Films screening this fortnight are listed below with certificate, star rating, credits, brief review and venue details. Film index compiled by Paul Dale

Akeelah and the Bee I l2:\l .00 Il)niI:_' .\lchixnii. l'S. Illllni chc l’aliiicr. l.;llll't'llk’t' l'l\lll‘lll'llt‘. .'\ll_‘_‘L'l;| liaxchI. lllmm, (liix-lull} Iicadiiig lllL‘ liiic lwhwcii l'ccl gnnd laiiiil} \ahicx and lni'iiiIilaic xclimaliL Iliix )nth diama lnlln“ x ll>_\cai= nld .\kcclali Il’ahiicri H} in): In makc gnnd iii l.nx :\iig_'c|cx' Snulli (‘ciili‘al \ ia a iiaIiniial \[k'lllllg l‘L'L'. St'lt'i'lf (/ I'I'lulu'.

Along the Ridge (Anche Libero va Bene) I l5) 0... IKllll Rnxxi Sliiail. lIa|_\. JIIIIIII Kim Rnxxi SIIiaiI. llaihnia Bnhulma. :\lL‘\\;lllIll‘U .\lni‘aL‘L'. 103mm. \Vlicn I l-}C;ii' nld 'l'nmmi‘x cin‘aiigcd lllUlllL‘l' i'clui‘iix llUlllL‘ iiiic\pcclcdl_\ Ilic Iamil} xliiiggh'x In adiiixI. li\ccpliniia|l}

\\ L'll cwculcd and xiihllc adiilI diaiiia. .\clni' Sliiai'l‘x dii'cclni'ial dchIiI ix t‘\L'L‘llll(\ll;Ill) \wll cwculcd aiid xiihllc adIilI I‘iiicma. l’aiI nl' lIaliaii l'ilm l'cxlnal. (iliixquii I-i'lm 'I'liuilri. (i/mgnu .‘ I'll/ii/inim'. lui/iii/Iiu'uli. Amadeus - Director’s Cut l H il 0... I.\lilnx l‘niiiiaii. l'S. IUXJI .‘\liiiia_\ .\l‘l'ullalll. 'l‘nm lliilcc. l2li/athli llciiidgc. I"2miii. “liClllCl‘ \w iiccd a MC“ \cixinii nl' l‘niiiiaii'x ()xcai'~\\ inning; lil'c nl .\ln/ai'l ix a Iiinnl pnilil. SCI’L'L‘IHH'HL‘I‘ l’clci' Sliiil'lcl'K xIni_\ nl \‘iciiiia cnIii'I (niiipnxL‘i .\llltlllln Salicii and liix plnI In cngiiicci' Ilic dnu iilall nl \anlgaiig .-\iiiadcux .\ln/ail. a 'gigghiig. \lll'l}'llllll\lL'klLil'L'illlll'C‘ \\llli;1(i0\l gixcii mIixit‘al Iah'iil. Iliaiildiill) i'ciiiaiiix iiilacl. lliil \\ll;ll ix iiian clcai l'i'nm a icpcal \ it“ in}: ix Ilic iiiidiiiiiiiixlicd Iiualii} nl .\hi'aliaiii'x pL‘i'lni'Iiiaiicc. gn mg: dclei In a glillt'i'hall III a nun ic \\llII\L‘ cnlnuiliil xiii‘lau‘ cniild nlliciu I\L‘ lw Inn di\I'iIiiig_'. l’aiI nl‘ .\lii'nxla\ ()iidi'icck xcaxnii. l'i/m/iniiu'. [Ill/Illlll‘gll. The Ant Bully Il'IOO IJnliii .-\ l)a\ix. [3. 300m .liilia Rnlici'lx. Nirnlax ('agc. Mei}! Sli'ccp. .\‘lmiii. Ycl ;IllUlllL‘l' ( ‘( il aiiiiiialinii lwxln“ in; hit lL‘\\Ull\ nii llk‘ Iialinii‘x )IIIIIljJ. ‘l‘cii )cai' nld l,llL';l\ llle‘\ In [Ul'lllL‘lll aiiIx. Iiiilil l'C\lilL‘lll aiiI \\ i/aid /,nI~

Threel’lnes

After a short outi

I.\'icnlax (‘agci xliiiiilxx him In Ilicii \l/L' aiid Icaclicx him In liw ax pail nl' Ilic cniiiiiimiil} l'illllL‘l‘ Ihan aii iiidn Idiial. l’icdiclahlc _\aiii. (il‘UH'l'lIU/Z (ililVJUll.

Antibodies I IHI 0.. I('liiiinaii .'\l\;II‘l. (ici'iiiaii). ZUHSI \Vniaii \Villw .\lnlii'iiig. .-\llIlI‘C llL‘lllllL‘le‘. Illiiiiii. Su‘

M imx. I‘Iigc in. (‘iiii ll ni'lil Hui/n u .\‘II'I'I'I. (i/Iiwnii.

* The Asphalt Jungle Il’( ll 00.. I.lnliii llIixInii. l’S. Willi SICiliiig ll;l}tlt‘ll. l,nuix (‘allici'iL .lcaii llagcii. Sam .lallc. .\lai'il)n .\lniii'nc. lllmiii. Scc l'C\ 1c“. page 415. l‘l/HI/IUHH’. Ia/iii/iiu'gli.

Barnyard «H il 0. 18m c

()cIlL‘le‘l'lx. l'S. :(lllill \IIIL‘C\ Ill Km lll .l;IIIIC\.

(‘niiilcnq (‘n\. Sam l‘.lllI\ll. .\")Iiiiii. (‘niiipulci gciicialcd aiiiiiialinii ltalmc L‘ciilci'cd nii Ihc xiiiglc Iiiiluiiii} pi'ciiiixc IliaI lai'iii}ai'd aiiimalx dn mad Iliiiigx \\licii iin niic ix “alt-hing. \Vilh Ilic taxi and \\l'llL'l‘\ Imnlxcd. Iliix xhniild lic llllll dcccnl. hiiI iI'x

acluall} \Cl'} pnni. .\lni'c iiiaiiiiit' lni‘ miiinix.

(iI'III'I'Il/ I'I’lI’Ilu'.

Be Here to Love Me: A Film About Townes Van Zandt: ISI 00.. IXlaigaicI Bi'IMii. l‘S. lllll-li \\illic \clxnii. l,}lc l.n\ L'll. Kiix Kiixlnllm'xnii. limm) lnii llai'iix. Slew liai‘lc. ‘Niiiiii \‘aii /.aiidI. aiguahl} nnc nl Ilic gi'calt‘xl Iaiid cci'laiiil) llic man InI'IIiI'L‘dI xniigu l'llL'l\ \\ lin cwi lixcd lllL' \\;l\ lain“ ii ax Ihc iiiiixiciaiix‘ xniiguiilcn ix lnx iiigl} piaixcd h} a paiicl nl mni'c cniiiiiiI'i‘cIall) xiiu‘cxxliil piii‘\c_\ni'x nl lllL' (Illlllll') gciiit'. l‘i'liii/inim. l'.I/llI/’Ill';’/l. Be Me l ‘l'llt~ thlll. Siiigapnic. 2005i 'l‘licicxa l’nli l,Iii (ham. 8ch KL‘lljJ it“. l'./;Illll l.CC. l.}llll l’nli. ‘Hiiim. (lll—mall} iI'x Iliiu‘ iiiII-i'ciil xlni'icx aliniil ixnlaIinii ,lluml In [in Sn iii [Jill and l-iiiI/Iiig I.ni I' ical lil'c xIni_\ nl' 'l‘licicxa (‘liaii ix alxn l‘l'Illllell mln Inuix. (iniiig: dcal al N. and xlihxcqiiciill} hliiid. llL'l' Iilc \lIIl'} \wawx \\llll IliaI nl .‘II'IHH In II'I 'l‘lic \ltlllt‘\ lnllIm a liiixii'aiiiig air and air icxnlwd min-mail} m llic laxI hall liniii, I'll/ii/iuiiu. [xi/Iii/Iiu'g/i

Bildwechsel Screening «um I \m mux.

\ai'iniix. 1005 Illllni llllmm. .\ mi\cd pi'ngiaiiiiiic nl iiidcpciidcnl \lllll'l Iilmx l\_\ lcmalc. lL'\l‘l.'lll. ll'.’lll\“_‘L‘ll\lL‘l'. lcmmixi ni

. i i?

ng in Glasgow, we thought this film had disappeared, so we‘re mighty happy to see it showing up in Auld Reekie. Taiwanese filmmaker Hou Hsiao-hsien’s

_\I'I liall'ua} Iliinugh. Ilic

IIIII'I‘I‘ llllllllléllxt‘l'\ l'i'nm St‘nllaiid aiid lic_\niid. l-ni' mnic iiilniiiialinii \iin

u \\ \\.lilld\\ I‘L‘lixclni'g. ('( il. (i/uwnii,

A Blonde in Love (Lasky Jedne Plavovlasky) I l’( i l 000. «Mill». l‘IIl'Illdll. (‘Awh chiihlic. I‘HISI llana Hicit‘lima. \ ladaiiiii' l’iit‘linll. \‘ladamii‘ .\lL‘lhllx. .\_‘imii. l'ni'iiiaii‘x liixI iiiIciiiaIiniial lii'cakllii'niigli liII ix a near pm lct‘l. \xniiih‘iliil. x\\ccl aiid liiiiii_\ xc\ (Illllul) aliniil a giil \\llU Iakcx a “lit mng xIaiid a liIllc Inn \Cl'lillhl}. \\llll lai't‘it‘al l'L‘\llll\_ l‘l/Hl/IUIIH‘. [xi/i/i/iiiig/i.

Borat I l 5 I C... I lair} (‘liai'lcx l'S.\. IIIINII Sacha llainii (‘nliciL l’amcla .\iidcrxnii. Kcii l).i\ IIIaii. 82mm. llnial Illai'nii (‘nliciii and liix pindut‘Ci .'\/;llll.ll Il)a\ iIiaiii Ii‘awl Iliiniifgli Ka/alxlixlaii aiid Ilic l'S. iiixiilIiii; cuayuw .ilniig Ilic \\a} and iiichiii; t‘UllllllL‘\\ icall} uniiliixcd ical .'\lllL'll\';lll\. lllt‘ lniiiial nl lala- iiilcn IL‘\\\ ax .I xvich nl i'nad lllII\ ic \ igiit'llcx \\Ul'lx\. xliai‘p cdiIiIij: aiid l‘l‘lllldlll iwi'l'niiiiaiit‘cx t'llt'lllllj.‘ (Ulhltllll lwll} l;lllj_‘ll\. II ix aii ;lIllllll;ll‘lC aiiii In xaliiixc alixnhilcl}

L‘\ CHUNG. lll ll\t' lllllt‘k‘tli_ (ii III III/ II /( (HI. Breaking and Entering I IS. 00. I.\iiI|inii) .\lllllelI'lld. l'lx' l S. lellin .lIidc la“. _lIi|icIIc lliiint'hc. lx’nliiii \\ i'iglil l’ciiii, lIXmIii, :\ )niiiig linxiiiaii laiiglixli llllL'l. Man I( ia\i‘niii. l.ll\I‘\ paiI iii Ilic inlilwi) nl aii illt'llllk‘t‘h. nllit'c Iii Kiiiy'x (’inxx. llll\\ iIIiiigl} hi’iiiyiiig Ingclhci .Iit'liilu‘l \Vill Ila“ I and [lit In!) 'x lllIllllL‘l, .\Iiiii‘a I Biiint‘liw. .\Ii iiiicax} l'Ullldllt‘L' pin\ idcx Ilic I'iiinliniial \ll\lk‘ll;llluk' Ilial \Vill I'I'awx. (ii llt Iii.’ u I} UH.

Bremer Freheit (Bremen Freedom) I15iil(;iiiici “vim-i l'.l\\l‘lllilt‘l’, (iciiiiaii). I‘VII .\l.Ii';_'iI ('aixlcnxcii. I‘li l,IIllllllCl. llaiiiia SL'll}:_'llll;l, \"mm, lll llic iiiid- I‘llli \‘t'llllll'_\. iiiidcixahicd llIlll\\'\\ il'c ('ai'xII‘iixI-ii ch‘IdI-x In I‘liaiigw lici pliglil Ii} pnixniiiiig llI'l‘ ciiliic l.llllll_\. .\lid [‘L‘l'lUIl l‘axxliiiidI-i \‘\;lllllll;lllilll nl dniiicxlit‘ nppi'cxxinii .iiid Ilic lica\_\ piit'c nl lilicialinii. l’ai’I nl l'axxliiiidL'i' \1‘;I\Iill. (( l. (i/IHQHIL

The Caiman (II Caimano) I I5. 0... I\.Iiiiii .\lni'cIIi. llal_\ l'iaiiu‘.

jIIIInI Silx in ( )i'Iaiidn. .\l.llj_'lk'l'll;l Bil}. .laxmmc 'l iiiit'a. .\lit‘liclc l’lat'Idn. lll5miii .\ l;l|l|llf_‘ B mnx iv pindiim‘i icuncix liix

homage to love, passion and his homeland is made up of three separate stories set in three different time periods 1911, 1966 and 2005. The actors stay the same but everything else changes. Whatever you think of it there is no faulting the writer-director’s message that love, like patriotism, may just be eternal. If you like the cinema of Wong Kai-wai or the slightly more challenging work of Hsaio-hsien himself (Cafe Lumiere, A Time to Live and a Time to Die), then this may be for you. I lil/ii/inI/sn, [“(/Illi)lll_(}/I from In If" Hill 93 Nov nii/i:

Film

crcaiiw xpai'k. pnIiIicaI daring; and iiiaii'iagc Ilii‘niigli a p;ii'Iiici'xliip \\ iIh a lii'xI Iimc Illl't‘L‘lUl' and liix xcalliiiig \L'l'CCllPlll}. l’ail nl' lIaliaiI l'lllll l‘cxliuil. (i/uxgnii l'iliii 'I‘lii'iim'. (i/iixguu .' l‘l/lll/IHHH'. Iz'I/i'ii/iiu'qli. Camcorder Guerilla Cinema: Bike Works Ilii I. Vaiiniix. \'ai'inuxi lxllmiii. 'l‘linxc Iiiidcn‘nwi iiin\ IL‘ iiigiwi'it‘kx. lllL‘ (iiici'illax. ch lllCll' \ icxx liiiIlci'x nii Hi'ilaiii‘x i‘nadx_ \\ llll xhni'l ('iiI/I'i'iuili'r [in \( If

/\’1 [iii/r. lcalIiic lli' (IH' [iii/iii and I'clalcd Illxt‘llxxlnllx. (‘( il. (II/(l\'\'()ll.

Camcorder Guerilla Cinema: Freedom of Choice II-iI I. \‘arinux. \aiinuxi IXIImIIi. 'l‘linxc m} \lL‘l'lUlh (illt‘l'lll;l\ pi'cxciil a pi'ngi'aiiiiiic nl' glnhal \llUl'l\ (‘11 t‘_\ L‘llllg. [iI'IilLWl lll(l\ L‘IIIL‘Ilh. ill‘dalt'x linm Ilic l‘axlaiic 305 and (‘liiiialc (‘haiigc campx. ax \Icll ax Ilic I'caliii'c lilm In ( (INN! n/ ("linii ('. ('( il. (i/Iiwnii.

Cars Il’( il 0.. I_lnliii l.;l\\ClL‘l'. l'S. 31mm \‘nigcx nl' ( )“cn \Vilxnii. l’aiil \cxxmaii. Bniiiiic lllllll. l.ai‘i'_\ 'l‘hc ('ahlc (iii). 121mm. Racccai [igliliiing .\ld‘hiccn Inxcx liix \Ia) t'll llllllL‘ In llic liiial iacc nl‘ Ilic \L'Shllll :IIlIl liIlIl\ llllllxcll~ lllul'IiIilIL‘Il lll lllL‘ xlccp) ln\\i1 nl' lx’adialni' Spiiiigx. \xliicli ix pnpiilalcd h} an ai'ia} nI' iiiixlil L'ill'\. lk‘xpilv Ilic man} pninixcx. ('IirI dncxii'l quilc malxc Ilic liiglicxI giadc iiiaml} hccaiixc iI'x Ihc II'axI ni'igiiial l’I\ai lilm )I-I. Sv/nml

II II Ilu’.

Casino Royale I l2:\l O. I.\I.u-im ('aiiiplwll. l'S/l 'K/(Vccli chulilic. 2mm Damcl (‘i'ai;_'. l-.\a (il'L‘L‘ll. .\ladx .\likkclxcii. lllmiii. ‘I’lic piuiucl In Ihc UlllL‘l‘ Bniid liliiix lllllL‘ \\;Il‘p\ hack In Ihc L‘iiduiiiig :lL'llUll llL‘l'I) hu'niiiiiig a (lll lit‘cnxcd In lxill. 'l‘lic lillL'\l liniid I(‘i'aig_'I pi'nwx In hc a in'niig leading man. liIiI Ilic lilm ix lL'l dimn h} Ii} iiig In dn Inn mugli. \ViIli a \wak \ illaiii and liniid girl in liniil. ll (lULWlld I‘Call} lccl llGC II Blind lilm al all, (fun ml I‘I'li’uu'.

Cathy Come Home II’( il .00.

IKcn l.nat’li. l'K. l‘)(I(Ii (Xiinl \Vliilc. Ra} llinnkx. "0mm. l.nat‘li‘x xciiiiiial dncii- drama allctlcd Ilic IiaIinii iii a \\;l_\ Ilial an} 'l’\' hi'nadcaxl ix llllllle‘l) In dn Inda}. I‘aIixiiig; Ilic l\\llL'\ In lw dchach and a MC“ icalixl xI_\ lc In hr hni'ii. \Vliilv [ll;l}\ a _\nuiig_' liniiiI'h‘xx \\Illll.'lll in'Iiggliii; In lxccp llL‘l' lamil} Ingcllici and. aliliniigli Ihc llll\‘\ lwhwcii \ lL‘Illll aiid pcipvli‘alni iiiiglil he l'illllt'l' xiiiipl} diami. iI icmamx aii Illlp;l\\lilllCIl [\IL'L‘I‘ (ll \\Iil'l\. l’I'L‘\L‘lllL‘il lll xiippnI'I nl SllL‘llCl"\ [Ill/111' II . . campaign. (i/iiwnii Ii/HI /'/II llll'f'. (i/Iixgnii.

Le Cercle Rouge l H il 00”. IJcaI: l’wiic .\lch illc. l‘iaiicc/llal}. IUTIII .\laiii l)clnii. .-\IlIll'C linuix ll. (iiaii .\laiia \'nlniiIC. wa .\lniilaiid. llllmiii. .\lch illc Ii'anxpnxcx lliixlnii‘x 'llii' .l\/)/l(l/l .liuiu/I' iiiIn Ilic cnmplm dixiiigciiiinux \Ini'ld nl‘ ( iallic lniig macx. t‘nIi iiicii aiid liai'd Iaccd [Nlllt't' L‘llIL'lK. ‘l'llt' llllll.\ Illk'lllllg \[llIllullIIlL uu‘l'llk‘tl [U lllt‘ Rama Kl'hllll‘l. iiidIcaII‘x Ilial ll ix tlL‘\llll_\ IliaI [‘i'nlk‘lx Ihcxc Iliicwx‘ c\ixIcnccx: ‘nii Ihc appniiilcd da_\ Ilic} \\lll Iiicxcapahl} lic icIiiiiII-d lll lllL‘ Rcd (‘iit‘lcf .'\llLl lllL‘ll in: arc nll. |llllllj_‘L‘tl mln lllC xIni') nl i'ccciill} i'I'lcaxcd pl‘lxullt‘l‘ ('nic) Il)clnni aiid liix iicmcxix: Ihc iiicllindical caI- ln\ mg liixpcclni .\laIIci Illniiix il l. lI'x a quiiiiiiig. i‘t'lk'i't'iiligil. UL't'dHUllilll} npaqiic liliii Ilial I‘L‘\IIl\C\ iIx nu ll plnI lcapx Ii) \Uillxlllg L‘\Cl')llllllf_‘ \\ iIli a lxiiid nl l‘ill' l'.;l\lL‘l'll xciixc nl' pi'nccxx. liniiniii aiid lwlicl. llcnii lhx‘ac'x ciiiciiialngi'apli) ix xit‘k xlaiiicd aiid \Iaxhcd Ihi'niigli lwyiiid lllL‘ icalmx nl’ l‘L‘llCl, .-\ iiiaxIcrpicu'. l'l/III/IUHH'. lai/iii/iuru/i.

Children of Rome, Open CityI ISI 0.. Il.aui'a .\liixcai'diii. lIal}. ZIIIISI 53mm. .\ l‘;ll‘L‘ lnnk lichmd llic xt‘a‘iicx nl Rnlicrln Rnxxclliiii'x RUIIII’. ()/N'Il ('i'li. ’l'hc pingi'aiiiiiic alxn iiichidL'x xlini'I .lli l’ili/ [I III“ li‘u’l'\ ()lil. \\ iiIII'ii l1} and xIaii'iiig lxalwlla lx’nxxclliiii aliniit lici lalliu‘. l’ai'l nl- lIaliaii l’lllll l'cxlixal. (i/munu l-i/ni l'lii'um'. (ill/wan .' l‘l/Hl/liWH'. [ti/llI/llll'g'll.

CliCkI l3s\i .. ll'l'dlll’x (avian. l8. IINlnI .\dam Saiidlcr. Kalc licckiiixalc. ('liiixInphCi \Valkcii. lll—'mm. Sli'cxxcd niil ai't‘liilct'l .\licliacl ISaiidh'iI an'xii'I haw ciiniigli linuix iii lhc da} In mccl all liix

man} I'niiiiiiiliiicnlx. 'l‘hcii lic lllCL'l\ a \wii'd ClL'L‘ll'Ulll\\ xalcxiiiaii \xlin gin-x him a lllll\L‘l\;ll I'L‘Illtllt' \‘l‘llll'tll. .\iinllici mildl) plcaxaiil. xcliciiialic Saiidh‘i I‘nmcd} \\ iIh Ilic i'cqiiixilc aIiiniiiiI nl lauglix. .\i'li'rm/

I('/( (IN.

'-I Ne; 34):)?» THE LIST 49