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Home , Chopsocky, Dianne Wiest, Kiss Me Deadly, Miranda Richardson, Sybil Thorndike, The Barefoot Contessa

JUL Y 2 0 0 6 C I NEMA • C AFÉ • ED U C A T I O N • AR CH IVE

CATE BLANCHETT IN ROWAN WOODS’ LITTLE FISH

NEW FILMS: THANK YOU FOR SMOKING - FORTY SHADES OF BLUE - WAH-WAH - ELECTION FREE P - THE SCIENCE OF SLEEP - COCKLES AND MUSCLES - BALLETS RUSSES - HEADING SOUTH - THE DEATH OF MR. LAZARESCU - THE CAVE OF THE YELLOW DOG R OG

CLASSICS: THE INNOCENTS - KISS ME DEADLY - WHAT EVER HAPPENED TO BABY JANE? RAMME - ETERNAL SUNSHINE OF THE SPOTLESS MIND - - THE CONTESSA - THE QUIET AMERICAN SPECIAL EVENTS: IFI GUEST - FILM - IRISH FILM ARCHIVE - WILD STRAWBERRIES - ELECTRIC PICNIC

CINEMA 1// CINEMA 2// 1 SAT ALL ABOUT EVE 2.30 WAH-WAH 2.20, 6.40 THANK YOU FOR SMOKING 5.00, 9.00 FORTY SHADES OF BLUE 4.30, 8.40 THE INNOCENTS 7.00 2 SUN ALL ABOUT EVE 2.30 WAH-WAH 2.20, 6.40 THANK YOU FOR SMOKING 5.00, 9.00 FORTY SHADES OF BLUE 4.30, 8.40 THE INNOCENTS 7.00 3 MON THE INNOCENTS 3.00, 7.00 WAH-WAH 2.20, 6.40 THANK YOU FOR SMOKING 5.00, 9.00 FORTY SHADES OF BLUE 4.30, 8.40 4 TUES THE INNOCENTS 3.00, WAH-WAH 2.20, 6.40 THANK YOU FOR SMOKING 5.00, 7.00, 9.00 FORTY SHADES OF BLUE 4.30, 8.40 5 WED THE INNOCENTS 3.00, 7.00 WAH-WAH 2.20, 6.40 THANK YOU FOR SMOKING 5.00, 9.00 FORTY SHADES OF BLUE 4.30, 8.40 6 THURS THE INNOCENTS 3.00, 7.00 WAH-WAH 2.20, 6.40 THANK YOU FOR SMOKING 5.00, 9.00 FORTY SHADES OF BLUE 4.30, 8.40 7 FRI HEADING SOUTH 2.00, 4.15, 8.45 FORTY SHADES OF BLUE 2.00, 6.30 KISS ME DEADLY 6.30 BALLETS RUSSES 4.00, 8.30 8 SAT FANAA 12.00 FORTY SHADES OF BLUE 2.00, 6.30 HEADING SOUTH 2.50, 5.00, 8.45 BALLETS RUSSES 4.00, 8.30 KISS ME DEADLY 6.45 9 SUN FANAA 11.30 KISS ME DEADLY 2.15 THE BLACKWATER LIGHTSHIP + FORTY SHADES OF BLUE 4.15 ANGELA LANSBURY INTERVIEW 2.30 THE MANCHURIAN CANDIDATE (1962) 6.15 HEADING SOUTH 6.30, 8.45 BALLETS RUSSES 8.30 10 MON KISS ME DEADLY 2.00, 6.30 FORTY SHADES OF BLUE 2.00, 6.30 HEADING SOUTH 4.15, 8.45 BALLETS RUSSES 4.00, 8.30 11 TUES KISS ME DEADLY 2.00, 6.30 FORTY SHADES OF BLUE 2.00, 6.30 HEADING SOUTH 4.15, 8.45 BALLETS RUSSES 4.00, 8.30 12 WED HEADING SOUTH 2.00, 4.15, 8.45 FORTY SHADES OF BLUE 2.00, 6.30 KISS ME DEADLY 6.30 BALLETS RUSSES 4.00, 8.30 13 THURS HEADING SOUTH 2.00, 4.15, 8.45 FORTY SHADES OF BLUE 2.00, 6.30 KISS ME DEADLY 6.30 BALLETS RUSSES 4.00, 8.30 14 FRI THE CAVE OF THE YELLOW DOG 2.30, 6.45 BALLETS RUSSES 1.00, 6.00 HEADING SOUTH 4.30, 8.45 THE DEATH OF MR LAZARESCU 3.15, 8.10 15 SAT WHAT EVER HAPPENED TO BALLETS RUSSES 1.00, 6.00 BABY JANE? 2.00 THE DEATH OF MR LAZARESCU 3.15, 8.10 HEADING SOUTH 4.30, 8.45 THE CAVE OF THE YELLOW DOG 6.45 16 SUN WHAT EVER HAPPENED TO BABY JANE? 2.00 BALLETS RUSSES 1.00, 6.00 HEADING SOUTH 4.30, 8.45 THE DEATH OF MR LAZARESCU 3.15, 8.10 THE CAVE OF THE YELLOW DOG 6.45 17 MON THE CAVE OF THE YELLOW DOG 2.30, 6.45 BALLETS RUSSES 1.00, 6.00 HEADING SOUTH 4.30, 8.45 THE DEATH OF MR LAZARESCU 3.15, 8.10 18 TUES THE CAVE OF THE YELLOW DOG 2.30, 6.45 BALLETS RUSSES 1.00, 6.00 HEADING SOUTH 4.30, 8.45 THE DEATH OF MR LAZARESCU 3.15, 8.10 19 WED THE CAVE OF THE YELLOW DOG 2.30, 6.45 BALLETS RUSSES 1.00 HEADING SOUTH 4.30, 8.45 THE DEATH OF MR LAZARESCU 3.15, 8.10 ALIVE AND KICKING 6.30 20 THURS THE CAVE OF THE YELLOW DOG 2.30, 6.45 BALLETS RUSSES 1.00, 6.00 HEADING SOUTH 4.30, 8.45 THE DEATH OF MR LAZARESCU 3.15, 8.10 21 FRI THE CAVE OF THE YELLOW DOG 2.10, 6.30 THE DEATH OF MR LAZARESCU 1.1O, 6.00 LITTLE FISH 4.10, 8.30 ELECTION 4.00, 8.50 22 SAT THE BAREFOOT CONTESSA 2.00 THE DEATH OF MR LAZARESCU 1.1O, 6.00 LITTLE FISH 4.15, 8.30 ELECTION 4.00, 8.50 THE CAVE OF THE YELLOW DOG 6.30 23 SUN THE BAREFOOT CONTESSA 2.00 THE DEATH OF MR LAZARESCU 1.1O, 6.00 LITTLE FISH 4.15, 8.30 ELECTION 4.00, 8.50 THE CAVE OF THE YELLOW DOG 6.30 24 MON THE CAVE OF THE YELLOW DOG 2.10, 6.30 THE DEATH OF MR LAZARESCU 1.1O, 6.00 LITTLE FISH 4.10, 8.30 ELECTION 4.00, 8.50 25 TUES THE CAVE OF THE YELLOW DOG 2.10, 6.30 THE DEATH OF MR LAZARESCU 1.1O, 6.00 LITTLE FISH 4.10, 8.30 ELECTION 4.00, 8.50 26 WED SEDUCING DR. LEWIS 11.00 THE DEATH OF MR LAZARESCU 1.1O, 6.00 THE CAVE OF THE YELLOW DOG 2.10, 6.30 ELECTION 4.00, 8.50 LITTLE FISH 4.10, 8.30 27 THURS THE CAVE OF THE YELLOW DOG 2.10, 6.30 THE DEATH OF MR LAZARESCU 1.1O, 6.00 LITTLE FISH 4.10, 8.30 ELECTION 4.00, 8.50 28 FRI THE SCIENCE OF SLEEP 2.20, 4.30, 8.45 ELECTION 2.10, 6.30 COCKLES & MUSCLES 6.45 LITTLE FISH 4.10, 8.30 29 SAT ETERNAL SUNSHINE OF THE THE QUIET AMERICAN (1958) 2.00 SPOTLESS MIND 2.10 LITTLE FISH 4.10, 8.30 THE SCIENCE OF SLEEP 4.30, 8.45 ELECTION 6.30 COCKLES & MUSCLES 6.45 30 SUN ETERNAL SUNSHINE OF THE SPOTLESS MIND 2.10 THE QUIET AMERICAN (1958) 2.00 THE SCIENCE OF SLEEP 4.30, 8.45 LITTLE FISH 4.10, 8.30 COCKLES & MUSCLES 6.45 ELECTION 6.30 31 MON FOR CRYING OUT ALLOWED 2.30 ELECTION 2.10, 6.30 THE SCIENCE OF SLEEP 4.30, 8.45 LITTLE FISH 4.10, 8.30 COCKLES & MUSCLES 6.45

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CONTENTS W REL NEW RELEASES 1-7

IFI GUEST ANGELA LANSBURY 8 E A

IRISH FILM ARCHIVE 9 SES// WILD STRAWBERRIES CLUB 9 MUSIC DOCUMENTARY 9 CLASSICS 10-11 BOLLYWOOD FILM: FANAA 11 FILMSHOP 12

WHEN YOU NEED TO BE A MEMBER OF THE IFI, AND WHEN YOU DON’T

1 THANK YOU FOR SMOKING// Around /3 of our films are classified by the Irish Film JULY 1-6 Censor and are open to the general public; you just walk in and buy a ticket, same as at any cinema. DIRECTOR - JASON REITMAN

The rest are ‘unclassified’ films, and these require ADAPTED FROM CHRISTOPHER BUCKLEY’S SAVAGE SATIRICAL membership. You can either join for the whole year NOVEL, THIS CONFIDENT DEBUT FEATURE FROM WRITER- (E20) and get invited to a lot of free preview DIRECTOR JASON REITMAN CASTS THE HANDSOME AARON screenings, or you can pay E1 each time. More ECKHART (IN THE COMPANY OF MEN, ERIN BROCKOVICH) information on inside back page. AS NICK NAYLOR, A GIFTED AND AMORAL APOLOGIST FOR THE TOBACCO INDUSTRY.

IFI, 6 Eustace Street, Temple Bar, Dublin 2. Whether he is sparring with opportunistic Maryland senator Box Office: (01) 679 3477 - www.irishfilm.ie Ortolan Finistirre (William H. Macy) on a TV talk show, or persuading shameless Hollywood über-agent Jeff Megall (Rob Lowe) to insert smoking scenes into feature films, there NOTICES is something admirably professional and undeniably likeable about Nick. Not even the innocent scrutiny and occasionally Our summer film course for kids, REEL MAGIC, balloon-bursting honesty of Nick’s young son Joey (Cameron takes place in July. There are two places left. Bright) cuts through his blithe self-justification: we’ve all got to Secondly, this is a call for entries for our pay the mortgage. SHORT COMPETITION for the As far as Nick is concerned, he is merely a foot soldier in ‘Stranger than Fiction Documentary Film Festival’ the war for the hearts and minds (and diseased lungs) of the free-thinking American people. So too are Polly Bailey (Maria in September, the deadline is July 20th. And finally, Bello) and Bobby Jay Bliss (David Koechner), fellow members the winner of this year’s TIERNAN MacBRIDE of the self-styled M.O.D. Squad (short for Merchants of Death). And it’s natural that they should each want to fight their corner SCREENWRITING AWARD is Mark Doherty (who when an argument breaks out about which of their respective wrote the play Trad). His comedy script A Film products—tobacco, alcohol or firearms—kills the most people each year. Okay, so Nick offers hush- to ex-‘Marlboro With Me In It secured the e10,000 bursary. Man’ Lorne Lutch (Sam Elliott), whose lungs are now riddled Our new parents-with-babies screenings, with cancer. The cash will help with Lorne’s medical bills, won’t it? Although occasionally episodic and unfocused, this FOR CRYING OUT ALLOWED, take on a new time wickedly funny look at the world of ‘spin doctors’ offers a slot in July. The Science of Sleep will be screened topical and suitably jaundiced view of a manipulative, self- serving industry.—Nigel Floyd. at 2.30pm on the last day of the month U.S.A. • 2006 • COLOUR • ANAMORPHIC • DOLBY DIGITAL STEREO • 92 MIN.

LATECOMERS POLICY// FILMS START AT THE TIMES STATED ON THE ADJACENT PAGE. LATECOMERS MAY BE REFUSED ADMISSION AFTER THE START OF THE FEATURE. 1

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THE INNOCENTS// FORTY SHADES OF BLUE// JULY 1-6 JULY 1-13 DIRECTOR - JACK CLAYTON DIRECTOR - IRA SACHS

DINING ONE EVENING IN A RESTAURANT IN FRANCE, IRA SACHS’ PERCEPTIVE CHARACTER STUDY OF A BOOZY DIRECTOR JACK CLAYTON WAS HANDED A MESSAGE BY A MEMPHIS MUSIC LEGEND AND HIS RUSSIAN TROPHY WAITER FROM A CUSTOMER AT ANOTHER TABLE. IT READ: GIRLFRIEND TRIUMPHANTLY RECAPTURES THE LOW-SLUNG “THE INNOCENTS—THE BEST ENGLISH FILM AFTER GENIUS OF AMERICAN CINEMA’S EARLY ’70S HEYDAY. HITCHCOCK GOES TO AMERICA.” THE MESSAGE WAS SIGNED BY FRANÇOIS TRUFFAUT. You could almost be watching a lost Bob Rafelson movie as tensions mount between Rip Torn’s much-fêted First released in 1961 and now reissued in a wonderfully producer from the golden era of blue-eyed soul and Dina restored print, The Innocents is based on ’s Korzun as the doll-like girlfriend slowly realising the glitzy classic and is in the horror-by- trappings of the American dream carry a painful price. implication tradition of such British films as Dead of Night The compassionate intensity Sachs brings to the material, and The Queen of Spades, where the terror is less physical expressed in muted colours by patient camerawork which than psychological. A Victorian governess (superlatively gives the scenes proper time to unfold, almost seems played by ) suspects that the children in her like a fresh new aesthetic, eschewing the oblique or ironic charge are possessed by evil spirits. But are the ghosts stance of much latterday U.S. ‘indie’ fare, yet remains rooted in she sees real, or symptoms of her sexual neurosis? Do the grainy verities of the likes of Five Easy Pieces or the great the children have more to fear from her? John Cassavetes films of the same period.

With an incomparable team of collaborators in peak form Which of course means that the actors get the space to give of (including writer Truman Capote, composer Georges Auric their very best. Torn, who’s coasted in comic parts like Men in and cameraman Freddie Francis), Clayton has risen to Black and TV’s Larry Sanders, reminds us he’s one of the every single challenge posed by the adaptation. Ghosts, American screen’s unsung heroes, constructing an uncannily even in daylight, have never looked more sinister; every accurate portrait of a man too high for too long on his own incident—indeed innocence itself—is visualised with self-importance to realise his life’s falling down around him. stylish ambiguity; even a simple image of a teardrop on a Even better perhaps is Korzun, last seen in Pawel schoolroom blotter becomes, in its context, sad, Pawlikowski’s The Last Resort, who’s both subtle and very suggestive and spine-chilling. Clayton felt childhood as a touching as she gradually awakens to the possibility of a life frightening world of secrets and whispers, and was outside the glittering confines on which she’d rested her fascinated with the theme of souls in peril: these twin hopes of happiness. The brilliantly timed final shot sets the obsessions are rendered here in a tour-de-force of lyrical, seal on a mesmerising achievement. suspenseful cinema. Truffaut was not wrong about The —Trevor Johnston. Innocents: it’s a masterpiece.—Neil Sinyard. U.S.A. • 2005 • COLOUR • DOLBY DIGITAL STEREO • 107 MIN. U.K. • 1961. • ANAMORPHIC • 100 MIN.

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WAH-WAH// KISS ME DEADLY// JULY 1-6 JULY 7-13 DIRECTOR - RICHARD E. GRANT DIRECTOR -

BASED ON ACTOR RICHARD E. GRANT’S EARLY TEENAGE RE-RELEASED IN A NEWLY RESTORED VERSION THAT YEARS IN SWAZILAND AND SEEN THROUGH THE EYES OF ITS REINSTATES ITS UNFORGETTABLE SHOCK ENDING, DIRECTOR YOUNG PROTAGONIST, WAH-WAH IS A BITTERSWEET, SEMI- ROBERT ALDRICH’S BLISTERINGLY NIHILISTIC 1955 AUTOBIOGRAPHICAL COMING-OF-AGE TALE. BROUGHT THE HOLLYWOOD CYCLE TO ITS ULTIMATE CONCLUSION AND STILL PACKS A CONSIDERABLE OVER This unflinching portrait of his troubled family—alcoholic 50 YEARS AFTER ITS ORIGINAL RELEASE. father, feckless mother, young American stepmother is set against the backdrop of an incestuous ex-pat community as plays ’s legendary private eye it faces up to the end of British colonial rule. When his , who finds himself out of his depth in an mother Lauren () runs off with a apocalyptic scenario that draws directly on Cold War and married man, and his father Harry () takes to nuclear fears. Meeker embodies the legendary Hammer with the bottle, eleven-year-old Ralph Compton is packed off to brute-force savagery. Sneering, scowling, and dishing out boarding school. ruthless justice almost as often as he takes a cruel beating, Meeker’s Hammer is a heartless, narcissistic, amoral beast Two years later, Ralph (Nicholas Hoult from About A Boy) with nothing but contempt for society, a world view that returns to find his father married to Ruby (), Aldrich also assumes in every one of his bluntly beautiful an American air hostess he has known for only six weeks. compositions and stinging close-ups. Although initially resentful of this interloper, Ralph is slowly won over by his convention-flouting stepmother, not least A “bedroom dick” who willingly admits to his own sordidness because of her disregard for the linguistic absurdities (“All right, you’ve got me convinced. I’m a real stinker,” he tells (Toodle-pip!) and small-minded prejudices of the moribund some pesky cops), Hammer embroils himself in radioactive ex-pat community. However, as rehearsals begin for an mystery after he almost runs down a hitchhiking psychiatric amateur dramatic production of Camelot, to mark a visit by ward escapee (), gives her a lift, and then, Princess Margaret and the lowering of the Union Jack, after the woman is killed by her pursuers, is nearly trouble is afoot. Ralph’s real mother—abandoned by her exterminated for his trouble. The gumshoe’s subsequent lover—returns to wreak social and emotional havoc. investigation into the woman’s death doubles as a lacerating indictment of modern society’s dissolution into Given his thespian background, it is no surprise that physical/moral/spiritual degeneracy—a reversion that Richard E. Grant draws uniformly strong performances from ultimately leads to nuclear apocalypse and man’s return to an exceptional ensemble cast. But as the sun sets on yet the primordial sea—with the director’s knuckle-sandwich another corner of the Empire, Grant and his talented French cynicism pummelling the ’s romantic fatalism into a cinematographer, Pierre Aim, also capture the beauty of bloody pulp. “Remember me”? Aldrich’s sadistic, fatalistic an African landscape bathed in a soft, fading orange light. masterpiece is impossible to forget.—Nick Schager. —Nigel Floyd. U.S.A. • 1955 • BLACK AND WHITE • 106 MIN • NEW 35MM PRINT U.K. • FRANCE-SOUTH AFRICA • 2005 • COLOUR • DOLBY DIGITAL STEREO • 97 MIN. Robert Aldrich’s What Ever Happened to Baby Jane? is also screening in July. See page 10.

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BALLETS RUSSES// HEADING SOUTH (VERS LE SUD)// JULY 7-20 JULY 7-20 DIRECTOR - DANIEL GELLER, DAYNA GOLDFINE. DIRECTOR - LAURENT CANTE

HISTORY WOULD SUGGEST THAT BALLET FEUDS ARE LESS ONE OF THE MOST INTELLIGENT AND POLITICALLY ASTUTE OF LIKELY TO RESULT IN GUNFIRE THAN HIP-HOP BATTLES. CONTEMPORARY FRENCH FILM-MAKERS, LAURENT CANTET HOWEVER, BALLETS RUSSES REVEALS THAT THE WORLD OF FOLLOWS HIS JUSTLY ACCLAIMED HUMAN RESOURCES (1999) DANCE IS NOT ALL TUTUS AND SUGAR PLUM FAIRIES. AND TIME OUT (2001) WITH A STUDY OF “SEX TOURISM”—OR “LOVE TOURISM”, AS HE PREFERS TO CALL IT—SET IN HAITI Combining a glorious trove of archival footage and lively DURING THE LATE SEVENTIES. interviews with such icons as Dame Alicia Markova, Irina Baronova and Frederick Franklin, Dan Geller and Dayna Heading South opens with a beautifully observed scene set at Goldfine’s documentary details a juicy tale of jealousy, the airport in Port au Prince. A dignified Haitian woman pleads rivalries and clashing egos. Rescuing the ballet from the with a well-dressed man to take her teenage daughter with stuffy airs of high culture, Geller and Goldfine present the him so that the girl might escape the violence of the “Baby art form when it was vibrant, vital and anything but Doc” Duvalier regime. The man politely declines. He proceeds assured of its status. Even viewers who would rate on his mission to meet Brenda (Karen Young), who is a guest their interest in ballet between little and nil should at the hotel where he works as manager. be enthralled. Brenda, it turns out, is one of a group of middle-aged North That said, it’s a good idea to pay close attention because American women who visit the island in search of erotic this saga can be awfully complicated. For one thing, two pleasure. They find what they are looking for in Legba companies would claim the name of Ballet Russe. The (Ménothy Cesar), an enigmatic local boy whose beauty original was founded in Paris by Sergei Diaghilev in 1909. captives both Brenda and Ellen (Charlotte Rampling), the After Diaghilev died in 1929, the company came under the latter a veteran sex tourist who has no shame about control of Colonel Wassily de Basil. Dancer-choreographer her pursuits. Leonid Massine broke from de Basil in 1938, starting an American-financed competitor. The fate of both companies As signalled in the film’s subdued yet suggestive opening was dramatically influenced by the outbreak of WWII, scene, Cantet’s approach to this potentially sensational which forced them to ply their trade in largely material is neither coy nor judgemental. He treats the plight untrammelled territory: America. of his female characters with sympathy and understanding, but he doesn’t ignore or excuse their ignorance about the Thankfully, there was no exchange of gunfire between any harsh realities of life on their island paradise. Like Human of the battling impresarios or the ballerinas who vied for Resources and Time Out, this is another fascinating supremacy in the individual companies. Moreover, any exploration of the grey area where private and public issues bad blood seems very much a thing of the past for the intersect.—Peter Walsh. performers, many of whom passed away not long after they were interviewed.—Jason Anderson/“The Eye”. FRANCE-CANADA • 2005 • SUBTITLED. COLOUR • DOLBY DIGITAL STEREO • 107 MIN

U.S.A. • 2005. COLOUR • DOLBY STEREO • 118 MIN.

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THE DEATH OF MR. LAZARESCU THE CAVE OF THE YELLOW DOG (MOARTEA DOMNULUI LAZARESCU)// JULY 14-27 (DIE HÖHLE DES GELBEN HUNDES)// JULY 14-27

DIRECTOR - CRISTI PUIU DIRECTOR - BYAMBASUREN DAVAA

THIS MESMERISING SECOND FEATURE FROM ROMANIAN AFTER THE EXTRAORDINARY SUCCESS OF THE STORY OF THE DIRECTOR CRISTI PUIU WAS THE BIG DISCOVERY OF LAST YEAR’S WEEPING CAMEL, WHICH SHE CO-DIRECTED, BYAMBASUREN CANNES FILM FESTIVAL, WHERE IT WON THE PRIX UN CERTAIN DAVAA RETURNS TO MONGOLIA FOR HER SECOND FILM. REGARD. Borrowing the same technique of blending documentary and Mr. Lazarescu (Ion Fiscuteanu) is a 62-year-old widower who drama as in the first film, Davaa engaged a real nomadic lives in a small Bucharest flat with his cats. An ordinary guy family to play themselves in their own story. The film’s focus who doesn’t look after himself and drinks too much, he’s not is on six year-old Nansal, the oldest of three children in the in the best of health. Suffering from and stomach pains, Batchuluun family, a nomad clan who live in a moveable he enlists the help of his neighbours, who call for an camp in the barren plains of Mongolia. ambulance. Thus begins the old man’s hellish journey towards death, as he’s shunted from pillar to post by a bureaucratic One day she brings home a small dog which she finds in a health service which is supposedly there to keep him alive. cave, but her father is furious because he fears the dog might attract wolves to the camp and ravage his flock of goats. She Although filmed in the style of a documentary, Puiu’s film is in defies her father’s order to return the dog, but he ties the dog fact carefully scripted and choreographed. It never descends to a post when the family ups and moves camp. As it turns into a simple polemic, but instead presents a satisfyingly out, the dog becomes a lifesaver when the family realises complex and often grimly humorous picture of a chaotic world they have left behind their baby son. where systems of communication can no longer cope with basic human needs. Lazarescu is unlucky to be taken ill on a Davaa’s skill is in warmly depicting the details of the family’s night when a dreadful road accident has filled the city’s rural life without appearing educational, and sustaining the hospitals. Overworked and underpaid hospital staff have human elements of the slim story so that it never becomes developed their own methods of coping, which makes them boring. Life here is stripped down to an existence of survival arrogant and short-tempered. The glowing exception is Miora and mutual support and audiences will not only (Luminita Gheorghiu), the medic who accompanies and appreciate the uncluttered nature of it all but find plenty to assists Lazarescu as he’s subjected to contradictory relate to in the family’s interactions. diagnoses and hostile barbs. It is through Miora’s actions that we come to recognise the wider importance of Lazarescu’s The title refers to a legend told to Nansal by an old woman destiny. In fact, though it appears to be about the fate of an and illustrates the Mongolian belief that every dog will be unfortunate individual, Puiu’s epic study of human tragedy reincarnated in human form. provides a devastating portrait of a universal malaise. — Mike Goodridge/“Screen International”. — Peter Walsh. GERMANY-MONGOLIA • 2005 • SUBTITLED • COLOUR • DOLBY DIGITAL STEREO • 93 MIN. ROMANIA • 2005. SUBTITLED • COLOUR. DOLBY STEREO • 153 MIN.

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LITTLE FISH// ELECTION (HAK SE WUI)// JULY 21-31 JULY 21-31 DIRECTOR - ROWAN WOODS DIRECTOR - JOHNNY TO

CATE BLANCHETT TURNS IN A DEEPLY VULNERABLE IT’S NICE TO SEE A FILM FROM TALENTED, PROLIFIC AND PERFORMANCE AS AN EX-DRUG ADDICT UNABLE TO BUILD A VERSATILE HONG KONG DIRECTOR JOHNNY TO ON OUR NEW LIFE FOR HERSELF IN LITTLE FISH. AN SCREENS. ELECTION IS HIS LARGELY SUCCESSFUL ATTEMPT TO EXTRAORDINARY SUPPORTING CAST—INCLUDING HUGO GIVE A NEW SPIN TO THE TRIAD THRILLER. WEAVING, SAM NEILL AND DUSTIN NGUYEN—EXPANDS HER STORY OF ADDICTION AND THWARTED REDEMPTION. The election of the title refers to that contested by two gangsters—contained family man Lok (Simon Yam) and Tracy Heart (Blanchett) lives with her mother in Sydney’s volatile Big D (Tony Leung Ka Fai)—a hot-headed Catherine predominantly Vietnamese Little Saigon district. She wheel of a man who can’t leave a table unturned—for the works in a video shop but wants to open her own Internet chairmanship of the ancient, powerful Wu Sing Society. café. However, she cannot get credit with banks because Tension builds and all-out war looms as the ‘uncles’—the of her past. At the same time she cares for her former delightfully named Whistle, Cocky, Fish Ball et al—divide in surrogate dad, Lionel (Weaving), a junkie who has recently their loyalties. been cut off by a local crime boss (Neill). Many worlds collide when Tracy’s ex-boyfriend (Nguyen) comes home So far, so formulaic. But what is unexpected here is the to put “once last score” into motion. emphasis and tone. Even the violence is unexpectedly unexpected, eschewing the usual cathartic frenzy of bloody Eschewing the junkie theatrics of so much independent chopsocky and arcade-game gunplay in favour of calmly cinema, director Rowan Woods (The Boys) understands viewed and human-scaled acts of brutality, using knives or that people who have been lost in addiction often place available objects in dispassionate dispatches, providing themselves beyond help. They are prepared to spit on disturbing, almost ironic expressions of businesslike those who make attempts to rescue them, while professional psychosis. The mood, too, is dark without being embracing those who seek to exploit them. Woods does heavy, with a score composed of delicate little ditties and folk not glamorise anything about the sorry lives of his themes offering creepy counterpoint. The film suffers middle-class heroin users but he also refuses to let them problems of tone (is it a thriller or a Godfather-lite essay on be defined solely as victims. He is a careful film-maker, changing rituals in the new Hong Kong?) and identification setting a pace that builds slowly and allowing us time to (which sadist do you root for?). However, it is boosted by absorb the dilemmas that his characters face. The strong performances, To’s directorial light-footedness and the cinematic mood of the film is equally languid and widescreen cinematography of Siu-Keung Cheng, which considered: a thoughtful film about people trying contrasts neon-lit Kowloon and the lonely Chinese border desperately to make right what has gone so sadly wrong roads with a relaxed meticulousness reminiscent of Jean- for them in the past.—Noah Cowan. Pierre Melville’s thrillers.—Wally Hammond/“Time Out”.

AUSTRALIA • 2005 • COLOUR • DOLBY DIGITAL STEREO • 113 MIN HONG KONG • 2005 SUBTITLED • COLOUR • ANAMORPHIC • DOLBY DIGITAL STEREO • 100 MIN

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THE SCIENCE OF SLEEP COCKLES & MUSCLES (LA SCIENCE DES RÊVES)// FROM JULY 28 (CRUSTACÉS ET COQUILLAGES)// FROM JULY 28 DIRECTOR - MICHEL GONDRY DIRECTORS - OLIVIER DUCASTEL, JACQUES MARTINEA

THIS IS THE LATEST FILM FROM MICHEL GONDRY, THE HUGELY AFTER THE THOUGHTFUL AND PROVOCATIVE DRÔLE DE FÉLIX TALENTED MUSIC VIDEO DIRECTOR WHO TWO YEARS AGO (2000) AND MA VIE (2002), FRENCH FILM-MAKERS OLIVIER TEAMED UP WITH WRITER FOR A LITTLE DUCASTEL AND JACQUES MARTINEAU SHIFT INTO A MUCH MORE DITTY CALLED ETERNAL SUNSHINE OF THE SPOTLESS MIND. MAINSTREAM STYLE WITH THIS HUGELY CROWD-PLEASING ROMP, WHICH BRILLIANTLY COMBINES TWO FRENCH MOVIE Aspiring artist Stéphane (Gael García Bernal) returns to TRADITIONS—THE HOLIDAY DRAMA AND THE ROMANTIC FARCE. France from Mexico at the behest of his mother, lands a dead- end job working at an ad agency and finds himself falling in Beatrix and Marc (Valeria Bruni-Tedeschi and Gilbert Melki) love with the quirky Stéphanie (Charlotte Gainsbourg), who head off to the Riviera for the summer as usual with their quiet makes him so nervous he can’t even bring himself to tell her teen son Charly (Romain Torres) and independent-minded he lives in the apartment right across the hall. daughter Laura (Sabrina Seyvecou), who immediately departs for Portugal with her biker boyfriend. Beatrix and Marc both As in Eternal Sunshine, Gondry takes us deep into that dense wonder about Charly’s sexuality, especially when his summer matter between his protagonist’s ears, and the elaborate friend Martin (Edouard Collin) arrives and the two take off for fantasy sequences that unfold therein rival Sunshine for their long walks along the coast. But Charly’s not the issue here; freewheeling absurdist brio: Entire cities are constructed of actually, everyone else is up to something. miniature buildings and toy cars; an anthropomorphic electric razor adds hair to your body instead of taking it away; and The film is so jammed with delightful little touches that it Stéphane is indisputably master of his domain. Nobody is keeps a broad smile on our face from start to finish, due to the trying to vacuum out any of his memories, mind you, but like clever film-making, witty script, insightful observations and, Jim Carrey’s Joel Barish, Stéphane finds it easier to express mostly, a shimmering performance from Bruni-Tedeschi. She’s himself in his dream life than in his waking one, especially simply perfect as the lively wife and mother with a wandering when it comes to his love for Stéphanie. I’m generally in mind, and she’s well-matched by the vivacious Melki. agreement with those who feel that Gondry has a penchant to overindulge his flights of visual fancy, but the thing that Running gags abound here, as do set-pieces that are both makes The Science of Sleep, warts and all, one of the two or hilariously unhinged and jaggedly moving. Ducastel and three truly indispensable films to emerge so far this year is its Martineau have made a very low-budget film that looks like an richly imaginative and painfully felt understanding of a A-list production, and while distracting us with the on-screen generation hopelessly tongue-tied when it comes to matters antics they’re actually saying something very important of the heart.—Scott Foundas. about family expectations and real friendship.—Rich Cline.

FRANCE • 2006 • SUBTITLED • COLOUR • DOLBY/DTS DIGITAL STEREO • 105 MIN. FRANCE • 2005 • SUBTITLED • COLOUR • DOLBY DIGITAL STEREO • 93 MIN Michel Gondy’s Eternal Sunshine of the Spotless Mind is also showing this programme. See page 10 for details. FOR CRYING OUT ALLOWED screening: Monday 31st July, 2.30.

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I FI SP ANGELA LANSBURY// E C IAL G ANGELA LANSBURY has a career on stage and screen that spans more than half a century. Among her 47 feature films, she received Academy Award

UEST nominations for Gaslight, The Picture of Dorian Gray and The Manchurian Candidate.

// Countless children know her as the voice of Mrs. Potts in Beauty and the Beast and Empress Marie in Anastasia. She made her Broadway debut in 1957 as Bert Lahr's wife in Hotel Paradiso then went on to star in such classics as Anyone Can Whistle, Mame, Gypsy and Sweeney Todd, winning an unprecedented four Tony Awards as Best Actress in a Musical. Lansbury's first appearance was on Robert Montgomery Presents in 1950. She is perhaps best known for her 12-season run as Jessica Fletcher on Murder, She Wrote, the longest-running detective drama series in television history. The Irish Film Institute is delighted to present two of her films The Manchurian Candidate and The Blackwater Lightship, with Ms Lansbury in attendance.

AMONG A MARVELLOUS CAST—STAR-WATTAGE SINATRA, HILARIOUSLY DUMB GREGORY, THE GIGGLING PEKING INSTITUTE BRAINWASHER KHIGH DHIEGH— LANSBURY IN PARTICULAR STANDS OUT.

Korean war veteran Major Marco (Frank Sinatra) is troubled by a recurring nightmare in which Congressional Medal of Honour hero Raymond Shaw (Laurence Harvey) carries out communist instructions to shoot fellow American POW’s. Working for Intelligence, Marco unravels a plot to brainwash his old platoon and to turn Shaw into an assassin. Shaw’s father-in-law is the ranting McCarthyite Senator Iselin (James Gregory), a mouthpiece for Shaw’s ambitious mother (Angela Lansbury), providing a political background which gives the killer access to the highest in the land. Who plans to control Shaw, when and where do they plan to use him? Lansbury plays an Iron Lady to savour, for a change. “A masterpiece.”—Time Out.

THE MANCHURIAN CANDIDATE// USA • 1962 • BLACK AND WHITE • 126 MIN JULY 9 (6.15) Angela Lansbury will introduce this film. DIRECTOR - JOHN FRANKENHEIMER

SELECTED BY ANGELA LANSBURY FOR THIS SPECIAL EVENT, THE BLACKWATER LIGHTSHIP IS BASED ON A NOVEL BY COLM TÓIBÍN.

It tells the story of how three generations of strong and independent women learn to deal with their decades-long differences when a beloved son, Declan (Keith McErlean), shares the news that he has AIDS.

The three women in Declan's life—his grandmother, Dora (Angela Lansbury), a crusty old woman trying to hold the fragile family together; his mother, Lily (), who left her children years ago with Dora when their father was dying, and his sister, Helen (Gina McKee), now married with two children—have become alienated from one another over the years. These three women, together with Declan's close friends, Paul (Sam Robards) and Larry (Brian F. O'Byrne), come together to deal with Declan's illness, and in the process they discover how important they really are to one another.

THE BLACKWATER LIGHTSHIP// USA • 2004 • DOLBY SR • 120 MIN JULY 9 (2.30) Angela Lansbury will give a public interview with Myles Dungan following DIRECTOR - JOHN ERMAN this film.

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I R I SH FI DAME , KATHLEEN HARRISON AND ESTELLE WINWOOD ARE TOP-BILLED IN THIS CHARMING COMEDY, WHICH ALSO STARS RICHARD HARRIS IN HIS FIRST FILM ROLE. THE WOMEN PLAY ELDERLY RESIDENTS OF THE L

M AR SUNSHINE OLD FOLKS’ HOME, WHO, ON LEARNING THAT IT IS TO CLOSE, TAKE MATTERS INTO THEIR OWN HANDS.

CH Escaping from their drab surroundings, evading the police and hitching a lift

IVE SCREEN on a Russian trawler, the feisty trio wind up on the island of Inishfada. Here they promptly commandeer three empty cottages and establish a successful knitting industry. plays the island’s owner, a likeable old Irishman who has made his fortune in America and to whom the ladies pretend to be related as part of the subterfuge. Alive and Kicking manages to combine the themes of old age and eccentricity without patronizing its leading characters—or the mature I N audience to whom it is aimed—and the result is a warm, whimsical piece of G fun. The film was directed by Cyril Frankel the year after he made She Didn’t // ALIVE AND KICKING// JUNE 19 (6.30) Say No (which was restored and screened by the Irish Film Archive in 2004). DIRECTOR - CYRIL FRANKEL UK • BLACK AND WHITE • 1958 • 94 MIN

WI THE IFI OPERATES A FILM CLUB FOR OLDER PEOPLE—CALLED ‘WILD L STRAWBERRIES’ AFTER THE INGMAR BERGMAN FILM—SCREENING A FREE D STRA MOVIE EVERY MONTH.

Seducing Doctor Lewis is a beguiling story of a ragtag fishing community on

WB a tiny, impoverished island who must persuade a young Montreal-based doctor (David Boutin) to live in their town in order to get a much-needed ERR new factory. I

ES FI Over a one-month trial period, the villagers try to satisfy his every need and convince him that their town offers all the charms of a thriving metropolis. Led by their mayor, Germain Lesage (Raymond Bouchard), the villagers rise

L to the challenge with good-hearted duplicity. However, as their deception M C continues, it becomes increasingly difficult to maintain. L

UB// The directorial debut of Jean-François Pouliot, Seducing Doctor Lewis has SEDUCING DR. LEWIS the rare distinction of being selected for Sundance, Cannes and Toronto Film (LA GRANDE SEDUCTION)// Festivals. In French Canada, it grossed over eight million dollars, topping JULY 26 (11.00) even The Lord of the Rings and Pirates of the Caribbean.

DIRECTOR - JEAN-FRANÇOIS POULIOT CANADA • 2003 • COLOUR • FRENCH WITH ENGLISH SUBTITLES • 35MM • DOLBY SRD • 108 MIN MU IN SEPTEMBER 2005 A SMALL CAMERA CREW (NINE HAND-HELDS, NO CRANES)

S TURNED UP TO CAPTURE THE FLAVOUR OF A FRESH AND ECCENTRIC FACE ON IC D OUR MUSIC SCENE: THE ELECTRIC PICNIC MUSIC FESTIVAL IN STRADBALLY HALL ESTATE IN CO LAOIS. 25,000 OTHER PUNTERS JOINED THEM. OC

UMENT So beautiful is the setting, and so thoughtful the planning, it was said that you could spend three days there and 'never have to sully yourself with the music.' Teepees and Mongolian yurts, meadows of giant coloured flags, burlesque cabaret girls rubbing shoulders with Ibiza fall-out, the Wellington AR boot brigade and those with neon yellow wigs, masseuses bringing tired

Y dancing limbs back to life, morroccan mint tea steaming and organic food // stalls sizzling into the night, old black-and-white flicks in a giant cinema marquee, and a good smattering of bongo-drum enthusiasts....

In the unlikely hands of roving bohos musician Nick Seymour and economist David McWilliams, we are guided through this boutique festival, treated to such delights as one of Kraftwerk's only two recorded live performances in 12 years, Nick Cave, Arcade Fire, Human League, Fatboy ELECTRIC PICNIC: THE DOCUMENTARY// Slim, Stereo MCs, Royksopp, Flaming Lips, Doves among others. Interviews JULY 4 (7.00) with the acts, with a few very tired festival heads, and with the locals of Stradbally, this is a very entertaining take on what Rolling Stone Magazine DIRECTOR - NICK RYAN described as 'one of the best festivals we have EVER been to.' IRELAND • 2006 • DIGITAL VIDEO & DIGI BETA • COLOUR • 60 MIN 9

C L A

SS TO COMPLEMENT THE RE-RELEASE OF KISS ME DEADLY, HERE’S A CHANCE TO

ICS SEE A LATER SHOCKER FROM THE EVER-FASCINATING ROBERT ALDRICH.

// This superbly dark Hollywood horror-comedy-satire features one of the most remarkable Bette Davis performances. She’s a force of nature as the title character, a bitter former 1930s child star whose career nosedived in adulthood while that of her sister Blanche () took off. After Blanche was crippled in a mysterious car crash, the pair ended up virtual recluses, grinding on each others’ nerves in their Los Angeles mansion.

As has been very widely chronicled, the off-screen enmity between Davis and Crawford was scarcely less vicious than Jane and Blanche’s, and this adds a prickly edge to a picture which the intervening decades have done absolutely nothing to blunt. Aldrich shows a masterful touch with what could easily have been campy, pulpy fare. It’s a deceptively tricky task, but he manages to strike just the right balance between laughs and chills. WHAT EVER HAPPENED TO What Ever Happened to Baby Jane? has lost none of its power to entertain BABY JANE?// JULY 15, 16 (2.00) and disturb.

DIRECTOR - ROBERT ALDRICH U.S.A. • 1962 • BLACK AND WHITE • ANAMORPHIC • 133 MIN

AS HIS NEW FILM THE SCIENCE OF SLEEP AMPLY DEMONSTRATES, MUSIC VIDEO DIRECTOR MICHEL GONDRY HAS NOW FIRMLY ESTABLISHED HIMSELF AS A REAL FILM-MAKER.

His first feature, Human Nature, was a series of beautiful illusions that never cohered, but his second, Eternal Sunshine, is a terrific achievement. Developed from a story by Gondry and artist Pierre Bismuth, it starts with the advantage of having the best script to date by Charlie Kaufman (Being John Malkovich, Adaptation.).

The science fiction premise has a ring of contemporary truth: emerging from a failed romantic relationship, the hero (a subdued Jim Carrey) discovers that his ex (an aggressive ) has hired a company to erase all her memories of him. He enlists their services too, but technical problems send him into a kind of temporal freefall in which past and present ETERNAL SUNSHINE OF THE consciousness bleed together. It’s amazing how much Gondry and Kaufman SPOTLESS MIND// JULY 29, 30 can do with their premise while carrying the audience along every step of the way. DIRECTOR - MICHEL GONDRY U.S.A. • 2004 • COLOUR • DOLBY DITIGAL STEREO • 108 MIN

WRITER-DIRECTOR JOSEPH L. MANKIEWICZ WAS A PRINCE OF PROSE. HE CAME FROM A FAMILY OF WRITERS (HIS BROTHER HERMAN PENNED ) AND WON BACK-TO-BACK OSCARS FOR (1949) AND ALL ABOUT EVE (1950).

A devastatingly witty account of backstage life in the New York theatre world, All About Eve tells of ageing Broadway star Margo Channing (Bette Davis), who takes in ardent fan Eve () only to discover she’s an aspiring actress with designs on Margo’s stardom, roles, friends and life.

Dissecting theatrical bitchiness with a Wildean wit, Mankiewicz sets the tone through the voice-over commentary read by cynical theatre critic Addison DeWitt (George Sanders). But it is Davis who dominates the film in what proved to be her greatest role. Drinking too much, disillusioned by Eve’s betrayal, depressed by her fortieth birthday, she says admitting her age makes her feel “as if I’ve taken all my clothes off.” It might seem to ALL ABOUT EVE// show her defeated by the wiles of a younger actress, but in fact marks a JULY 1, 2 (2.30) victory: the triumph of personality over the superficial power of beauty. DIRECTOR - JOSEPH L. MANKIEWICZ U.S.A. • 1950 • BLACK AND WHITE • 138 MIN 10

A BEAUTIFULLY RESTORED VERSION OF JOSEPH L. MANKIEWICZ’S 1954 ‘HOLLYWOOD ON HOLLYWOOD’ CLASSIC, WHICH WAS PARTIALLY INSPIRED BY THE CAREER OF AND IS A BITTER STORY ABOUT THE RISE TO FAME OF A SPANISH DANCER () AND THE TRAGEDY WHICH BEFALLS HER WHEN SHE MEETS HER PRINCE CHARMING.

Mankiewicz’s surrogate in the film is a disenchanted Hollywood director (a superb ), who is an iconoclast at odds with an icon- obsessed community. Like Mankiewicz’s most personal characters, he is an observer of the action more than a participant. His pose casts an aloof perspective across familiar Mankiewicz situations whereby arrogant men tangle with predatory women in complicated flashback structures that emphasise the power of the past to influence the present.

It was Mankiewicz who once defined a Hollywood associate producer as “a mouse studying to be a rat.” An element of that is caught in Edmond O’Brien’s THE BAREFOOT CONTESSA// Oscar-winning study of a press agent, whose endeavour to obtain wealth JULY 22, 23 (2.00) and position manifests itself in a constantly sweaty sycophancy. The theme is the same as All About Eve: there’s no bitchiness like show bitchiness. DIRECTOR - JOSEPH L. MANKIEWICZ U.S.A. • 1954 • COLOUR • 128 MIN

GRAHAM GREENE WAS INCENSED BY THIS 1958 FILM, FEELING THAT, BY MAKING THE HERO A DUPE OF THE COMMUNISTS RATHER THAN THE AMERICAN, DIRECTOR MANKIEWICZ HAD REVERSED THE MEANING OF HIS NOVEL.

However, it is hard to see the film as a pro-American tract, given the imbalance of sympathies between the two main characters. For all Michael Redgrave’s difficulties with co-star Audie Murphy, the journalist’s wounded cynicism comes over more poignantly than the American’s idealism. As Pauline Kael noted, the film is about the harm that crusading idealism can do.

An American is discovered dead in Vietnam in 1952: in flashback, an English reporter explains why. Whereas Greene’s novel prophesied American involvement in Vietnam, Mankiewicz’s film anticipates some war films of the 1980s, like Under Fire and Salvador, where the hero is a journalist who starts by taking pictures and ends up taking sides. Here the motivation for that change is the core of the drama, and Redgrave’s performance delivers THE QUIET AMERICAN// the troubled character of the journalist magnificently. If Greene disliked the JULY 29, 30 (2.00) film, it found a champion in Jean-Luc Godard, who thought it the best of 1958.

DIRECTOR - JOSEPH L. MANKIEWICZ U.S.A. • 1958 • BLACK AND WHITE • 120 MIN B

O ONE OF THE BIGGEST INDIAN FILMS OF THE YEAR, THIS LAVISH PRODUCTION L

L FROM YASH RAJ FILMS IS PURE BOLLYWOOD IN ITS MIXTURE OF COMEDY, Y

W TEAR-JERKING DRAMA, ROMANCE AND ACTION. OO

D It’s also the first major film to pair superstars Aamir Khan and Kajol, who

// convey lucidly the internal conflict that wages in a man and a woman torn between love and politics.

Kajol plays the beautiful but blind Zooni, who leaves her village in Kashmir for Delhi, where she falls in love with flirtatious tour guide Rehan (Khan). A suave operator, Rehan is nevertheless killed in a terrorist attack. Seven years later he resurfaces in an altogether different guise when fate brings him once more to Zooni’s door.

Fanaa pulls a few surprises with its perspectives on issues such as nationalism and terrorism. Khan and Kajol turn in excellent performances, FANAA// and director Kunal Kohli proves himself adept at handling a tricky script and JULY 8 (12.00), 9 (11.30) the enormous scale of the production. DIRECTOR - KUNAL KOHLI INDIA • 2006 • SUBTITLED • COLOUR • ANAMORPHIC • DOLBY DIGITAL STEREO • 168 MIN Sponsored by BMI who fly daily from Dublin to Mumbai www.flybmi.com 11

IFI// MORE THAN SIMPLY A CINEMA

IFI//FILMSHOP - JULY'S NEW DVDS IRISH FILM ARCHIVE// Housed in the vaults underneath the IFI premises in Temple Bar, The Irish Film Archive collection incorporates all aspects of indigenous film production, ranging from feature to documentary to newsreel to amateur and experimental films, dating from 1897 to present day. Anyone is welcome to avail of our research facilities with an appointment. Call 01-6795744.

LIBRARY//

The IFI houses the Tiernan MacBride Library, the largest selection of reference material on film in this country. It can CAPOTE HIDDEN be used by appointment. For opening hours and occasional Bennett Miller Michael Hanecke admission charges call 01-6795744.

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The Morrison on Ormond ALMODOVAR COLLECTION MISE EIRE Quay, Dublin is the IFI's Pedro Almodovar George Morrison preferred hotel partner. We Huge catalogue of world cinema, classics, and contemporary DVD titles, hope that our patrons will extensive range of books on film, from biographies to critical theory, and find opportunity to use this posters. Sourcing service also provided. Orders via [email protected] designer hotel (styled by or 01-679 5727 world renowned John Rocha). Tel: +353 1 887 2400 MEMBERSHIP// www.morrisonhotel.ie For many films you do not need membership. If they are NOT CLASSIFIED, then you do, and you have two options: IFI ANNUAL MEMBERSHIP: e20 or e15 concessions • Entitles you to buy 1 + 3 friends’ tickets for unclassified films. • Invitations to sneak previews screenings. • IFI programme sent to your home. DESIGNED BY DUBLIN • Discount on tickets. • tickets (off-peak use). DAILY MEMBERSHIP: e1 per person each time you come to the IFI for unclassified films. 12