose help and support - in proving films and services - the festival would not be possible. Harold Johnston, Chairman, and the staff of the Cork Opera House Peter Murray, Curator and the staff of Crawford Municipal Art Gallery Prof. G.T. Wrixon, Chairman and the staff of Triskel Arts Centre Mr. John T. Stewart, European Commission, Dublin Office Mary Dwyer, Marilyn Crichton, Deirdre Roberts of the Royal National Lifeboat Institution, Helen Guerin, Anne O’Sullivan, Aylene Kelleher, Dave O’Donoghue , Nora and Mary of J. W.O’Donovan & Company, Robin O’Sullivan and staff, O’Sullivan P.R. Tim Pearson & Brendan Coughlan, Beamish & Crawford pic; Paddy Gaggin, Cork Film Services; Gay Cox, Jim Hickey, Filmhouse Edinburgh; Joe Wall & Marian Mooney, Irish Rail; Jim Davis, Jim Davis & Co. Ltd.; Murray O’Laoire Architects, Peter Fitzgerald, Dan Joe Coleman, Barry Humphries, Flavien Kiely. Gary Hamilton,AFC, London; Victoria Treole, Mary-Anne Scully, Australian Film Commission; Marilyn Hyndmen, Belfast Independent Video , Roger Shannon, Birmingham Film & Television Festival, Gill Henderson, British Council; Richard Calkins, CINE; Michael Dwyer, Dublin Film Festival; Roisin Hogan, Dun Laoghaire School of Art and Design; Simone Kerkhof, Dutch Ministry of Culture; Bob Hawk, Film Arts Foundation, San Francisco; Helen Thwaites, Film Australia; Finnish Film Foundation; Lindsey Shelton, Rhys Dyson, New Zealand Film Commission; Cathal McLoughlan, Network of Workshops; Penny Thomson,Scottish Film Development Fund; Yevgeni Begenin, Sovexport Film, London; Jean Lefebvre, Pauline Kijek,Telefilm Canada; Christine Gendre, Emile Mantica, Unifrance International Film; Joe Johnson, Rory Forde,US Embassy, Dublin. Pat McCarthy,Amber Films; Robert Beeson, Andy Engels,Artificial Eye Film Co. Gay Robertson, BBC; Kate Mellor, Sue Bruce-Smith,BFI Production; Fiona Keane, John T. Davis, DBA Television, Margo Harkin, Derry Film & Video; Liz Wren, Electric Pictures; Bridget Pedgrift, Film Four International; Finnish Film Foundation; David Shepperd, Golden Communications; Alasdair Nicolson, John Hogart, Hobo Film Enterprises LimitedjKim Lewis Marketing; Raoul Katz, Labrador Films, S SA; John Kelleher, Liberty Film Sales Ltd.; Tony Bloom, Mainline Pictures; Bridie Thomson, Tony Kirkop, Metro Films; Martin Goldthorpe, New World International; Daniel Battsek, Emma Chapman, Palace Pictures; Stan Harte, Premier Releasing; Pamela Hare-Dukes, Recorded Releasing; Noel McKeown, Vattington Ltd.; Mike Southworth,Virgin Vision; Mike Boyce, Warner Bros. Distribution; Nancy Gerstman, Zeitgeist Films. We would also like to thank our advertisers for their valuable support. 63 30 YEARS OF CUBAN CINEMA AN EXHIBITION OF CUBAN FILM POSTERS This exhibition of Cuban Film Posters has been organised, inconjunction with the Edinburgh and Leeds film festival’s to mark the thirtieth, anniversary of the Cuban Revolution and the formation of ICAIC, the organisation responsible for film production and distribution in Cuba. Each poster in the exhibition is an original screenprint made to promote a films release in Cuba. Many of the posters are brilliantly coloured and have established an international reputation for their creators. A limited number of some of these posters have been secured and there will be a unique opportunity to purchase them at the Triskel Arts Centre. The exhibition can be seen at the Triskel Arts Centre from October 1st to 8th �’1 II I I INDEX Page ABDUCTION OF EUROPE. THE AFTERLIFE OF GRANDPA. THE AMERICAN EXIT ANIMATED SELF-PORTRAITS ARIEL BEYOND REACH BIG SWINGER BLACKWATER SUMMER BURDEN. THE CAMP THIAROYE CELIA CHARLOTTE’S DIARY CHILD EATER, THE CHINA DIARY CITIZEN KANE COGITOERGO PHUQ COMRADESAND FRIENDS CONQUEST OF THE SOUTH POLE CONSTANT STATE OF DEPARTURE. A COWBOY ON JUPITER. A DARK ROOM DARK SLIDE OF THE TROMBONE.THE DEREK JARMAN - YOU KNOW WHAT I MEAN DICK DUST ON THE BIBLE EAT A BOWL OF TEA EAT THE KIMONO EMPTY BED. AN END OF PART 3 EXTERIOR DAY FOREST FRAGMENTS OF ISABELLA GEH KIND GEH GRAIN DE CIEL GRAND NATIONAL HANGOVER. THE HEATHERS HIGH HOPES HIGH NOON HILL FARM HINDU KUSH HIRAEZH IN FADING LIGHT IN LIGHT AND EVERYTHING IRISH WAYS JESUS OF MONTREAL JUST A CARTOON KITCHEN CHILD. THE KITCHEN SINK KRAUSE KYRIE ELEISON L’ETREINTE LA CHAMBRE LALALA HUMAN SEX DUO NO. 1 LEGEND OF THE HOLY DRINKER LEMON LENNY LIVE AND UNLEASHED LETS GET LOST LIGHTNING OVER BRADDOCK : A RUSTBOWL FANTASY LONDON SUITE LOUNGE BAR. THE MAIDER MALPRACTICE W MANHATTAN 37 37 37 37 12 39 39 39 39 12 13 13 41 14 61 41 14 15 41 41 43 43 15 43 60 11 16 16 43 45 17 45 45 45 46 17 18 61 46 46 46 18 47 19 9 47 47 47 48 48 49 48 48 19 49 20 20 MANIKA - MANIKA. THE GIRL WHO LiX ) TWICE MELANCHOLIA METAL MAN, THE MOTHER IRELAND MOVING MYTHS MULTIPLE CHOICE MY NAME IS BERTOLT BRECHT- EXILE IN U.S.A. 21 WINGS OF DESIRE WORK EXPERIENCE WORLD IS WATCHING. THE YOUR OPINION PLEASE 49 49 51 21 MYSTERY TRAIN 1996 NIVIS OlCHESf ONE DAY AT A TIME ONE MAN'S MEAT OUR WORDS JUMP TO LIFE OUT OF THE RAIN OUTRAGEOUS TAXI STORIES PAINTED FACES PARIS * 2 PAS A DEUX PHILOSOPHER. THE PLACE AWAY. A PLANNING PLAY ME SOMETHING POOCHERS POWER IN THE BLOOD PRIVATE LIFE, A PROMISES TO KEEP REMORSE ROSALIE GOES SHOPPING ROUTE 66 SAHARA SELFCONSCIOUS OVER YOU SHELLSHOCK ROCK SHRINE ON THE ROAD. A SIGNS OF LIFE 6/4/33 SOULFUL SHACK. THE SPLENDOR SPLICE OF LIFE STRIPSEARCHING. SECURITY OR SUBJUGATION SUNDAY SUSPICIOUS MIND SWEETIE SWINGIN' IN THE PAINTER'S ROOM THAT’S ALL RIGHT THRONE OF BLOOD THUNDER & LIGHTNING TOUR D'AMOUR TRACKS TRAGEDY IN THE ROCK STYLE TWILIGHT CITY UNKINDEST CUT. THE VENUS PETER VOICES FROM THE ATTIC WASTED CALL. THE WATER’S EDGE WHERE THE HEART ROAMS 61 22 23 51 62 62 51 23 24 24 51 52 52 52 62 52 53 25 53 53 25 53 62 26 54 60 26 27 54 27 59 54 59 59 54 28 55 55 28 55 62 55 56 29 56 56 61 56 57 57 29 30 57 30 31 57 58 31 61 58 34 58 �Si 26 Washington St., Cork tel. 02*1 ~ 27 *19 69 LIVE MUSIC THURSDAY TO SUNDAY BAR EXTENSION Doors Open 9.30 Thurs & Fri. 1.30 Sat 12.00 Sun 1.00 ■ �It’s called a mouth organ or / harmonica. j To those in the know it’s a harp. I It started life as a humble tuning 1 instrument. But came into its own with the birth of the blues. Those wailing notes were perfect for plaintive songs of love lost WE and found. And its swirling sweeps Kq reached dizzy heights for jazzy rhythms. It’s part of country and rock, blues and folk. Weaving intricate harmonies and simple melody lines. Distinctive and emotive. It has always been favoured by individuals. Billy the Kid played a W mean harp. And Wyatt Earp died with ? his harp in his breast pocket. It isn’t for everyone. But then, | neither is Murphy’s. ROw ■w 1$ IT’S A DIFFERENT STORY. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Programme Content Source A related resource from which the described resource is derived Cork Film Festival Collection Publisher An entity responsible for making the resource available University College Cork Date A point or period of time associated with an event in the lifecycle of the resource 1956- Rights Information about rights held in and over the resource <a rel="license" href="http://creativecommons.org/licenses/by/4.0/"><img alt="Creative Commons License" style="border-width: 0;" src="https://i.creativecommons.org/l/by/4.0/80x15.png" /></a><br />This collection is licensed under a <a rel="license" href="http://creativecommons.org/licenses/by/4.0/">Creative Commons Attribution 4.0 International License</a>. All rights reserved. Please credit <a href="https://corkfilmfest.org/">Cork International Film Festival</a> &amp; provide a link back to this site. Format The file format, physical medium, or dimensions of the resource PDF Language A language of the resource English, eng; Irish, gle Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1956- Cork, Ireland Description An account of the resource A selection of programmes from the Cork International Film Festival. Subject The topic of the resource Cork Film Festival Programmes Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1989 Cork Film Festival programme content Subject The topic of the resource Cork Film Festival, Fran Bergin, Theo Dorgan, John Halpin, Eddie Noonan, Kieran O’Connor, Mick Hannigan, Ronan O’Leary, John T Davis Creator An entity primarily responsible for making the resource University College Cork, Cork Film Festival Source A related resource from which the described resource is derived Cork Film Festival Collection Publisher An entity responsible for making the resource available University College Cork Rights Information about rights held in and over the resource <span>This item is licensed under a </span>Creative Commons Attribution NonCommercial-NoDerivatives 4.0 International (<a href="https://creativecommons.org/licenses/by-nc-nd/4.0/">CC BY-NC-ND 4.0</a>) licence<span>.&nbsp;Please credit the&nbsp;</span>Cork International Film Festival Archive<span> and provide a link back to the site.</span> Language A language of the resource English, eng Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Cork, Ireland Date A point or period of time associated with an event in the lifecycle of the resource 1989 Relation A related resource <a href="https://corkfilmfest.ucc.ie/items/show/76" target="_blank" rel="noopener">1989 festival poster</a><br /><a href="https://corkfilmfest.ucc.ie/items/show/615" target="_blank" rel="noopener">1989 festival programme cover</a> Format The file format, physical medium, or dimensions of the resource PDF Type The nature or genre of the resource Programme Description An account of the resource <p>This is a PDF of the 1989 festival programme. The cover shows a laughing turquoise blue-faced man against a bright pink-red background. He has bright yellow hair and lips and is wearing a winged-green hat and a green short-sleeved shirt decorated with small black images of film cameras. Programme content includes an introduction by Theo Dorgan and Mick Hannigan. The accompanying image of festival staff standing around an office desk includes Fran Bergin, Theo Dorgan, John Halpin, Eddie Noonan, Kieran O’Connor and Mick Hannigan. <br /><br />Festival films included <em>Jesus of Montreal</em> (Denys Arcand, 1989), <em>Tour D'Amour</em> (Veit El-Mer, 1989) and <em>Fragments of Isabella</em> (Ronan O’Leary, 1989) which received its world premiere that year. The programme also includes notes for <em>Focus on John T Davis</em> – the Irish filmmaker (page 59); <em>Homage to Black &amp; White Cinematography</em> by Mick Hannigan (page 61); and <em>Northern Lights – Video Work From Belfast &amp; Derry</em> (page 62).</p> Eddie Noonan Festival Staff Kieran O’Connor Mick Hannigan Ronan O'Leary Theo Dorgan