om .c 17 st October camfilmfe 24 . October www ge 2019 AL IV ST FE Cambrid FILM The space to invent. If you’re not looking for a job, we’re looking for you. You’re bright, and you’ve got your head down, inventing a response to a complex scientific and engineering challenge. Look up and see the company with the space and culture in which you can thrive. ttp.com/film AL I came to Cambridge and made projection - though I never lost my it my home and stayed longer personal preference for 70mm celluloid. than I ever imagined. It has been an extraordinary personal FESTIV journey, but I hope that many of you who It has offered me opportunities that have shared it with me have had some I could only have dreamed of and given memorable experiences along the way. me experiences that have been the envy I hope to speak to many of you during the of many. I started work at the Arts Cinema Festival, before or after you have sampled FILM in the early 80s, and have worked on one of the many delights we have lined the Cambridge Film Festival ever since. up, and that you will enjoy the Cambridge I co-founded City Screen with Lyn Goleby OMe Film Festival for many years to come. GE and developed the more recent Arts And at the end of all this, who is my Picturehouse, welcoming so many guests favourite fi lmmaker? Buster Keaton! to the city and screening fi lms from most A genius and inspiration. He brought countries of the world. Buster Keaton, The Cameraman (1928) imagination and invention to the screen, It has been an extraordinary journey, but from his humble beginnings as the one of aft er almost 40 years, it seems like a good The Three Keatons, a family vaudeville time to bow out and give someone else the privilege of running act. Without doubt one of the greatest ever fi lmmakers, but this Festival in this great city of ours. shackled to the studio system throughout the 20s. Unlike Chaplin or Lloyd he was a poor businessman and owed a lot CAMBRID Over the years we’ve had some fantastic guests. The Italian master Francesco Rosi, American great Philip Kaufman (who to Raymond Rohauer, who collated his catalogue, restored insisted on paying for his own fl ight from San Francisco), prints and re-launched the great artist to huge acclaim at the th the wonderful Monika Treut from Germany, Robert Bresson Venice Film Festival in 1965. Keaton couldn’t understand the from France and the UK’s own Peter Greenaway, with many adulation! I organised a UK tour of this library for Rohauer (10 a controversial visit. Auteurs Patricia Rozema, Michael features and 20 shorts) so that all could share the joy! He never 39 Winterbottom, Krzysztof Kieslowski, Michel Gondry, Costa- fails to make me smile. Gavras, Derek Jarman and Bruce Weber all made visits to I undertook the same ‘travelling salesman’ role with Murnau’s present retrospectives. It felt like we were at the centre of the Sunrise whilst at Birmingham in the 70s – where I discovered this fi lm world. THE passion. Sunrise never fails to make me cry – what an ending! THE But screening the best and often un-certifi cated titles can I can’t sign off without thanks to just a few of the very many cause problems. Curiosity got the better of the local Trading who helped carry the Festival this far! The late Sorley McDonald WELC TO TO Standards Officer when we programmed Taxi zum Klo and and Liz Scott, Jean Khalfa, Becky Innes, Bill Thompson, and Polissons et Galipettes. We provided test screenings (at the old to the current team lead by Iris Ordonez, Cristina Roures and Arts Cinema), but one year was enough – he never asked again. Owen Baker, the Festival programmers: Kayleigh Barnes, This year, we have fi lms from Africa, South and North America, Margaret Deriaz, Lindiwe Dovey, Loreta Gandolfi, Kate Jones, most European countries, Russia, Japan, Pakistan, Iran, Ramon Lamarca, Bill Lawrence, James Mackay, Matthew Webb. Afghanistan and Australia. We have fi lms about climate change, And to all those who have supported the work of the Trust human rights, women’s rights, prison conditions and mental enabling stability for its year round activity – especially The health; fi lms from the silent era with piano accompaniment, Technology Partnership (TTP), Pamela Raspe, and the Eligator experimental fi lms, artists’ fi lms, documentaries and dramas. Sansom Family Fund. For a ‘small’ festival we pack a lot in! I’ve always tended to I shall continue working with the Film Trust to develop our over-programme with an excellent team of programmers, and community screening programme across Cambridge and to with the exhibition platform shift ing, it seems both appropriate help with the recruitment of my successor for the 40th Festival and necessary to offer such a wide-ranging programme. in 2020. I had hoped to call time next year – 40 in 2020 had a Technology has advanced greatly over these 40 years. lovely symmetry, but circumstances change… We introduced the Internet Movie Database at a festival Tony Jones in 1995. We developed technical innovations that are now Festival Director commonplace. Cambridge was also the test bed for digital Tony Jones, Festival Director. The familiar title fails to convey his multifaceted role, not to mention the tireless commitment Tony has brought to the Festival. He has been producer, entrepreneur, programmer, fundraiser and the heart of the creative vision that has made the Cambridge Film Festival so special. When Tony and I set up the Cambridge Film Trust 13 years ago, we saw that cinema exhibition was changing fast; the opportunities to see and show a diverse range of fi lms were declining. We wanted to counter this with lasting structures within and beyond the Festival to continue to draw people together to watch great cinema. It has been an uphill struggle, but Tony’s passionate enthusiasm for fi lm, his boundless energy, ideas, contacts and unwavering determination have kept us going. It has been a privilege to work with Tony and to be involved in the Festival and its many related activities. Tony picked up the Festival in its early days and built it up into an extraordinarily rich event. He has worked with fi lmmakers, distributors and programmers from around the world. Over the years, he has given numerous talented people their fi rst start in the fi lm industry. He has championed fi lmmakers young and old, fi rst-time directors and auteurs. Through all this, his love of European and global independent cinema has been a guiding force. There is no doubt that without Tony, the Festival would not be here today. He will be enormously missed as Festival Director, but his presence will be felt at all our festivals to come; he will continue to lead on key activities of the Cambridge Film Trust. We wish him well with all his future projects and thank him for his tremendous dedication to cinema in all its forms. Isabelle McNeill Chair of Trustees www.camfilmfest.com Welcome CambridgeFilmFestival2019 3 Contents Stop Press 4 Opening & Closing Films 5 Special Events 6 International Festival Highlights 8 Preview Heaven 10 Longing & Belonging 12 Human Rights 14 World Documentaries 16 Focus on Greek & Cypriot Cinema 19 Camera Catalonia 20 Timetable, venues, and tickets 22 Restorations & Rediscoveries 24 microcinema 28 Cambridge African Film Festival 30 Focus on Latin America 33 Environmental Art Documentaries 33 Cambridge Family Film Festival 34 ShortFusion 38 ShortReel 41 Supporters 42 Index of fi lms and events 43 Please look out for Late Additions to the programme Reel Women celebrates the work of female fi lmmakers. Look out for their STOP PRESS - see the festival website for updates. logo to see which fi lms in the programme have women directors. SAT 10.00 THU 13.30 WED 20.30 Thu 13.00 WED 20.30 WED 20.45 FRI 13.30 19 LIGHT 24 APH 23 APH 24 Light 23 LIGHT 23 APH 18 LIGHT THE ADDAMS Atlantics CFF 15 THE LIGHTHOUSE THE CHAMBERMAID FAMILY CFF PG Atlantique CFF 15 15 USA/Canada, 2019, 110 mins Mexico, 2019, 102 mins. USA, 2019, 107 mins. France/Senegal/Belgium, 2019, Spanish with English subtitles. 107 mins. DIRECTOR Robert Eggers DIRECTORS Greg Tiernan & Conrad French/Wolof with English subtitles. WITH Willem Dafoe, Robert DIRECTOR Lila Aviles Vernon DIRECTOR Mati Diop Pattinson, Valeriia WITH Gabriela Cartol, Teresa WITH Oscar Isaac, Charlize WITH Mama Sané, Amadou Karaman Sánchez Theron, Chloe Grace Mbow, Ibrahima Traoré Lila Avillés’ impressive debut looks Moretz, Finn Wolfhard The hypnotic and hallucinatory tale Ada, 17, is in love with Souleiman, of two lighthouse keepers on a remote at the working environment of a Get ready to click your fi ngers! a young construction worker. But and mysterious island in the 1890s. chambermaid in one of Mexico The Addams Family is back on the City’s most luxurious hotels. she has been promised to another In gripping performances thick big screen in the fi rst animated With a spare script and nuanced man. Harnessing fantasy and social with fl avourful period dialect and jolts comedy about the kookiest family direction, Gabriela Carol’s breakout relevancy in this haunting tale of of ever-intensifying insanity soaked in on the block. Funny, outlandish, performance brings charisma and love, fi lmmaker Mati Diop made rum, Willem Dafoe and Robert and completely iconic, the Addams warmth to Eve, a conscientious history, earlier this year, when Pattinson play the seasoned keeper Family redefines what it means to be maid with a broad smile and Atlantics became the fi rst fi lm made and his new junior mate, stuck in a good neighbour.