Film Index
Missing Allen - the Man who Became a Camera IS. I('hrixii.m Bauer. (ierriian). 2001 l ()2mm l-Ilmmaker ('hrIxtiarI Bauer tracex the deappcarance nt trIcrId and colleague. Indie filriimaker. Allen Rnxx Alter \ariithg tnIIr }I'.Irx ago Bauer'x alar‘IrIirIg xearch In Allen takcx him trnm (‘hicagn'x art xccrie tn xatanIc xech Iri \Vacn and Oklahoma ('It} Subtitled I-I/nI/rntm. lulmburelr
Monday Morning II’I il eeee IUtar loxxeliani. l~ratice llal}. loot I Jaqucx Bidnu. Arrrgn .\ln//n. Anne-Krax /-'l'arrIa\ xk} IZ‘HIIIII \'IIIcerIt IBIanII Ix a welder llc Ii\ex In a xmall l-icnch \Illagc \xrth hrx mic and hix ar‘IIxtIcall) gIlted krdx lle goex In \xnrk cxei'} Ila) at the local laclnr}. lie ltkex ltI \lIIIIkc. l‘tIl he Ix ttIIl alltm Cd [II III “title .-\I home he IIkex tn xrrinke and paint landxcapex. but hrx \HlC Iilixti)x hax him cleaning ntrt the guttermg Then one Ila} he deappear'x. (ienr‘gian l‘rlmmakcr lnxxelianr hax been making Ihcxe xan n! ‘paxtnralex' xincc the earl} l‘NIIIx \\'hrle the catatonic pace Illa} be a problem Inr xnmc. thix Ix a hunk} lllllc gem. (tillll'l'. lit/III/Illl'g'lt.
My Life as a 009 Il’(iI Il.axxe llalxtrnrit. Sueden. I‘MSI :\IllIIII (ilan/ehux. Manfred Sener. :\lilxl l.IdcrI llllmm. \\'holl} captnating r'Ite nI paxxage tale xet In S“ eden during the l‘)5IIx. 'l‘xxcl\e-}ear-nld lngemar' cnpex \xirh hIx rrinther'x Iei‘iiirrial Illriexx and lIIx lamil} 'x general Itidrllerencc Io hitii b} Indulging In a high tantax) Irle. Including the pretence that he Ix a dog. ’l‘eri‘rble title. \xnndcrlul. uniiirxxable film. (iIV'I. (iluwmi. Nadie Hablara de Nosotros Cuando Hayamos Muertos (No One Will Speak of Us When we are Dead)
I lh’I I.-\guxtin I)Ia/ Yanex. Spain. 199M \‘rctnria .-\bi'i|. l’Ilar‘ Barderii. l‘edertco l.uppI. lll-lltllll. \Vitncxx In a crime and excapmg the garigxtcrx ti‘_\ mg In kill her. (ilorra IAbr'Il I. cnmex back In Madrid and her t'arriil} \\ here xhe attemptx In find \xork. 'l‘hIx ngn-nI-the-tiiiiex defining drama ix \xmner ot' the l‘)‘)5 Sparirxh Acaderri) Bext l-"rlm :\\\ard. l~'IlnIlrnrnI'. lz’I/III/mre/I. National Security I IZAI Il)enix l)ugan. l'S. ZIIIHI .\lartm Laurence. Stexe Zahn. (‘olm licnr'e. 88mm. Nutrnnul St'l'lll‘lfl Ieamx Laurence \\ ith the xIIltiC\\ll;ll more talented Zahn ax a pair ol' lt)\L‘l\ \Iho. Inn crap In become copx. haxe In xettle on lo“ I} xecurit) guard xtatux. .-\nd Itouldn't _\oti kiln“ It. the bad bo) x get In buxt tip a inIIiggliiig operation. \Ihich laridx them in the xhit “llli both the criminalx and tthr be|o\cd l,.-\l’l) ioltce l‘orce. .\'e.\t. (it'm'm/ I'l'lt’lht'.
Neapolitan Heart (Cuore Napoletano) I IZAI Il’aolo Santoni. ital}. ZIIIIZI 94min. Docuriientar) exploring claxxic Neapolitan muxrc. that quextionx whether the Initial I'eelingx that ga\e birth In Iliix era xtill e\Ixt. II I'ocuxex on xe\eral notable per‘xnnahtiex from the ltaltan-American and Naplex muxic xcenex. and xongx are theatricall} belted out In the xtreet and from dinner-tablex “hile xcenex trom Italian xilent moi Iex fitiidl) Intercut the film. (il’li (i/Ihumi.
Nobel (Premio Nobel) I ISI (Paolo Santonr. Ital). 2001 I llector Alterio. Stanixlax .\ler‘har. Katja Riemann. l llllillll. Alter being told that he hax “on a Nobel l’r‘I/e. Italian \xriter Alberto I.-\|terioI xetx oil on a car Journe} In Sixeden \xith journalixt .-\|exxandro I.\lerharI llix thoughtx are Inxixteritl} filled b_\ the \xoman he hax ulna.“ lo\ ed; the car Journe) xoon becomex a \o} age oI xell-dixcmer} for both men. (i'l-"li (ilmgnu .' I'IIIIl/IUHH'. Izdtnltm'elr.
Open Hearts I ISI eeee ISu/aiine Bier. Denmark. ZIIIIRI Nikolai Lie Kaax. Sonja Richter. Paprika Steen. .\ladx .\lIkkelxen. ll.‘mm. 'l'\\ent) xomethmg ('openhagen couple Joachim IKaaxI and (‘ecIlie IRichterI are engaged In be riiarried. until Joachim ix knocked doun b} a car leaving him parahxed. 'i'he drn er. Marie ISIeenI axkx her huxband .\'ie|x I.\likkelxenI to talk In ('ecilie. \iho'x xtrugghng to deal \xith .loachim‘x hnxtilit). ('ecilie and .\'ie|.x xoon find their t'eelingx for one another hard In Ignore. The Idea that the Dogme moxement Ix paxt Itx xell-b} date ix challenged b} thix abxorbing film. riiade xx itli the xame ‘\'o\Ix oI~ (‘haxtitx' that inxpired l‘iwhvl (Hit! The [(1101). Ble I'L'lllSLN [0
34 THE LIST 2." Mar—1C AD' 2333
patranIxe the characterx arid the erixemble pertnrmancex are uniInrml) Imprcxxnc Sec prexrexx and re\ie\x (il'l. (i/Irxenn Orphee I l5i IJeaII (‘ncIeatL l‘rance. l‘lslli Jean .\laraIx. \larre l)ea. .\laria (‘axarcx 05mm (‘ncteau creatcx an unrrxallcd cinema Iaritax} III thIx qurinIng modern \erxinn oi the ()rpheux legend. replete \xrth xurprixmg techrircal trIckx and the director'x perxnnal brand nl poetr} Iirlrlilmruli l‘l/III (itu/u’. Iz'I/rliliurgli.
Perfume De Violetas I ISI |.\l.li‘}\t' Sixtach. Mexico. 300% erena :\}ala. .\'anc} (illllL'rrL'l. :\rcelIa Ramire/ 90mm l)rariiatixatiori baxed on a true xtnr} and the groumg problem nI xe\ual axxaulI III Mexico ('It}. Rebellinux tnmbn} Yexxica Ix raped b} her mother'x riexx bn_\ t'rierid and hIx xnri. alter \xhrch xhe abandonx her linriie and mm ex III \\ IIh a triend. Another \\ inner lrnrrI contemrmrar} .\le\Ican cinema. ('(Il. (ilmenii; l‘rlnt/inim'. lidur/uu'e/I. Persona I lHl O... Ilrigmar Bergman. Sweden. Noni l.l\ l‘llmariri. BIbI .-\nderxxnn. Margaretha Krnok. Hlmin, I’I'rinriu explorex the relationxhip beI\xecn (“n “omen. art actrexx Il'llmaIIrII xtrllcr'mg a bt‘eakdotxn and lllL' nurxe I:\IIIlL‘I'\xIInI \xltII n\erxecx her recuperation m a cottttlr‘} cottage. The actrexx. “ho dried up III the middle of a perl‘nrmance. doexII‘I xpeak. \xhrle the nurxe talkx at length In her mute patient abottt \arioux pett} Iitatter‘x. bttt dexpite InItIal dixtance theIr rcIaIInnxhip dexelopx Into a x}mbiottc one. .-\l| nl Ihix allou x the SIchIxh atrtcur In muxe n\ er hIx l'a\ourite Ihemex: people'x communication problemx and the egocentric nature nl' art. .\'ot an eax) filrii mm b} Bergman'x xtaridardx but an extrcmel) reuarding one. film/route. Ifdtrtlmrelr.
Personal Velocity I 12m eeee IRebecca Miller. l'S. 3003i K}ra Sedgxiick. l’arker l’nxe). l‘aIru/a Balk. 90min. Writer/director .\lI|ler'x xecnnd filrii Ix a three-part leature - adapted from three xhort xtoriex from her nun book - in \xhich three dill'erent \Iomen each experience an epiphan) that markx a turning point In their in ex. lt‘x a film III “illL'll xmall detailx and fleeting momentx xpeak \olumex. l'or example \\ hen unfirlfilled (ireta Il’oxe) I lookx at her partrier'x xhoex and llllull) decidex xhe'x going In lea\e lillll. illch are tough tale.x filmed with a rough edge. btit the) 're xuperbly acted and remarkabl} uplifting. See prex'iexx and rex ie\x. ('(i(" Rut/fen Street. (i/uxgon: (‘(i('. [climbing/I. The Pianist I 15) .0. IRoman l’olttnxkt. l'K/lirance/(Eeriiiany/Nethcrlandx/i’oland. ZOOZI Adrien Brod). lirarik liirila}. Maureen l.ipman. l-l‘)min. An intenxel) perxonal film from acclaimed l’olixh director Polanku Iltilndxomcl) renarded at the ()xcarx t'or hIx el‘l‘orth. ax he himxell' xurt ix'ed the Krako“ ghetto. 'l'lie l’umixr I‘olloxtx the perxecution ol the .lC\\x in Warxan during World War ii. The ltk‘llx Ix on brilliant Polixh pianixt \Vlad) xlait S/pilman IBrod} I \\ ho excapex deportation In an extermination camp and Ix lel't xtruggling l‘or xurx'ix'al In the Ixaxteland that‘x left of \Varxaxx. Adapted from S/pilman‘x memoirx and making uxe of Polanxki'x nun childhood memoriex. 'I'lie I’IImrII Ix uridoubtedl} a braxe and ambitioux project. Although reuarded b) itx \x inning the Palme d'()r at laxt )ear'x ('anriex i-"ilm l-‘extix'al. it ix. lioxxex er. debatable uhether tliIx film xion ori itx \\I)rllllIthx rather than II being a coherent and compelling narratii e. Selected I'l'll’UM'.
Puckoon IPGI I'i‘erence R) an. lreland/L'K/(iermari). 2003i Sean iiugliex. lilliot (iould. Richard .-\ttenborough. 83mm. .-\daptation of Spike Milligan‘x 1963 comic rioxel in \Ihich a \ illage on the border ot‘ Northern lrelarid and the Republic ix xplit III (“II \\ hen the line i.x draun do“ II the centre ot‘ the communit}. xplittirig houxe I'rom outlIone. pub from chairx and man from
\x il'e. Charit} xcreenirig in aid ot‘ Barnardo’x. ()demt (‘III' ('I'IIII'I’. Glasgow.
The Quiet American I ISI eeee (Phillip .\'Ii§ce. L'S/L‘K. ZIXIZI Michael (‘aine. Brendan Fraxer. Do Tlii llai Yen. lIXImin. The prex ion I958 adaptation ol (iraham (ireerie'x rioiel excixed the book'x critical comment on America'x earl)
III\I\l\eIttcnl m \ IctrIam and (ireene hated It 'l'hix riexx \erxrnn tetamx the comment. xn It‘d be interextmg In xee \\ hat he \xnuld ha\ e made nt thIx film. xmartl} xcripted b} Brit (‘hrixtnphci llampInn. iriipeccabl} directed b} .-\uxxie Phillip \n} cc and teaturirig a career bcxt lK‘IlI‘IIIIaIIcc b) ('amc ln lact. (lime. uhnxe pertnr'rriance Ix rcriiarkabl} r'extrairied and bcautrtull} modulated. baxed ltlx part. ‘l'llI‘tltdx l'nu ch. It ltlle'kl lil‘lltxlt riexxxpapcr cnr'rexpnnderit in Saigon at the end nI the l‘rerich lrIdn-(‘hrria cnlnnial pcl'tntl. IIII (iI'L'L‘IIc ltllihcll .\( [I I .'I If n [I an The Recruit I 12m ee IRnger' l)analdxnn. l'S. ZINIFI :\| l’acrnn. (‘nlm l'arrell. Bridget .\ln)riahari ll-lmin lital the ('l.-\ ga\e Ila Rn rurr'x caxI and crexx tIripr‘ccedeiited accexx In Itx Langle) headquarterx. codex and pr‘actrcex. grx ex _\nIi a clue to hnxx the} 're pnt‘lt'a) ed Iii thrx glnxx} llnll} “nod thriller l’acIiIn Ix The Recruiter. hix nld \xarhnrxe \Valtei‘ Burke headhtIrIIx (‘la)tnII. taking hriii In a xecret xp) training IacilIt) The .-\genc} mnttn. 'Nothmg Ix \\ hat It xeemx'. Ix alxn the film'x mndux npcr‘andi. ax l‘chIIttcx clear III .I xcrIL'x IIl plot l\\ lex. But l)nnaldxon hax done better \\ IIh hix other political thrillerx. I'IIII‘II'I n Ilui I and .Vn “in ()I'll. l’erhapx propaganda quI don't make tnr good cinema. See re\ 16“ (it-rural I'¢'/¢'(l\( Respiro (Respiro Mlo) I IV Ilirrianuele ('rralexe. lIal_\. ZINIII \alerIa (inlInn. 90min. ()n LanipchIxa. an leand near \\L'\lCl'll Sictl}. l'un Ix r‘extricted In Saturda} nightx. (Era/Ia I(iolrnnI Ix the al'lectionate. _\nting mother nl' three children n ho Ix alxo ax unpredictable and xtnr'm_\ ax the xca xurrnuiidmg her leand. Set agamxt rough and ragged rockx. thix table cnncernx Iealnuxl). cruelt}. xe\ual terixron and tolerance. (ii-I. (iluieoii; l’t/HI/IHIIH’. Edinburgh. The Ring I iii 0.. I(}ore Verbmxkr. l'S. 2003i Naomi “'attx. Brian (‘o\. .\lartm lleriderxon l 15min. 'l‘hIx remake of the Japanexe horror thriller Rureu retarnx the orrgmal'x premixe an urban rri}tli about a m} xIerIoux \ Ideotape that killx thnxe \\ ho much It e\actl} xe\cii Ila)x later - but the action ix relocated to Seattle. \x here Wattx' Imextrgatiie tournath findx herxell \xith. )ex. one week to xolxe the ill} xlcr) alter watching the tape herxelt'. Where Rmeu relied on atriioxphere Ior Itx xcarex. 'l'lie Rme Iendx to the blatant and literal. Predictabl). Verbinxki can't rexixt rampirig tip the action. but he dnex xo \xith real panache. (immrl I'I'lt'uu'. Ring I IX) 0... IllIdeo Narkato. Japan. 1998i .\'anako .\latxuxhiriia. .\liki Nakatani. llIro)uki Sanada. 95min. A horror film phenomenon in xoutheaxt Axra. the xtnr} turnx on an excalating urban m)th \\ Ith a bod) count. lt beginx mm a teenage gIrl telling her lilt‘iltl about a ill} xterioux \ ideotape that \xorkx like a \er} naxt} chaIn letter. l'npleaxantl}. ll]_\lll turnx out to he fact. The original induxtrial-electronic xcnre b) Kend Kauai delixerx Itx xhare ol‘ the chillx. \ihilc the xudden llaxhbackx and momentx ol xpiritual connection betueen the murderx in the modern da} and the paxt come at )ou hard and out the blue .-\ terrtl'}ing in} to behold. ('('.-l. (iluwms. Rosetta I ISI .0... due and Jean- l’ierre l)ardennc. Belgium/France. l‘)‘)‘)I limihe Dequenne. Anne Yernaux. l‘abrI/Io Rorigione. 91min. Roxetta Il)cquenneI Ix xe\enteen and hax one \IIxh: to find a Job that “I” enable her to riime oirt oi the cara\aii that xhe co-habrtx \\ Ith her alcoholic mother IYernaux I. Dexpite continual dixappointriientx in the job market Roxetta ret‘Uxex to gixe tip hope and battlex on like a btrll facing a matador. .-\ marxelloux expoxrtion ol the continuing Importance ol cinema in highlighting xocial barrierx and conflict. Roxetta \x ax retxarded \\ Ith the (‘annex Palme d‘()r. (11mm. Iz'dIII/iure/i.
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O The Rules of Attraction Ixi 0.. IRnger Mar}. l S ('Ierriiau). IINIII Jamcx \ari l)et Beck. Shariner Snxxamnn. laxc lhIiiaixa}. ltric Stnlt/ llllmm I'amden (‘nllegc Ix an aIIlucrIt \e\\ l-nglaiid place-n17 tin-learning \x here I auren ISnxxaiiInIII \\akcx up In decnx er xlic"x being filmed. tucked trnm behind ixhilxt being pukcd on. \xhtle Sean I\aII l)er Beek I. the ‘cri‘InIInrial \ampiie'. can't remember the laxI time he had xex xnbcr Depicting an eiidlcxx rnIiiId nt bnn/e. Iurik and xe\-IIIelled campux partiex. .-\\.tl'_\ creatcx a haid~hittmg teen mn\ ie trnrii BteI i'..l\lI\il l'lltx‘ rin\el \xith xnmc xIartlIrig xet precex and a xtrnIIg crixemblc caxt lln\\e\er. the film. albeit xt} lIxh and entertaining. aImx xtiuaiel} at xhnck \altic See leature and re\ 1C“ .\I It I :I I.’ H [I an
The Russian Ark It'Ieeee I.'\lCi\\.llltll Snkurm. RIIxxiaUcrttIaIi}. .‘INIII Sergei l)anIxn\. .\l.li'l}.l Kit/netxnx a. l cnmd .\ln1gn\n_\ Utimiri Snktrrnx Illnriur ant." SnrrI hax aluap been a tnrmalrxt par e\ce|lcnce liI thrx look at modern Ruxxiari hixtnr}. Snkui‘m ‘x camera paxxex Ihinugh niIe rnnm In arintlicr in a \axt SI l’cterxbuig iiqucum ax hIxtnr_\ Iiiitnldx bctnre ux \\Ithnut a cut like the earlier nrie-Iake \xnndei. Mike l‘tggix' li"l(il’(1(.iiii‘iliigiil achicxc little drarriaticall). therex a limited errintinnal range at \xnrk here. ax \Ic tnl|n\\ the uiixeen director and hrx camera Intn diIIeIeIII erax \etcrthelexx. It‘x tIndenIabl_\ a xemmal \Inrk See t'c\te\x IVI/nr/Inrm'. I'.IIIIII'IIueiI
Santa Maradona I I5» I.\1.ucn I’nnII. Ital}. 201)] I Stclann .-\ccnrxr. :\llll.t (‘aprinlr Uomm. Debut leature coined} \IIth pnxt adolexeent urban arigxt echnex,
'l’xx c'ritxinriIc-tliirtgx Andrea. Bart and lucra ha\c a good idea oi the ll\ ex itt xtni'e lnr' them )et continue In a\nid lacing realit} Andrea encountcrx the beautitul l)elnr'ex. grxiiig him the pnxxrbilit} torment a brighter future t'nr hImxelI. (il' I. (iltiwmt. I‘tlnrlrntm'. Izilrrtlmreli.
Scorched Il’(iI I(ia\ In (ira/er'. l'S.~\. llllllt l’auln ('nxtan/n. Wood} llar'relxnn. .-\lrcIa SIlIerxtnne. 89mm. l’i‘cnexx xcreeiIIng nt' thIx corned} caper IrI \xhrcli three
eriipln} eex III a bank In a dexcrted xmall toun all make xcparate planx to rob the ilace til the mute lIttle. (il'wl. (i/meuii.
The Seduction of Mimi (Mimi Metallurgico Ferito Nell’onore) I tin Il.Ina Wertmuller. Ital). l‘FZI (hancarln (iIannIni. .\lariangela Melato. lltlmrn .\lirIII I(iIanninI I. a xirnple labourer III xnutheriI Ital}. findx hImxell caught bctxxeen the local .\lafia and the ('oiiIrriunIxt part}. lle ntleridx the Mafia. hax an allarr \Hlli a liberated and anarchic girl I.\lelanI and drixex hix \\ rlc Into the armx of another man. l‘l/lll/luuu'. IfI/Htlitu'e/i.
Shanghai Knights I IZAI ee
Il)a\rd Dobkm. l'S/l'K/('/ecli Republic. 200M Jackie (’han. 0“ en \\'leIIiI. :\ltl;lll (irlleii. llJmIn. Oh no. the (ireaI Seal nl ('hina hax been nicked. \\'Iirxc xtrll. the Seal'x guardian hax been killed. .\'e\ er tear. the guardian'x xon ix none other than ('hon Wang Iax III John “axne - geddit M. Wang I('hanI and pal Rn} ()'Bannon IWleonI purxue the e\ il Lord Rathboiic I(iilleriI around Victorian London. lt'x a caxe ol Inn man} cookx xpniling the broth. ax the mixture ot \Vextern relercncex. tributex to xIlent mm Iex and Jokex about the linghxh tail to make a coherent \xliole. But ax exer urth ('han. iI'x \xorth xIttIng though the main leature tn \xatch the outtakex. See rex Iexi. (jun-ml r't'lr’uir'.
The Silence I l8) 0... Ilrigmar Bergman. Sueden. l‘)(i3i Ingrid Thuhn. (iunnel l.indblom. 96min, Tun xixterx book Into a hotel: the latent Incextuoux teelingx nl one Llrl\t:\ her to riiaxterbatinri. \xlirle the xexual drixe nt the other ericnuragex her to pick up a Ixaiter. Another bleak xtud} ol' lonelIncxx and dexire that l'olloxxx on trom Throne/I (1 (Han Dar/III. in which Bergman'x cold erotIchm ix at Itx xtrorigext. I’r/mhnrm'. Edinburgh.
Smiles of a Summer Night IPUI O... Ilngmar Bergman. Sweden. 1955i (iunnar Biorrixtrand. lixa [)ahlbeck. l'na Jacobxon. IIISmin. The ex-mixtrexx of a proxincial la\x)er bumpx Into her old flame alter a number of )earx and rm Itex both him and hix next )oung \HlL‘ to her mother'x