New Work 0... l'rlmhnuse. 15 Aug. 7.30pm; (ill. 17 Aug. (ifittpm. A
ten years back. Spike Jnn/e almnst single-
handedly reynlutrnmsed the \ynrld nt Intrsrc \rdens. l'nr the first trrnc. \yatchmg ynttt' taynurrte ill'll\l needn‘t mean
so rtclung ynur bram ntl and ga/mg. ey es gla/ed. at the msrprd eye candy nn ntter. ‘l'he subsequent bursts nl rmagmatrnn and humnur' hay e made \ Iden-makmg a \ Ital and y ibraut genre. and llll\ Mu‘rnrball programme brings together some of the best e\amp|es of the last year. An
In erridmg sense nt Immnur per‘yades the works nu shnyy. lr'nm the lt'ankly awesome Spike .lnn/e ett'nr't lnr l'atbny Slrm‘s ‘\\'eapnn ()t ('hnice' tynu'll ney er look at ('lu‘rstnpher \Valken the same way agamt tn lilue Sources great \ynrk lnr lhc Ayalanches and (Earth .lermmgs' mtelhgent lilms tnr Badly l)ra\yn liny and Rl'..\l. (l)ttttg .lttltllslnttct
Persistence Of Vision 1: Points Of View l-rlmhnuse. l3 Aug. ltlpm. to .Aug. (rpm. \eyy l-ilm l'estnal strand sees art and lilm cnllrde m llll\ shnyy case nt challenging. eyper‘rmcntal yynrk: l\\(t artists \yltn have bnth spent time In \yar'
Persistence Of Vision 2: Poetics Of Politics O... l‘rlmhnuse. l5 Aug. 3pm. 35 .Aug. 0pm. How does a filmmaker bring the Impersonalin nt' ueyysreel tnntage into the realm nl the persoual'.’ llnyy In retrieye all this dnr'mant lilru and make it becnrne once again part of us \y hn created it'.’ .lulius /.i/ ans“ ct's the question more interestingly than most. In his \ltttl'l. Am! The Pig “in Hunt. be
For hour by hour daily listings see
Listings Supplement.
manages tn persnnalrse Ittth century
neyy \reel clips by mr\mg pnlrtrcal eyents yyrth mnmcuts nt rntrrnacy. and by usmg a cnnstant ptann \cnre lll\lL‘;ttl nt the cnnte\tua|rsmg perrnd pnp snngs nr \nrcc ny er. the result Is a triumph suggesting that the I’t'l'yrylent e ()1 limit! \L'l'lL‘\
\lttm mg snme Iyyeuty tilms m Intal rncludrng .lean-luc (indard's l ’(h'rgma' I)” .\',\'l .Slt't le and Peter .\lc( ‘aughcy '\ ('luuu . m llll\ prngramme. and mstallaunn yynrk elseyy here addrunn tn the l'lltlt l-estryal. tlntty \chrbme
Persistence Of Vision 3: Topographies l'ilmhnuse. l5 Aug. (rpm. l7 Aug. 3pm. l'rban. arnbreut. bnldly e\perimental \ynrk m the l'rlm l'estryal's neyy \ccltnlt.
Possible Loves (Amores Possiveis) .00 I lllttlL'tc. l-t Aug. (initlpm: ('amen. lb Aug. 5. iltpm. lake \(tlltC lukeyyarm l'eder‘tcn lcllmr. add a dash nl Alarn Resnats and a sprig nt \erinus Woody Allen. Sene ice cold ma wine bar in the banking district nl an l)e .laueu'n. Sandra \Vcr‘ncck's lightly cnmrc lilm e\plnr'es the enduring themes nt lnsl l(l\ c\ and llll\\L‘tl chances. (‘ttt'lns (the e\cellent .\luriln liem’crnr is ntzr rnruauttc ltct'n \yltnsc three pnsstblc ltlc paths \\ c lnllnyy. the fork being a cinema date \\ rth ltls UIIL‘ lt'llL' ln\ c'. .llllltl. l—ll-lL'k'll yc'tth earlier. The ('arlm \\ltn was \lnntl up leads a totally different ltle tonne \yhn \yasn‘t. 'l'his cley er. elegant mny re gently yy cayes ideas abnut the arbitrtu'y nature nl romance into its subte\t. unlike Slit/me Hurt/“y which almost killed this genre )Ctll'\ ago. (Paul l)alet
Princesa .0. (‘amen. I iAug. 7.30pm; (ll-“l. to Aug. (ipllt. With a richness of colour. sweeping camerayynrk and a magical score. llenrique (inldman's \ccnltd lcatttt‘c is a latt'ytalc nl \nt‘ts.
t\ a \yelenrne
\lthnugh admittedly tradrtrnnal tauytales dnn‘t lnctts nu trausyestrte prnstrtutes ntter'mg a \ar'rety nt specialist sery Ices In Italian men. But llll\ Is the setting In which nut central character l'ernanda. a lira/than beauty \ynrkmg the streets nt \lrlau tn ttrnd a \e\ change nperatrnn. finds herselt l'.\plnrmg Issues nt \e\ualtty but alsn Intttancc and sell Image. (inldman‘s tilm uses nnn prnlessrnnal .tc‘ltth .Itttl lt't'l\ (lL‘t'l‘ly lt'.tlt\llc‘ ltt\ nby rnus respect tnr ltl\ characters ensures lltl\ \lttl} I\ ltttl e\plnrtatr\ e. but tender and caring llttyy t'\t‘t. tltc cnmbruattnn nl lt‘.tll\llt and Iautasy rats at lllltL'\. the changes In mnnd and tempn creating tlhlttltcc tlhlcatl (tl empathy. tl.nttI\a l’earsnnr
Promises C... l'rlmhnuse. l‘l Aug. “ ittpm; (il’l’. lb At g. bpm, \\'rtlr the resurgence nt \ rnlence ltt llt'.‘ \lltltllt' l‘.;l\l. ll1|\(lttctllllt'lllttly kitllllllllil. \ltll}. ltL‘ mnre Iunely. Hut yy here the barrage nl darly llt‘\\\ l‘r'pttt‘h nt atrncrtres linally tlk'\t'll\lll\t'\ \ Icyy ct\. the (tltpttstlc I\ true Ul llll\ \er‘y persnual lnnk at the cnuthct. .leyy rsh Amerrcan tilmmaker li,/.. (inldberg has spent trrne m Jerusalem and the settlements \urrnuudmg rt mteryreyymg children: Israeli t\\ ms argue ny er yyhrch buses are likely tn hay e bombs abnat‘tl‘. a Palestinian gu'l gnes nu a tarruly nutmg. tn
peace’
l )t'()tttlf;( 2:;
‘An astounding finale brings together kids from both sides of the conflict in Jerusalem, suggesfing they, not world leaders, hold the solution to
Werner Herzog Retrospective OOOOO Film/muse. dates and times vary. see r'mlex. German director Werner Herzog is best known for Aguirre. ll’rarh Of God and I-‘r’r:earru1do. for his features over his documentaries. But with a filmmaker as wilful and eccentric as Herzog (he hauled an Amazon riverboat over a mountain while making I’itzearmldn) the distinction between fact and fiction collapses. What's left is a filmmaker of boundless energy and a questing sense of
inquiry.
Take Lu Snutrere with Herzog and a couple of cameraman occupying a volcanic island after the locals have scarpered. With the volcano about to erupt. Herzog wanders up to its mouth and muses over its potentially damaging effect. An act
of bravery or madness? In The (:‘rear Iieslusy ()f ll’rmr/r'an'er Steiner. he witnesses the world's finest ski jumper"s bruised and battered face (pictured) and momentary memory loss after one particularly perilous jump.
If in these 70s films Herzog was fascinated by the leap into risk. in the more recent Little Dieter Needs To My and ll’ings ()fHupe he explores the issue of survival as [)ieter Dengler and Juliane Koepcke explain how they overcame plane crashes in
the Laos and Peruvian jungles. respectively. Hermg‘s genius is
(Tony McKibbin)
for discovering the root of risk and survival. so that. like ‘documentary' and ‘feature‘. the definitions collapse and man is shown at his most fundamental.
42 THE LIST FESTIVAL euros 9.15 Aug 2031
um her Intunaltst lather m [‘llM‘ll. a
Jew rsh bny \yants tn rnm the army. a l’alestmran lad dreath nt krllmg .leyys Hut. m .m astnuudmg tiuale. H / brmgs kids llt‘lll l‘ttlll \l\l\'\ t‘l lllc‘ cnntlrct lt‘g'c‘lllv'l lt‘ talk and play. suggesting they. unt \ynrld lt‘.t\lc‘l\. llt‘ltl llls‘ \t‘lllllt‘ll li‘ [‘t'act' t\lll\‘\ l'reldert
Runaway CO. l~rlmhnuse. Ii \ug. 5pm. I umrere. 15 \ug. b ittpm \\ lule the npprcssrnn nI \ynmen tlt \lnldle l’.t\lt‘ltt cnuntrres has been tretluently repnrted by lmrnan rights nrgaursatrnns m the \\est. It's m llll\ dncumeutary trlm that yyc're gtyen a rate \ teyy trnrn the ynung \\nrtlctt themselyes \yhn \llllt‘t abuse and mtnletablc It'\lltcltntt\ \\ rthm then tarutly enyrrnnmeuts l'Hllti“ llt_‘_' lllk' ll\(‘\ Ul uumernus _\ntttt_:' Iraruan j._'lll\ tnrced tn llee thctr hnmes and take Ieluge m a shelter m lehran. the trlru charts their .urryal thtnugh In the parntul medratrnu I‘lttct'\\ \\ (III the relatryes that arms In retrrute the tractuted lamrly umts lx’elerences In
‘\ rrguuty c ertttrt ate\' and heart telt testrmnmes lrnru guls married as yntmg as tyyelye mtn \ rnleut telatrnnshrps make tnr cnmpellmg rt ttncnrnlnrtable \ teyy mg t( ather rue lir'nmleyr
QSurprise Moviet (tt‘. IR \ug. 'ptn ’l'he hnttest trcket nl the lib” l'estryal. sputlxnt‘ctl by l/lt /.I\l. l’rey rnus surprise premieres ha\e rncltrded I'll/[t In [Inn and l-‘ ('I’Il/illt'lllltll,
0 Tears Of The Black Tiger (Fa Talai Jone) O... l'ttt‘. It \ug. “pm; (amen. lb Aug. Iltpm Kitsch. \.llll]\ and gnrgenus "l har \yestern' that unyes Sergtn l.enne and Sam l’eckmpah \yrth l)nuglas Suk style melodrama and 'l'aryyanesc serials trnrn the 5th and (ill\ \cc preyreyy. page W.
Traktor Screen 0... l‘rlmhnuse. l i Aug. ppm. lb Aug. [It ittpm It you‘ve been enrny mg ad breaks nt late. chances are ynu hay e Syy L'tlhlt cnllectn e lraktnr tn thank lheu' rdrnsy ucrattc apprnach has been embraced by the biggest brands cnuceryable. In the e\tent that they are I'L‘\|Nttt\tl\lc tnr mnre ayyard \\ mnrng commercials than anynne else In the world, l'lttlll the sick surrealism nl \tke's 'lielly \ ( inrma ( iet \a' In the ndd-ball lurrunur nl theu treatments lnt' \lahbu t( 'arrbbeau gtrd Incl. cnuceptr and [y u\ tgul \lllhtltg a match nn her armpit r. 'l'raktnt ltaye ettectryely tuned mtn ctrrreut trends In becnrue hnI prnperty m the last \ynr'ld nl adyer‘ttslug. lat lrnm cnuyeutrnnal. they allegedly discuss protects \Ittrng abnut m then underyy eat. \(t \y e can nuly hnpe that these knnky cttstntttcts dress tn Impress when they arrrye In Izdmburgh In take the l‘rlm l'estryal by \tntrn, t( atlrerrrre lirnmleyr
Une Vraie Jeune Fille (A Real Young Lady) 00 l'lllllllttlht'. I % Aug. 5. ittpm; l.umrere. 21 Aug. (t iltpm Banned nu ll\ rrutral release In I‘Wb. (.athct'tnc lit‘elllat\ tRnnru/h ('. .l .llu Sm rur debut leature rs sticky story abnut a young grrl drscny ermg her se\ua|rty \Vc lil\l eucnunter‘ the lilm's pr‘ntagnntst. Alrce linrmard t( 'har‘lntte .‘\le\audrer. as she arrrycs hnrne lrnrn bnardmg schnnl lot the summer hnlrday s In her stale. nppr'essrye hnrne In rural I'rauce. In un trrue at all she‘s shny mg a spnnn up her snatch at the kitchen table. \yaudermg arnuud tields u rth her pants arnuud her ankles and tantasrsmg abnut \ynt'llh berng dangled around her nether regions by the local Adnms. l2|scyyhere. we are graced by shnts nl her prssmg and clays lmg across the beach yr. rth leathers stuck up her arse. 'l‘hrs wouldn‘t be \(t terrible rt the tilm wasn't so pretentious. But It l\. t('atherme lirnmleyr