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► JACQUES TOURNEUR Thursday 26 October at 6.00pm RE-DISCOVERED Friday 27 October at 6.00pm OPENING NIGHT CAT PEOPlE HOME BY CHRISTMAS Director: Jacques Tourneur | 1942 | 74 mins | USA | Classified M Director: Gaylene Preston | 2010 | 92 mins | New Zealand | Classified M Perhaps Tourneur’s best known film, CAT woman obsessed with ancient legends and Gaylene Preston’s poignant drama based on war, to find that his world has changed. Tony PEOPlE is a superb example of his art. Made panthers, the film was one of a series that her interviews with her father, gives Barry rises to the challenge superbly, giving for a tiny budget that would have crippled Tourneur made for producer Val Lewton. In Australian actor, Tony Barry , a rare a performance that reveals the depths of other directors, Tourneur delivered a all of them, but especially CAT PEOPlE , opportunity to move into a leading role Ed’s experiences that he cannot express in psychological thriller that created suspense Tourneur makes a virtue of his sparse worthy of his talents. He plays Ed, who enlists words. Criminally unknown in Australia, this through sound and shadow, through a resources to build work that critic James in the NZ Army in 1940 and heads overseas film is a seamless and innovative hybrid of brooding sense of paranoia, rather than Agee described as “consistently alive, leaving his pregnant wife behind, promising re-enactment and authentic dialogue. special effects: the art of showing less and limber, poetic, humane, (and) eager he’ll be home by Christmas. Four years later “A gentle, funny, utterly truthful film” suggesting more. The eerie story of a young towards the possibilities of the screen.” AP he returns, after the horror and hardship of – Graeme Tuckett, Dominion Post. AP ► NFSA Thursday 26 October at 8.15pm Friday 27 October at 8.30pm RESTORES MY YEAR WITH HElEN Director: Gaylene Preston 2017 | 93 mins | New Zealand Classified M A gutsy, witty and impassioned film about glass ceilings and the bid by Helen Clark , the former Prime Minister of New Zealand, to secure the position of Secretary-General of the UN. Clark was positioned well for the race – she had been Administrator of the UN Development SHAME Programme since 2009. Her forthright manner Director: Steve Jodrell | 1988 | 94 mins | Australia | Classified M and determination are vividly captured by CIFF is proud to present a newly re-mastered version of SHAME Gaylene Preston , one of the key figures in NZ as part of the NFSA RESTORES program. cinema (both feature drama and documentary). A motorbike-riding barrister is stranded in an screenplay by Beverley Blankenship and Preston’s presence is always felt – it is her year outback town where she finds women being Michael Brindley is backed by Steve Jodrell’s with Helen – and she is the perfect participant- violently abused and gang-raped by men who high-powered direction, to transcend the action observer, both provocative and empathetic. are getting away with it, unimpeded by the genre and deliver an iconic work of feminist “What Preston actually captures, (as well as) local police or the town’s citizenry. Provoked cinema that has won awards and followers an intimate diary of Clark's moods, dreams by the injustice, she takes matters into her around the world. Excellent support comes and desires, is the fact the UN is in crisis.” – own hands. Deborra-lee Furness gives her from Simone Buchanan as a young woman Darren Bevan, Newsroom. AP best in a strong, provocative role. The fine who gains the courage to fight back. AP OPENING NIGHT ► ► This session is presented in FOCUS ON Saturday 28 October at 1.00pm association with AIATSIS Saturday 28 October at 5.45pm CANBERRA INTRODUCING LEN LYE n o i s i V & d n u o S a g n o a T ā WAITING FOR HARRY OYSTER g N n o Director: Kim Beamish | 2017 | 80 mins | Australia | Classified M i Director: Kim McKenzie | 1980 | 56 mins | Australia | Classified M t c e l l o C Oysters are “the canaries in our estuaries”: s climate change, and the vagaries of small l l i t S OYSTER . This session honours the work of the late where ceremonies for a deceased relative are sensitive creatures that react to subtle business survival. is both a romantic n o i t a E d C n Kim McKenzie, an internationally being prepared. Approval is needed from a changes in climate and water quality, and vision of tranquil beauty and a life close to N u A o D F e W renowned ethnographic filmmaker from senior family member, Harry, who lives in prone to predators that multiply in warmer nature, and also a thoroughly engaging y O L B n N e I L Kim Beamish This unusual film, focussing on town where he is pre-occupied with a court- water. From , the Canberran story of human endeavour against odds that A Canberra. e R h : t t i f d o The Tentmakers of Cairo political negotiations as much as on case. Harry’s continuing absence puts huge who made (shown e are slowly but surely escalating. The director, y r s c e t o r t o ceremony, made it one of the most celebrated pressure on the other family members who at CIFF in 2015), this observational Kim Beamish u , will be present for Q&A, with o h C P of the films produced by the former Australian must wait at the ceremonial site. Preceded documentary focuses on an oyster-farming his producer, Pat Fiske (whose documentary by YORKY BILLY (1980), a 17-minute portrait Rocking the Foundations Institute of Aboriginal Studies (now AIATSIS). family at Merimbula on the south coast of , screens at CIFF Scattered through CIFF you will discover small gems by the remarkable New Zealand of an outback character. AP AP It’s the story of an Arnhem Land community NSW, and their travails with officialdom, on Sunday 29 October at 1.00pm). artist, sculptor and animator, len lye . The animated films that CIFF is screening were made in London in the 1930s and 40s when Lye was engaged by the GPO Film Unit and its successors, as well as corporate entities, to make short films that carried a Saturday 28 October at 3.30pm Saturday 28 October at 8.15pm message of community relevance or of commercial intent. They are still today among the most colourful, vibrant and inventive of all commissioned films. When the GPO Film Unit commissioned Lye to make these films, it was at the cutting edge of creative filmmaking in Britain, and indeed the world. Under the guiding hand of John Grierson, the left-wing Scottish entrepreneur, the Film Unit sought the most innovative way possible to get its message across to the British public. The short films we are showing are both an extraordinary demonstration of Grierson’s unique aspirations, and evidence of the full flowering of Len Lye’s extraordinary gifts as an animator. Working often by painting directly on film and manipulating film stock and colour processing, Lye’s films were unlike anything the British public had seen. These bursts BRIEF ENCOUNTER THE SQUARE of colour and music and movement, coupled with lively Cuban dance music, were Director: David lean | 1945 | 86 mins | UK | Classified PG Director: Ruben Östlund | 2017 | 142 mins | Sweden | Classified MA15+ screened in cinemas throughout the UK, and in networks that Grierson established of non-cinema venues such as public halls, work-places and clubs. Winner of the Palme d’Or at this year’s a perfect backdrop for the film’s humour This is Celia Johnson’s film. She is always and silences that convey the repressed Cannes Film Festival, THE SQUARE is a and give it permission to play with some To present these films and to contextualise them, CIFF is very pleased to have two centre-screen with a mesmerising emotion of the woman’s indecision and satirical black comedy surrounding the edgy scenarios that are at times surreal. guests from New Zealand – Professor Roger Horrocks, historian and the author of performance as a vulnerable, hesitant yearning. Her inner turmoil is counterpointed publicity campaign for an art installation in “This movie really brings some an acclaimed biography of len lye, and Sarah Davy, a senior archivist at Ngā Taonga woman, lonely in her marriage, drawn into by the cheerless tea-room and the bleak a renowned Swedish museum. Many gobsmackingly weird and outrageous Sound and Vision (New Zealand’s film and sound archive). Roger and Sarah are an affair with a comforting stranger she nightscapes of the city - locations carefully scenes in the film were inspired by actual spectacle, with moments of pure also Trustees of the len lye Foundation. meets in a railway station cafe. Lean spoke visualised by Lean to represent the lack of events, the main being an installation that showstopping freakiness.” - Peter Bradshaw, about the film as an “eavesdrop”, and he side- human warmth in her life thus far. The bold the director made with the film’s producer The Guardian. Co-starring American actress, All of Lye’s films will be screened in film format, either 16mm or 35mm, with steps Noel Coward’s dialogue to build the use of Rachmaninoff on the soundtrack Kalle Boman in 2014. The absurdities that Elizabeth Moss (Mad Men, Top of the Lake, prints courtesy of Ngā Taonga and the Len Lye Foundation. Presented with film sensitively around the looks, gestures greatly intensifies the emotional crisis. AP inhabit the contemporary art world provide The Handmaid’s Tale).