Launceston Film Society
Films are screened at the Village Complex, Wednesdays and Thursdays at 6pm (6.30pm in school holidays)
Contact the Launceston Film Society : lfs@elaunceston.com
March 10 / 11, 2004
Wilbur Wants to Kill Himself (MA)
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Danish filmmaker Lone Scherfig was responsible for that marvelous small comedy Italian for Beginners. This new comedy/drama is a more ambitious production.
Set in Glasgow, Wilbur (Jamie Sives) and Harbour (Adrian Rawlings) are adult brothers living together, with Harbour taking care of business in the family's aging bookshop, while Wilbur, a nursery school teacher, repeatedly tries to take his own depressed life, even being forced out of his suicide-support group. Alice, a single mother, is a regular customer, making ends meet by selling the abandoned books she finds during her job as a hospital cleaner. Attracted to both brothers, she marries Harbour. Wilbur meanwhile gets himself a girlfriend in the form of his hot-blooded psychiatrist who's willing to do anything to be with him. The drama unfolds when slowly but surely Wilbur doesn't want to kill himself anymore and instead finds love, whilst Harbour finds himself inevitably inching closer to the other side of the spectrum.
While not in the same league as the wonderful, heartfelt Italian for Beginners, what Sherfig has created here is a film that is ultimately more satisfying for the sum of its parts - Henderson's moving turn, a beautiful musical score, an excellent supporting performance from Julie Davis as a concerned nurse, and deep evocations of love and death.
The situation created between the two brothers is beautifully juxtaposed by ones thirst for life and love and the other's rejection of it.
Described as a "romantic black comedy," it was voted best film at the Sydney Film Festival.
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March 17 / 18, 2004
The Good Thief (MA)
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Nolte plays Bob, an ageing, heroin addicted, veteran gambler on a losing streak. After saving the life of a policemen Roger, with whom he plays a friendly cat and mouse game, Bob goes to the rescue of a young weary teen prostitute Anne, with whom he becomes friends. With his old mates Bob plans to rob a Monte Carlo casino of its artworks only someone has already tipped off the owner. The director Neil Jordan (The Crying Game) has created a film that is a remake of a classic French film and has plenty of atmosphere, great cinematography and a fabulous soundtrack.
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March 24 / 25, 2004
In the Heat of the Night (M)
(Classic)
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After the murder of a wealthy and powerful Northern industrialist in the town one night, a well-dressed black stranger, Virgil Tibbs (Poitier), waiting for a late night train in the deserted train station, is arrested as a prime suspect solely because of his colour. Tibbs is brought before shrewd, overweight, gum-chewing, fast-talking, redneck Sheriff Bill Gillespie (Steiger).
Virgil, as it turns out, is an intelligent, Philadelphia homicide detective with a badge. The Sheriff tricks and challenges the smart black detective to stay and help solve the murder case using his experienced in police work and forensics. As they work together to solve the murder mystery in an atmosphere of hatred and antagonism, the central focus of the film is on the changing, unfolding relationship between the two clashing, strong-willed men as they move from inherent prejudice to grudging mutual respect and admiration for each other.
One of the truly classic Hollywood films, this tense and intelligent social thriller hasn't dated, and why should it? It's got a great story, great direction,†and two wonderful performances from Steiger and Poitier. Competition at the Academy Awards was stiff that year, with films like Cool Hand Luke, Bonnie and Clyde and The Graduate. Nonetheless, this 'dark horse' film managed to walk away with awards for Best Picture, Best Actor (Steiger), Best Screenplay and Best Film Editing, and Jewison was nominated for Best Director.
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March 31 / April 1, 2004
Balzac and the Little Seamstress (M)
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Set during the Cultural Revolution in the scenic valleys and mountains of inland China we follow a young man sent here for re-education. At these times intellectuals and dangers to the Socialist regime were forcibly sent to remote areas. Rather than focus on the bleak and difficult circumstances they found we instead are told a gentle story of love and longing.
The film is based on the director's own autobiography and mixes traditional elements of romantic film with comedic moments. The young people are allowed to view films from North Korea and Albania but must hide the western literature of Balzac and others they possess. Instead they read it in secret and retell others the story.
The beauty of the region figures largely in the film and the pace is carefully measured. The three key characters are played convincingly by the young cast and in the end we are transported decades later to discover their fate.
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April 7 / 8, 2004
Chaos (MA)
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Paul and his wife Helene witness a young woman being beaten and left for dead.
Paul avoids all involvement and is more concerned with cleaning blood from his windshield than the condition of the unconscious woman. Feeling guilty at their indifference, Helene traces the victim to the hospital ward where she lies in a coma. Helene becomes obsessed with helping to nurse the woman back to health, neglecting the husband and son who have disillusioned her. As the woman regains consciousness, Helene discovers that she is Malika, the daughter of North African Islamic immigrants. Fleeing an arranged marriage to a much older man, Malika was forced into prostitution. Malika's life is still in danger from her former associates. Helene joins with her dispirited mother-in-law to shield Malika.
With eyes full of fierce intensity, Brakni gives an impassioned performance. She received a Cesar, the French Oscar, for most promising female. Frot, nominated for the Cesar for Best Actress, skilfully shows Helene's growing self-awareness and her determination to save Malika.
Director/writer Coline Serreau maintains a vigorous pace through the changes in tone that range from the grim examination of Malika's family background to the comedic revenge she takes on Helene's husband and son for the neglect of their female relatives. The style of the film reflects the chaotic disarray of lives changed by a random event. The only false note is the implausible sequence where Malika secretly amasses a fortune that she hides from her tormentors. Otherwise, the talented cast keeps "Chaos" (Cesar-nominated for Best Film) absorbing throughout its different directions.
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April 14 / 15, 2004
Spider (MA)
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The only thing worse than losing your mind... is finding it again.
Dennis Clegg is in his thirties and lives in a halfway house for the mentally ill in London. Dennis, nicknamed "Spider" by his mother has been institutionalized with acute schizophrenia for some 20 years. He has never truly recovered, however, and as the story progresses we vicariously experience his increasingly fragile grip on reality.
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April 21 / 22, 2004
Lost in La Mancha (M)
(6.30 Start)
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Love is sometimes not enough to bring a dream to reality.
In August 2000, master filmmaker Terry Gilliam finally got his opportunity to create his dream film he labored for a decade, The Man Who Killed Don Quixote. Assembling his film crew, he prepares his production in what promises to be the biggest budgeted feature film using only European financing, although it is meager compared to Hollywood standards. However for all his creativity and enthusiasm, the film is immediately plagued with an improbable series of disasters ranging from scheduling conflicts, budget cuts, studio and location problems and worse that threaten to doom the film.
Full of push/pull emotions, we get to see Terry Gilliam's (Seven Monkeys, Monty Python, Time Bandits, Brazil) dream crumble around him. This brings the human value of time, money and effort required to create a film to us, the viewer in a way we never get to see.
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April 28 / 29, 2004
I Capture the Castle (PG)
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The film follows 17-year-old Cassandra Mortmain and the fortunes of her eccentric family, struggling to survive in a decaying English castle.
Her father is desperate to repeat the spectacular success of his first novel, but hasn't written a word for 12 years; her exquisite sister Rose can only rail against their fate, and their Bohemian step-mother Topaz is a nudist and no help at all.
Salvation comes in the form of their American landlord Simon Cotton and his brother Neil. Although initially repelled by Simon, Rose is determined to make him fall in love with her and succeeds. A wedding is arranged and Cassandra is left on the sidelines as everyone around her is drawn into a maelstrom of interconnected relationships.
But events spiral out of control, and before the summer ends she will experience frustrated desire, first love, and a broken heart. 'I Capture The Castle' is based on the Dodie Smith novel which was published in 1948, before she wrote 101 Dalmatians.
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May 12 / 13, 2004
Infernal Affairs (M)
Medium Level Violence, Drug References
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The setting is the never-ending war between the police and the triads of Hong Kong. Chan is a cop who's been assigned to undercover work inside the triads for so long that he's been able to rise through the ranks to a position of some authority.
Lau, meanwhile, is a secret member of the triads who has infiltrated the police force with an equal level of success. As they feed their bosses information on the plans and counter-plans of the organizations they pretend to serve, they both begin to feel the stresses of their double lives as they become torn between the oppressive obligations they owe to their superiors and the growing camaraderie they share with the foot soldiers around them. As the two organizations become increasingly aware of the moles in their midst's, the race is on for Chan and Lau to try and get out of the game alive.
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May 19 / 20, 2004
City of God (R)
Medium Level Violence, Adult Themes
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Fight and you'll never survive..... Run and you'll never escape.
Cidade de Deus (City of God) is a housing project built in the 1960's that--in the early 80's--became one of the most dangerous places in Rio de Janeiro. The tale tells the stories of many characters whose lives sometimes intersect. However, all is seen through the eyes of a singular narrator: Busca-Pé, a poor black youth too frail and scared to become an outlaw but also too smart to be content with underpaid, menial jobs. He grows up in a very violent environment.
The odds are all against him. But Busca-Pé soon discovers that he can see reality differently than others. His redemption is that he's been given an artist's point of view as a keen-eyed photographer. As Busca-Pé is not the real protagonist of the film--only the narrator--he is not the one who makes the decisions that will determine the sequence of events. Nevertheless, not only his life is attached to what happens in the story, but it is also through Busca-Pé's perspective of life that one can understand the complicated layers and humanity of a world, apparently condemned to endless violence.
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May 26 / 27, 2004
The Apartment (M15+)
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C.C. Baxter, insurance clerk and only a face in a crowd of 30,000 employees, has a little problem: He can't use his own apartment. Since he once lent out his key to one of his superiors and his mistress, this custom has spread ever since.
Now, different superiors from different departments take his place for their tête-à-têtes. Being promised not to be forgotten when it comes to shifts in personnel, C.C. Baxter swallows his anger - until he finds out that the mistress of Mr. Sheldrake, the company's boss, and his recent flame, Fran Kubelik, are the same person. And they are using his apartment! Although Baxter has not been forgotten personnel-wise, the attempted suicide of Fran in his very own bed makes him think.
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June 2 / 3, 2004
Samsara (MA15+)
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Tashi, a young Buddhist monk, has undergone a long period of meditation, but his religious life is tormented by his erotic thoughts and dreams. Allowed to venture out into the world beyond his monastery, he finds work on a farm and soon discovers sex in the arms of the farmer's daughter, whom he marries.
This film maximizes the beauty of the location in Ladakh high in the Himalayan mountains. This journey of discovery for Tashi occupies much of the film's length and his relationship with his new wife is the prime subject matter. Her innovative approach to love-making and the explicit sexual scenes make this a somewhat unusual plot for a film about a Buddhist monk.
The director explores desire, destiny and spirituality in this tale set in a part of our world not often seen on film. A gentle and intimate portrait of one man's life and his relationship with a partner and with his faith.
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June 9 / 10, 2004
Perfect Strangers (M)
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This fast-paced film is set in a small country town on New Zealand's wild West Coast. Melanie, (Rachel Blake) is on a girl's night out, the focus of which is to try and secure the elusive Mr Right. It doesn't take long for her to meet someone who meets her prescription; handsome Sam Neill, known throughout as 'The Man'. She decides fairly quickly that they will head off to his place for the rest of the night.
The Man's place turns out to be quite unconventional--a fishing boat, stationery when Melanie first steps aboard, but by morning it is floating off in somewhat mysterious circumstances. The destination is The Man's remote and distanthome.
Romance becomes secondary as Melanie, now panicked, realizes sharply that she is now a kidnap victim. Violent and emotional events leave them both hurt and angry. Melanie is perplexed about her strong feelings in what could, after all, be written off as a one night's stand.
A few days later, her one-time lover (Joel Tobeck) arrives unannounced. There is lot of explaining to be done.
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June 16 / 17, 2004
Amandela! A revolution in Four Part Harmony (G)
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A fascinating and compelling documentary, 10 years in development, telling the story of South Africa’s apartheid regime from the prospective of musicians. A valuable social history lesson.
“Amandela” means power in the xhosa language and Lee’s Hirsch’s film documents the musicians who composed, played and sang songs of freedom, revoltion and change during the mass destruction of black communities in the 50’s, the Sharpeville riots of the 60’s, the Soweto uprising of the 70’s and 80’s and finally the end of apartheid. Hirsch interviews politicians, activists, musicians and former protesters demonstrating that the songs of liberation were a means of building political consciousness and encouraging solidarity.
Ibrahim remarks that the South African struggle against apartheid was “..the only revolution done in four-part harmony”.
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June 23 / 24, 2004
Talk to Her (MA)
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Marco is a journalist, a much-travelled author of travel books. Benigno is a male nurse assigned to care for Alicia, a beautiful young ballet student who has been in a coma for four years after a car accident. Marco meets Lydia, a matador. But before they have really got to know one another, Lydia is gored in the bullring and she, too, lapses into a coma. And so the two men, both of them caring for women to whom they are deeply attached but do not really know, women who cannot reply or respond to them, form a friendship of their own.
Almodovar succeeds in exploring some very difficult territory involving extremes of antisocial behaviour, while keeping his audience sympathetic to his very flawed characters. The director’s deft handling of this story is a joy to behold. He blends every aspect of the film maker’s craft into one meticulous whole. The film is cleverly constructed, beautifully written, consummately acted, stunningly photographed and exquisitely scored. There’s also a contribution from singer Caetano Veloso which is simply unforgettable.
In 2003, Talk to Her won a BAFTA award for best foreign-language film, and Almodóvar won both an Academy Award and a BAFTA award for his screenplay; and was nominated for an Oscar for Best Director.
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June 30 / July 1, 2004
Swimming Pool (MA)
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Sarah Morton (Charlotte Rampling) is a British "crime fiction writer" who seems to have been based, at least in part, on her real-life counterparts, P.D. James and Ruth Rendell. Burned out and fed up, she pays a visit to her publisher, John Bosload (Charles Dance), in search of a little inspiration. John has just the thing for her - spend a few weeks at his country house in France. There, she will have the peace and quiet she needs to write a new novel. She accepts his offer, and, at first, the secluded place, with its wooded grounds and secluded swimming pool, are perfect. Enter Julie (Ludivine Sagnier), John's rebellious, oversexed, teenage daughter, who intends to share the house with the older, more reserved woman. Sarah is not pleased, and her attempts to establish boundaries are continually flouted by Julie, who brings a new man home every night and keeps Sarah awake with the sounds of her lovemaking. Gradually, however, the relationship between the two softens, until a series of events cause a radical shift.
The clues in Swimming Pool require thought and interpretation to decipher. Orzon does not present the answers to his audience in small, easily digestible pieces. It took me about 20 minutes of post-screening introspection before I finally "got" everything. There are plenty of hints about what's going on within the movie, but those will mostly be missed or dismissed by even alert viewers. Only at the end does Orzon provide us with a tidbit of evidence that's impossible to ignore.
Swimming Pool does some interesting things with the relationship between Sarah and Julie. At first, these two are obvious antagonists. But, in spite of her anger and irritation at the younger woman's presence, Sarah is also fascinated. Hints of a lesbian attraction are subtle, but unmistakable. And, as things develop and Sarah learns more about Julie, a curious kind of cross-pollination occurs. Julie develops a sense of reserve and Sarah becomes more liberated. The movie stops short of a complete role-reversal, but, before Swimming Pool comes to a close, Sarah has smoked pot and casually offered her body to a handyman and Julie has put on some clothes.
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July 7 / 8, 2004
The Rage in Placid Lake (MA15+)
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When Placid Lake was a little boy, his mother sent him to school wearing a dress, just so he could experience sexuality from a different point of view. As a result, the poor kid was constantly the victim of bullies, though he found a soul-mate in the studious Gemma.
Years have passed since then, but Placid still lives with his Mum and Dad, ageing hippies with an eccentric outlook on the world. Gemma, lost her mother when she was 8; her possessive father, wants her to be a scientist. Placid's idea of rebellion is to make a video which turns out to be most unflattering to just about everyone around him, but after he falls from the school roof, he undergoes a change.
The basic idea of this interesting film, which was adapted by first-time director, Tony McNamara, from his own play, The Café Latte Kid, is similar to that of Peter Carey's, Bliss: the protagonist undergoes radical character changes after a near-death experience. The movie is most successful as a romantic love story and Rose Byrne is, once again, terrific. Miranda Richardson and Garry McDonald have great fun with the roles of Placid's preposterous parents, and there's a strong supporting cast.
This is certainly one of the better Australian films of 2003.
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July 14 / 15, 2004
Gettin' Square (M)
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Over-the-top parody of the criminal justice system - Queensland Style Gettin' Square revolves around a robbery that bookends the film, and how a bunch of various shady characters become involved. Barry (the talented Worthington) is a small time crim who's just gotten out of jail and plans on going straight, or “getting square” as per the film’s parlance. He lands a job in a restaurant owned by Barrington (Spall), a former gangster with an East End accent who's also trying to play it legal. Johnny Spitieri (a brilliant Wenham) is a stubbys-and-thongs simpleton who's also just begun parole. His character is the most dramatic: he wants to get square, but his limited wits and drug addiction push him toward crime and a seemingly tragic resolution. He's also the funniest of the bunch, shedding new light on how to frustrate a group of lawyers during an hilarious courtroom scene.
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July 21 / 22, 2004
Spellbound (G)
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Spellbound is the Oscar award-winning documentary that presents the intense real-life experience of the National Spelling Bee in the U.S. (This kind of spelling competition has just begun in Australia). We follow eight driven young spellers who compete for the top prize. Through the keenly observant and humane vision of director Jeff Blitz the audience shares the private lives of the students as they train for and compete in the ultimate showdown. We discover not only their individual personalities, their obsessive study habits and their family dynamics but something of the psyche of America itself.
From rural small towns to large cities all are equal at the ruthless spelling bee competition where no errors are accepted and immediate disqualification is the consequence. This film has intense moments of suspense, humour and surprise as we follow the spellers through each round. The finals are televised nationally and is one of the most popular programs for the network. It is a little like the atmosphere of the AFL Grand Final combined with Mastermind, it will have your inner geek up and cheering.
So if you think your spelling is pretty good, come along and pit your skills against these youngsters and see who comes out on top.
(There will be our own film society spelling bee prior to the film. Enter on the night)
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July 28 / 29, 2004
Nicholas Nickleby (M)
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This is the 5th adapt ion to the screen of this classic story from Charles Dickens, (the first in 1903). In this tale we follow a young compassionate man, Nicholas as he struggles to save his family and friends from the abusive exploitation of his cold-hearted grasping Uncle, (Christopher Plummer).
It took Dickens 65 chapters and the famous stage production eight hours to tell the story of our hero. In this new film we are treated to an abundance of unforgettable characters; Jim Broadbent as the repugnant Mr. Squeers, headmaster of Dotheboys boarding school , Christopher Plummer, (looking remarkably youthful) as Uncle Ralph, the unfeeling wealthy investor and Jamie Bell (remember Billy Elliot ?)as Smike, the crippled abused orphan befriended by Nicholas as he makes his way through a difficult life.
Not all is gloom and doom of course. Nathan Lane plays Crummels, travelling performing troupe emprasario and his wife played by Barry Humphries of all people. Their little troop of actors add the colour and much humour to a mostly serious but human tale of injustice and love in difficult times. The film rolls along from delights to disaster in glorious costumes, sets and with abundant energy.
The title role of Nicholas is brought to the screen by newcomer Charlie Hunnam (from the British series of Queer as Folk), and he brings a quiet strong sensitivity to his role which is quite demanding, as he is in almost every scene of the film.
This new version has a modernity which allows all who view it to take away memories of one of the greatest storytellers of history.
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August 11 / 12, 2004
The Night of the Hunter (M)
(Classic)
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If you see "Night of the Hunter" when you're too young, you'll have recurring nightmares for the rest of your life. Robert Mitchum, who'd been so sexy and heroic in most of the 53 movies he made prior to this one, is Preacher Harry Powell, one of the scariest bad men of all time.
Young John Harper (Chapin) sees his real father Ben (Graves) dragged away to prison by the police. Entrusted with the care of his mother Willa (Winters) and little sister Pearl (Bruce), John grows up fast. When Powell (who'd shared a cell with the doomed Ben) swings into Willa's life, John doesn't trust him. Willa drifts towards her second marriage like a subject under hypnosis, learns on her wedding night that her handsome new husband will not have sex with her and subsequently slides into a religious haze. When she finally faces the truth about him, he has no further use for her and John is thrust into a life-and-death game with the Preacher, complicated by Sally's adoration of their stepfather. John knows where his late father's money is hidden and the Preacher knows that he knows. Stanley Cortez's beautiful cinematography follows the children into the night as they make their escape from the Preacher, who stalks them tenaciously.
Charles Laughton, who never directed another movie, sustains the mood of horror for 93 minutes. Mitchum relayed directorial instructions to the children since Laughton detested working with kids. (In that light, "The Night of the Hunter," with so many youngsters in the cast, is an odd directing choice for Laughton.)
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August 18 / 19, 2004
Jalla! Jalla! (The Best Man's Wedding) (M15+)
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Swedish filmmaker Josef Fares made his first film experience a family affair, casting his older brother Fares in the lead and including his father and grandmother in the cast.
He used his experiences as a Lebanese-born immigrant to create a romantic comedy, The Best Man's Wedding (Jalla! Jalla!) Roro is in love with Lisa, but he's not game enough to introduce her to his father and his grandmother, both of whom are insisting he marry. Quickly, they organize a meeting with Yasmin and her brother Paul and the deal is quickly done when Yasmin explains that if they don't get engaged she'll be shipped back to Lebanon. It's to be a Clayton's engagement.
Meanwhile Roro's workmate and friend Mans is having problems with impotence and is going to all sorts of lengths to get sorted out. Fares was only 23 when he made Jalla! Jalla! as it was called in Sweden and it was a box office winner. And you have to give him a lot of credit. Brother Fares is winning in the central role of Roro, he has such a sweet presence in the film and Tuva Novotny is just gorgeous as his girlfriend.
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September 1 / 2, 2004
Touching the Void (M)
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PLEASE NOTE: Unfortunately we have been informed by the distributors that the originally scheduled film, “Monsieur Ibrahim”, is not available. In its place, we are happy to be able to show “Touching the Void”. We hope this unavoidable change is acceptable to members.
In June, 1985, British mountain climbers Joe Simpson (21) and Simon Yates (25) became the first people ever to make their way up to the top of the 21,000 foot Siula Grande peak in the Peruvian Andes via the mountain's nearly 90 degree west face. An accident during their descent, however, left Simpson with three breaks in his right leg (ankle, knee and calf). An attempt to lower Simpson down the nearly 90 degree face of the mountain went awry, and Yates was forced to make a tough decision to cut Simpson's line in order to prevent them from both falling to their dooms. Miraculously, however, this additional fall did not kill Simpson, and he continued to crawl his way down the mountain, making his way to the base camp just a few hours before Yates was planning on leaving, presuming Simpson to be dead. This documentary combines interviews with Simpson with reenactment footage to depict the miraculous survival story of how the mountaineer painfully crawled his way down the side of a mountain.
- summary courtesy of the Internet Movie Database
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September 8 / 9, 2004
Veronica Guerin (MA)
Medium Level Violence, Medium Level Coarse Language
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This film has had mixed reviews, and has been generally better regarded by the public than the (perhaps jaded) professionals. Those wanting a fast paced crime movie are likely to be disappointed. Veronica Guerin is about passion, commitment and values, a woman sticking with her principles in the face of massive intimidation, violent assault and ultimately murder. There's nothing very complex about this - it is a tragedy, inevitable, even slow, but inspiringly courageous.
Cate Blanchett gets universal praise for bringing the film to life with her understanding of the passionate character of Guerin. Director Joel Schumacher attracts some criticism for 'preaching' and some reviewers suggest the screenplay implies too much good luck and fails to highlight Guerin's brilliant skills. It is inevitable that reviewers will find shortcomings in a story which tries to stand close to historical truth. Perfection is not achievable in 90 minutes, and bare historical accuracy often fails to make interesting cinema.
Veronica Guerin has important things to say about our society, about the things we accept and deny, and about what we hold dear. Standing up to be counted is not very fashionable, but for Veronica Guerin it was the only way to be alive.
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September 15 / 16, 2004
Eternal Sunshine of the Spotless Mind (M)
Medium Level Coarse Language, Sexual References(6.30 Start)
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A highly original film that looks at the sometimes painful realities of relationships that will appeal to the emotion or intellect or both. Charlie Kaufman has co-written a screenplay which like his other films “Being John Malkovich” and “Adaptation” deal with psychological concepts.
Timid Joel (Jim Carey) meets outgoing, colourful Clementine (Kate Winslet) and they embark on a relationship. When the relationship sours Clementine undergoes a medical procedure to erase memories of Joel. Joel decides to do the same but halfway through, in a coma but inside his own mind, decides he doesn't want to go through with the procedure. In trying to salvage his memories before they leave him Joel tries to find hiding places for his bemused lover in the dark and embarrassing corners of his subconscious. Most of Eternal Sunshine therefore takes place from Joel's perspective as he is inside his own mind and as his relationship is played from messy break-up to sunshine start while in the real world the medical team wonder why their procedure isn't quite working.
The characters feel very real, funny, sad and at times unpleasant. Some of the ideas communicated about relationships and memory are really interesting and sure to stay in your mind for a long time after the film's end.
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September 22 / 23, 2004
Capturing the Friedmans (M)
Adult Themes, Medium Level Coarse Language
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This critically acclaimed and Oscar-nominated documentary tells the story of a recent notorious legal case in the United States. Director Andrew Jarecki set out to direct a modest movie about David Friedman, a middle-aged man who makes a living as a New York children's-party clown.
However, Jarecki discovered that David's father, Arnold and brother Jesse, had been co-defendants in one of America's most sensational child-abuse cases. The family had a vast archive of home movies, Super-8 reels and videotapes showing their life disintegrating throughout the trial - the tears, the screaming, the stunned silences - a family breakdown, live on camera - a miraculous find for a committed documentary maker.
Arnold Friedman, a well-liked teacher in a comfortable Jewish American household, married with three sons, gave computer lessons to local kids at home, with his son, Jesse, as an assistant.
In the mid-1980s, the postal service intercepted a child-porn magazine sent to his address, and a search of his house uncovered a huge stash of this material. Arnold and Jesse were charged with sexual assault of children with no proof other than the circumstantial evidence of the porn and some highly disputable children's testimony. Ditsy mom Elaine, her eldest son David, and (the notably silent) middle-son, Seth, were left reeling.
Did they do it? Evidence on both sides swings opinion back and forth.
Jarecki has produced a gripping study of dysfunctional family life on Long Island, using this original material combined with in-depth interviews. The film evokes compassion, fear, anger, pity, revulsion, laughter, and sadness - all at once.
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September 29 / 30, 2004
Elephant (MA)
High Level Violence, Adult Themes
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This drama about an American high school, described by writer/director Gus Van Sant as "somewhat of a poem about the lives of high school kids," takes the filmmaker back to familiar terrain: Many of his films--"Macha Noche," "My Own Private Idaho," "Good Will Hunting" and, to a lesser extent, "Gerry"--explore adolescent life. Here, Van Sant set out to objectively portray the American teen psyche via a loose script improvised by his ensemble of mostly non-professional actors--actual students in a Portland, Oregon, high school who were encouraged to use their own dialogue. The day starts out unspectacularly enough with snatches of everyday student activities--until two male students (Alex Frost and Eric Deulen) shatter the day with a Columbine-like shooting spree. The filmmaker's aim: to create a realistic portrayal capturing the atmosphere of that day.
As the title reveals, this movie is an homage in part to the 1989 BBC film by the late Alan Clarke that depicted Northern Ireland's sectarian violence as relentless--"as easy to ignore as an elephant in the living room." In a similar way, Van Sant portrays high school life spiraling into violence.
Using long tracking shots and natural sounds, Van Sant allows the material to accumulate from a variety of perspectives to its dramatic climax.
Winner of the Palme D'or and Best Director, Canne 2003.
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October 13 / 14, 2004
Tais–Toi! (M)
Low Level Violence, Low Level Coarse Language
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Director Francis Veber is a favourite with his native French audiences and it seems with us at the Film Society also. We have previously shown films by Veber; The Dinner Game and The Closet and this film Tais-toi continues his comedic flavoured stories. French cinema stars line up to be in his films and he has two of the greatest in Tais–toi; Gerard Depardieu and Jean Reno.
Depardieu plays a bumbling robber who could single-handedly bring down the French underworld. In the opening scene reminiscent of Monty Python he robs a bureau de change thinking it's a bank and thus becomes involved in a lengthy conversation about exchange rates.
Later on in prison he has to share a cell with a hardened criminal played by Reno after being kicked out of every other cell. As in all good comedies it's a case of opposites attract as they become partners-in-crime. We follow them as they embark on their careers.
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November 3 / 4, 2004
The Barbarian Invasions (MA)
Drug use
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This film is dense with ideas and life observations as we follow the final weeks in the life of a crazy old leftie professor who is dying by inches and is generously surrounded by his family, friends and ex-lovers. He has always scoffed at the nasty capitalists but happily accepts some of life's final comforts courtesy of his financier son.
The professor is a grumpy old blighter who harps on about the good old days and the numerous "ism's" that he has flirted with throughout his life and the ruins that now remain.
The film at first appears disjointed but gels as Arcand takes us on an emotional journey, driven by an endearing performance by Remy Girard as a dying father. Stephane Rousseau is ice cool as Remy's son Sebastian. A successful oil financier/trader, he sacrifices work commitments in the UK to be by his father's side in France, spending as much cash as is required to set him up with creature comforts and a handful of former friends to help make his last days less stressful. Sebastian also finds a heroin supplier, believing the drug will help ease his father's incredible pain. Of course Remy becomes addicted, but with just a few days to live, his choices are not questioned, and his final moments are spent in a quasi bliss at a quaint guest house by a lake. The latter part of the film is so touching you find yourself in the picture saying your own goodbyes to Remy, who despite his cynicism and arrogance is an intelligent and articulate, lovable rogue.
This film won the 2004 Best Foreign Film Oscar and also the prize for Best French Film Cesar.