° Very rare screening of master documentary filmmaker Fred Wiseman’s long, intensely disturbing but warm look at the victims of wife beating and how society deals with them. Focusing on The Spring in Tampa, which is Florida’s largest shelter for abused women and their children, Wiseman’s objective camera allows a group of these distraught women to tell their own painful stories. Showing as part of the Zero Tolerance Trust and Amnesty International Scotland’s 16 Days of Activism.
I F/llllllOtlSO. Edinburgh on Tue :3 Doc only; GF7, G/asgov-x on Sat S) DOC only.
Domestic Violence 0000 I lSi it-i-ett Wixeinan. l'S. letll i l‘)(imin. legendar} documentar) I'ilmmaker Wixeinan takex a long. hard look at xpouxal \ iolence and the Spring xheltei' in Florida. coming at it li'oin all angles thoxe ol' \ ictiinx. xtal'l. police. oll'enderx. 'l'hix ix dil'licult. polemical Iilmmaking. Special chai'it} xci‘eening. (i/mgnii I-i'lin 'I‘lietili‘e. (iluseoii .' I’i'lmlioine. Iziliii/iiu'e/i.
Dreamstate t lSi (Mall llttlxel (illinin. 'l‘he rexultx til at ten ueek long \mrkxhop ol' .xhort lilinx baxed on dreamerx and the nature ol‘ dreamx for third )ear and poxt-graduate lidinburgh ('ollege of Art l‘ilm and 'l‘\' xttidentx. I'iliiiltiiuxe. I'lt/lll/Hll’L’ll.
Driving Lessons I l5: 0. iJet‘ein} Brock. I'K. 200m Rupert (il'llll. Julie Waltei'x. l.aura lame). ‘lh’min. Vicar'x xon lien excapex a xummer ol' bible claxxex b) hitting the road W lllt retired ttelt'exx li\ ie. an eccentric. drinking. xuearing xpmxter I)rii me l.r'\wit,\ xteerx ti L‘oxll} predictable courxe. ;t\ ellelletl ax an} 'the xummei' that changed in) hit" drama. although. adinittedl} the (HT perl'ormancex ol Walterx and lame} pro\e camply entertaining. (ll'().\l‘t'll(lll (ilmeou; Edinburgh Short Films (the) (Ian Rintoul. l'K. 3004-5) Utlmin. 'l‘hree xhort documentariex about the capital cit} ‘x paxt. ('hrixtmax and Dr .\'eil'.x garden:
lz'rli'itlmrg/i ‘\ ‘Ii‘euxui‘e Home. Iz'i/iii/iiii'g/i I'tlll' and lz'i/iiiliiu‘e/i '\ Set-re! (inn/en. t'expecti\el_\. SI Brit/e '.\ ('i'iili‘e. lz'iliiilmi'e/i.
Marie Antoinette (123)
l"/e(! 130m: /3()/)iii a Hairs 7.10m: liaiiii.,‘ii/);)a. 7 (Nip/rusty:Paiii a [Ship/ii The Nightmare Before Christmas (PG) 85)? 7(5 l):.’(,‘ min
The Devil Wears Prada (PG)
lacs If) Der: / 30M!)
A Christmas Carol (U)
Wed 70 Her: ii.'iiiii(,‘ii/)/iai. ’ (i’lliiiri «Servant (8’. 7 300/)!
It’s A Wonderful Life (U)
In 220:» 77am «(Jun/mi. ifftipri‘ (Janna a‘ /'. (flip/ii
Tickets and Iurther inlormation Irom The Steeple Box office or on the day trom the hall
(01324 506850)
50 THE LIST Ill) Nov 14 l)t;-<; I}()()t\
Farewell my Lovely t t’( il 00.. iliduard l)m_\tr}k. l'S. l‘MSi l)ick l’ou ell. (’laire 'l'rexor. .v\nne Shirle}. 05min. l’ti“ ell pla) x the “odd-near} Marloue in Ra} mond (‘handler'x hard—boiled tale (ll ti prnate e} e xearching tor an e\-con'x girl. The atmoxphere ix illllllle\\ellll;tll_\ noir; the plot hax more in ixtx and turnx than thoxe \\ mding roadx into the lloll_\ \xood Hillx. l’art ol' l‘ilm .\'oii‘ xeaxon. l'i/iiilioiixi'. lailiiiliiii'e/i.
Fear and Loathing in Las Vegas« lxi O... i'l‘eri‘} (iilliain. 1S. 1008) .lohnn} l)epp. l 13mm. .-\x adaptationon ctilt bookx go. (iilliam'x take on lltmtei' S 'l'hompxon‘x axxaxxination ol' the .-\mei‘ican l)ream ix a glorioux mexx ol' a nun ie. lt i'einainx true to the author'x \ ixion ol' moral torpor and
px) L‘llt)\l\. Wllllt‘ iniecting a good xliot ol (illllitlth o“ n obxexxionx. l'ila\\ ed. certainl}.
but epicall} degenei‘atc. .»\nd thux pure gon/o.
(inure/nil; (iliixguii.
* Female Convict Scorpion i la. .....1Slitltl}tt lto. Japan. l‘l73i Meiko Kali. l'umio Watanabe. Ka}oko Shiraixhi. Utlmin. l‘emale prixoner Scorpion. incarcerated in the inner btmelx ol the inxtitution lor her lack ol cooperation. ehancex upon an exeape. 'l‘lnx brilliant rip roaring rampage ol i'e\ eiige ix a xtirreal leminixt tour de lorce. 'l‘hix “ax the lilm that directl} inxpii'ed ’l‘ai'antino'x Kill Bill xaga. l’art ol' Wild Japan: ()utlau Maxterx. xee leitllll't‘. page ~13. l-iliiilioiiu'. I-[iliii/riii'e/i. Flesh for Frankenstein l l.\‘i tl’atil Morrixxe). ltal)/l"rance. l‘Wii l’do Keir. Joe l)allexandro. Monique \‘an \'ooren. 05min. (iot‘_\ and xt‘\}. Morrixxe} ‘x l\\l\l on the Hammer mm iex ix a hugel} entertaining camp-text Wliat‘x interextmg ix the political le\ el that‘x gral'ted on: thexe inonxlerx are to be part ol a Serbian inaxter race iand the tixe ol’ Wagner‘x lilIlIl/ltlllu'l' alxo pointx iix in ll‘l\ directioni. l’art ol l’x)chotronic xeaxon. (iltiieiiii [Vi/m llllt'llll't'. (i/iixgmi:
Flushed Away I t 'i .00 ll)tt\ Itl
Him erx. Sam l'iell. l'K/l‘S. loom Voicex ol Kale Winxlet. Hugh Jackman. Ian McKellen tS-lltitn. See .'\l\o Releaxed. page 4-1. (it'lli'l'ill I't'lt’llH'.
* Funeral Parade of Rosesi lxi O... i'l'oxhio Matxumoto. Japan. l‘Hi‘li l’eter. ()xainti ()gaxaxxara. 'l‘o)oxaburo ltlllytllltt. lllSinin. ’l'he ()edipux model goex .lapzinexe. px_\ chedelic and ga) in a Iilm rumoured to ha\e inxpired \ ixuall} Kubrick'x .\ ("liu'lomi'A Uni/tee. .\ ti‘anx\extite bar
o\\ ner killx hix mother and xleepx \\ ith liix lather. in the moxt original and punk} \xa)
poxxible. l’art ol' Wild Japan: ()tllltt“ Maxtei‘x.
xee lt‘ttllll't‘. page ~12. I'i/iii/iuim'. Iz'iliiiliiiijg/i.
George Best: Football Like Never Before il'i illellmuth (‘oxtard. (iei'inan). l‘)7()/I‘)7l i 95min. (’onxixting ol the In” ()t) ininutex oI' Hexl\ Mancliexter l'nited appearance \erxex ('o\entr_\ m l‘)7(). (ierman e\perimental director (‘oxtai‘d trainx liix lenx upon the Northern lrixh xtar at all timex lea\ ing the \ ieu er to guexx \\ hat ix happening acroxx the pitch. (i/meim l-i/iii 'I'ltr‘iili‘e. (iltngim:
GhOSTS t l5) (Ntek llt‘ootttlleltl. liK. lellhi .'\I ()m l.in. Khan Yu. /.he Wei. 00mm. The xecond l'eature lilm from the documentar} director ol' :li/eeii.‘ life (“Ill Heal/i of (I Serial Killer makex a drama otit ol' the traged} ol' the 23 (‘hinexe cockle Ptckei'x
\\ ho pei‘ixhed in Morecambe lla) in ZIKl-l. Special prex ieu xcreening. (iliixgmi‘ I'iliii Iii/It’tlll't'. (llrnguu.
A Good Year Il’(il COO iRidle} Scott. I'S. Zoom lireddie Highmoi'e. :\lbert l‘inne}. Ruxxell (‘rou e. Ral'e Spttll. x\l'ehie l’aiiiabi. l lSmin. Scott'x gladiator i('ro\\ei pla} x Max Skinner. a London xtoekbroker
u ho inheritx liix uncle'x chateau and tailing \ ine}ard and begrudgingl} dixcmerx happinexx in a xlo\\ er pace ol' lile. .launt}. cheek} and colotirltil. .vI (imu/ lt’ill' hax a good noxe. e\en ll it lailx to linger on the palate. (iron-(inn; (i/iixgoii.
Le Grand Voyage «Ho .00. itxmael l’ei‘roukhi. France/Morticco . Itlll-Ii Nicolax ('a/ale. Mohamed Maid. Jack) \t'i‘cexxitiii. (lhina ()gnianma. Illh‘min. Beautilul and mm ing road mo\ ie about a lather and xon'x pilgrimage lrom the Sotith ol l‘rance to Mecca. The problem ix that Reda t( 'a/ale. e\cellenti I\ it non -belie\ er ttllil ltlx tiltl lather
\xantx to gi\e him one laxt chance to dixco\ er
hix Mtixlim rootx. Haunting and \er}
memorable. thix ix a delightl'ul mox ie. l’art oI'
lnterl'aith Week. I'ilm/ioiiu'. lat/iii/iiii'eli.
* The Great Melee t txi COO. iliiichi Kudo. Japan. l‘thi (‘hitpo Kataoka. Minoru ()hki_ Shiro()xaka. llSniin. lt‘x i'eI‘orin acti\ ixtx againxt the go\ erninent in thix \ iolent and political piece ol' xamtirai cinema. l’ai‘t oI' Wild Japan: Outlaw Maxtei‘x. xee l'eature. page 43. I'i'liii/ioiiu'. lat/titliiii'e/i. Gregory's Girl mm .00. (Bill l-'t)i‘x}tli. l‘K. WSI i (iordoii John Sinclair. l)ee Hepburn. ('lare (irogan. ‘) l min. Winning coined) l'i'om (‘umbernauld \\ ith Sinclair ex enttiall} linding romance alter hix lietit‘l ix \el al‘laine b) the lttlexl recruit lo the xchool l'ootball team. 'l'hix ix a xeminal piece ol Scottixh cinema. itx unixerxal appeal deinonxtiating that hoinegrim n talent can compete \\ ith lloll_\\\ood'x linext in the entertainment xtakex. (iliixgoii I'iliii I'lii'iiin'. (ilihQiiii'.
Happy Feet I t ‘i 000 it awn-gt- Miller. .-\uxtralia/l 'S. 2000i \oicex ol Robin Williainx. Hugh Jackman. liliiah Wood. Hlllltttll. See :\lxo Releaxed. page J-I. (li’llt’l'il/ I‘t’lt'tlxt‘.
=l< Hausu I 1.x» coo iNobtihiko ()bayixhi. Japan. 1977i lx'imiko lkegaini. Kumiko ()hba. Yoko Minanuda. 87min. .\
\\ eird and tripp) horror lilm in which xi\ )oung Japanexe girlx go on a \ 1in to a haunted liouxe. Part of Wild .lapan: ()utlau Maxterx. xee l'eattire. page ~12. I-ilin/ioiia'. I'Jliiiliiii'ell.
Heati Iii OOOOOiMichael Mann. l‘S. l‘)‘)5 i .'\l l’acino. Robert De .\'iro. \al Kilnier. l7tlinin, Mann‘x xtar package copx and robberx tale ix head and xhoulderx abo\ e the rext ol the genre. thankx to an action packed xcreenpla} that lull} explorex itx themex tllttl gl\ ex depth lU tlx eltttlelel'x. l’acino ix the tlL‘tlleilletl tleleeli\e “lioxe home We ix in ruinx; De Niro ix the reeluxne criminal inaxtermind. 'l'he I\\o men'x linel) balanced xenxe ol honour and mutual rexpect Ix \\ ell tll\\L‘ClL‘tl. and the xhool-otlt xcl piecex are heart xtopping. Brilliant. l’art ol lleixt .v\liiiiglit)' l'iliii/iiiiiu'. Iii/iiiltiii'eli. Hiroshima Mon Amour I H il l.'\lttlll Rexnaix. l‘rance. 1050i limmantielle Rixa. liiii ()kada. llltlinin The romantic liaixon betueen a l‘rench actrexx uorking in lliroxhiina and a Japanexe architect auakenx the ghoxtx ol her \xartime i'elationxhip u ith a (iernian xoldier. l"ii'xt inaior \xork b) a director \\ ho hax altered the perception oI cinematic time. here mox mg el'l'ortlexxl} through the llaxhbackx and llaxhloi‘uai'dx ol Marguerite l)ui'ax‘ emotne xci'ipt. Special xcreening. I‘i'lm/ioim'. Iz'i/i'iiliiii'g/i.
The History Boys I 15: 000
i.\'icholax ll)tner. l‘lx'. Zoom Richard (iril'lithx. ('lne Merrixon. Stephen (‘ainpbell Moore. lll‘lmm, The big xcreen adaptation ol Alan Bennett'x biggext Wext lind hit about a group ol l‘)S()x xttidentx and the inlluencex ot their teacherx manageon Inaintain xonie ol the humour and pathoon the original dexpite changex III the xti'ucture and late ol a central character. IMIiiiii/oii. lei/iiiliiii'eli.
The Holidayi l2.r\ i O. i\anc_\
Me} erx. l'S. letloi (‘aineron l)ia/. Kate Winxlet. Jude l.a\\. .lack Black, 135mm See .'\l\0 Releaxetl. page 4-1. (it’llt'l‘il/ l't'lt'tlH' Hollywoodland i lfii CO. t.'\lletl (‘oulteix liS. Illllbi Ben .v\llleck. .-\drien Brod). l)iaiie lane l_‘(imin. .'\ cracking thriller. lax ixh period drama and engroxxing true Inc in) xtei'_\ centrmg around the death in NS” under xuxpicioux circumxtancex ol (ieorge Ree\ ex tlhe tielot' hexl klttm n lot‘ ltlx role ax tele\ ixion'x Iii'xt Sil/N’I'Hltlll i. (‘utting back and lorth bemeen the inxextigationx ol l’l |.ouix Sinio t Brod} i and Ree\ ex' el'lortx to make ll in lloll}\\ood. it draux pai‘allelx betueen the men \\ ith xenxiti\ it} and pathox. .St’lt'i'lt’tl I't’lt'ilu‘.
Hoodwinked it»... it‘oi-ex .k ‘t‘otltt lidnardx . l-S. Illlltii .r\nne llathana}. l’atrick Warburton. .lim Beluth Slmm Like a bedtime xloi‘} told b} an amiable drunk. thix ix equal partx Ra} mond (‘handler and Slur/t ax Red Riding Hood illathaua} I. \Hiiitlxtllttll illeluxhi I and big bad no“ iWarburtoni all get to tell their xttle ol the xtoi'). RtH/llllllllll xt} le. llou ex er the animation lallx \xa} xhort ol~ the xtandai'dx ol l’i\ar and Dune}. Sela ml I’i‘li'ilu'.
How is Your Fish Today?i Hi 0... tXiaolu (iuo. ("hmai'l 'l\'. 3006) Xiaolu (iiio. \ing llao. lltii Rao. /.i|iang Yang. Shunt. l‘iction and realit} collide in both the ll;tl'I';tll\e and the approach ol' thix timixual lilin. lt \xax originall} cominixxioned ax a documentar} about the near ttl_\lllle.'tl than ol the Mohe \ illage in northern (‘hina. but the
\ illage'x anticlimactic realit} led to a re imagining ol' the xcript. l)ocumentar_\ lootage and a lictional narratn e are mteruox en ax the real me W ritei' i l ltll I appearx ax a chaiacter traxelling to the \ illage on the trail ol a murderer. 'l'he di\ ixion betneen creation .iiid reprcxentation ix obxcui'ed in thix beautil'ul meditation on xtoi'}telling. l’ai't ol the \iaolti (itio xeaxon. l‘lllllllUll\(’. Iziliiiliiii'eli.
I Hate Mondays (Nie Lubie Poniedzalku) I IS i 0.. i'ladeux/ ('hinieleuxki. l’oland. N"! i K;l/lllllt‘l'/ Witkieu ic/. /.}giiiiiiit .v\poxtol. Hogtix/ Bilenxki. 08min. .\ lighthearted look at d.iil_\ Me in communixt \Varxa“. l'.\t-i'}tliiiig goex \\rong tor a policeman. a man in a llll and a group ol burglarx to abxtirdl} comic endx l’art ol' l’olixh coined} xeaxon. .I‘IlHIlIUHH. liiliit/iiii'uli.
If . . . l 15i .0... Ilindxa} .'\lltlel\tlll. l‘lx'. I‘ltiSi Malcolm Mcl)o\\ ell. .'\l'llllll [one lllllllll. ()n the lace ol it. the xtor} ol a xtudent led rebellion man linglixh public xchool might be taken ax a metaphor lor the prolound xocial change that had gone on in the (\(lx. 'l‘hei‘e are elementx in the public xchool that xuggext Harold Wilxon'x grammai xchool ineritocrat generation. btit tliei'e'x a much broader attack on bourgeon \aluex going on. and the ielexance ol the piece to toda} 'x political culture ix entirel} undiiniinxhed. ll ix alxo notable loi itx narrational e\periment \\ ith l'laxhback. monochrome and lll\t‘l'\li\ll ol the atidientex rational e\pectation iat tiinex characteix die. then return to lilei. .v\dd to that an outxtandmg perlorinance b} Malcolm Mcl)o\\ ell. and it‘x a cult claxxic and a maxtcipiece. lziliiiliiii'g/i /‘i/iii (iiii/il. l‘.t/IIIl’HI'g’/l.
In a Lonely Place I I’( il 0... i.\'icho|ax Ra}. I‘S. I‘lfitli llumphre} Bogart. (iloiia (lrahainc. Martha Stexxart. ‘Hinin l)i\ Steele tliogarti ix a xci‘eenxxiitei' \\ ho ix lalling in loxe \\llll \lllll') lloll_\\\ood acticxx laurel (Era) i(irahainei. lle ix alxo prime xu\|‘ect in a xick murder caxc. 'l'hix textoi'ation ol a claxxic lilin noii xhim x Bogart in one ol liix iiioxt imprexxne rolex. and the xuxpciixe
\\ ill keep _\ou pegged until the \er_\ end l‘llllllll’llu‘. Iii/iiiliiirg/i.
In a Year of 13 Moons l 1M 0000 iRainei' Werner l-axxbmder. (ierinan). I‘VSI \'olker Spengler. Ingrid ('a\ en. (iottlried John. ll-lmin. 'l‘hc prolific and tragic (it‘l'lllttll