The Invisible Object: Art in Social Change Il’(II IllartIIlIIIIIt-II l’IctIIIIIIaIthI. Ital}. 30H“ vIIIIII .-\ Illklllllt'llldl} IIIlll‘llL'}lllf.l through llal}. l Iantc and Holland lotuxInf; on LIIlllL'lllPHldl'} art that lt'l.llt'\ III the lL'lillIIlldl Illlllt'll\lIIll\ IIl LlllllllL‘ and thc IIIIIxt lllllII\.lll‘-L' Ill1l\ll\ pIIIIcttx lIIl lllt' [llll‘llt \l‘nlkt' 'l thIch lllLllltlt' \lL'.ll|\ It}. xot Ial hatleground. lllllllltllllllldl llllL'L'ldllIIll. IdcntIt} and IIIt-IIIIII'} l’aIt IIl lhI' ItalIaII l'lllll l't'\ll\.ll
(l l, (r/(HL'I'I‘.
Things That Make Lite Worth Living (Cosas que la vida valga la pena) I l<l I \ldllllL'l (IIIIIII'I l’I‘II'IIa . Spam. 3‘Nl.1l.\ll.l “L‘lt'll. l1duaId l'cIIIandt'l ‘HIIIIIII :\tlllllllll.ll Lilllllt IIIIIIaIIt‘t' about a tll\Illt'L'tl .IIIIl llllt'llll‘ltl}t'tl tum wing; alt'holn \IlIo hadn‘t loxt hIx hcht'l III good luck Hamil}: tlt'k IIlt‘tl IIllt' Ila} Illill lIItla} \\.l\ lllL' Ila} lll\ lIIllllllt‘ uould llllpl'IHL'. hc IIIt-t'tx llIIItI‘IIxIa l.'\ll.l llt'lcn I. an older dIIIIIt'I'I' \I ho Ix Ionxtantl} on the look out loI .l\.lll.ll‘lt' lllt'll. l’aIt IIl \'I\a' SpanIxh and [aim x\lilt‘llt‘.lll l'lllll I'I'xtI\al on lot”. (lltflL’t'l‘. lI/m //III1!II', (IIIIIQIIII
The Third Man Il’( ii ..... I( and Rt't'tl. l‘X/l K. I‘H‘II JIIxI'plI ('IIllIItI. ()rxon \Vt'llt'X IIIIIIIIIII lloll_\ \laItIIIx IIax lII-I'II
lll\ llt'tl to llll\l.ll\lt‘. [IIHIWVIIlltl \\.II II \lt'lllld lI_\ lIIx old (hunt l.IIIIc. uho Ix no“ III thc grand xt'alc dill): IlcalIng lquInI-xx. Hill) In tl|\k'(l\ L'l that lit" Ix dt'tltl. l‘,\t‘t'pl. llt‘ Ixn't ol I'ourxc. and .I IIIIIltI|.I}I'I'L'Il (at and llltlll\t' xI'I'IIaI‘Io Ix tI‘Iggt'I't'd. So. \Ihal'x xo ~good about It ’ \Vt'll. _\ou haw a xtII‘I'IIIg.‘ /Itht'r xt‘oIc h) Anton Karax. the ch'IIx \kllL‘t'l illltl lllL' 't‘llt‘ltIIII t‘ltlt‘lx' ‘Pt't‘t’ll ,‘t‘l I‘Il\\ll‘l.\ Itx grcatt'xt trItIIIIplI Ix to cram xII Inuch \IIIIIdI'I Into xo |Itt|c tIIIII'. SI HIVIIIIII
SI III/1mg II’IIIIm. l-.I/In/IIII'u/I,
This is Camp X-Ray lllIL‘l ll);lllllL‘ll \lahont'} . l'K. SUNS I.-\ docuIIIcntar} lI-alurIIIg the huIld-up to the creation ol a lIloxI/c \IoI'lIIIIg replica ol the (‘IuaIItaIIaIIIII Ba} tlt‘lt'lllltlll I‘cntrcx \Ihcrc \oltIIItccrx III-rt IIIIpI'Ionch III ()clohcr ltltli. .\ lL‘\lllllIlll_\ to lllt' \llIIt‘ltt‘d tllltl lIL‘“ lltlt‘l't‘d l‘t'xptIll\L‘\ IIl lllt' local t‘tIllllllllllll}. the llllll alxo uplorcx the tango ol L'llltIllIIll\ lcll h} \oIIIIItch' tlt'l.l|llt't'\ and guardx durIIIg the IIIIIc-da} pron-ct. ('( ll. (i/IIIuIIII.
Toy Story I l’( l) .... lltlllll l.;l\xClL‘l'. l’S. W05) With the \IIIL‘I‘x ol 'l'oIn ll;IIIkx. lllll Allen. Don RIt‘klt‘x. h’lIIIIII. lt Ixn't ItIxt the xtalc-ol-tlIc-art IIIIang that detIIIgquh l)IxIII'} ‘x lII‘xt coIIIptItt-r-generated aIIIIIIatIon lcattu‘c. It'x got a craclung adIcIItuI‘c xtor) lIIII. .-\ lalt‘ IIl' ll‘lt‘lldxlllp and xcll-lIclIcl‘ coInlIIIch \\ Ith an melting: I'cxcuc and llglllll“'lllt'rt‘lllt‘h thIonII. [III .S‘IIII'I Ix pr'IIIklcd \\ Ith coIIIIc axIdcx. l)on‘t he loolcd Into thIIIltIng lllt'\L‘ Io_\x arc pm tor the lddx. XIII ( 'I'IIIIII'I ('IIII'IIIII. IfI/I'II/Iurglt.
ii: Trilogy: The Weeping Meadow (‘Trilogiaz to livadi pou dakrisi) I l’tiI C... I'l'hcoAngelopoloIIx.
ll;ll_\ /( ll't‘L'L‘L/l‘-l'llllk‘t'. zllll-ll .-\lt‘\;llldl';l .-\ldIIII. (iIorgox .-\rIIIcIIIx. ltIIIIIIIn. :\II:_‘I'|I‘lIoulox‘ lll'\l tale of a trIloil.‘ “I‘m” (Ire-cit lIIxtIII‘} \IhIclI xtaI'tx III ()Ilcxxa III WW. IIon In; through (it‘cccc and on to pl't‘\L‘lll da_\ NC“ York. It llk'r/IIIIQ .‘ICUIIUH Ix aII_\tlIIIIg to go h} It'x going to he a long. \ltI\\. hcautIl‘ul. Incditatiw _|tllll‘llL‘_\. licautil'ul lichII l.'\ltllllll and :\lc\Ix Il’ourxadInIxI arc l\\o )IIIIIIg |o\ crx llcclng l‘roIn xpurIch cldcrl} huxhand Sp} I‘ox IKoIoonI. 'l‘lIcIr Iournc} taka lllL‘lll through a kind of IIItIxIcIaII'x underground rcl‘ugcc \L‘lllt‘lllt‘lll in 'lllt‘xxalolllkl. I'll"lll(’1(\('. l‘fI/IIIIIII/jglz.
Un Chien Andalou I ISI moo ll.lll\ liunucl. France. 102M Simone \larcuIl. l’IcrI‘c Batchctl. JaIInc .\lIra\ lllL‘\. Sahador l)alI. l.qu Bunucl. xIIIIdr} dcad donkey. l"InIn. ('laxxIc SpaIIleI xurrcalIxIII. \\ Ith the laIIIoux L‘_\L‘l\lll-\lllllllg xccnc and a great deal ol‘ lII/arrc Hunger} and ohxcurc IIIcanIng. Sex cntccn lllllllllt‘\ not caxtl} forgotten. Edinburgh l-‘I’lm (iIII/Il. ICIII'IIIIIII‘I'II.
Unconscious (Inconscientes) I ISI IJoaquIn ()rixtrcll. SpaIII. ZIKMI Leonor Walling. l.qu 'l‘mar. More‘ch‘x SaIIIpIctro. ltlh‘nIIII. Freudian coIIch) thriller \\lllt‘ll attcutptx to uncoI or the xcuIal tahoox ot‘ pro- \\'\\'| Barcelona. .-\ hit like a Sherlock llolIIch nI_\ xtcr} play cd ax a broad. lll\l_\ t‘arcc. l’an of \"I\a7 Spanixh and Latin
\IIII‘IItaII l'lllll l cxtlml IIII lI‘lll II awn. [It’ll [in MM Valiant II I I( LII} ('lI.IpIIIaII,l K. 3‘ *I "I l \IaII \lditcgor RItk} (it'l'-.ll\ Hugh l.llll'lt'. lIIII(‘uII_\ l‘l‘lIIIIII \IIIIIIatt-Il tIIIIIcIl} \IhIth tcllx the xtIII} III .I III‘.I.1I \Iood pIdgt-IIII \alIaIIt \l\( Itt‘j;III I. who
(I..(A\Kvl‘l'.
H\L'l\lllllk'\ hIx xIIIall xI/c to l‘t‘u‘lllt‘ a how III (iII-al liIItaIIIR Royal \II lIIItt' llI'llllll'.‘ l’IjgcoII \t'IIItc IlIIIIn: \\ \\ II III In
II /I II‘II
Whale Ridel‘Il’HI... I\leII( .IIII. \cv. /caland. ZIIIHI Kt'lxha ( 'axllt' llughcx lem In a xIIIall \t'U. /t'.ll.llltl toaxtal \Ill.I;_'t'. lllL' \laIII‘I pcoplt'x t l.IIIII Ilt-xtI-III lIoIII l’allwa. the \\ lldlt' thlt'l. a [‘\L'll\ll‘ lll}llllt‘ lll.llL' t'ltlL'l \IlIII \Iax l'llt' \‘. Ith lllt' harnat'lcd lwaxtx lht- hIIIIIdlIIII- Ix xIIppoxI-Il to load to KIIIII. no“ an old lll.tll. \Iho Ix \IIII'I'IIIII: that hIx xIIII I’IIIIIIII.III§_'I hax onl} _‘_'l\t‘ll hIIII a I;I.IIIIlIl.III§;lIch. l’aI. \Iho t.lllllI\l t‘aI'I} oII lllt' d_\IIaxt_\ Kt'Ixha (‘axtlt' Hught'x Iax lllt' I‘lIIIxt-II onc. Pan and lllt' lk'\l IIl lllt' taxt arc delightlul. \IlIIlt- ('an lll.ll\t'\ III.I\IIIIuIII ll\t' ol llt'l low budget and aIIIatcuI L'l't'\\ h} \IIIIltIII; \IIthIII lllk' (Ullllllt'\ Ill .l lull t'.l\l (Intxl \laIIll lt'\t‘l'\.llltlll aIt'a. 'l'out'hIIII: .IIId IIItt'llIgt'IIt IIattII‘alIxtIL' dIaIIIa loI olIlI'I ltIdx and adultx. lhIx hax cnthrallcd .lllillt'llt't‘\ at llllll lk'\ll\.ll\ at‘l'oxx lllt' \on'ld (I/II\;'IIII II/III //II IIIII. (i/IHQIIII.
Whisky I l:.'\l Il’ahlo Sloll .lIIaII l’ahlo Rchnlla. l'rugua} I':\I;_'cIItIn.I, \‘paIII (it-I'IIIaII}. IIIII-iI .loIpc liolaIu. l)Illllt'l lchIdch. \lll't'lldl).l\t'.llll,‘)-1llllll.“llt'lllll\ IIIIII‘L' xut‘t‘cxxlul hI'IItlIt'I llt'rnIaII t‘IIIIIt'x to
\ IxIl. .lat‘oho t'llll\l\ lIIx latthlul t'llllllII}L‘t'. .\laI'ta. to poxt' ax hIx \Kllt’. 'l’lIIx lL'\llll\ III a xcrIt-x ol llllt‘tIlllltll'lill‘lt'. )I'I oddl} tIIuI'hIIIg. xItuatIotIx. Part III \'I\a‘ SpaIIIxh and Law .-\lllt'l'lt‘.’lll l'lllll l'cxtIIal IIII 'lIIlll. (i/Il\'\’tllt I'I/m Vl‘llt'illlt'. (r/IHQIIII.
The Wind in the Willows It I
0.. I‘II‘I‘I’} .loIII‘x. l'K. I‘NIII 'I'I'I‘I‘} .lllllt'\. |'.I'It~ ldlc. Stew (‘oogan XXIIIIII. \thn .\lolc‘x lltllllt‘ Ix dextro) cd by \Icaxcl pt‘opcrl} dcwlopcrx. he L'llll\l\ lllt' llL'll‘ ol Rat. Badger and cgotleIt‘al load to unt'owr a I'onprI‘ac}. .loIch' l)}llltlll-lIIl' kIle adaptatlon ol the I‘IaxxIt~ nowl Ix a tad \L‘ll Indulge-m. \\ Ith \tIlllL‘ aII llll \tIll}:\ and lackltlerc pacIng. lloucwr. llIc t'lIaI'at'lcrx and illllltixpllt‘l't‘ \\ Ill pI'olIalIl} t'lIaI‘III a )IIIIIIgcr audtcnt‘c not _\ct IIIto then more L‘}lllt‘;ll [L‘L'll\. (i/IIIQIIII II/nl I/II’IIII'I'. (i/IIIQIIII.
Working Slowly I ISI I('.IIIdII ( 'lIII-xa. llill}. ZIIIIJI 'l’oIIIIIIaxo RaIIIcnght. \larco l.tIIxI. ('latIdIa l’aIIdoll'I. \alI‘I‘Io .\l;l\l.llltllt‘.l. \alI-I‘III llInaxco. lllllllll, 'l‘hc lIlIII I'm Ixtx thc Ital} ol the I‘adIt‘al T'IIx and Itx IIlIxcxonnx \\ Ith claxx xtI'ugglc and crcatnc anarchy. III a \Iorktng- L‘laxx dlxll'lt‘l IIlt lllt' t‘lll\l\ll'l\ IIl Bologna. Sgualo and Polo hang: out at the local t'alc L'IIIIIIIIII: unclnplo} cd lllt‘. apart tI‘oIII the occaonIIal xhad} Ioh lor the local hood.
The} ‘rc com Inccd the} ha\ I‘ no luturc win the} hcconIc Imolwd \\ Ith thc xtIIdcnt-I‘un RadIII :\llt‘t‘. (i/IIIQIIII I'I/III /'/II IIII'I'. (i/IIIQIIII. The Yes Men I Rm 000. Il);In ()llIIIaII/Sarah l’rIcc/(hrIx SIIIItlI. l'S. MINI And} llllchhatun. \lIkc lionauno. MIIIIII. SatIrIcal docutncntar} about agtl prop proxocatcurx the \‘cx Men. \Vc lollou lllL‘lll ax the} trawl the uorld IIIIpcronIatIIIg IIIcIIIth‘x ol the World Trade ()I‘gaIIIxatIon. hax In; huIlt a \IclIxItc that \\ ax llll\l.ll\L'll lor the \V'Hl'x. 'l‘lIc) uxc lllL‘ll' poxItIoII to pla} praIIltx oII lquIIchx cwcutncx tlIc \Iorld
III cr. .\ xhot to the heart and the head, l-Ilc nut to :\holl and At‘hhar'x llllll l/It' (Tll'lllll‘illltlll. Sec capllon. l'l/Hl/IUHH'. III/Ililllll'g’ll.
line to the Easter bank holIday. some film listings were not readable in time for our publIcation deadlines. For the IssIIe only it!" lIstInqs are avaIlalIle mine at
Films are listed by city, then alphabetically by cinema. Listings are compiled by Henry Northmore.
Glasgow _
‘5|I\auth1chall \tIct't.|Il-1l “I -1‘NNI L-l IL: “II. llldllllt't‘ :1 {It LII \t'c IhIcc lIlIIIx got lllt' lI‘llllll one two
The Invisible Object: Art in Social Change I’( I q l N l
piI‘p.\\‘ ,‘v ,.o/v~
Battle at Orgreave Illk’I " IIII
Th sis Camp X-Ray Ink-I " IIII I;_j[ 3;: .‘II ‘t 542;;
Border Crossing Services In». ‘ IIII
TH' JRFSHI‘IV '~'. PIN?
See you in the Next War lll‘t'l ".I III
Glasgow Film Theatre
l3 RIIxt‘ Sll’t‘t‘l. lll-ll :33 RISK. (.Illt‘tl‘al’ .-\ll pI'I‘IoI'IIIaIIt‘t'x hookahlc. ll)l. Ila]. l'.\L‘lllll}._'\Z L5 IUI. \latIIII't'x Ihclot'c 5pIIII: USU IUSIII, l‘ll Ihclot'c SpIIII: USU IL'ZSIII. (Ilfl’ ('IIII'(';IId holdt‘Ix: Ll oll all pI'It'cx. (il’l’ xa\t'I'x: L33 5” It'lqslll lII \t't' llllllx I\.llltl lIIl llll’L't‘ IIIoIItth.
THURSD/W MAR Maria Full at Grace I ISI I.IIII.
r~._III. FrozenIISI 2.1II. (MS.
The Chorus I l:.'\l l-ltl. .xLSII. The Aviator I 12.-\I ".III. HIIDAY I APR DowniallIlSI I45. ".SII.
Maria Full of Grace I ISI .IIS. IIIII. 3.40. Hours oi Light (Horas de Luz) I ISI 5.45.
SATURDAY 2 APR
National Treasure I t’( I I l I..III;IIII. DowniailIlSI Ali. “.50.
Maria Full oi GraceIISI .‘~.l5. (III). 3,40.
Only Human I l:.'\l 5.45.
a": I '.
Hmnan
FIlm
Unconscious (Inconscientes) I IV I -1< Downfall IV Maria Full oi GraceII<I IIIIII. x III
A Social Genocide (Memona de Saqueo)
§1§
:II, “III
The SpongeBob Squarepants Movie It I I: III
DowniaIlIHI :Ix “ III
Maria Full at Grace I<- ‘1‘. x In Things That Make Lite Worth Living (Cosas que la vida valga la pena) . I < I
Fitteen (SthU) l.\- II III
Short and SweetIl I: III AitediieIHI ISIS III DowniaIIII<I1I<. “<II Maria FulloiGraceIIRI Nicotina 1%» < <II
11S .\1II
o \v‘ ‘ q ,\,'.
The Wind in the Willows It l.‘ III Downfall l ISI SIS “ <II Maria Full at Grace I III I II. Whisky I: \I R SII
El Perro Negro: Stories from the Spanish Civil War I I: \I II .5
,\ lll
AnAngel ior May Il’III I? III DownialIIliI 315. “III
Marla Full of Grace I HI Iii II III_ .\ .III Bars in the Memory (Relas en la Memorla) IIZ.\I (Illll
IIIIIAI' -- :IIIir
Whale RiderIl’III I: II DowniaIIIISI 315. “II Hotel Rwanda I l2.\I Iii. (Illll Bombon—The Dog I ISI I .15 Consequences of Love I liI .x III
SAT! )f‘\ l/ ‘rlxl “4 The Boy and the Cow (La Vache et Ie President) Il’(iI ll.III.IIII
Stones, Miracles and Oil I Il,-\I 1 IR DownialIIISI 2.15. “.SII
Hotel Rwanda I l::\l I IS. IIIIII Suckers! (Incautos!) I H. I III People oi Home I I:.-\I 5. III
SIINDAY' AMI Soccer Dreams I ISI l «i I “S
DowniaIIIIiI SIS. II
NoteliiwandaIlMI I IS. x IS.
El Perro Negro: Stories from the Spanish Civil War I I2.-\I SIII My Brother-in-Law I l3.'\l II I5.
Released in a couple months Dominic Harari and Teresa Pelegri’s funny, crazy, cross-cultural comedy
about a Palestinian/Jewish wedding gets an early screening as part of the Viva! Spanish and Latin American Film Festival on tour.
I G 52353.: 8:2: 2 Apr 0'?
' ',‘,-;r ,sz THE LIST 59