play ed otit iii real time. the theatrical iootx ol ‘lii/n'. adapted l'rom a Stephen llelber play. are accentuated by I.iiiklaier who opix to film III the xty le ol' the great (iei'man auteur Rainer Werner l‘axxbinder 1 [he [can u/ I’vmi \illl Kalil. iti pai'lictilat'l. Selected I'L‘lt‘;t\t'.
Three Colours: Blue 1 ISI .00. tKl‘l} ‘lltil' Klexltiu xkl. i'il'illlL‘L‘. 199.“ Juliette Binoche. Benoit Regtnt. ('harloitc Very. llltlmiii. :\ young woman triex to im- latc hcrxell~ l'rom li'iendx and any notion ol al'l'ectioii lollow mg the death of her com— poxei~ huxbaiid and child in a car craxh. but xlie cannot excapc li‘om the ll'aglllL‘lllS ol' hix unfinixhed coiiipoxitioii. in which xhe
play ed a major part. .-\ii exprexxiye and xymbolic film that ix alxo emotionally xatix- 1') ing. Binoche'x aw ai'd-wiiming perl‘or- malice. iii a film ol' prol'ound beauty. ix the I‘L‘SI til her career. .\lo\ ieliouxc.
.\iUillL‘l'\\ ell.
Thunderpants l l’( l l O. il’etcr llewitt. l'lx'. 3003i Bruce (‘ook Ill. Rupert (irmt. Ned Beatty. ‘)51niii.x\ crap kidx‘ llick that fiiidx lartmg l'uiiny. not once or twice. btit the whole film through The ability to paxx gax ol epic pi'oportioiix rexultx m Iiuiiiiliatioii and eyeiitttal xal\ation lor the filiii‘x elexeii year old protagoiiixt. Skip tliix hour and hall. ol crap lart iokex. Selected I‘L‘lt‘;t\t‘.
The Time Machine il’( il .0.
iSimoii \\‘ellx_ l'S. Illtlji (itiy l’eai'ce. Saiiiaiillia \ltiiiiba. .lei'eiiiy li'onx. 05mm. Subtitled \L‘l‘\ltill lor llie hard ol' hearing. Director Simon \Vellx' remake ol' lll\ great graiiddaddy ‘x claxxic. Hut \Vcllx .llll' com— pleter l'lull‘x tip the all-iiiipoi'tant plot i‘e\e-v latioii: why l’eai'ce'x time tray ellei' can't change the paxt. l’eai'ce ptitx m a watchable il xoiiiewhat allecled perl'oi'iii.’mce ax the eccentric \clt‘lllhl'L‘\[\ltll't‘l‘. hut il'x not enough to eleyatc the film. which by the Hay iiattire ol itx xoui'ce Iiiatei'ial xhotild haye been lar more thought provoking. l’('l. (‘lydebaiik
The Time Machine tl’( il .00 tSimoii \Vcllx. l'S. 201121 (iuy Pearce. Samantha .\Itimha. Jeremy li'oiix. 05min. Director Simon \Vcllx' remake of hix great granddaddy ‘x claxxic. But \Vellx .lnr com- pletely l'lull‘x up the all-important plot reye- latioii: why l’eai‘ce'x time ti'a\ ellei' can't change the paxl. I’eai'ce ptitx in a watchable il~ xomew hat allected perl'oriiiatice ax the eccentric xcieiitixt-e\ploi'ei‘. but it'x not enough to eleyate the film. which by the may nature ol‘ itx xource iiiatei‘ial xhould hay e been l‘ar more thought-prmoking. Selected t'L‘lL‘thL‘.
Time Out tI’(ii O... tl.aureii: ('antet. France. Zlillli Aurelien Recoing. Karin \‘iai‘d. Serge l.i\’ro/et. lein. The original French title. Iflz’niplni (Ill 'I'enipx- traiixlatex literally ax ‘time-table'. xtiggext- ing the xtructut‘e impoxed by a working routine. Ironically xo, xince thix ix a xlow- burning xtudy of a iiiiddle-aged office worker who. hay iiig loxt hix job. cannot bear to tell hix laiiiily. xo he ximply imeiitx a new one. But maintaining tliix fiction xoon becoiiiex a l'tilltime occupation. llix wile. children and parentx belicw he ix working lor the I'.\'. and hix xellldeceptioii ix xo cl'l‘ectne that when hix lather qticx- tioiix their el'lectiwiiexx in dealing with endemic third world poy erty. he ix pcrxon- ally ollended. ('antet wax iiixpired by a documented caxe. bill it ix a textaiiient to hix l'oriiial control and ra/or-xhai‘p iiixiglit that hix fictional ciiding ix more quietly
de\axtatiiig than what happened in real lil‘c.
Adam Smith. Kirkcaldy.
Tosca tl’(il C. tlieiioit .lactiuot. l‘i‘ance. Itltll l IZ-lmin. .\'ot tor the l'eiiit hearted. 'Iim'u rcquircx a certain amount ol' xtamiiia. But Benoit Jacquot'x new adapta-
tioti lor film deiiiandx no lexx than ()ly mpic
lcyelx ol' endurance. l‘oi‘ l’uccitit'x tale ol iealouxy and paxxioii bctw ecn the two doomed |o\ et'x. 'l'oxca atid ('a\at'adoxxi. hax been taken lrom the xtage with dixappoilil» ineg little imagination. 'l‘hcre ix nothing
w roiig with the pcrl'tiriiiaiicex. the coxtumex are llaw lexx and the xetx exqtiixite: it'x _lll\l that altogether ax a conception it doexii't work. ()pera'x largenexx deiiiaiidx xpace to pei'l'oriii. and filming ax il‘ the wordx e\changcd are ximply dialogue crampx itx xl_\ le. See in iew. (il'jli. (ilaxgow'. l'lllllllUUSL'. Iidiiibui‘gli.
24 Hour Party People I Is» .00.. (\llc‘llttt‘l \Vliilct‘litilltitll. l'K. 2003) Ste\e (‘oogan. l’addy (‘onxidiiicz Shirley llcndci'xoii. l Illmiii. The whole ci'a/y tale ol‘ l'aclot‘y recot'dx. the Hacienda and all thiiigx .\ladchexter ix retold by writer Frank (‘ottrell Boy ce w ho hax done xoiiietliiiig quite extraordinary turned 'l’ony \\'ilxoii'x dy xl'unctioiial adventure from 1976 to now into a poxt-iiiodern romp that never takex itxell‘ too xeriouxly. Boyce'x regular collabw rator. \Vinterbottom. directx like a man pox- xexxed by the conjoined xpiritx ol Jean-l.uc (iodard and I.indxay .'\nderxon. and ix more than up to the taxk tixing a \ariety ol‘ xcratchy. quirky. puiiky dey iccx to tell talex l'rom a caiitaiikerotix city. Double top. Adam Smith. Kirkcaldy.
2001: A Space Odyssey 1 l ‘i .0... tStatile) Kubrick. l’lx'. NONI Keir l)u|lea. (iai'y l.ockward. l.eoiiard Roxxiter. l.i‘)iiiiii Re i'cleaxe twith new widexcreeii Vllmiii pi'iiiti ol the greatext xci ~fi film ol' all time. 33 yeai‘x alter it wax made. III the year it wax xct. lx'tibrick'x gloriouny grand archi- lecture xeex prehixtoric apex timelincd into a xpace ballet l'eatui‘iiig a lunar cralt dock— mg to the xotind ol Stratixx. llllS pi'efigurex an extended drama aboard a xpacecral't bouiid lor .lupitei‘ lll\t\l\ ing a mtii‘dci'oux .'\l coiiiputei‘ and the giant embryo of a xpace child xigiiil'y mg w hat'.’ The next xtcp in human cyolution'.’ :\ll opaque iiiaxterpiece that xtiggextx xo much. yet e\p|aiiix xo little. \Vhich ix why it'x a timelcxx claxxic. (il’l‘. (ilaxgow.
Unfaithful 1 l5! 0.. l:\tll'l;lll l.y iie. IS. 20031 l)iaiic Lane. Richard (iere.
()li\ icr .\lartiiie/. 123mm. .-\x a re-make ol
index Film
(‘laude ('habrol'x 196‘) thriller Lu I‘i’lillllt' Iii/irlele. 'I‘Iu' ('ii/kiiIIi/itl ix a pretty tirexome cll‘ort. Diane Lane dominatex the film ax Richard (iere'x dutiful but bored wife. who liax a chance fling with French hottie ()liyier Martinez. The film playx out like a tedioux l'ollow tip to l.yiie'x own Fatal Attraction. thix time with the (iallic male lo\ et' ax the psy Clio. Selected releaxe. Venus Boy: t 151 t(iabriel Baur. IS. 201)] l l()2min. Documentary exploring the .\'ew York drag king phenomenon. Part ol‘ the I.exbian atid (iay I‘ilm liextiyal on Tour. (il’l‘. (ilaxgow; I’ilmhouxe. Iidinburgh. Violent John ( 15) (Tonia Marketaki. (ireece. [973) l8()inin. Tough drama about a man with psychopathic tendenciex who conl‘exxex to the xlitickiiig murder of a woman. but who may well be innocent of the crime. Part of the (ireek I‘ilm Seaxon. (il’l‘. (ilaxgow.
The Warrior ( l2) O... (Axit' Kapadia. I'K/India. 2002) lrl‘an Khan. 86min. While leading an attack on a Northern India village. I.al'cadia (Khan). the loyal lieutenant of a brutal l‘eudal lord. ptttlxex. xickellcd by the blood Illitl .x‘lillnx’ him and i'enouncex violence. But the lord \ ixitx a terrible revenge on hix family. Rather than i‘cbuck'ling hix xword and fur- ther tainting hix already cotiiproiiiixed moral xtanding. Lal’cadia lleex into the iiiountaiiix. ‘l'lir llii/‘I'iur‘x ximplicity tiiakex it xeeiii like an archetypal yarn. htit it hax a pei‘xoiiality that beliex itx lack of dialogue. And. in an age of tongue-in-cheek jauntx. it'x rel'rexhingly uiicoiiipromixiiig iii itx xeriouxiiexx and beauty. l’I‘ll Cinema. lialkirk.
The Wrestlers itbci t Buddhadeb I)axgupta. India. 20001 07min. .\'ew Indian drama being previewed ax part of the xeveii month long liiiagineAxia xeaxon about two xponing palx in rural Bengal
w hoxc l’riendxhip ix put to the text through a variety of domextic and social prexxurex. (il’l’. (ilaxgow.
The Film Festival‘s programme has just been launched and this year, the first under the artistic directorship of Shane Danielsen, looks like being one of the best.
This year there’s a shorter, more intensive Film Festival: 12 crowded days of films, from around the world — from big budget Hollywood spectaculars to foreign- language modern classics. Feature film premieres include Morvern Cal/ar by Scotland’s very own Lynne Ramsey, Australian hit Rabbit Proof Fence and Mike Leigh's All or Nothing.
LIST READER OFFER The List and the Film Festival have teamed up to give every List reader 21 off any feature film ticket across the Film Festival. Simply pick up your copy of the programme from arts venues across Edinburgh and Glasgow or by phoning the programme hotline on 0131 228 4051.
Choose the films that you want to see and take this voucher with you to book your tickets in person. Film Festival Box Offices open on Saturday 20 July and are located at Filmhouse. Lothian Road, UGC Fountainpark and for Glasgow screenings, Glasgow Film Theatre. Rose St.
The Film Festival is about ‘More than Movies’. There are master-classes with filmmakers. panel discussions. short films and the renowned Mirrorball music promo and commercials section. But the real magic about the Edinburgh Film Festival is that you are actually watching the films with the filmmakers in the cinema with you.
TERMS 8 CONDITIONS One voucher per person. up to three films per voucher Offer open fer booking in person at Film Festival 80x Offices tUGC FOIintainpark, FllllllIOIJSC‘. Lothian Road tor Edinburgh SCHNNIIIIQS and GFT tor Glasgow SCIQOIlIIlQSl Stibiect to availability.
This voucher gives all List readers £1 off any feature film "W screening at the Film Festival.
Valid from 20 July - 4 August 2002 only.
$°\“su.c”
FESI’IVAI.
18 .i..i -1 Aug 200:2 me LIST 49