Film
Jumperi l2-‘v... vl)ou-.' l itiiau. l'S. 2008i lla}dcu (‘lirixtcnxctr Saiiiucll Jackxon. l)ianc |.anc Shiuin \lildl} intcrcxtinc adaptation ot Stc\cti (ii iuld‘x hit SCI-ll html-Lx about pcoplc callcd 'iuiiipcrx' who can tranxport thcmxclxcx through tiiuc and xpacc l.iiiian ill and WM Srrzirli, Siiiiiiu'rx l dircctx 'J-lllt hix iixual adiiiiiahlc cncrg} ('hrixtciixcn prmcx that thcrc ix litc altcr Stu: Him in thc lcad \Nllll good xupport from Jackxon arid Jatiiic Hcll (u m m/ ri'li’uu' Juno t l2» C... iJaxoii Rcitiiian. l’S. 3007i l‘.llL'll l’ithL'. .\1icliacl (‘cia. Jcnnitci (lariicr ‘l‘iiiin 'lcciiajsc luriml’.i_~_'ci tindx licrxcll prcgiiant and coiituxcd \\ licn tlic hah} 'x lathcr ttiinx out to hc an aiilicad lock. and an abortion docxii't afgrcc \Hlll Juiio‘x principlcx. adoption xcciiix thc onl} option A ncw xpapci atl\L'tI putx licr in contact u itli childlcxx couplc Mark and \‘aiicxxa. hut Juno‘x picdicaiiicnt coiiiplicatcx ax thcii rclatioiixhip hcgiiix to ltd} Rcitman ltt'\t‘l xtoopx to yroxx ottt ot xlapxtlck \kitlt llic run“ that thix ix a coiiicd} that mach )ou laugh out loud. hut that )ou can xtill icxpcct in thc morning; (ii'rii'ml lt’/('(1\(
Lars and the Real Girl i Ilm
O... t('raig (iillcxpic. l'S. Ittti7‘i R};tlt (ioxliiig. liltlll) Mortiiiici. l’aul Schiicidci. ltltimiii Scc rcxicxi. pagc 5U (i/(Hgim I'll/In lilll’llll't’. The Last King of Scotland I lSi C... (KCHII \lacdonald. l'S/l'K. :(lllhl liorcxt Whitakci. (iilliaii Andci‘xoii. Jami-x Rica-Mo}. l2 iiiiin Macdoiiald'x tirxt tictioiial lilm xccx .\lc:\\o} playng \icliolax (iarrigan ax a \llltHHll’litllslllg loxahlc roguc ii ho .‘lL'CltlL’lll.tll} ingratiatcx liiinxclt \Hlll l‘)7llx l'gandan prcxidcnt ldi .-\iuiii tWhilakci'i. With a carccr hcxt pciloriiiancc lroiii Whitakci and an action packcd pacc. it iiiakcx tor a coiiiiiiciidahlc action tilm rathcr than an axtutc political portrait. XI li’m/i' 'x ('i'Iitn'. I'ji/iIi/nuyli LOOIO t IS) C... than-( ‘laudc l.ati/oii. Canada. l‘NZi .\la\imc (‘ollin. (imcttc cho, (iilhcrt Sicottc ltl7iiiiii :\ l'rcnch (‘anadian ho} cxcapcx lroiii thc incrcaxiiig inxaiiit} ol liix lalttll} litc into a hi/arrc xcricx ol t'antaxicx. in “lilL‘lt hc ix tlic otlxpi‘mg ot liix iiiotlici' and a xpcriii-ladcn Sicilian tomato. l.au/oii di\cx dccpcr into thc darkl} lllllti} .iiid paiiil'ull} xad axpcctx oi xcxual auarcncxx and adolcxccncc. :\ uniquc. hcautilull) \ ixual trcat. lz'ilin/iiiruli l'iIm (iiulil. lii/thlll‘L'h. Let’s Say . . . il’(ii il'raiicoixc .\laiic. l-‘rancc. 2007i 82min. 'l‘hix docuiiiciitar) ollctix an altcriiatu c takc on thc adult working \Htl‘ltl. Ax childrcii act out tlicir parcntx' johx ax tariiicrx. policc ot'liccrx and groccrx a touching protuiidit) xccpx trom thcir pcrloriiianccx. Part of l'rcnch l'llltt licxtnal, (iliiwoii l'l/Hl I'lii'iitri. l‘l/In/titllu. Iz'iliiihmjuli, Libero t 15) 0.. tKim Roxxi Stuart. Ital). loom .-\|cxxaiidio Moracc. liarhoia Bohulm a. Run Roxxi Stuart. ltlSmin \thn ll-_\car-old 'l‘oiiimi‘x cxtraiigcd iiiothcr rcturnx homc uncxiwctcdl) thc tamil} xtrugglcx to adiuxi. l.o\\ »|\c_\ child‘x c) c pcrxpcctu c ot an ciiiotional|_\' trouhlcd famil) li\ ing iii xuhurhaii Romc. dircctcd h} taiiioiix ltalian actor Roxxi Stuart tlx’onum:o ('rimiiiiili'. l‘lii' Ki'i \ to rlii~ Houwi. \Vcll cxccutcd and xuhtlc adult drama. (ilmumi Film 'l'limtri'. The Little Foxes it’( it 0000 (William W)lci. l'S. l‘l-il i Bcttc l)a\ix. Hcrhcrt Marxhall. 'l‘crcxa Wright. l’atricia (‘ollingu Dan l)ur) ca. l loiiiin. .\ xupcrhl) actcd and .xuniptuouxl} concci\cd xcrccn adaptation of Lillian llcllman'x pla}. xct in thc Dccp South. \ihcrc a xickcningl) \\ calth) tamil} turnx in on itxclt through thc corruption of grccd and hatrcd. .-\ xplcndid rcmindcr ot‘ lloll}\\ood\ morc auxpicioux past. Part of Bcttc l)a\ ix on Tour. l’ilni/ioim Edinburgh. A Lost Man i [Si (Danicllc .-\i'hid. l-rancc. 2007i Mch il Poupaud. .-\lcxandcr Siddig. Darina El Joundi. 03min. Daring l'rcnch photographcr Thomax Ko} rc il’oupaudi travclx to thc l‘ar liaxt in thc hopc of revealing thc .xccrct paxt ot' cnigniatic anincsiac Fouad Salch. Drauing iiixpiration from the photographic travclx ot‘ .-\ntoinc d'Agata. Arbid'x drama picturcx a man in search of thc ultimatc C\pCflCtiCL‘.\
54 THE LIST 13—27 Mar 2008
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llll.t‘__‘llt.il‘lL‘ to man l’ait «it l icric l cxti‘ml (Ringo-2 /:.ni Ir}, air. [din/Huck Love in the Time of Cholera :< O. '\1ikc- \c-‘.xc|l.l \_ INF] licniauun liiatt, (illta licriiard l oihcx. (iioxaiina \lc/xorno li‘iiuii \cc \lxo Rclcaxcd. l‘ayc “t (it in MI n .t .. x. 'iiw: Ir: 3/ Um Margot at the Wedding t< O. i.\'oah liauriihach. .‘Jiti". l S: \icolc Kttllttalt.JL'ttllllL‘t.l.t\itl1lt'lglt, lacl. lilacl. ‘lliiiiii \\iitcr diicctoi liaumhach mt thc L'xccllcttt Hie \i/mi/ inn} lite ll ’Iu'ilt iolictx liix lcaxt L’HlttlttL‘lclal work to datc \\ itli Kidman mixcaxt ax a uritci ictuiiiiiig; hoiiic tor lici xixtcr'x \icddinc. and Black tiiidiiic it iiiipoxxihlc to undcrpla_x alt_\ xccnc. it iuxt ixn‘t tunn} Rathci. it‘x iiioioxc. and tull ot xclt»ahxoihcd and iiituiiatui; cliaiactcrx ("i/ii mil/i1 Rt Iii/i H Stu i I, (i/mcim ("mi uni/i1ladiii/iiugli [din/Mimi: May 68, a Fine Piece of Work iii-an l.uc \lagticroti. l'iancc. .‘HHM <2min l)ocuiiicntatioii ot tlic \la} hS xtudciit iiotx \iith \arioux cclchrit} tcxtiiiionicx l’ait ot l'rctich l‘tllll l'cxtnal Ii/m/iuuu. [aim/Hugh Meet the Spartans t I:.-\. oo iJaxon l'ricdhcrg/ -\.iroii Sclt/ci. l'S. HMS» Kc\ in Sorho. lra\ ix \an \lexlc. l)icdiicli liadci 33min Scc ic\ icu. pacc do (it [It In! ri'lum'tronil'I'13/ .ilii/ The Metropolitan Opera: Britten’s Peter Grimesttzi t t "S. loom tjtiimn .loin thc \cu York .\lctropolitan ()pcra toi llciiiaiiim lii‘ittcii‘x I’LIl/ (i/‘inii \ Sci'cciicd Inc and in high dcliiiitioii (tumor/i! Ri'lim'ii Sin ('1. (iliiwoii .‘ ('iinii'o. lat/Hi/imgh Milou in May l l5i O... il.ouix Mallc. l't'aiicc. l‘lS‘li \lichcl l’iccoli. \liou .\liou. Michcl l)ucliauxxo} ltlSiniii. ()ii a i'aiiihling cxtatc iii thc South ot l'titttL'L‘ a xat}i'-|ikc old icprohatc. l’iccoli. ix iii lot a pi‘oloiigcd hout ot domcxtic dixcord “ltt'lt thc iiicinhcrx oi liix hickcrmg laiiiil} conic togctlicr to wit out grandiiia‘x \\ ill. cxaccrhatcd h) \Htl‘t'lMtIIlL' tic“ x trom l‘ltiS l’arix. l‘arcical hut taxcmatiiig portrait ol thc l‘lL‘llL‘lt hourgcoixic at a timc ol grcat xocial uphcax'al, l’art ot l'rcnch l'llltt l‘L'\l|\;tl. I‘ll/Il/IUHH'. lat/irzliiirgli
Mister Lonely t IM 0000
tllarmon} Koi‘iiic. l'K/l‘rancc/licIand/l "S. 2007) Samantha Morton. l)icgo l.uiia. \Vcrncr llcr/og. l llniin. Scc prcx icu. pagc 45 and .-\|xo Rclcaxcd. pagc 5t), (‘ii/iii'u. l‘a/lll/Hll'g‘ll Monsters, Inc 11')... t l’ctc Doctcr. l'S. Ztltll i John ('ioodiiian. liill) (‘r_\ xtal. Stc\c Blixccmi. 02min. 'l'hc Iatcxt (‘(il animation from Im .S'iori makcrx l’i\ai i.x .xct largcl} in Monxtropolix. a cit} inhahitcd h} thc t'oiilcxt ol hcaxtx. 'l’hc iiionxtcrx poncr tlicir cit} h} xcndiiig 'xcarcrx‘ through doorx \xhicli tclcpoi‘t tliciii tltlU Clttldt'ctt'x rootttx. ()ncc lltL‘t'C. thc) pull laccx at thc kidx. producing \llrlL‘k\ ol tcrroi. it hich ai'c hottlcd hack in .\ioiixtiopolix atid iixcd ax a xourcc ot cncrg}. lt'x a iicat idca. hut \\ hat rcall} littx thc tilm ix thc xciixc ot tun that pcnadcx tlic \xliolc ltlU\ ic .‘ll’lhlc‘l't I’ll i'iiiix ax \ttimilltl) ax a lairground xlidc that no onc ix too lug to Clito}. (irmii'nor. (iliixuoii. Mr Magorium’s Wonder Emporium tl'tCC 1/.ach llcliii. l‘S. IUHW .\'atalic l’ortiiian. Zach .\lil|x. l)uxtm lloltmaii. ‘l-liiiiii. Moll) \lahonc} il’ortmani ix thc awkward and iiixccurc iiiaiiagci ot .\li Magorium'x \Vondcr lilttpttrllltll. thc xtraiigcxt and moxt tantaxtic to} xtorc in thc \mrld. But \xhcn .\lr Magorium hcqttcathx thc xtorc to hcr. a dark and oiiiiiioux changc coiiicx o\ cr thc liniporium chidcx thc irrcxixtihlc hiin ot‘ xccing l’ortman lllttllltg hcr “itchcratt. nothing liax much icxoiiancc hcrc. lt'x all bright xurt‘accx \\ itli nothing: hchind tlicm. and thc rcxult ix Hat and inconxcqucntial. (ilaxcoii film [in am. My Blueberry Nights 1 12A. .0 t\\'ong Kai-xiai. llong Kong’China lirancc. 2005i Norah Joncx. Judc l.a\\. l)a\ id Strathairii 05min. Kar-xiai'x tirxt lznglixh languagc tilm lloundcn in thc road mm ic gcnrc. \Vhat thcrc ix ot a plot in\o|\cx Mancunian “.11le Jcrcm} il.a\\ i mccting m} xtcrioux xtrangcr Eli/ahcth (Joncxi in liix .\'c\\ York dincr hctorc xhc trai clx t'rom liaxt to \\'c.xt to lcani about lmc. 'l'hingx gct
zutcrcxtiu: mth xoiiic axxkaattt \toz'cxtic xitaatioux hut thc xul‘tlctic'x ~i itic xctcciipla} arc lox'. 2:: dchxcij. \iitt. pukxzcx tor taux ot tliix :iiaxtci t'iltiiriia'kqi I) r: /.::':".i';i:
National Treasure: Book of Secrets H: C. loii luitcitauh
l S I'M". ,luxtiu llaitha. l3 liuiicll. \icolax 121mm l \chaucc ttic icligiot.x xuti plot ltotti It}! I)“ ln‘ .' ( tun ‘aith xiiitic
( .tL‘t'
xpuiioux hlathci al‘out thc hixtoi} ot thcl S (‘oiixtitiitioii and .\ou hax c thc xucccxxtul toiiiiula tor thc \t.'.’:wi:..‘.' In axsm ll.tllclll\‘ llic xccond iiixtaliiiciit hax adxciituici licu (iatcx «(ach \ lt.t\lltf_‘ .tti ttlltil \aiioux \xoild“ idc touttxt ttapx \xhilc dodging thc attciitioiix ot hix lt‘-.il \litch \\ ilkiuxou illaiiixi lhc xhaicd ohicct ot tlicu dcxiic ix .i xciiii iii}tliic.il tonic that xuppoxcdl} \Ultlallh tlic diaiicx ol c\ci} \iuciicau picxidciit Rt'lltllltltj; illlk'cli‘l luitcltauh'x xci\ iccahlc adwntuic tcatuicx a ci‘ll\l.tlll t'\\.tl.tll\‘lliil .t\lli‘l1.lttll lllt‘t‘llill\‘\\ cliccilcadinf: loi '\lllL‘ll\.t pron-x tiicxoiiic (it Hi In! It /i an No Country for Old Men I" O... ilocl l'tliaii (.Ht'lt.l S. IHH'W l.i\ici llaidciii. .loxh liiolin. Kc‘ll} .\lacdonald l_‘_‘iiiiu lhc ('ocn liiothcix ictuiii to toiiii \iith tlux adaptation ot (‘oiiiiac \lc( 'aith} ‘x iio\ cl \\ licn l l\‘\\k'l}tl \loxx liioluii tala'x a hagtul ot caxli tioiii a \llllf.‘ dcal that cocx \ktUHjj hc xctx oil a chain ot c\cutx that Icad px}cho killci (‘higuih ipioiiouiiccd xugai to \o\\ to do aii}thiii§: to pct thc iiioiic} hack lhougli l‘.l\t'\l iilt \lc( lallll} ix lt'.l\l llllk‘lt'\llll:_' tti\\ L‘l. thc ('ocnx iiiihuc tliix xiiuplc talc \\ itli thcii tiadciiiaik quiikiiicxx and xii} liiiiiioiii (lit II: “1/ H /( il\i Nothing More Than it- i it .ux lluclicl/l'iicdciikc .Icaii l.alc \alpaiitoglu/Jciix Schillintillci/Schaxtiaii Stcrii. (iciiiian). 31M itii Sophic (‘hailottc (‘oniad. Kcrxtiii l)ici‘k. ('hiixtophci l'lictci 35min l’iiiduccic/diicctoi lluclicl U‘llk‘clt'tl toui d} namic )ouiig: diicctoix and chaiggcd thciii \Hlll cacli making a film out ot thc xamc pocm. .-\inc Rautciihcig'x ‘\othmg_' .\loic 'l’liaii' \xhicli dcxcrihcx thc tiaiixitioii troiii childhood to _\outh l’aii ot l-icuch l'tliii l'cxti\al (im't/ii /I1\Illlll.(i/i1\;’4'li Old Maid t l i .0. cladiiiund (iouldiiig. IS. 1‘) Wu llcttc l)a\ix. \liiiaiii llopkiiix. (icoigc l‘ll'L'ltl. ‘Niiiiin l'tttltl aii liilllll \Vhartoii iioi cl xct in thc ('ix i| “at cm. l)a\ ix pla}x (‘hai‘lottc l o\cll. \xho liax an illcgitiiiiatc child \\ itli a man who ix in loxc \\llll lici couxiii l)clia tllopkiiixi. l)clia ditclicx him to iiiari'} tor iiioiic). hut \xlicn hc dicx iii thc \xar. and xlic tiiidx out ahout tlic child. xlic ruinx ('liai'lottc'x chaucc tor a good match and adoptx thc child licixcll l’ai’t ol llcttc l)a\ ix on lot”. ll/Ht/lt'llu'. I‘aliIi/iurgli.
The Orphanage t IS» 0000
Hum lla}ona. Spain. ZHUW l‘lL'lL‘tt Rucda. l'crnaiido (';i_\o. Roch l’i'iiiccp IHSiiim Scc lL'\ IL‘\\. pagc .1" \t'lt ( [( tl I'('/('(1\( The Other Boleyn Girl i tj.\i CO i.luxtiii ('haduick. l'K. ItlttSi \atalic l’ortiiiaii. Scailctt Johaiixxoii. l'.ll\ Hana 115mm 'l'lic 'hiddcn liixtory ot \lai} liolc}ii. xixtci ol .»\iinc. thc xccond ot llciii) \'lll'x xi\ \\i\cx. l’la_\iiig_' thc liolc}n giilx. l’ortiiiaii and Johaiixxoii aic caxt ayainxt t}pc in lL'lellali thrilling: xihlmg; llMtll'}. \ihilc thc iixuall} c\ccl|ciit llaiia iax tlic King: ximpl} lookx tcd up. But rathcr than thc caxt it'x pt'ohahl} l’ctci Morgan‘x undcicookcd adaptation ot l’hilippa (ircgor} ‘x o\ct'hcatcd tio\ cl that‘x to hlaiiic (it Iii m/ n [c (/H Over Her Dead Bodyi tJ.-\ t .0 dc” l,o\\cll_ l'S. Ztltlhi l'.\a Iongoiia l’arlxci‘. Paul Rudd. l.al\c llcll 04mm \\ licii hix tiaiicc‘c Katc il.oiig_'oria l’arkcri ix killcd on tlicii \xcdding: da}. llcnr} il’aul Ruddi tiiidx hiiiixclt talling tor px}chic :\\lllL‘} thlli. Katc'x angr} ghoxt thcii hauntx :\xhlc_\. ’l'hix ix a palc. h) xtcrical and o\ ct‘l_\ xclicmatic rctrcad oi \ocl (‘ouard'x Ii/irhi Spirit Show iiu (.l’lt mu. l’iiix/H. ‘iiiilm Pan’s Labyrinth t IS l O... t(iUlllL‘l’lttU l)cl 'loro. .\lL'\lc'it:Sp;ttll/l S. Zoom l\;tll'.l Baqucro. Doug Joncx. Scrgi l.opc/ ll‘lmin. lii thc cloxiiig xtagcx ot Spain‘x ('1\ il \Var )oung ()tclia dixco\crx a xtihtcrrancan \xorld populatcd b} taintalc crcaturcx .-\x xlic naiigatcx taxkx in thc [.a/urint/i-likc \Htrld thc rcal dangcrx lic
Aid :31; dzxxo'iaucc l'x‘t‘xxccn Ihc A: (fiat thy tc‘a xxorld :x :ixwrc
\ ulna. K '- Penelopevl OOOO \tazt l‘.‘.l.tit\hl l l\ l \ )‘Hti thrixtuta R1“: laiucx
\lc t.:tl‘ct:::c t) llata \‘ltiziii \\itl1
lici t‘.1«‘t‘.;\c‘\l l‘a. Rjzouud and Cowl xctixc ot
in .:i:\ ::i..::::icdoi:; \
Eiuitwuz l‘cucaigx‘ ilx’iH: xltould haw l‘ccii .'.
l‘l'i of .z c .ll\ 1". \.i\ll\ xhc hax a pick xziout Int J riox; and not oiilx do lici xuiuixh tcatuicx \‘ltil tlic hoxx tittlltlltt' thc\ .ilxo \oiitiiic lici to datiuc tht~ laiidcd :‘cutix
l': H. .t 3": ix c ll.‘.l.'.\ tctixctl l‘\ tl\ xtil\tlc‘t\ lt‘lc'cllll‘.‘ caxx plot taiiix and \Im A cxiiuc pop c ultuic \i‘ltttttc‘ttlaH itx lllill\ ultialitx and tltlk'lllgk'ltxx' iiialauu' it .i l‘ti ot .l ll\l‘lltl ltx’al~ M lit :1 t." 'i .i “u
Possession I» O... \udi/ci /ula\\xki, l l.tll\\‘ (iciiiiam, l"\l lxahcllc \diaiii \aiii \cill \laii'it (aixtciixcu
l.‘ iiiuii lhix \Itlltlltlt'.' coiiipoxitioii \Ktllt (\u‘i‘lti‘ltal \.tttt\'l.t\\i'll\ and l‘lllllalti uxc ot colour tcllx thc \li‘l\ ot a ltl.tll xxho ictuiiix to liciliu tioiii .i \ioik .ixxi;'iiiiiciit iii l axtciii luiopc to ilixtowi hix \xitc iiixolwd iii a licatcd atlait llc titxt \ll\l‘\'\l\ .iiiotlici iiiau hut thix paxxioiiatc thiillci lioldx an
\ l‘xxchotionic ('iiiciiia picxciitatioii (iiiixcoii lifn;
lizi iii/l, li/ni/iozixi. / din/viii 1/:
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Palma. l'S/(‘anada 2007i Sahar Alloul. lzric Andcrxon. Lara Atalla. 90mm