Explosive Fragments 1 and 2 l'iliiilinuxe. l ‘Aug. R. Ktipin. H Aug. ipiii. l5 Aug. *. {Hpni .iiid It» Aug. 3pm. 'lwn 0t) niiiiute pi'ngi‘tiiiiiiicx prcxenting tin eclectic lltl\ nl xhnrt Iiliiix tintii tii'nuiid llte wntld,
Fabriqué en France 0000 l'iliiilinuxe. H .'\ug. (ipni. 3” Aug. lllplllt \Vitli l)tilt l’unk. .>\ii' et til perpettitill} itiiding tlic clitii'tx. it'x ltiir tn xti} tlitit l'iench iiitixic ixn't the ltiugliiiig xtnck ll nnce wtix. 'I lie xtiiiic L‘tttt tilxti lie xttltl til l'rencli nitide \ idenx. tix tlitx e\cclleiit tuid \tii'ied .\lii'i’ntli.i|l pingitiuiiiie ix texttinieiit tn. .\ iiii\tuie nt iiitixic
\ idenx .iiid xlini't liliiix. tlie rtiugc nl xt_\ lex tind idctix ix iniprexxnc. tix ix the w illiiigncxx In l||I\ .iiid iiititcli dillerent geiiiex. With an eiiiphtixix nn .uiinititinn nl till lxiiidx. the wni'kx nl .'\lllttlllt‘ lltiidnu .lticquet tiiid (ienllie) dc (‘iec_\ Ill|\ xiiiietil in\ctitinn w itli
French
iiinrc tlitin ti dtixli nl (itillic liuinnur. \Vtitcli Uttl ltiii ltil' l.tttlti\ I\ llnupltiin‘x eerie iiili'ti ied c}|iei'wnr|d hit the Super l-ui'r_\ .'\llllllttl\. tind \uiiiern (i'x nitictilii‘e pnttitnlietid tiiiiiiititinii lni‘ Supei'tntin |_n\ei’x' ‘Sttirliglit'. tl)nug .lnlinxtnnei
O Fata Morgana I-iliiitinuxe. I-t Aug. ll. Wpiii. Rtirel} xci'een [07“ “enter llei'xng dnciiiiieiittu'} litixed nn l’npul \iih. ti Itith centur} (iutitciiitilitin eretitinn iii}tli,
La Fille de Son Pere t-iliiitinuxe. IS .‘\ug. 0. itlpin; (‘tuiien. 25 .'\ug. (i. {(lpni. Intriguing l’rench di'tiiiiti tilinut tlie dc\tixttiting eltect liex htne nii ti ltiiiiil). xttii'i'ing \titticliti Regitner tllri'um /.II(’ ()I .lllg’(’/\ l.
Gabriel And Me t'(;('. I {Aug
7. lllplll‘. (‘tiiiien. I-l .>\ug. 5. itlpni. ('niiiing nl' tige ttile xet iii \ewcmtle xttii’i'ing llill} ('niinnll} tix the .iiigcl nl the title tiiid w i'itten Ii) [hi/i lull/ul'x xcrilie. OThe Great Ecstasy Of Woodcarver Steiner I The Dark Glow Of The Mountains Iiiliiihniixe. l5 .‘\ug. lltiiitt, \\'ernei' Her/ng dncuiiienttii'} dniilile hill. ti xtud_\ nl nitin tind liix ptixxinnx: iiiniiiittiiii L'llltll‘lltg‘. wnndctii'\ iiig titid xki iuiiiping.
Hole In The Sky (Sora No Ana) 0... l'ilniliniixc. 15 .'\ug. ‘lfitlpin. IX .‘\ug. (ipiii. l.n\e xiii'e ctin lllll'l when _\nii‘re ti xlini't ni'dei‘ cliel nn ti i'einnte .ltiptincxe ixltind. Kinnxhitn Ichin wni'kx Int liix litllllt‘l' til the llnle In 'l‘he 8k) rntidxide diner. “ex ‘5. xingle tuid ti iiiixei'tihlc ptiiii in tlic tii'xe. \Vlien liix l'tither ttikex liix lii'tind new car nii ti iiitiinltind gtuiililiiig hinge. lchin ix xti';uided with tui nld pick tip tind xnine xti'tinge liitchliikiiig girl wlin litix ttiken In xlecping in the dng kennel. lx’niiitiiice xlnw l_\ lilnxxniiix. Ilicn iliiicld} diex in the ttice nl niixiiidged iiitichixnin tind pelt) ietilnux}. Kti/ii)iixlii lx'uiiitikii'i‘x lilin ix ti Itixcintiting lnnk tit ti reltitinnxliip unliinged h} Innelinexx tiiid ltick nl cnniniuiiictitinn. lletiutil'iill} xlint tind .icutel) pticed. it'x nddl_\ til'lccting. Suxuniu ‘l'ei'tiiiiiii tind Yurikn Kikuclii tix the letidx tire lirillituit. tl’tiul |)tilei Imagining Reality Shorts l‘ilnihnuxe. l3 .-\ug. 3pm. 24 .‘\ug. llfitlpni. l’i‘ngi'tunnie nt' true xhni't \lUl'lL'x l'i'niii tu'nund tlie wnrld pi'n\ ing tlitit l'tict Ix .ilw ti} x xti'tiiigei' tlitiii tictinn.
In July (lm Juli) O... l.utiiiei'e. l4 .-\ug. ‘lpiu. l‘l :\ug. Spin. .lnliii ()' (ii'ntitx tn l.tind'x lind ix till \er_\ well. but the cnntineiittilx knnw linw tn dn thexe thingx pt'npel'l}. \Vheii inetl'ectutil _\nttng iiitithx Ieticlier l)tiniel tRll/t Ill/(1 li’un‘x .\lni‘it/ lilt‘ililt't‘tt) lllL'L‘l\ lltt‘ gttt'ge‘iitlx .\lL'lL'l\ t(’hrixtitine l’tiul i. the twn exchew pticlxtige hnlidti} x l‘ni‘ tin n\ ei'ltind \n_\tige limit their ntiti\ e lltiinhiirg In l\l;tlll‘lll. l)tinicl litix \UUll luxl \lL‘lL‘lx. lk‘L‘lt drugged.
‘Catherine Breillat has carved a unique and audacious place in
cinema; controversy follows her inexorably’
/\ inti snour (l tit (Eirl)
xedticed .iiid .ixxtiulted. .iiid lnnxened up ennugli In |unip .i xtnlen ctii' .ici'nxx the l)tinulie. llix pictirexque \n}.ige ix .i decidedl} enterttiiniiig nne. dexpite lk‘lttg‘ dixi'upted h} the ncctixinntil ‘w tick}' Itinttixtic interlude. In .lu/\ Ix .i light Iiliii. but it w ill put ti xiiiile nn _\nui Itice .ind .i xwing in _\Htll' xtep which ix innie thtin _\t\ll L‘.tll \tt) lHl' Illtixl \ktititl lilncldiiixterx tliexe dti§ x. i.l.iniex Snitii'ti The Inner Tour 0... l‘llllllttttlxt‘. H .-\ug. * ‘Hptn. l" .'\ug. Upiii. llll\ ix nne nt thnxe itiie Iiliiix tlitit
w Ill xei'\e .ix .i xiitipxlint Iiniii liixtni’}. .i xutilit plintn n! the llnl} l..ind iiiniiicnttuil} .it petice ltt'lnt't' the recent lini'rendnux lilnndxhed Slint the middle nl ltixt ).e.it. Rtt'.\n.iti .'\lt'\.llltll'ii\\le/ tnllnwx ti ginup nl l’.i|cxtinitiii tnurixtx .ix tlie_\ Like tin ni‘gtinixcd xiglitxceing Inui iiitn lxttiel, .\n nld iiitiii wlin w.iiitx tn \ ixit .i ic|.iti\e'x gi'.i\e. ti xltltlL‘ltl \\ ltti \\.tltl\ lti [ittxx lellt'tx Iii ltlx Itiniil} ticinxx the litit'tlt'lx til lxtttt'l. .I cuiinux tiintlici tiiid child. tliexe .ire iuxt xniiie nl tlie |i\ex we lnllnw .ix the} \ ixit ti ltiiid In which the} tind then ltiniiliex nnce lttttl deep Itmlx. 'l'ltl\ Ix .t \L'ltxtltu' ttl\\t'l'\tlllttll.ll dncuiiienttii'} t|i.it will litixc )ntt w eeping lni' tlie dixpnxxexxed. tl’.iu| l)ttlt‘l
QJean-Pierre Jeunet Reel Life
l’( i(‘. |§.v\ug. (i. itlpin. .\l.ixterc|tixx w itli the
|*i'enc|i ci'etitnr nl the film ttiiittixiex
Ili‘lu uli'ui'n. Hie (iii ()1 [ml (‘III/i/It'n. .l/Ii'n.‘ Ii’i’um‘i'i Hun titid .lmc/Ic. See letittite. ptige I” II.
Jump Tomorrow 00. ('timen. I-t .'\ug. Ill.3tl|iiii; (El-“ll In .v\ug. N, itlpiii; l'( i(‘. 3] .-\ug. T'piii. 'lliix niulticuituitil innitnitic cniiicd} i'eprexentx .i pi'niiiixing dehut Ini' Britiin w i'itcr-dii'cctnr .lnel llnpkiiix. 'l'he ptunlull} xli}. gie_\ '\llllt'tl ( ieni'ge tlundc .-\de|iiiiipei ix pi'eptii'iiig Inr tin tiii‘tinged tiitirritigc In ti \igei'itin gill. nnl} tn lie tliinwn nlt cnui'xc h} ti clitince eiicnunter tit .\'\'(' tiii'pni't with the lietiutilul l‘lll tittticlied .\liciti t\.itti|iti \ci‘lielxci. lit the cnniptin} nl ti hi'nken-hetii'ted l-i‘enchuitin tllippnl}tc' (iii‘tidnt t. (ienrge liitx the intid tiiid lnllnw x .-\liciti In her ltllllll} linine iietii' \itigtu‘ti l-tillx. ‘lliet'e'x nn dnuliting the liiitil niitcniiie. but the detnui'x nn the lnuriie} prn\ e une\pectedl_\ eniiwtilile. llnpkinx litix tun with the i'eti'n cnlnur xclieiiie tind xniiie
llt\ enti\ e li'tiniing. w hilxt .-\de|iinipe'x detidptin e\pi'exxinn tind rigid hnd}
Iltti\ einentx tire eiiin_\tili|_\ cnnti'tixtcd with the ltinttix} xcquencex in which he nntiginex liinixelt' tix ti ptii'ticiptint in ti red lilnnded Iele nn\ ellti. t'l‘niu l)tiwxnIII
Kandahar (Safar E Ghandehar) l'ilinlinuxe. l5 .'\ug. “.Nlpni; |.uniiere. 3” ,-\ug. ‘lptn. lt'tinitin nitixter .\lnlixen \ltikliiiitillitit'x t(iiili/ii'lii tictiiiii-dncuinenttu) h}hi'id intipx nut ti wniiitin'x dtingerniix |Uttl'tlt‘_\ thi'nugh .'\lf_‘ltttltl\lttll In lind her
0 Land Of Silence And Darkness (Land Des Schweigens Und Der Dunkelheit) I~ilnihniixe. l3 .x\ug. iinnii. \Vernei‘ ller/ng'x uinx iiig dncuinenttir} tiliniit l'llll. .i 5(i-)t'tii'-iiltl \lCdl-l‘lllltl wnintin whn litix dedictited her lite In helping xiuiiltirl} till-llcted penplc.
L.I.E. O... (‘tiinen. 14 .\ug. ani. I“
.v\ug. (ipui. l’tiul l‘t'tinklin [).inn c\celx tix the ti'nuhled )nutli llnw ie in tliix pnigntint cnniinfinlltige tiin\ ie. l'll‘\l titiic directni' .\lic|itie| (‘uextti litix cn-wi'itten. with e\-cnp Stephen .\1. l<_\dei'. ti dtirld} lietirt-wtirniing ttile nt' ti cnntuxed ltid‘x tune in xiiitill tnwii .-\uiei'icti. llix iiinther died in recent _\etirx. he
Roman Coppola Retrospective oooo
l'i/m/muxe. [4 Aug. III/m1. Since the
(lilWll nt‘ MTV. initigintitixe pnp prninnx ltilVL‘ CitpllVillL‘tl tiudieneex with their pure. L‘l'L‘iIlIVL‘ ennl and their dii'eetni'x' hti\ e heen hertilded tix tirtixtx nt' unique xenpe tind \ixinii. Mirrnrhtill. the l'lllll l‘extinil .xhnw'ctixe dedietited tn highlighting the hext pnp prninnx. htix. iii prC\'lt)ll.\ yetii'x reengnixed the line w nrkx ul‘ Mike Millx. Spike Jun/e tind (‘hi'ix (‘uniiiiightiin txee Art lixtiiigx l‘ni' liix l’erxixtenee ()l' \’ixinn \‘iden piece). and thix )L‘ill' it provides ti I'let)xpCCli\‘C on the turn inititite wnnderx nl Rnnitin
('nppnlti.
Bntixting ti I'tiinily pedigree thtit‘x mm In hetit. Rniiitiii ('nppnlti etinie h) accident In pnp prninntinii til‘ter gtiiiiing technical experience wni'king nii liix t'tither. l-‘rtineix l’tird'x' lilni \erxinii nl' Drum/u. litii‘ly pi'njeetx l'nr tirtixtx ,xtieh tix Mnh} tind l)til‘t l’unk deinnnxtrtited tlitit tilthnugh gil'ted in the teclinietil tixpeetx nl' liliiiiiitikiiig. (‘nppnlti lih'nltl'L‘Ll tin tilinnxt ntiii'e xtyle relitint nn ti xingle. unifying ideti. Reengnixed t'nr thix .x‘iniplixtie tipprntieh. ('nppulti htix‘ .xince heenine knnw ii tix Mr Men. ti title hextnw'ed nn him by the French htind Air. whn pei'xniitill) reqiiexted tlitit he direct the inlet) t'ni'
‘Pltiygrnuiitl Line.
[I will he interexting tn xee. hnwexer. whether Mr Men etin xtixttiin hix xiiiiplixtie .xtyle (H'Ct‘ ti hill-length film when he nitikex hix lt‘illlll‘c dehiit tix ti directni' with ('Q
(pictured). tilxn xhnwiiig til the Film l5extix'til.
((‘titherine Brnniley)
ix cnnluxed li_\ liix xe\utilit_\ .uid liix ltitliei' ix heing iii\extigtited h} the l-lil. .-\ttei’ rnliliing ti Inctil linuxe lie cniiiex In the tittentinii nt Inctil pilltii' nt the cniiiinunit}. tind l‘tiedi‘l‘ltile. lli'itin (‘n\. .-\|l tliix ix litindlcd with \lll‘llL' xt) le; )nu e\en lind )niii'xell wtii'intng In('n\ wliilxt ne\et cniidnning ni .iccepting liix .ictinnx. ('Inxe tn the edge. but reuied iii li} undeixttited pei'tnruitinccx. tliix ix the lxind nt xlnt‘} nttl} independent cinciiiti dtirex ttickle with tin} kind nt einptitli}. tlleni'} \nrthinni'ei
Little Otlk (Otesa’nek) l‘lllltlltHhL'. I-l .'\ug. 9. ‘ttpni, 'l'lie new letituie lrnni iiitixtet’ tintintitni' .ltin Suinknititer ix ti gi'uexniiie. xuri'etil Itile tilinut ti childlexx cnuple w lin tidan ti hunk nI wnnd which ginwx iiitn .i netglilinui'hnndAdc\nuring uinnxtei.
Lucky Break 0.. I (t(‘. l-1.r\ug. ,Rtlpni. l~ .>\ug. (Httpui; (ill. 3“ \ug. 8.30pm. .liiiini} tltiniex \t-xliitti tind Rud} tleniiie .ltiiiiexi tire ti'_\ -htu'd ci‘iiiiintilx w lin xe\erel} cnck up their tii'xt htuik rnhhei} 'l he tilixui‘dit} nt l’etei' (‘titttinen‘x npening xcene tiiggcrx little but .i xliudder nt letii‘ hit the Inllnw ing ltlx tntnutex llnw met. the dii‘cctni nl li/It Iii/l llnim dnex l\lll“\ linw In acute cnnied}. ltiiiditig xnnie gi'etit lli‘itixli ticttng ttileiit in lle l’rixnn l.nng Rudtnrd. chucking in crti/_\ tnitititn. lire tind pnw ei td‘xe'xxltinx tind iiitikiiig Ihein pertnrin.\i/\m1 I/lt'
limit (1/. :\ t'tirce w itli iin i‘etil xncitil tigendti. l,ll( In li’rmk i'unx tiwti} Ii'nni the retiliticx nt the lirttixh ttixtice x} xteni tind lllttl‘lllxcx xtilllC nld xncitil xtet'ent}pex tn lime ti gnnd Itiugh. Still cheertull} cnniic _\et pnigntint. ti‘eticl} - xw eet _\et deepl} irnnic exctipixt cineiiiti. tlletither \\'tilinxle_\ i
llix tt gt‘et'it [\lL‘c‘c til
Made In Japan l'ilnilinuxe. | i \ug. ‘tpiu. 3§.\ug. (ipin .\lntinn gitiplitc x. tininititinn .ind iiiuxic \idenx in tliix \liiinilitill inund up nl {ml} piiigiexxtu' wiillx llnttt .lttpdlt
Made In Scotland l'lllltlttill\t‘. l-l ,\ug.
5, ani. In \ug. ‘lpni. \luinrlitill .iiguex \cntltind ix eiiietging .ix ti iiiuxic piniiin pinductinn centie l’k'.lllllL'\ the MN Inctilli iiitide piniiinx tni the '1 \ltnute \\niidcix xclieuie
McLaren Animation 1 I-ilmtiniixe. It .'\tlf_'. I. Wpin l’tngituiiine nt the liext nt new lli'iltxh .iiiinititinn with .itttiched .\lcl,.ueii \wtiid. mm in itx Iwelttli Mun
Mullet l '( i( '. 15 \ug. ‘) itlpin. 25 -\tig. (ipin \nt the lituicut. but the Iixli. .i x)inhn| nt .ill tlitit'x t'edtlttdnttt. In Ihix cnniic ctixe .i inixlit returning In liix linuictnwn wlieie lie‘x tin lniigci .icteptcd
My Brother Tom .00 \ug. Spin Shnt lw \iitiinxn tineintitngitiphci Rnlilw \lullei nii digittil \idcn. the tetitute deliut nt wiitei'~ilii'ectni l)niii Rntlietne ix .in
(iillllt't i. l5
tlltxelllltlg' lttlt' til tilt Hl‘\k'\\l\k‘ lL'L'ltttht' liicndxhip l’upilx .it neighlinuiing ("titlinlic xclinnlx in llei'tlnrdxliiie. lniii illen \\ liixlitiw i .ind Jexxicti iJennti lltiirixnui. Itilxe tcluge Iiniii then xiiltnc.iting liniue In ex in the lnctil wnndx ()\eicniuing tlieii inititil w.ii'inexx nI nne tinntliei. the} mm In hecnnie lirntliei .itid xixtei' Inre\ei in .i ptict nt ‘tw iniiitic}' l’.itt l.nttei'} -tunded. tlitx ix .i Britiin tilni with tetil teeling ltit the lelit’lltl} nl .idnlexcencc. ctiptuiing the dixlnctitinn nl itx pt‘nttignnixtx trnin the ‘tidult' wni'ld. .\ xliglitl} n\et'e\lettded ettni't. but the dtiiing pertnriiitincex nI the twn letidx inexli w itli the pnwertul itiw nexx nt the \ixutil xI_\ Ie, I'lnni l)tiwxniii
. t . ' THE LIST FESTIVAL GUIDE 41