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MT2018_NZIFF ad.indd 1 12/06/2018 5:13:12 p.m. 50th Auckland International Film Festival

Presented by New Zealand Film Festival Trust under the distinguished patronage of Her Excellency The Right Honourable Dame Patsy Reddy, Governor-General of New Zealand 19 JULY – 5 AUGUST 2018

CIVIC THEATRE ANIMATION NOW! ASB WATERFRONT THEATRE ACADEMY CINEMA 10 – 12 AUGUST 2018 RIALTO CINEMAS NEWMARKET EVENT CINEMAS QUEEN ST EVENT CINEMAS WESTGATE HOLLYWOOD AVONDALE PROUDLY SUPPORTED BY

Director: Bill Gosden General Manager: Sharon Byrne Communications Manager: Rebecca McMillan Assistant to the General Manager: Lisa Bomash Auckland Festival Manager: Megan Andrews Auckland Admin/Ticketing Manager: Karen Cartwright Publicist: Sally Woodfield Auckland Communications Assistant: Camila Araos Elevancini Programmer: Sandra Reid Programme Manager: Michael McDonnell Animation NOW! Programmer: Malcolm Turner All Ages Programmer: Nic Marshall Incredibly Strange Programmer: Anthony Timpson Programme Consultant: Chris Matthews Online Content Manager: Kailey Carruthers Content Manager: Ina Kinski Materials and Content Assistant: Matt Wilshere Publications Coordinator: Tim Wong Audience Development Manager: Alice Vilardel Social Media Coordinator: Rebecca Shannon Guest Coordinator: Pamela Harvey-White Technical Adviser: Ian Freer Festival Accounts: Alan Collins Festival Interns: Jean Teng (Auckland) Zoe Pattinson Fan, Liam Reid (Wellington) Publication Design: Ocean Design Group Publication Production: Greg Simpson Cover Design: Matt Bluett Cover Illustration: Ken Samonte Animated Title: Anthony Hore (designer), Aaron Hilton (animator), Tim Prebble (sound), Catherine Fitzgerald (producer)

THE NEW ZEALAND FILM FESTIVAL TRUST Chair: Catherine Fitzgerald Trustees: Louise Baker, Adrienne Bonell, James Every-Palmer, Tearepa Kahi, Robin Laing, Andrew Langridge, Helen Marie O’Connell, Chris Watson Financial Controller: Chris Prowse

The New Zealand Film Festival Trust Box 9544, Marion Square Wellington 6141, New Zealand ph: (64 4) 385 0162 [email protected] Resene Resene Wellywood Piha Sand

Resene Resene Pohutukawa Gumboot

Resene Resene Pukeko Koru

Resene Resene Gorse Pavlova

Bringing colour to kiwi life since 1946 Resene’s big screen story began back in 1946 when Ted Nightingale started making paint from his Wellington garage. Over 70 years later and the Resene name lives on as a truly homegrown success story, known for its quality paint, colour and innovation. Our paints are designed and made in New Zealand for our harsh weather conditions and our colours are inspired by everyday kiwi life. So you can be sure they will look great in your home, while also looking after it. Proud supporters of the NZ fi lms in the International Film Festival. CONTENTS

Resene Resene Wellywood Piha Sand 09 18 26 54 62 Big Nights Aotearoa World Fresh For All Ages

64 72 74 80 84 Framing News / Music Portrait Incredibly Reality Fake News & Dance of an Artist Strange

Resene Resene Pohutukawa Gumboot 88 90 91 Animation Meet the Shorts with NOW! Filmmakers Features

WELCOME

Resene Resene NZIFF reaches 50 with a glance in the rear-view mirror, and a rush of Pukeko Koru excitement about what’s ahead. The baton has changed hands remarkably rarely since 1969 when the first Adelaide/Auckland International Film Festival was announced. There have been two names changes, two revolutions and numerous stoushes – both amongst and between the righteous and the mercenary – but the continuity from 1969 to 2018 is easily traced. I’ve long been closely implicated myself, as have a succession of marvellous, dedicated individuals, businesses and public institutions, most definingly the country’s Film Society movement. We’ve found common cause with many a disrupter and watched the arts and entertainment opportunities of Aucklanders expand exponentially. It’s never gotten boring.

Occasionally it has gotten smaller, but not for long. The yin and yang of our ecosystem persist: filmmakers Resene Resene produce work that calls for festivity, and Auckland audiences love to gather, evaluate and celebrate. NZIFF Gorse Pavlova is a non-profit enterprise, dependent on that audience for almost 90% of our income.

For as long as I remember we have returned 25% of that income to filmmakers. The major sponsorship we receive from the New Zealand Film Commission is a gratifying institutional endorsement of that principle. Some crucial current supporters should also be acknowledged. Resene join us for their fifth year as sponsors of another stimulating strand of films from Aotearoa. Flicks.co.nz, RadioLIVE, NZ Herald and Metro magazine are exactly the media partners an event like ours can work with, engaging directly with the films we present. Foundation North’s funding remains essential to keeping our Auckland office open. In 2018 we welcome a new Artistic Development Partner in Creative New Zealand.

Perusing old programmes to identify highlights for an anniversary retro, the tug of remembered encounters was often strong and the potential for countless reunions most alluring. At the same time there was no Bringing colour to kiwi life since 1946 ignoring the irretrievable nature of certain once momentous occasions. (Fahrenheit 9/11, anyone?) But it’s now that counts when you are swept away by movies. We could not be prouder or happier about fronting Resene’s big screen story began back in 1946 when Ted Nightingale started making paint from his Wellington garage. Over 70 up for the 50th time, in this winter of 2018, to offer you a programme as invigorating and timely as any years later and the Resene name lives on as a truly homegrown success story, known for its quality paint, colour and innovation. we have ever presented. Our paints are designed and made in New Zealand for our harsh weather conditions and our colours are inspired by everyday kiwi life. So you can be sure they will look great in your home, while also looking after it. Proud supporters of the NZ films in the International Film Festival.

Bill Gosden Director TICKET PRICES BUYING TICKETS

PHONE AND ONLINE BOOKINGS (open from 9.00 am Friday 29 June) A CODED SESSIONS The Civic Box Office opens from 9.00 am Friday 29 June Sessions starting after 5.00 pm weekdays and all weekend sessions Book early to secure the best seats. Seats are allocated on the basis of best available (unless otherwise indicated) at the time of booking. Please note that all advance bookings for The Civic and ASB » Early Bird Full (purchased before 19 July) $17.50 Waterfront Theatre weekday daytime screenings up to 5.00 pm and Saturday and » Full (purchased from 19 July) $18.50 Sunday screenings up to 1.00 pm will be allocated in the Stalls only. » Film Society/ Film Industry Guilds / Nurses * $15.50 ONLINE BOOKINGS, PRINT-AT-HOME & MOBILE TICKETING www.nziff.co.nz or www.ticketmaster.co.nz » Community Services Card * $15.50 Tickets can be purchased online up until the time the session commences. You will » Student * $15.50 need to either print your Print-at-Home tickets (not just the confirmation notice) » Senior (60+) $12.50 for presentation at the venue or display them on your phone (ensure your ticket is loaded and ready for scanning before you arrive). Please also bring with you the credit » Children (15 and under) $12.50 card used to purchase the tickets for identification. B CODED SESSIONS Print-at-Home is the most convenient way of receiving your tickets, allowing you to Sessions starting before 5.00 pm weekdays and other shorter duration print your tickets right away. If you are not already a member of Ticketmaster you will sessions indicated be asked to register for a My Ticketmaster account. Tickets can also be purchased on your phone through Ticketmaster's mobile site. » Full $15.00 TELEPHONE BOOKINGS » Senior (60+) $12.50 Freephone: 0800 111 999­ Mobile: 09 970 9700 Children (15 and under) $12.50 » 9.00 am – 9.00 pm Monday to Friday; 9.00 am – 5.00 pm Saturday & Sunday C CODED SESSIONS telephone bookings can be accepted until the start of each screening time Sessions in the Animation NOW! Festival programme and as indicated (subject to Ticketmaster telephone booking hours). » All tickets $12.50 MAIL BOOKINGS Download and print a booking form from the NZIFF website. Post to: New Zealand ✪ LIVE CINEMA The General International Film Festival, C/- Ticketmaster, PO Box 106 443, Auckland 1143. » Full $45.00 Alternatively, phone 09 378 6100 to be mailed a booking form. » Film Society/ Film Industry Guilds / Nurses * $40.00 WHEELCHAIR BOOKINGS » Community Services Card * $40.00 Phone: 09 970 9711 9.00 am – 9.00 pm Monday to Friday; 9.00 am – 5.00 pm Saturday & Sunday » Student * $40.00 SCHOOLS AND GROUPS » Senior (60+) $40.00 For group bookings of 20 or more people contact Karen Cartwright on 09 378 6100 Children (15 and under) $30.00 » before Thursday 19 July. ✚ FUNDRAISER Paul Callaghan: Dancing with Atoms ADVANCE COUNTER BOOKINGS (from Friday 29 June) » Full $25.00 The Civic Box Office, Wellesley Street: 9.00 am – 6.00 pm daily » Children (15 and under)/Senior (60+)/Concession* $20.00 Aotea Centre Box Office, Level 3, Aotea Centre: 9.00 am – 5.30 pm Monday to Friday; 10.00 am – 4.00 pm Saturday & Sunday TEN-TRIP PASS During NZIFF advance tickets will be available from The Civic Box Office one hour prior to » Ten-Trip Pass $155.00 the first NZIFF screening that day until 15 minutes after the last screening commences. The Ten-Trip Pass consists of a unique barcode that can be used to purchase tickets to DAY SALES DURING NZIFF (from Friday 20 July) any screening, subject to seat availability (passes are not tickets and do not guarantee The Civic: Day sale tickets can be purchased from the box office one hour prior admission), and excluding 3D films, Special Events and Live Cinema performances. to first screening of the day until 15 minutes after last screening commences. Passes can be purchased and redeemed for tickets in advance online, via the phone An additional box office is set up at The Civic Foyer Bar until Sunday 29 July. or at the Aotea or Civic Box Offices. Passes can also be redeemed on the day at all ASB Waterfront Theatre: Day sale tickets can be purchased from the NZIFF box venues, subject to seat availability. office 45 minutes prior to first screening of the day until 15 minutes after last After purchasing your pass online, you will need to download your Print-at- screening commences. Home ticket and use the unique barcode number to redeem your pass for Academy Cinemas, Hollywood, Rialto Cinemas, Event Cinemas Queen St tickets to individual sessions. (The barcode is issued immediately when purchased and Westgate: Box office opens 45 minutes before each session commences at the Box Office or via phone.) Once all ten tickets have been redeemed, the barcode and closes 15 minutes after each session starts. will expire. METHOD OF PAYMENT *CONCESSION DISCOUNTS (Student/Film Society/Film Industry Guilds/ Credit Cards: Accepted for all bookings. Nurses/Community Services Card) Cheque: Personal cheques accepted for MAIL bookings must be received five working days prior to screening. Cheques payable to Ticketmaster New Zealand Ltd. Students, Film Society members, Industry Guild members, Nurses and Community Cheques not accepted for counter bookings. Services Card holders are entitled to purchase one ticket per session at the discount rate. Student/Membership/Staff/CSC ID is required – please ensure you bring it with Cash & EFTPOS: Accepted for counter bookings. you to the venue to present to staff on request; failure to do so will result in the full TICKET COLLECTION price being charged for attendance. Film Society ‘Three Film Sampler’ holders are not If you have used a credit card for advance booking by phone, internet or mail, this entitled to the concession discount. credit card must be presented to venue staff to collect tickets, along with ID to validate TICKETING AGENCY SERVICE FEES any concession discounts. A $1.00 per ticket booking fee is already included in the prices shown above. There MAIL DELIVERY are no additional service fees except for where a courier delivery is selected ($5.50). Tickets will only be posted if booking request is received at least seven days prior to Prices are GST inclusive and in NZD. screening. Otherwise tickets will be held for collection at the cinema box office of your first screening. Please note that NO REFUNDS will be made for uncollected tickets or tickets collected late. GENERAL INFORMATION

VENUES KEY TO ICONS Your ticket indicates the film venue. See p7 for venue locations and accessibility information. Guest Appearance INFORMATION DESK Meet the makers. Films programmed with introductions and post-screening Q+As with the artists in person. Correct at the time of printing. See website for latest updates. The information desk is located at street level in The Civic foyer from 20 July, where you will find up-to-date information about censorship, short films, session ending times and Short Preceding Feature more. Shorts paired thematically with selected feature films in the programme. WHEELCHAIR ACCESS World Premiere Please advise the ticket seller when purchasing your tickets if you would like to Brand new features and documentaries – often homegrown – that we have the privilege transfer to a seat or remain in your wheelchair, or if you have any special requirements. of debuting to New Zealand audiences. See p7 for venue access for wheelchairs. HEARING IMPAIRED Cannes Selection 2018 Please note that where films are indicated as subtitled, this is not the same as full Direct from the Competition and Croisette in the South of France, we bring you the movies captioning for the hearing impaired. See p7 for venues with hearing loop support. making waves at the most famous film festival of them all.

PLEASE ARRIVE EARLY. There are no advertising films or trailers at NZIFF. We reserve Major Festival Award the right to ask latecomers to wait and to relocate them to alternative seating Films judged the best and brightest at A-list film festivals around the world, from Venice, to minimise the disruption of other patrons. Session starting times will not be to Berlin, to Sundance and Cannes. delayed in deference to late arrivals. Please ensure mobile phones and pagers are switched off. Any video recording is strictly prohibited. If collecting tickets prior to a 50th Anniversary screening please allow additional time in case there are queues. We celebrate half a century of NZIFF in Auckland with a throwback to some of our most memorable selections. PROGRAMME CHANGES We reluctantly reserve the right to change the schedule by amending dates or replacing films. From Thursday 19 July confirmation of daily session times will be available on NZIFF’s website www.nziff.co.nz and in our daily newsletters. EXPLORE THE PROGRAMME ONLINE AT www.nziff.co.nz Find out more about the 160+ feature films and short film programmes we’ve selected CENSORSHIP CLASSIFICATION for this year’s NZIFF, access exclusive trailers and content, and curate your own shortlist G – Suitable for general audiences and schedule of screenings to watch this winter. PG – Parental guidance recommended for younger viewers » Films Explore films by theme, genre, country, language and more, and check out our M – Unrestricted. Recommended more suitable for mature audiences 16 years and over ‘Must See’ recommendations from staff and friends of the NZIFF. RP13 – Restricted to persons 13 years and over, unless they are accompanied by a parent or guardian RP16 – Restricted to persons 16 years and over, unless they are accompanied by a parent or guardian » Register Sign up to receive monthly news and daily session updates during NZIFF, R13 – Restricted to persons 13 years and over and to create wishlists that you can easily share. R16 – Restricted to persons 16 years and over » Curate a wishlist Add any film to your own wishlist and then share your wishlist R18 – Restricted to persons 18 years and over with friends (great for organising a crew), save sessions to your calendar, and create a handy shopping list to purchase through Ticketmaster. You can even create a Classifications will be published in NZIFF’s daily newspaper advertising and displayed at wishlist for every town and city where NZIFF screens. the venues’ box offices. Children’s tickets are available only for films classified G, PG & M. » Schedule reminders Select the reminder on a film session to be alerted if tickets At the time of printing some films had not been rated. Until they receive a censor start selling fast, so you can book ASAP. rating, they are considered R18 (unless clearly aimed at children) and can only be purchased by and for people aged 18 and over. For more information please visit the » News Read the latest film announcements, meet the filmmakers and peruse our ticketing and venue information page on our website. guest profiles on the news section of the website. » Galleries Browse NZIFF photos of special events, including world premieres, awards THE AUCKLAND FILM SOCIETY evenings and Q+As with leading filmmakers. www.aucklandfilmsociety.org.nz [email protected] ph: (09) 527 6076 FURTHER INFORMATION FOLLOW US ON SOCIAL MEDIA Ticketmaster: 0800 111 999 Mobile: (09) 970 9700 Follow us on Facebook, Instagram and Twitter for behind-the-scenes photos and Festival Manager, Megan Andrews ph: (09) 378 6100 footage, sneak peeks, trailer reveals and giveaways. Retail Brochure Delivery ph: 0800PHANTOM Sponsorship, brochure and website advertising, Sharon Byrne ph: (04) 802 2570 www.facebook.com/nzfilmfestival Contact us: [email protected] www.nziff.co.nz Become a friend, watch trailers and take part in competitions and discussions.

REFUNDS www.twitter.com/nzff Please note that NO REFUNDS will be given for tickets (either unused, uncollected Keep up to date with our Twitter feed. or collected late) and Ten-Trip Passes (either in part or in full). Bookings once made cannot be altered. Please choose carefully as there are no seat swaps, exchanges or www.youtube.com/nzintfilmfestival refunds, except as required by law. Watch trailers, interviews and much more. www.instagram.com/nziff Take a peek behind the scenes.

VENUES

P AUCKLAND CBD & WYNYARD QUARTER WESTGATE Maki St Hobsonville Rd

Hamer St B Jellicoe St Fred Taylor Dr North-West Motorway P A A 6 WGATE Madden St A Te Wero Bridge A 4 AWT WESTGATE SHOPPING CENTRE F FERRY TERMINAL Quay St B P

Beaumont St T B BRITOMART Daldy St TRANSPORT B B CENTRE Crayford St Halsey St

Blockhouse Bay Rd

Customs St St Jude St

Fanshawe St Wynham St Albert St T AVONDALE VICTORIA P STATION PARK P

Khyber Pass Rd B B

B Hobson St 7 HWOOD AVONDALE Victoria St St Georges Rd THE CIVIC THEATRE, AUCKLAND LIVE B Kent St York St Queen St A PARKING NEAR NZIFF VENUES P Nelson St P 5 RIALTO High St P For information on carpark locations, fees and opening Wellesley St hours, visit www.at.govt.nz

Teed St ALBERT Osborne St CBD (CIVIC, Qst, AC) Broadway Lorne St PARK The Civic Carpark is located underground with entry from Myers St 1 CIVIC A Greys Avenue. Alternative parking buildings are situated NEWMARKET T B 3 AC nearby on Greys Ave, Albert St and Victoria St. STATION QSt 2 A P Wakefield St ASB WATERFRONT THEATRE B A NEWMARKET A There are several carparks available at Wynyard Quarter Greys Ave including mobility parks. You can pre-book a carpark by visiting www.asbwaterfronttheatre.co.nz 1 THE CIVIC, AUCKLAND LIVE (CIVIC) 4 ASB WATERFRONT THEATRE (AWT) Cnr Queen & Wellesley Streets 138 Halsey Street, Wynyard Quarter RIALTO CINEMAS NEWMARKET Advance Box Office & Day Sales are located at the Day Sales Box Office is located on the ground floor. The Rialto Carpark is located on 9 Kent Street. Parking is Wellesley Street entrance. An additional Day Sales For theatre access, please take the ground level lift also available on the streets around the cinema. counter is located at the Theatre Bar Foyer on street to Level 1. level of The Civic until Sunday 5 August. Hearing loops are available. MOBILITY ACCESS AND PARKING A Please report to the Information Desk or the Theatre CBD: Accessible drop-off points are available at Lorne St, Bar Foyer on street level in the theatre foyer. 5 RIALTO CINEMAS NEWMARKET (RIALTO) Wakefield St, Greys Ave and Myers St. Limited mobility Hearing loops are available. 167–169 Broadway, Newmarket parking is available on Myers St and at The Civic Carpark Day Sales Box Office is located in the cinema foyer on a first come, first served basis. 2 EVENT CINEMAS QUEEN STREET (Qst) on Level 1. AWT: Mobility parking is available on Madden St, Jellicoe 291–297 Queen Street Please take the ground level lift in the Shopping level St and at the ANZ Viaduct Events Centre. Day Sales Box Office is located on Level 3; Cinema 6 up to Level 1, then take the lift located in the cinema RIALTO: Spaces are available behind the cinema on Kent is on Level 4. foyer up to Level 2 where the cinemas are located. Street. Ramps can be accessed from the Aotea Square Hearing loops are available. Please request a set of WGATE: Mobility parking is available just outside the entrance or from Wellesley St. Lifts are accessed on headphones from the box office for infra-red cinema. ground level. Access to the box office is on Level 3 facilities. and Cinema 6 is on Level 4. PUBLIC TRANSPORT & Hearing loops are available. 6 EVENT CINEMAS WESTGATE (WGATE) GETTING BETWEEN CBD VENUES B T F 35 Maki Street, Massey For information on bus, train and ferry timetables and 3 ACADEMY CINEMAS (AC) Day Sales Box Office is located in the cinema foyer. fares, visit www.at.govt.nz Central Library Building, 44 Lorne Street Hearing loops are available. We encourage you to use public transport, walk or cycle Day Sales Box Office is located in the cinema foyer. down to ASB Waterfront Theatre from The Civic, Event Lift access inside Auckland Central Library. During 7 HOLLYWOOD AVONDALE (HWOOD) Cinemas Queens Street and Academy Cinemas. library hours please ask at the library reception to 20 St Georges Rd, Avondale BUS: Take the red City Link Bus down Queen right into the arrange the library security guard to escort you to Day Sales Box Office is located in the cinema foyer. heart of Wynyard Quarter. There is a stop on Jellicoe St the cinema. After library hours call the cinema on Please notify staff upon your arrival so they can which is a short walk from the theatre. The route runs from (09) 373 2761. An intercom is located at the top of escort you to the wheelchair entrance. Wynyard Quarter to Britomart Transport Centre, up Queen the Academy entrance stairs for you to notify staff Street and along Karangahape Road and back again. of your arrival. Please note that although there are wheelchair seats available, there is no toilet with wheelchair access at WALKING: From Britomart Transport Centre and the Ferry Hearing loops are available. Please request a set of this venue. Terminal, Wynyard Quarter is a short 10-minute walk headphones from the box office for infra-red facilities. down Quay Street, over the Te Wero bridge. 8

HAPPY 50TH NEW ZEALAND INTERNATIONAL FILM FESTIVAL. HERE’S TO ANOTHER 50 YEARS OF LOVING MOVIES TOGETHER!

Aotea Centre | Aotea Square | The Civic | Auckland Town Hall | Bruce Mason Centre | Queens Wharf BIG NIGHTS AND SPECIAL PRESENTATIONS 9

Birds of Passage Pájaros de verano Opening Night

A vibrant Colombian indigenous culture that’s survived centuries of colonisation takes on the 1970s drug trade in our Directors: Cristina Gallego, visually and aurally astounding opener. Ciro Guerra Colombia/Denmark/Mexico 2018 Directors Ciro Guerra (Embrace of the 125 mins Serpent, NZIFF16) and Cristina Gallego Producers: Katrin Pors, Cristina Gallego shake off the clichés of crime-war and Screenplay: María Camila Arias, Jacques imperialism and imbue their saga with Toulemonde. Based on a story by Cristina Gallego Photography: David Gallego surreal beauty and the elemental power Editor: Miguel Schverdfinger of ancient proverb. Music: Leonardo Heiblum With: Carmiña Martínez, Jose Acosta, The film’s formidable matriarch Jhon Narváez, Natalia Reyes, Jose Vicente Cotes, (Carmiña Martínez) knows full well Juan Martínez, Greider Meza Festivals: Cannes (Directors’ Fortnight) 2018 that the young chancer (José Acosta) In Wayuunaiki, Spanish and English, who has courted her daughter with English subtitles Censors rating tbc (Natalia Reyes) could only have paid the outrageous dowry she demanded PRESENTED IN ASSOCIATION WITH by selling dope to the gringos. But the seed is sown: insisting traditional honour codes be observed in enrichening her clan, she bends her shamanistic authority to building an ancestry, or any connection to the empire in the desert. region to understand the broader “Hardly a scene goes “Colombians are sick to the back implications of this epic story of haunted by without something teeth of filmmakers exploiting their druglords and ruthless power grabs troubled past, but Gallego and Guerra’s that are partly predicated on traditional fundamentally familiar inspired take on the blood feud yarn beliefs and shibboleths. Guerra and being rendered in a and mob thriller is really unique and far Gallego’s film is no dusty period piece, unique fashion.” — Jordan from cheap genre thrills as it gets. Birds it is wildly alive, yet it reminds us that of Passage is an enthralling, powerful no matter how modern we are, there Hoffman, The Guardian IVICA C Thu 19 Jul, 7.00 pm statement.” — Martyn Conterio, Cinevue are ancient songs our forebears knew B CIVIC Wed 25 Jul, 3.30 pm “This is an absolutely extraordinary whose melodies still rush in our blood.” A HWOOD Sun 29 Jul, 3.45 pm film… You do not have to have Wayuu — Jessica Kiang, The Playlist

Leave No Trace Centrepiece

Director Debra Granik introduced Debra Granik Jennifer Lawrence to the world in Winter’s Bone. In Leave No Trace she Director: Debra Granik directs young New Zealand actress USA 2018 | 109 mins Producers: Anne Harrison, Linda Reisman, Thomasin Harcourt McKenzie in a lead Anne Rosellini performance that is just as remarkable. Screenplay: Debra Granik, Anne Rosellini. She plays Tom, a teenager who has Based on the novel My Abandonment by Peter Rock Photography: Michael McDonough been living off the grid with her father, Editor: Jane Rizzo Will (Ben Foster), from an early age. Music: Dickon Hinchliffe With: Ben Foster, Thomasin Harcourt McKenzie, Camped in a forest outside Portland, Jeff Kober, Dale Dickey they are peaceable, lo-tech survivalists, Festivals: Sundance, San Francisco, Cannes (Directors’ Fortnight), Sydney 2018 perfectly attuned to each other and PG drug references the natural world. Will’s alienation from society is profound – he and Tom Debra Granik will introduce her run drills in preparation for any human film, with Q+A sessions following intrusion – but it doesn’t prevent in the Wintergarden. him from providing his daughter an education. Discovery is probably inevitable. When social services try to intervene and Tom’s sheltered life is threatened equally heart-warming and heart- her responses are complex, not least breaking story of the unconditional “Something deeply as she comes to see the shelter she love shared between father and compassionate, a story herself affords her troubled father. daughter. Foster and McKenzie Though there’s the trajectory of a deliver raw, tender, captivating and of a father and daughter chase movie in the pair’s flight from transcending performances. The bond that speaks truths about authority, the heart of the drama lies between them isn’t only compelling, some large things.” in the perceptible shifts in Tom’s view it is inspiring… A profound story about of the world – and in the compassion love, family, loyalty, understanding, and — Richard Lawson, Vanity Fair IVICB C Fri 27 Jul, 10.45 am extended to the two of them by a compassion.” — Tiffany Tchobanian, A CIVIC Sat 28 Jul, 6.45 pm whole world of backwoods dwellers. Film Threat “Leave No Trace tactfully tells an 10

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This is Olivia.

Enjoying pre-entertainment refreshments with Verena in the hotel lobby.

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BIG NIGHTS AND SPECIAL PRESENTATIONS 11

Cold War Zimna wojna Closing Night

This dazzling Cannes winner from Paweł Pawlikowski, the director of Ida, feels like the perfect closing night Director: Paweł Pawlikowski choice: you don’t want such glorious Poland/UK/France 2018 | 89 mins Producers: Tanya Seghatchian, Ewa Puszczyńska filmmaking to end. Pawlikowski whisks Screenplay: Paweł Pawlikowski, Janusz Głowacki, his two fatally attracted lovers, a singer Piotr Borkowski Photography: Łukasz Żal and a composer, through myriad, Editor: Jarosław Kamiński brilliantly evoked musical styles and Music: Marcin Masecki With: Joanna Kulig, Tomasz Kot, Borys Szyc, settings either side of the Iron Curtain Agata Kulesza, Cédric Kahn, Jeanne Balibar – from Stalin-era folk troupes to 1950s Festivals: Cannes (In Competition) 2018 Paris jazz bars. Best Director, Cannes Film Festival 2018 In Polish and French, with English subtitles “Portraying a whirlwind, border- B&W | Censors rating tbc hopping amour fou in gorgeous black and white, Paweł Pawlikowski’s Cold PROUDLY SPONSORED BY War won him the Best Director prize. In post-war Poland, pianist composer Wiktor (Tomasz Kot) tours villages with his lover, music teacher Irena (Agata Kukezsa) in search of folk-based talent. At an audition, Zula (Joanna Kulig) cons her way into a duet with a more Much of the film is a thrillingly talented singer. Though Irena tells seductive musical, shot and edited with “The torn curtain of love Wiktor that Zula is just out of prison for the rhythm of dance, but the surface is the theme of Paweł stabbing her father, he feels that ‘she whirl would not fascinate without the has something’. luminous presence of Joanna Kulig… Pawlikowski’s mysterious, *The winners of the New Zealand's Best Soon she is a star… When the troupe The hopelessly unsuited couple are musically glorious and short film competition will be announced at performs in Berlin, Wiktor askes Zula to fictionalised versions of Pawlikowski’s visually ravishing film.” the Saturday screening. cross to the West with him; thereafter parents, and through them we many borders are crossed, many lines experience near equal disenchantment — Peter Bradshaw, The Guardian IVICB C Thu 2 Aug, 2.00 pm of fate are broken… jealousies and with socialist and capitalist mores. I A CIVIC Sat 4 Aug, 6.45 pm* betrayals flourish and die, but the two loved it.” — Nick James, Sight & Sound A HWOOD Sun 5 Aug, 4.15 pm continue to attract and repel each other.

Burning Beoning Special Presentation

By critical consensus a masterpiece, and the highest ever rated film on the Screen International’s eagerly pored- Director: Lee Chang-dong over Cannes jury grid, Burning, like South Korea/Japan 2018 | 148 mins Producers: Lee Joon-dong, Lee Chang-dong, previous record holder Toni Erdmann, Ok Gwang-hee left the Competition officially prizeless Screenplay: Oh Jung-mi, Lee Chang-dong. Based on the short story ‘Barn Burning’ by but showered in glory. A love triangle Murakami Haruki and a mystery, it concerns an earnest Photography: Hong Kyung-pyo young writer’s (Yoo Ah-in) jealous crush Editors: Kim Hyun, Kim Da-won Music: Mowg on a mercurial woman (Jun Jong- With: Yoo Ah-in, Steven Yuen, Jun Jong-seo seo) who takes up with a handsome, Festivals: Cannes (In Competition) 2018 In Korean with English subtitles prosperous companion (Steven CinemaScope | Censors rating tbc Yeun, The Walking Dead). “Not a lot actually burns in Lee Chang-dong’s Burning… But the cumulative effect of all its perfect moments, all its perfectly true, unexpected and consequential scenes, is scorching. The embers are banked up so gradually and relentlessly that it’s not until a few hours after the ending short of miraculous… The narrative is of this elusive, riveting masterpiece that slippery as silk, eliding from romance “Intensely captivating… you are far enough away to appreciate to tragedy to mystery to something Burning handles the the scale of the conflagration… more unsettling… This sense of It is based on a skeletal short story surprise and inevitability is a hallmark ideas of a triangulated by Murakami Haruki in the same way a of truly masterful writing… and such relationships and emotions spreading oak is based on an acorn… skillful direction that it feels like you’re in intensely mesmerizing The absolute precision of craft, from suspended within the story in an invisible Hong Kyung-pyo’s unerring camera tangle of glances and exchanges, secrets and subtle ways.” — Jordan IVICA C Sat 28 Jul, 3.30 pm placement to [the] stunningly variegated and lies, tricks and cruelties and lucky Ruimy, The Playlist B CIVIC Mon 30 Jul, 12.30 pm and cleverly deployed score, illuminates shafts of reflected sunlight.” — Jessica A HWOOD Sat 4 Aug, 5.30 pm a trio of performances that are little Kiang, Sight & Sound 12

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Can’t find what you’re looking for? Catch up on films, comedy, lifestyle and more at maoritelevision.com BIG NIGHTS AND SPECIAL PRESENTATIONS 13

Capharnaüm Special Presentation

A popular hit in Cannes, and already eyed-up as an Oscar contender, this heartfelt drama of a runaway boy’s Director: Nadine Labaki life on the streets of Beirut was shot Lebanon 2018 | 123 mins Producers: Khaled Mouzanar, Michel Merkt with a cast of non-professional actors Screenplay: Nadine Labaki, Jihad Hojeily, by Lebanese actress/director/co-writer Michelle Kesrouani, Georges Khabbaz, Khaled Mouzanar Nadine Labaki (Caramel, NZIFF08). Photography: Christopher Aoun “While this is unquestionably an Editors: Konstantin Bock, Laure Gardette Music: Khaled Mouzanar issue film, it tackles its subject with With: Zain Al Rafeea, Yordanos Shiferaw, intelligence and heart… Labaki uses a Boluwatife Treasure Bankole, Kawthar Al Haddad, Fadi Kamel Youssef, Cedra Izam, Alaa Chouchnieh, trial to structure the film, though this Nadine Labaki isn’t a courtroom drama... Admittedly Festivals: Cannes (In Competition) 2018 the case could probably only exist in Jury Prize, Cannes Film Festival 2018 In Arabic and Amharic, with English subtitles cinema: Zain (Zain Al Rafeea), already CinemaScope/Censors rating tbc serving a five-year sentence for stabbing someone, is suing his parents… for giving him life. Approximately 12 years old (even his parents don’t know his exact age), this pint-sized James Dean is a sensitive toughie simmering with righteous resentment. One glimpse at the swaggering, foul-mouthed Zain, his troubled home life and it’s easy to combining the requisite traits of “A social-realist blockbuster understand why… wounded sensitivity with seasoned – fired by furious Firmly in the tradition of great resilience that somehow never feels guttersnipe dramas, the film pays a clichéd.” — Jay Weissberg, Variety compassion and teeming considerable amount of attention to “Capharnaüm is a howl of protest with sorrow, yet strewn milieu, foregrounding the solidarity against social injustice, a film as with diamond-shards of of children as they struggle to survive grounded in a place and time and yet in an adult-made hell... Moments of as universal in its empathy with the beauty, wit and hope.” A Rialto Sat 21 Jul, 6.00 pm humor…offer just the right balance dispossessed as Bicycle Thieves or — Robbie Collin, The Telegraph B CIVIC Fri 3 Aug, 10.45 am with the overall unforced pathos… Salaam Bombay!” — Lee Marshall, A WGATE Sat 4 Aug, 3.45 pm A CIVIC Sun 5 Aug, 3.00 pm Young Al Rafeea is a revelation as Screendaily

Wings of Desire Der Himmel über Berlin Special Presentation

For many the highlight of this year’s Berlinale was the premiere of this dazzling new 4K restoration of Wim Director: Wim Wenders Wenders’ spectacularly aerial Wings of West Germany/France 1987 128 mins Desire. Shot in Berlin two years before Producers: Wim Wenders, Anatole Dauman the fall of the Wall, it’s a palpably Screenplay: Wim Wenders, Peter Handke humanistic film purporting to see into Photography: Henri Alekan Editor: Peter Przygodda the anxious souls of city dwellers Music: Jürgen Knieper, Nick Cave and the Bad Seeds through the eyes of angels. One of With: Bruno Ganz, Solveig Dommartin, Otto Sander, Curt Bois, Peter Falk them (Bruno Ganz) hankers to become Festivals: Cannes 1987; Auckland 1988 human and taste the coffee. The Best Director, Cannes Film Festival 1987 In German, French and English, with English surround-soundscape is as gloriously subtitles untethered as the film’s floating camera, 4K DCP | B&W and Colour | PG coarse language a symphony of voices, music and urban ambience cradling the poetry of Peter PRESENTED IN ASSOCIATION WITH Handke’s script. Lyrically articulating a profusion of existential doubts and fleeting sensory delights, it’s one of the great Rorschach test movies, many things to many people – and incidentally a must for Nick Cave completists. in 4K shows us a city and shows us No longer subject to the intermediate a world that is 30 years old, but it is “It’s full of astonishingly steps entailed in printing black and so succinct, so there and so rich that hypnotic images… and white imagery on colour film stock, the it could also be a new film.” — Wim digital restoration, scanned from the Wenders manages effortlessly original negative, renders the legendary “Wings of Desire is shot in a silvery to turn Wenders’ and cinematography of Henri Alekan even black and white so that Berlin seems Peter Handke’s poetic, more vividly than when we first showed dusted with celestial soot… The first the film in 1988. Don’t miss your time I saw the film I thought it was a literary script into pure IVICA C Sun 22 Jul, 6.15 pm chance to experience it on the giant knockout; on second viewing it already cinematic expression.” A HWOOD Tue 24 Jul, 8.00 pm Civic screen. seemed a classic.” — J. Hoberman, B CIVIC Fri 27 Jul, 1.15 pm — Geoff Andrew, Time Out “Wings of Desire on the big screen Village Voice 14 BIG NIGHTS AND SPECIAL PRESENTATIONS

Shoplifters Manbiki kazoku Special Presentation

Few filmmakers are as delicate observers of family units – and especially of children – as Kore-eda Hirokazu, and Director/Screenplay/Editor: Shoplifters radiates with the same Kore-eda Hirokazu Japan 2018 | 121 mins joyous naturalism and sad wisdom of Producers: Matsuzaki Kaoru, Yose Akihiko, his best work. The eponymous shoplifters Taguchi Hijiri are the Shibatas, a low-income family of Photography: Kondo Ryuto Music: Hosono Horuomi five struggling away in a tiny corner of With: Lily Franky, Ando Sakura, Matsuoka Mayu, Tokyo. Scrimping and saving, as well as Kiki Kilin, Jyo Kairi, Sasaki Miyu Festivals: Cannes (In Competition) 2018 stealing whenever necessary, this Palme d’Or, Cannes Film Festival 2018 overcrowded household one day opens In Japanese with English subtitles Censors rating tbc their door to an abused child wandering the neighbourhood. Wary of exposing PROUDLY SPONSORED BY their own living situation, they ignore the authorities and secretly adopt the little girl – to everyone’s greater happiness, but also peril. The permissible definition of what makes a family is constantly under suspicion, even as we witness the © 2018 FUJI TELEVISION NETWORK / GAGA CORPORATION Shibata’s closeness. Their ethical latest caught everyone off guard ­– a predicament will ultimately be laid bare testament to his masterfully understated “Profoundly moving… in ways that resound long after this approach to human life, and to the a haunting film about passionately humane film reaches its power of calm, compassionate voices final frame. in a world where we can barely hear abandoned people, A triumph of subtlety over spectacle, one outrage over another for all the and the beautiful things Shoplifters was awarded this year’s screaming. — Tim Wong that are lost and found Palme d’Or at a festival usually overrun “[Kore-eda’s] embrace is as ferocious by the most controversial or brazenly and beautiful and loving as that of a between.” — David Ehrlich, AIVIC C Sat 21 Jul, 6.30 pm political films. In fact, as socially mother trying to hug away all her child’s Indiewire B CIVIC Mon 23 Jul, 10.30 am conscious as recent Cannes-winner fears. His… film is a gorgeous thing.” A WGATE Sun 29 Jul, 5.30 pm I, Daniel Blake, the potency of Kore-eda’s — Jessica Kiang, Sight & Sound

Happy As Lazzaro Lazzaro felice Special Presentation

Part bucolic fable, part social realism and all fertile imagination, Alice Rohrwacher’s beguiling third feature Director/Screenplay: Alice Rohrwacher proves she is one of the most inventive Italy/Switzerland/France/Germany | and compelling voices in contemporary 2018 125 mins Producer: Carlo Cresto-Dina world cinema. Photography: Hélène Louvart Set in rustic Italy, rewarding ground Editor: Nelly Quettier With: Adriano Tardiolo, Agnese Graziani, for her previous feature NZIFF14 Alba Rohrwacher, Luca Chikovani, Centrepiece, The Wonders (in which Tommaso Ragno, Sergi Lopez, Natalino Balasso, Gala Othero Winter, David Bennent, sister Alba also had a significant Nicoletta Braschi role), the film opens as a peasant Festivals: Cannes (In Competition) 2018 Best Screenplay, Cannes Film Festival 2018 boy serenades his love with fairy-tale In Italian with English subtitles conviction. The revellers, it transpires, Censors rating tbc are tobacco harvesters subjugated by an over-entitled marchesa. Village innocent Lazzaro (divine newcomer Adriano Tardiolo) becomes the unlikely friend and accomplice of Tancredi, the marchesa’s dandified son. Imbued with a saint-like beauty, Lazzaro is alternately adored and exploited by all and is soon Rohrwacher’s poetic amalgam of the unwittingly embroiled in a kidnapping two is as deliberate as it is teasing and “Alice Rohrwacher’s plot by his manipulative friend. magical. To give the rest away would supernatural sun-drenched What seems at first to be a story be an injustice to her breathtaking ‘out of time’ reveals itself to be a very cinematic logic (she jointly won the Best folk tale of the birth of particular historical moment and then, Screenplay award at Cannes this year). modern Italy is as sublime with a sly and unexpected narrative spin, Gorgeously filmed on Super 16 by as it is beautiful.” becomes decidedly more immediate regular collaborator Hélène Louvart, and familiar. The biblical stories of the this modern-day allegory is no flight — Joseph Walsh, Time Out A WGATE Sat 21 Jul, 4.00 pm resurrected Lazarus and the beggar of fancy; it also serves as a biting A Rialto Tue 24 Jul, 8.00 pm Lazarus are frequently conflated – critique of our own very troubled times. B CIVIC Tue 31 Jul, 1.00 pm A CIVIC Thu 2 Aug, 6.30 pm either by accident or ignorance – but — Clare Stewart BIG NIGHTS AND SPECIAL PRESENTATIONS 15

Yellow is Forbidden Special Presentation

Chinese designer Guo Pei made fashion Pietra Brettkelly* headlines around the world when Rihanna wore her massive canary yellow Director/Screenplay: Pietra Brettkelly gown to the Met Gala in 2015. If ever New Zealand/China/France 2018 97 mins a dress was intended to stop the show, Producers: Pietra Brettkelly, Richard Fletcher, this was it. Typically of Guo Pei, it was Naomi Wallwork intricately embroidered and bejewelled, Photography: Jacob Bryant Editors: Nicolas Chaudeurge, Margot Francis the product of years rather than Music: Tom Third months of work – an opulent one-off, With: Guo Pei, Philip Treacy, Wendi Murdoch, Godfrey Deeny likely only ever to be worn on a catwalk Festivals: Tribeca, Hot Docs 2018 or red carpet. In Chinese, French and English, How did the daughter of a with English subtitles communist soldier and primary school teacher, educated, as she informs a bemused Western press at ‘No 2 Light Industry School, Beijing’, become the designer of choice to China’s one percent, positioning herself for global significance? We are taken into her world as she seeks acceptance from Paris’ Chambre Syndicale de la Haute for imperial grandeur may never have Couture. Her irresistible force may have looked more insanely magnificent than “Compelling and met an immovable object. in Guo Pei’s world of wearable arts. Its stimulating… an intimate, In milieux as different as Afghanistan roots in suppression, aptly alluded to in (A Flickering Truth), South Sudan (The the film’s title, are astutely observed in involving portrait of Art Star and the Sudanese Twins) Brettkelly’s fascinating, gorgeous film. Chinese fashion designer and a NZ high school (Ma¯ori Boy “With a remarkable eye for detail Guo Pei.” — Keith Uhlich, Genius), Pietra Brettkelly has excelled and exquisite blending of visual art as an enthralled yet keenly perceptive forms, Pietra Brettkelly captures Guo’s Hollywood Reporter A CIVIC Sun 22 Jul, 1.00 pm* observer of highly driven individuals. drive, artistry, meticulousness, and B CIVIC Thu 26 Jul, 10.45 am* In Guo Pei she meets a subject fit for acumen.” — Brian Gordon, Tribeca Film A WGATE Fri 27 Jul, 6.30 pm the times. The contemporary hankering Festival

Mirai Mirai no Mirai Special Presentation

“The complex, sometimes fraught relationship between older and younger siblings is mapped with Director/Screenplay: Hosoda Mamoru kindness, imagination and wit in Mirai, Japan 2018 | 98 mins Producers: Saito Yuichiro, Ito Takuya, Adachi Yuichi, from Japanese writer-director Hosoda Kawamura Genki Mamoru… Inspired by Hosoda’s Animation directors: Aoyama Hiroyuki, Hata Ayako experience watching his own kids Artistic directors: Omori Takashi, Takamatsu Yohei Music: Takagi Masakatsu interact, this latest work, rooted more Voices: Kamishiraishi Moka, Kuroki Haru, in realism and domesticity despite some Hoshino Gen, Aso Kumiko, Yoshihara Mitsuo, Miyazaki Yoshiko, Yakusho Koji flights of fancy, continues the director’s Festivals: Cannes (Directors’ Fortnight), Annecy ongoing preoccupation with family 2018 In Japanese with English subtitles dynamics, explored previously with Censors rating tbc more fantastical settings in The Boy and the Beast and Wolf Children… PRESENTED IN ASSOCIATION WITH In an affluent suburb, Kun, a little boy of maybe three or four, lives with his mom and dad in a flowing, modernist house – designed by Kun’s dad himself – that descends room by room down a hill, enclosing a little yard with a single tree… The peace of this Hosoda has a lovely, light touch and harmonious little world is disrupted leavens the proceedings with “Beguilingly sweet-natured by the arrival of Mirai, Kun’s new little dry, well-observed humor. Likewise, … Mirai is a work of sister, who, although cute, also makes the character design walks the line demands on his parents’ time and with grace between big-eyed anime heart-swelling beauty attention, much to Kun’s chagrin... cutesiness and closely observed and considerable charm.” When mom goes back to work and realism, capturing with insightful wit — Wendy Ide, Screendaily leaves dad to look after the kids at the way dogs and kids move and home, Kun takes to spending a lot of wiggle.” B CIVIC Fri 20 Jul, 1.15 pm time alone in his playroom or the yard. — Leslie Felperin, Hollywood Reporter A CIVIC Sun 22 Jul, 3.45 pm There, he makes friends with a dashing A WGATE Sat 28 Jul, 4.00 pm prince in 18th century clothing... 16

By Taylor Mac

“Hir is more than a comedy about gender. It proves the potential of theatre” The Guardian

 –  August silotheatre.co.nz LIVE CINEMA 17

The General Auckland Philharmonia Live Cinema

Buster Keaton, the stone-faced genius of silent-era comedy, at his funniest and most thrilling in an exquisite new digital restoration of the most serenely locomotive movie ever made. Accompanied by the Auckland Philharmonia Orchestra performing Carl Davis’ excellent score, conducted by Peter Scholes.

“Railroads are a great prop. You can do some Directors: Buster Keaton, Clyde Bruckman awful wild things with USA 1926 | 79 mins Producer: Joseph M. Schenck railroads.” — Buster Keaton Screenplay: Buster Keaton, Clyde Bruckman, Al Boasberg Charles Smith Photography: Bert Haines, Devereaux Jennings Editor: Sherman Kell With: Buster Keaton (Johnnie Gray), Marion Mack (Annabelle Lee), Glen Cavender (Captain For NZIFF’s 19th collaboration with Anderson), Jim Farley (General Thatcher), Frederick the Auckland Philharmonia Orchestra, Vroom (Southern General), Charles Smith (Annabelle’s father), Frank Barnes (Annabelle’s we return to one of the wonders mother), Joe Keaton (Union General) of the movie world in as beautiful a Festivals: Auckland 1993, 1999 4K DCP | B&W | G cert presentation as that world has ever seen. This stunning new 4K restoration Music by Carl Davis. of The General, preserved by the Library of Congress, restored by Modern Music commissioned by Thames Television for Channel 4. Videofilm and supervised by the Cohen Music performed by arrangement with Collection, provides the perfect excuse Faber Music Ltd, London. to screen this film for (only) the third time in NZIFF’s history. Peter Scholes conducts Carl Davis’ classic score. Many critics consider The General to be the last great comedy of the silent era. It consistently ranks as one of the greatest comedies of all time in international polls. The title refers to Keaton’s engine, ‘The General’, which figures prominently in one of the most harrowing and hilarious chase scenes ever filmed. Keaton portrays the engineer Johnnie Gray, who is rejected by the Confederate Army and then suffers the further humiliation of his girlfriend thinking him a coward. When a small band of Union soldiers penetrate far beyond Confederate lines to steal his locomotive, Johnnie Gray sets off “Everything one could wish for: witty, dramatic, in hot pursuit. visually stunning, full of subtle, delightful human “The General is unique and perhaps perfect. In form and method it is like insights, and constantly hilarious.” no other comedy, not even another — Geoff Andrew, Time Out Keaton picture. Here, uniquely, the dramatic action and the comic business are one and interdependent. You never feel that the story is simply an excuse Conductor Peter Scholes has a long Music for silent films has been an for the comedy, or that the gags are a association with film scoring. He was enduring strand of the prolific Carl decoration planted on the story. composer and conductor for the New Davis’ activities. His 1980 score for In The General, however, it is less the Zealand feature film Desperate Remedies Abel Gance’s Napoléon triggered an gags you remember than the image of by Peter Wells and Stuart Main, and also extraordinary revival of interest in silent the lonely, brave, beautiful, foolish little conducted the soundtrack to Heavenly film, and his oeuvre of more than 50 figure in relentless pursuit of the two Creatures. He was founder (1999) scores for this medium, including Flesh things which he loves most and which and is currently musical director of the and the Devil, Ben-Hur, The Thief of have been stolen away from him. His Auckland Chamber Orchestra, which Baghdad, Greed, Intolerance and The relationship to both is passionate and he conducted in our first ever orchestral General, has brought him international touching. When he is carried off on the Live Cinema, Erich von Stroheim’s The acclaim. driving-bar he has become a part of Wedding March at the St James Theatre his machine. And his relationship with in 1999. He has conducted all the Marion Mack is beautiful.” — David professional New Zealand orchestras Robinson, Buster Keaton as well as the London Philharmonic ✪ CIVIC Sun 5 Aug, 6.15 pm Orchestra, the London Symphony SPECIAL PRICES APPLY – see page 4 Orchestra, the London Orion Orchestra and the Prague Symphony Orchestra. 18

Bludgeon AOTEAROA Ryan Heron Andy Deere Directors/Producers: Ryan Heron, Andy Deere New Zealand 2018 90 mins Photography: Ryan Heron, Tim Flower, Andy Deere Editor: Andy Deere Camera assistant: Kaleb Brown Music: Jeremy Toy Sound design: Department of Post With: Nicholas Matepo Waiariki, Martainn Cuff, Justin Stockbridge Cinemascope

Ryan Heron and Andy Deere’s Captain of the Thorns, Martainn ‘The affectionate and funny documentary Machine’ Cuff, has a lifelong dream introduces us to the competitive sport to represent his country but has an of ‘medieval combat’ and its eccentric unexpected obstacle to overcome – cast of characters – each vying to swing his pathological fear of wolves. Thorns swords (not to mention battle axes, manager and master armourer Justin maces and halberds) for New Zealand Stockbridge is one of New Zealand’s on the world stage. Just don’t call it most experienced fighters, but his re-enactment or LARPing, because take-no-prisoners management style this intensely physical and exhausting ruffles more than a few feathers. Does sport of violent armour-clad combat is this oddball crew have what it takes anything but play-acting. to compete internationally in what Our initiation into this weird and must be one of the world’s most brutal wonderful world comes through the combat sports? — MM enthusiastic but self-confessedly out-of- shape rookie Nick Waiariki. His quest for A QSt Tue 24 Jul, 6.15 pm glory takes him from Rotorua to Taranaki, B QSt Wed 25 Jul, 3.45 pm where he is set to try out for the number A QSt Wed 25 Jul, 8.15 pm one-ranked Kiwi team, the Steel Thorns.

NEW ZEALAND FILMS AT NZIFF ARE PROUDLY SUPPORTED BY Celia

Amanda Millar Director/Producer: Amanda Millar New Zealand | 101 mins Executive Producer: Garry Robertson Photography: Belinda Walshe, David Paul Editor: Lala Rolls Music: Naia Alkhouri, Michel NZIFF is always proud to provide big screen Alkhouri With: Celia Lashlie, Salvatore ‘Salvi’ premieres for striking work made within our own Gargiulo, Gabe Quirke, Rebekah Henderson, Heather Main, shores – and by Kiwis working elsewhere. Adele Bull © TARANAKI DAILY NEWS Documentary filmmakers celebrate remarkable Celia Lashlie, an impassioned, and the testimony of colleagues show charismatic advocate for equality of her in peak form, compassionate, New Zealanders on this year’s programme. opportunity in New Zealand, is mourned funny, combative and blunt. We also welcome the home landing of Dustin and celebrated in this documentary Two other memorial projects are written, directed and produced by woven through this one: a theme song Feneley’s spectacular feature Stray. In selecting former TV current affairs journalist composed and performed by 12-year- our two regular short film programmes – New Amanda Millar. Millar was responsible old Naia Alkhouri; and the portrait for several 60 Minutes items that painted by her close friend Heather Zealand’s Best and Ngā Whanaunga – we saw enabled Lashlie, frequently at odds Main. Four symbols on Main’s painting so many terrific new shorts in 2018 that we with bureaucracy, to put her case to structure the film to describe the four the nation. When Lashlie received a cornerstones of Lashie’s life, ultimately added two more programmes to show them off. terminal cancer diagnosis in late 2014, landing on the deep respect for human she invited Millar to film the final year potential expressed through the See also: Yellow is Forbidden (p15), Dog’s Best of her life. The end came much sooner transformative originality of her work. Friend (p67), Mega Time Squad (p86). than expected, but Lashlie’s final leading of a domestic violence camp, and an AWT A Sun 5 Aug, 11.30 am intensely moving interview filmed days before she died, provide the heart of this inspiring portrait. Archive footage AOTEAROA 19

Angie

When Angie Meiklejohn’s mother Costa Botes followed the latest love of her life to Centrepoint in 1985, taking Angie, Director/Producer/Cinematography/ her younger brother and two little Editor: Costa Botes New Zealand 2018 | 119 mins sisters, they’d never lived anywhere so Associate producer/Researcher: Anke Richter nice. The parkland setting was idyllic, Music: Richard Adams, Nigel Gavin, Jonathan Besser with an Olympic-size swimming pool, Additional music: Harley Greene, Podington Bear, Blue Dot Sessions and all their material needs were With: Angie Meiklejohn covered. As we now know, what Censors rating tbc happened to children at Bert Potter’s alternative lifestyle settlement was far from nice. Costa Botes’ film about Angie and her siblings provides a vivid, multidimensional view of the damage done – often to already damaged people. Angie herself was in trouble even before the move to Centrepoint. She and her brother had been wards of the state. She’d been sexually abused by one of her mother’s lovers, and then raped, aged 11, by the teenage Her younger sisters recall just as clearly, son of another. Desperate for some but remember nothing but horror. “Funny, smart, big hearted, sense of belonging and approval, she The catalogue of projects and love unflinchingly honest, embraced the community’s values and affairs subsequently undertaken and the attention of its founder. abandoned by Angie is staggering. a steadfast friend – Angie and her siblings are compelling, What never seems in doubt is her whatever her past hurts, strikingly assured camera subjects. One great appetite for life and a mind that’s Angie is an engaging and of the many salutary virtues of Angie’s never sharper than when dissecting the account is the livid clarity with which dynamics of sexual abuse, and the way loveable human being.” WTA A Sun 29 Jul, 1.15 pm she recalls, for example, how empowered parental neglect and that abuse have — Costa Botes B AWT Mon 30 Jul, 11.00 am she felt being wanted by old men that shaped her choices. She has much to she could barely bring herself to look at. tell us all.

The Heart Dances – the Journey of The Piano: the ballet

Czech choreographer Jiří Bubeníček Rebecca Tansley and his twin brother and designer, Otto are stars in the European dance Director: Rebecca Tansley world, creators of vital, innovative New Zealand 2018 | 99 mins Producers: Robin Laing, Rebecca Tansley contemporary ballets. Director Rebecca Photography: Simon Raby Tansley (Crossing Rachmaninoff) follows Editor: Thomas Gleeson them from Prague to Aotearoa as Music: Aldous Harding, Charles Ives, Michael Nyman, Bic Runga, Alfred Schnittke, they take up an invitation from the Dmitri Shostakovich, Bedřich Smetana, Flavio Villani Royal New Zealand Ballet to expand With: Jiří Bubeníček, Otto Bubeníček, Moss Patterson, Patricia Barker, the dancers and staff their adaptation, made in Germany in of the Royal New Zealand Ballet 2015, of Jane Campion’s film. Tansley’s documentary feasts on the sheer beauty of the Bubeníčeks’ work – the music, the theatricality, the costumes, the suite of achingly expressive pas de deux at the heart of the piece. It also presents a delicately traced picture of the Old World at sea in the New, and vice versa. The Bubeníčeks arrive apparently unaware that the work they have been invited to stage but above all she celebrates his vigour poses significant problems for Moss and enthusiasm for communication. “This is the 21st century Patterson, the Māori cultural adviser She observes the enormous reserves of and we have to stand contracted by the RNZB. (The original skill and discipline required of classical ballet gave prominent place to ‘Ka performers, all the more to savour the proud as Maˉori, but we Mate’.) Only someone who’s never thrill when everything takes flight. also have to find ways worked in the New Zealand cultural Intercutting rehearsal and performance, to work together, to be sector could be surprised that the The Heart Dances weaves a seductive, ensuing struggle, signally embedded in elegant celebration of a vital, centuries- together and to create WTA A Sat 4 Aug, 5.45 pm the 2015 work, unfolds over the four old art that still has a squillion tiny together.” — Moss Te Ururangi A Rialto Sun 5 Aug, 7.00 pm weeks before opening night. dancers line up to audition for the Patterson Tansley sees Bubeníček’s dismay, Anna Paquin role. 20 AOTEAROA

Merata: How Mum Decolonised the Screen

By the time the pioneering indigenous Heperi Mita filmmaker and activist Merata Mita died suddenly in 2010, she had packed an Director: Heperi Mita extraordinary amount of action into her New Zealand 2018 | 95 mins Producer: Chelsea Winstanley 68 years. If her youngest son Heperi Executive producer: Cliff Curtis Mita became a film archivist and a Creative producer: Tearepa Kahi filmmaker in order to discover the stories Associate producer: Manutai Schuster Photography: Mike Jonathon she did not live to tell him, then we in Editor: Te Rurehe Paki Aotearoa have something new to thank Consulting editor: Annie Collins With: Merata Mita, Rafer Rautjoki, Richard Rautjoki, her for. His first film is a remarkable Rhys Rautjoki, Awatea Mita, Eruera `Bob' Mita, accomplishment, a compelling Great Heperi Mita, Taika Waititi, Alanis Obomsawin, Bird Runningwater Woman portrait that speaks intimately In Māori and English, with English subtitles from personal experience. Colour and B&W He has an abundant archive of film and TV appearances to draw on, beginning with his mother’s mesmerising testimony as a Māori woman bringing up children alone in the 1977 TV documentary Maˉori Women in a Paˉkehaˉ World. By 1979 she was making © GIL HANLEY landmark documentaries herself, most when Merata and his father Geoff notably Bastion Point: Day 507 (1980) Murphy lived in LA and Hawaii. He “Merata Mita is the and Patu! (1983) which rattled Kiwi turns to his older siblings to learn about grandmother of complacency by so clearly identifying earlier days when living was often the violation of Māori rights – the latter hand-to-mouth and police raided the Indigenous Cinema. film explicitly tying New Zealand’s record house in search of Patu! footage. They This film is a dedication to apartheid in South Africa. In 1988 are a loving whānau whose testimony to her life’s work her film Mauri, deftly quoted in this reverberates with the conviction that one, was the first feature written and their mother’s fierce maternal instinct towards that goal.” AWT A Thu 2 Aug, 6.15 pm directed by a Māori woman. was integral to her work as a fighter, — Chelsea Winstanley B AWT Fri 3 Aug, 1.30 pm Heperi is the first to acknowledge mover, shaker, mentor and artist of that he grew up in the best of times, abiding international significance.

Paul Callaghan: Dancing with Atoms

Sir Paul Callaghan, physicist, science Shirley Horrocks communicator, entrepreneur and 2011 New Zealander of the year, died in Director/Producer/Screenplay: 2012, of cancer, when he was in his Shirley Horrocks New Zealand 2018 | 103 mins prime. As well as doing research into Photography: Craig Wright nuclear magnetic resonance, he was Editor: Steven Mountjoy writing books, giving public lectures and Sound: Tony Parkinson Research: Roger Horrocks, Shirley Horrocks sharing his vision of a prosperous and Cartoons: Dylan Horrocks predator-free New Zealand – “a place,” he said, “where talent wants to live.” Shirley Horrocks, who met Callaghan while making her 2012 film Venus: A Quest, focuses here on his life in science. Through big brother Jim, classmates, colleagues and Callaghan himself – in a series of interviews filmed in 2010 – we journey from Callaghan’s childhood in Whanganui, to his work at Massey University, then to Victoria University of Wellington and the The Auckland premiere of this film on MacDiarmid Institute for Advanced Shaun Hendy about his former mentor. Tuesday 24 July is a special fundraiser Materials and Nanotechnology. There Poet Bill Manhire, cartoonist Dylan “It was the wonder of presentation with the proceeds going are dramatisations of schoolboy high Horrocks, broadcaster Kim Hill and science that charged to the Cancer Society of NZ. Ticket prices jinks and footage from Callaghan’s trips Weta Workshop’s Richard Taylor are for this session are $25 full and $20 concession/seniors/children. to Antarctica. among those who describe how him. He was tremendously Callaghan’s life, and the film, takes Callaghan expanded the conversation excited by it and he ✚ AWT Tue 24 Jul, 6.15 pm a turn after his move to Wellington, between science and wider society and wanted to convey that where he applied himself beyond rallied people to his causes, many of excitement to other Regular NZIFF prices physics to art–science collaborations, which continue after his death. apply for the remaining sessions. economics and conservation. Anyone who knew Paul, or was people.” — Kim Hill “Suddenly it became OK for scientists affected by his work, will want to see B Rialto Fri 27 Jul, 11.45 am A Rialto Sat 28 Jul, 1.45 pm to work with artists,” says physicist this tribute. — Rebecca Priestley AOTEAROA 21

Stray

One of the most strikingly Dustin Feneley photographed New Zealand films in recent memory, Stray is the statement- Director/Screenplay: Dustin Feneley making feature debut of writer/director New Zealand 2018 | 104 mins Producers: Desray Armstrong, Dustin Feneley Dustin Feneley. Set in the wintry south, Photography: Ari Wegner this bracingly spare character drama Editor: Dione Chard Production designer: Sophie Durham frames Aotearoa’s oft-filmed landscapes Sound designer: Dick Reade in a clear and startling new light. With: Arta Dobroshi, Kieran Charnock, Joel Fili, Jack (Kieran Charnock, The Ross Harper, Mia Blake, Sean Crawford Festivals: Moscow 2018 Rehearsal), a taciturn young man on Best Actor (Kieran Charnock), parole for grievous bodily harm, holes Moscow International Film Festival 2018 M adult themes up in a cabin somewhere in Central Otago. It’s not clear whether he’s trying to forget the past or reconcile with it, although his hesitancy with locals suggests he’s much closer to the scene of the crime than he’d care to admit. Locked away in a prison of his own making, Jack one evening encounters Grace, very far from home and seeking refuge. Played by the emotions lend greater power to its captivating Arta Dobroshi, star of the visuals. Ari Wegner, the talented DP Capturing New Zealand’s Dardenne brothers’ Lorna’s Silence, behind Lady Macbeth’s intense painterly moody and majestic Grace’s own private struggles linger compositions, does astonishing things beneath her attraction to Jack. These with darkness and diffused natural southern landscape with lonely, enigmatic strangers drift into a light. Within these stunning images, terrific clarity, Stray relationship that promises to either heal the Man Alone tradition is alive and demands to be seen on or hurt. well, but it’s also crisply refocused There’s a deliberate – in the context through Feneley’s commitment to stark the big screen. A AWT Sun 22 Jul, 6.00 pm of the short history of our national silences and bold cinematic spaces into B AWT Tue 24 Jul, 1.15 pm cinema even daring – aesthetic a kind of hard-edged New Zealand discipline to this film, whose suppressed poetry. — Tim Wong

M a¯ u i ’ s H o o k She Shears

Paora Joseph* Jack Nicol Director: Paora Joseph Director: Jack Nicol New Zealand 2018 New Zealand 2018 92 mins 86 mins Screenplay: Lani-rain Feltham. Producers: Georgina Allison Based on a story by Paora Joseph Conder, Ainsley Gardiner Photography: Bevan Crothers, Screenplay: Jack Nicol Maria Ines Manchego Photography: David Russell Editor: Gareth Dick With: Jills Angus Burney, With: Niwa Whatuira, Hera Foley, Hazel Wood, Catherine Mullooly, Nicola Kawana, Paora Joseph Pagan Karauria, Emily Welch In Māori and English, with English subtitles Censors rating tbc

© REBECCA MCMILLAN PHOTOGRAPHY Invoking the skills, cunning and suicide statistics he introduces their When a Kiwi girl sets her heart on no special category for women. For defiance of the legendary tupuna, the fictional surrogate in young Tama (Niwa becoming a shearer there’s not a lot Ruawai’s Hazel Wood, busting to title of this stirring film by psychologist Whatuira), who observes the suffering that’s going to stop her, as the five escape the world of dairy conversion, and filmmaker Paora Joseph also alludes of loved ones left behind and comes women profiled in this lively doco the competition represents a first foot to the line on a map traced by the bus too late to apprehend that his pain happily testify. Central Otago’s Pagan on the ladder. Though Pagan claims trip he takes us on from Parihaka to and anger need not be permanent, but Karauria admits it was tough getting a she’s bent on placing ‘first or second’, Te Rerenga Wairua (Cape Reinga). The death most surely is. gig at the start, but with her champion her true determination lies in beating travellers who join this hikoi wairua are Joseph’s film is purpose-built to dad staunchly behind her, she’s made the terrible internal injuries suffered in a five families, four Māori, one Pākehā, change attitudes and provoke action. the shearing shed the focus of her road accident. While the Golden Shears each grieving the suicide of someone Post-NZIFF, as Maˉui’s Hook travels to career, not just as a competitive shearer, comperes freestyle with verbal flair on very close. In the bravest, most sobering selected community venues around the but as an ace wool sorter and mentor a flying fleece or a kicky ewe, director of interviews, these five families each country it will be supported by suicide to other young women. With whānau Jack Nicol applies camera poetry to the gather to tell the story of the person in prevention workshops organised by solidly backing them, each of these agility, strength, skill and rhythmic grace their midst who took their own life. Māori health providers. women strive, more than anything, of women wielding blades of steel. Joseph conducts and films wānanga to better themselves. For legends with the families as they journey north A AWT Sat 21 Jul, 5.30 pm* Jills Angus Burney and Emily Welch, A AWT Wed 1 Aug, 6.15 pm to release and farewell their loved B AWT Mon 23 Jul, 1.15 pm* personal bests have been world records. B Rialto Thu 2 Aug, 11.30 am ones. Addressing the demographic A WGATE Tue 24 Jul, 6.30 pm At the Golden Shears, the world’s most commonly reflected in our tragic biggest shearing competition, there’s 22 AOTEAROA 23

MADMAN ENTERTAINMENT CREATIVE NEW ZEALAND New Zealand’s Best 2018 JURY PRIZE EMERGING TALENT AWARD 87 mins approx. | Censors rating tbc

Help give the year’s best New Zealand Run Rabbit No Shame My Friend Michael Jones short films the homegrown recognition NZ 2018 | Director/Screenplay: Robyn Paterson NZ 2018 | Director: Brendan Donovan | Producer: NZ 2018 | Directors: Ian Leaupepe, Samson Rambo they deserve by voting for your Producer: Paula Boock | Photography: Alun Bollinger Alex Clark | Screenplay: Carl Shuker, Brendan Donovan. Producers: Alex Lovell, Eldon Booth | Screenplay: favourite at these screenings. For this Editor: Gretchen Petersen | With: Saman Tehrani, Based on the novel The Lazy Boys by Shuker Eldon Booth, Ian Leaupepe, Samson Rambo Ram Al Laham | 19 mins Photography: Ian McCarroll | Editor: Chris Plummer Photography: Ian McCarroll | Editors: Luke Haigh, year’s New Zealand’s Best short film With: Kieran Charnock | 13 mins Eldon Booth | With: Villa Junior Lemanu, Luciane competition, NZIFF programmers Bill A refugee boy in an alien landscape. Buchanan | 15 mins A delicate work where reflections of Be warned, this is scary stuff. A Gosden, Sandra Reid and Michael Being different is difficult within a war and family tragedy are triggered young man returns home fractured McDonnell viewed 84 submissions school where bullying and torment are by everyday actions. Captured with by past relationships. Love and family to make a shortlist of 12 from which the norm. Tight storytelling and great a very real sense of place and an cannot uncover his hurt. Close and director and cinematographer Leon performances, with select camera unhurried openness of storytelling. intense performances edited with a Narbey selected these six finalists. A clarity where you can almost smell coverage allowing the characters to jury of three will select the winner of Charmer the adrenaline. work the frame. the $5,000 Madman Entertainment NZ 2018 | Director/Screenplay: Judah Finnigan Jury Prize and a Creative New Producer: Olivia Shanks | Photography: Matt Henley Falling Up Sail Away | | Zealand Emerging Talent Award of Editor: Paul Wedel With: Robyn Malcolm, Stephen NZ 2018 | Director/Screenplay: Chelsie Preston NZ 2018 Director: Ella Becroft, Tama Jarman | | Lovatt 12 mins Crayford | Producer: Andrew Marshall | Photography: Producer: Ilai Amar Screenplay: Tama Jarman $4,000. A $4,000 Wallace Friends | Raymond Edwards | Editor: Sarah Grohnert | With: Photography: Matt Henley Editor: Dione Chard A dating couple’s first real encounter. | of the Civic Award will be awarded Chelsie Preston Crayford | 13 mins With: Tama Jarman, Jarod Rawiri 15 mins Intimate and sensitive performances by donors the Wallace Foundation A young man dreams of escape into where sexuality, loneliness and age When a relationship collapses and and Wallace Media Ltd to the film or a childhood passion. Mad, funny and are covered in unhurried moments. the mother is trapped with the child, contributor to a film they deem to on the edge of the grotesque. A very Enhanced use of colour expresses the love and anguish are portrayed in an merit special recognition. The winner stylish film with formal compositions feelings of the situation. almost raw documentary way where of the audience vote takes away the all the emotional and telling details adding to a theatrically absurdist Audience Choice Award, consisting of are present. cabaret quality. 25 percent of the box office from the main-centre NZIFF screenings. Notes on each film provided by Leon Narbey.

WTA A Sat 28 Jul, 6.00 pm B AWT Mon 30 Jul, 4.00 pm

RUN RABBIT CHARMER FALLING UP

PRESENTED IN Nga¯ Whanaunga Ma¯ori Pasifika Shorts 2018 ASSOCIATION WITH 94 mins approx. | Censors rating tbc | In English and Maˉori, with English subtitles

A collection of Māori and Pasifika Ka Piko Moon Melon Mouse short films curated by Leo Koziol USA 2017 | Director/Screenplay: Bryson Chun NZ 2017 | Director/Screenplay: Trina Peters NZ 2018 | Director/Screenplay: Lani-rain Feltham (Ngāti Kahungunu, Ngāti Rakaipaaka), Producer: Grace Lim | 8 mins Producer: Unitec Institute of Technology Screen Arts Producers: Alyx Duncan, Lani-rain Feltham, Emma Programme | 9 mins Mortimer | 15 mins Director of the Wairoa Māori Film A young native Hawaiian man must Festival, with guest co-curator Craig undergo an unfamiliar tradition A night out with a group of young A strained relationship is tested Fasi (Niue), Director of the Pollywood following a tragic death. A beautiful Pasifika women. Much more than by the encroachment of a chaotic Film Festival. Curators’ comments on story of love, ownership and a slice of life portrait, Moon Melon natural world. When love has left the each film appear in italics. acceptance. — CF portrays Poly women breaking room, the rodents return to breed boundaries of culture and stereotype resentment. — LK My Brother Mitchell on the street. — LK Native in Nuhaka NZ 2017 | Director/Screenplay: Todd Karehana The Messiah NZ 2017 | Director: Hiona Henare | Producers: Hiona Producer: Mia Mārama Henry-Tierney | 9 mins Shadow Cut NZ 2017 | Director/Screenplay: Vela Manusaute Henare, Louisa Tipene Opetaia | 15 mins Producers: Sandra Kailahi | 15 mins A Māori boy comes to terms with the NZ 2017 | Director/Screenplay: Lucy Suess Producer: Johnny Lyon | 14 mins A short doco exploring the Māori death of his brother. A matter of the A young runaway finds refuge with passion for cinema against the heart must be resolved between two A young man has decided to leave his a self-proclaimed teenaged Messiah. backdrop of the annual Wairoa Māori young brothers. — LK small town but struggles to tell the one A sublime, dreamy and surreal Film Festival. Beautiful and undeniably friend he should. Drawn to a world Polynesian parable. — LK real, Native in Nuhaka encourages beyond restrictive walls of rural NZ, a more natives to use film as their young couple finds truth. — CF statement of choice. — CF

WTA A Sun 22 Jul, 3.00 pm B AWT Tue 24 Jul, 11.00 am

KA PIKO MY BROTHER MITCHELL THE MESSIAH 24

GORDON WALTERS NEW VISION 7 JUL 4 NOV 2018

A partnership project between Dunedin Public Art Gallery and Auckland Art Gallery Toi o Tāmaki

Principal partner

Exhibition partner

Gordon Walters Blue and Yellow 1967 Auckland Art Gallery Toi o Tāmaki, gift of JB Gibbs Trust, 2015

Everything you could be doing. Right now.

MUSIC ARTS MOVIES

Discover what’s on and what’s good, all day, every day at nzherald.co.nz/timeout AOTEAROA 25

Foreign Correspondents 78 mins approx. | Censors rating tbc

Kiwi filmmakers aren’t limited to Last Summer Spinosaurus One Thousand and telling New Zealand stories. They make Japan/NZ 2017 | Director/Screenplay: Asuka Sylvie UK 2017 | Director/Screenplay/Producer: Tessa Hoffe films in all corners of the globe, often Producer: Kosuke Onishi | 13 mins 14 mins Fifty Minutes NZ 2018 | Directors: Gabriel Abreu, Daniel Lynch bringing a uniquely Kiwi perspective A young boy on his summer holidays A young girl is thrust into a parental Screenplay: Gabriel Abreu | Producer: Nina Human to foreign stories, while immigrant stays home with his grandmother who role in this story of denial and 14 mins filmmakers can often bring a fresh is starting to show signs of dementia. dinosaurs set in remote coastal A young Venezuelan Kiwi is knocked perspective to stories told here. Asuka Sylvie was inspired by her Scotland. Expat director Tessa off balance by news of political unrest This collection of accomplished and own time staying in Japan with her Hoffe gets beautifully authentic back home. Based on co-director affecting films shares tales told by Japanese grandmother. performances from her young cast. Gabriel Abreu’s own experiences, Kiwis around the world. sharpened by the obliviousness of his The Horns of Kolkata Shit One Carries new compatriots. India/NZ 2018 | Director/Producer: Andrew Scott NZ 2018 | Director/Screenplay: Shuchi Kothari 6 mins Producers: Shailesh Prajapati, Shuchi Kothari | 13 mins A Boy from Rarotonga A documentary exploration of an A father and a son face an awkward NZ 2017 | Director/Screenplay: Joshua Teariki Baker essential automotive accessory on the intimacy when caregiving roles are Producer: Unitec Institute of Technology Screen Arts Programme | 18 mins streets of Kolkata. The cacophony reversed. Writer/producer Shuchi stirred Andrew Scott to delve into Kothari makes her directorial debut A grandmother must look after a the horns behind the ever-present with this Indian-set drama about guilt grandson she never knew she had. honking. and filial obligation. Joshia Teariki Baker’s poignant film tells the story of an elderly Cook Islander who is confronted by a connection to a past she had left behind.

CA A Sat 4 Aug, 1.00 pm

LAST SUMMER SHIT ONE CARRIES ONE THOUSAND AND FIFTY MINUTES

Eight Uneasy Pieces 81 mins approx. | Censors rating tbc

From the bright lights of the big city Bats The Night That Holds You Trap to the imposing backdrop of the NZ 2017 | Director: Michelle Savill | Screenplay: NZ 2018 | Director/Screenplay/Producer: NZ 2018 | Director: Paul James | Screenplay: high-country wilderness, the ‘Cinema Michelle Savill, Simon Price | Producer: Desray Steven Chow | 12 mins Kahra Scott-James | Producer: Tony Leslie | 12 mins Armstrong | 15 mins of Unease’ is alive and well in this A young woman is obsessed by A young girl fights for a sense of stylish collection of eight Kiwi shorts, Hard-partying twenty-somethings memories of her vanished lover. Steven belonging. Paul James brings his taking us on a perceptive and soul- crash through a soupy Wellington Chow’s poetic and elliptical narrative mother’s story to life with animation searching tour the length and breadth night out. Michelle Savill delivers a short is set on Auckland’s rugged west inspired by the work of local artists of Aotearoa. stylish ensemble piece about sex, coast. Michael Smithers and Rita Angus. freedom, friendship and chicken kebabs. The Brother Under the Bridge NZ 2017 | Director/Screenplay: Summer Agnew NZ 2018 | Director/Screenplay: Lauren Porteus Cul de Sac PaPa Producers: Dan Higgins, Matt Noonan, Stephan Fruth, Producer: A.J. Bertenshaw | 7 mins NZ 2018 | Director/Screenplay: Jake Mahaffy Summer Agnew | 14 mins NZ 2017 | Director/Screenplay/Producer: A runaway boy meets a homeless Producers: Joe Griffen, Jake Mahaffy | 4 mins Ryan Alexander Lloyd | 7 mins A prodigal son hunt for atonement in man under a bridge. Lauren Porteus A father brings stress home from Two grown daughters reflect on the rugged wilderness. The imposing premieres an extended cut of her work. An intriguing and seriously memories of their indigenous father. landscapes of the Southern Alps form prizewinning 48-Hour short. amusing morsel from US-transplant A beautiful, meditative documentary the backdrop for this tense tale of Jake Mahaffy. from cinematographer Ryan Alexander murder and redemption. The Crying Wind Lloyd. NZ 2018 | Director/Screenplay/Producer: Niamh Peren | 9 mins Tenderness undercuts the tension in Niamh Peren’s movingly resolved tale of love, loss and orphaned lambs set in Central Otago.

A QSt Thu 26 Jul, 6.15 pm B QSt Tue 31 Jul, 12.30 pm

THE CRYING WIND BATS PAPA 26 ARGENTINA, AUSTRALIA

Zama WORLD Director/Screenplay: Lucrecia Martel Argentina/Brazil/Spain/ France 2017 115 mins Photography: Rui Poças Editors: Miguel Schverdfinger, Karen Harley Sound: Guido Berenblum With: Daniel Giménez Cacho, Lola Dueñas, Matheus Nachtergaele, Juan Minujín Festivals: Venice, Toronto, New York 2017; Rotterdam 2018 In Spanish with English subtitles M violence & nudity

Based on a classic of Argentinian he’s trapped in. As Martel delights in literature, Zama is a strange, unsettling the irony of Zama’s impotence and and surprisingly funny look at a zeroes in on the failures of colonialism, bumbling bureaucrat relegated to the she also takes hold of Antonio Di outskirts of Spain’s colonial takeover Benedetto’s famously unfilmable book of South America. As the first feature with startling formal control. It’s quite by Lucrecia Martel in nearly a decade, a feat to evoke both the complexity it’s also nothing less than an event: an of novel writing and the intricacy of outstanding new film by one of the classical painting inside of a singular great contemporary filmmakers. cinematic whole, but Martel has done Slumming it in a Paraguayan it, surrounding it with extraordinary backwater, the titular Zama is an sound design, a signature of all her officer of the Spanish Crown who films. — Tim Wong longs for a transfer to Argentina – but in between being branded a voyeur, impregnating a local woman and other A AWT Wed 1 Aug, 9.00 pm routine humiliations, he is as powerless B AWT Fri 3 Aug, 11.00 am to change his circumstances as he A Rialto Sat 4 Aug, 8.00 pm is the prospects of the squalid town

Jirga

Help yourself to our pick of the features Benjamin Gilmour we have encountered in a year of intense Director/Screenwriter/ Cinematographer: engagement with international cinema. We Benjamin Gilmour do what we can to cover many bases, not Australia 2018 | 78 mins Producer: John Maynard Editor: Nikki Stevens least the Festival de Cannes, yielding some Music: AJ True With: Sam Smith, Sher Alam of our most exciting choices in the frantic Miskeen Ustad, Amir Shah Talash Festivals: Sydney 2018 fortnight before we close our schedule. In English and Pushto, with English subtitles Celebrating 50 years of International Film Censors rating tbc Festival in Auckland, we’ve peppered the best An Australian soldier arrives in dissimilar from their lead character. of the last year with some highlights of the Afghanistan, his torso strapped with This personal proximity to the cash. His mission is entirely personal: to material results in a potent, focused previous 49. There’s no ‘Best of’ implied in make amends for an atrocity committed drama that quickly accumulates an the retrospective collection, but we did look during a military raid three years earlier. emotional force. With staggering This is the premise for Australian imagery that imbues the journey for films that retained distinctive flavours, filmmaker Benjamin Gilmour’s affecting with mythical grandeur, Gilmour might speak directly to audiences in 2018 redemption fable Jirga – a perilous roots his quest for forgiveness in a journey into Taliban territory that bears warmly optimistic conviction of shared – and could be presented in something close some striking parallels to its real-life humanity, even as the film grapples to mint condition. production story. Gilmour and lead head-on with the perils its set-up actor Sam Smith were ready to shoot promises us. Rarely have combatants in Pakistan, when their funding was been portrayed with such even- suddenly withdrawn (their script was handed grace. — JF deemed too ‘politically sensitive’). Gilmour bought a camera at a Pakistani B AWT Thu 26 Jul, 3.45 pm mall and the pair set off to Afghanistan A AWT Fri 27 Jul, 6.15 pm to make the film anyway, putting themselves at risk in a manner not so AUSTRALIA, BELGIUM WORLD 27

Breath

Actor Simon Baker, star of The Mentalist, Director: Simon Baker returns to his native Australia for his Australia 2017 | 116 mins directorial debut adapting, with Top Producers: Mark Johnson, Simon Baker, Jamie Hilton of the Lake writer Gerard Lee, Tim Screenplay: Gerard Lee, Simon Baker, Tim Winton. Winton’s celebrated novel. Based on the novel by Tim Winton Photography: Marden Dean The film follows two teenage boys Editor: Dany Cooper (both played by first-time actors who Music: Harry Gregson-Williams With: Simon Baker, Elizabeth Debicki, grew up surfing competitively), Pikelet Samson Coulter, Ben Spence, Richard Roxburgh (Samson Coulter) and Loonie (Ben Festivals: Toronto 2017 Spence) awkwardly carrying their crappy M sex scenes & offensive language surfboards out to the beach on their bikes. When former surf champ Sando (Simon Baker) takes the boys under his wing, their passion for the surf becomes an obsession with upping the odds. While Loonie lives up to his name when it comes to taking risks on the ocean, Pikelet is more contemplative and hesitant, embracing Sando as an exciting role model while observing the © NIC DUNCAN quiet commitment of his own father the relationship between Pikelet and his (Richard Roxburgh) to a simple family father told in shifting glances; Pikelet’s “Never had I seen something life. Sando’s intriguingly sidelined wife realisation of the implications of his so beautiful, so pointless (Elizabeth Debicki) however hints at decisions more observed than stated. risks to be taken ashore. Dealing with the basic, universal and elegant, as if dancing The surfing scenes are magnificently elements of budding manhood with on water was the best shot, often under dark skies, tracking simplicity and integrity, the film speaks thing a man could do.” the cresting waves with grace and with loving nostalgia about passion, risk capturing the boys’ relationship with and the ripples of our decisions. Winton — Pikelet in Breath IVICA C Mon 23 Jul, 6.15 pm the water with intimacy and immediacy. provides the ultimate seal of approval, B QSt Wed 25 Jul, 1.30 pm The film suggests deep undercurrents doing the voiceovers of Pikelet as an A WGATE Sat 28 Jul, 6.00 pm B QSt Mon 30 Jul, 4.15 pm beneath its straightforward narrative: adult looking back. — Chris Kirk

Girl

This achingly beautiful drama about a teenager who is transitioning gender while training to be a ballerina was one Director: Lukas Dhont of Cannes 2018’s most talked about Belgium/The Netherlands 2018 105 mins films, deservedly winning the Camera Producer: Dirk Impens d’Or for first-time director Lukas Screenplay: Lukas Dhont, Angelo Tijssens Dhont, and the Un Certain Regard Photography: Frank van den Eeden Editor: Alain Dessauvage acting award for its standout central Music: Valentin Hadjadj performance from Victor Polster. With: Victor Polster, Arieh Worthalter, Oliver Bodart, Tijmen Govaerts, Katelijne Damen, Valentijn While Lara already identifies as a girl, Dhaenens, Magali Elali, Alice de Broqueville, her world is undergoing significant and Alain Honorez, Chris Thys, Angelo Tijssens, Marie-Louise Wilderijckx much desired transformation. She has Festivals: Cannes (Un Certain Regard) 2018 just moved with her father and beloved Camera d’Or (Best Film Film) & Best Actor (Un Certain Regard, Victor Polster), Cannes Film kid brother to a new city where she Festival 2018 has been provisionally accepted into a In French and Dutch, with English subtitles prestigious dance school and she will Censors rating tbc soon be old enough to start hormone replacement therapy. Lara's aspiration to femininity is so great that she has chosen the most extreme physical form of its expression. But here, dance is not external conflict and prejudice, the a release. Held captive by her body, camera movement and performance “Girl has the power to she tapes her genitals and hides the revealing the tumult beneath Lara’s not just change lives but bloodied feet which have not grown steely poise. And while the casting up en pointe like the other girls. While of Polster, who identifies cis gender, reinvigorate your belief her father offers her nothing but will be the subject of debate at a in cinema.” — Jordan Ruimy, support, she is all teenage uncertainty time when awareness of transgender The Playlist and impatience and her interior world actors is improving, there can be no moves closer to self-destruction even as argument that this is a deeply intuitive IVICA C Wed 1 Aug, 6.15 pm her outer beauty blooms. performance, rendering the truth B CIVIC Fri 3 Aug, 1.30 pm Dhont and co-writer Angelo Tijssens of Lara’s battle with indelible grace. A WGATE Sat 4 Aug, 6.15 pm keep the screenplay stripped bare of — Clare Stewart 28 WORLD CZECH REPUBLIC, DENMARK

06-2018_RialtoUNLOCKED_NZIFF.qxp_SKYWatch 20/05/18 9:27 PM Page 1

Cosy Dens Pelísky

Director: Jan Hrˇebejk Czech Republic 1999 120 mins Screenplay: Petr Jarchovský. Based on the novel by Petr Šabach Photography: Jan Malíř With: Miroslav Donutil, Michael Beran, Jiří Kodet, Emília Vášáryová Festivals: Auckland 2000 In Czech with English subtitles Colour and B&W M offensive language

Cosy Dens is a vivid comic valentine The film gleefully reactivates that to the Prague Spring, a short-lived past, not least the ‘scientific miracles’ era when mop-topped teenage boys of the Eastern bloc 1960s: ‘unbreakable nourished hopes of ditching their glasses’, and ‘Hold on Pioneer’, a standard issue army wear and stepping children’s game which builds character out in Beatle boots. It relates episodes by administering electric shocks. in the mounting mutual exasperation Cosy Dens in 2000 proved to be the of two families co-existing in a small first of many appearances at NZIFF by Prague apartment block in 1967. the writer/director team of Jan Hřebejk There’s a fulminating patriarch at and Petr Jarchovský (Divided We Fall, the head of each household: one a The Teacher). Even the most mercilessly devoted party man, the other a former exaggerated of their characters have resistance hero clamouring for the their reasons – and there’s ample pathos end of Bolshevik idiocy. Supercool in knowing what history has in store. Jindřiška and hopelessly smitten THE KILLING OF A SACRED DEER Michal, the teenage children of these A Rialto Sun 29 Jul, 5.15 pm Screening from 28 July A AC Thu 2 Aug, 6.15 pm Learn more at rialtochannel.co.nz battling neighbours, have grown up like siblings, blithely certain that their B AC Fri 3 Aug, 11.30 am parents are living in the past.

Chamber Music New Zealand presents Hunger Sult

Ensemble Director: Henning Carlsen Denmark 1966 | 111 mins Screenplay: Peter Seeberg, Henning Carlsen. Based on the novel by Knut Hamsun Italy With: Per Oscarsson, Gunnel Zefiro Lindblom, Birgitte Federspiel Festivals: Cannes (In Competition) I DIVERTIMENTI DI MOZART 1966; Auckland 1969 Best Actor (Per Oscarsson), Cannes Film Festival 1966 In Danish with English subtitles Light, elegant and unapologetically B&W | Censors rating tbc entertaining, enjoy music filled with sparkling joy and jaunty swagger. This exacting, bleakly funny portrait of a existential mulishness, refusing to let go starving artist opened the first Auckland of his pride even as it eats at the walls International Film Festival in 1969. of his stomach… “From Strindberg to von Trier, Per Oscarsson’s justly celebrated Saturday 18 August, 7.30pm there has always been a distinctively performance [provides] a fearless pokerfaced humour streak running portrayal of concentrated intensity Auckland Town Hall through Scandinavian dourness, that erases any boundaries between keeping it perpetually on the brink of the physical and the mental and, Free Prelude event at 6.45pm absurdism. Hunger, Henning Carlsen’s in a superb scene addressing his version of Knut Hamsun’s novel, unattainable muse (Gunnel Lindblom), plays out accordingly as harrowing illuminates the aching folly of artistic tragedy of disintegration and grim pride: ‘One doesn’t have to be mad just chambermusic.co.nz/ comedy of intransigence. The two because one is sensitive.’” — Fernando duelling impulses are loaded onto the F. Croce, Slant ensemblezefiro shoulders of the protagonist, Pontus

Core Funder (Per Oscarsson), who over the course BC A Fri 20 Jul, 11.00 am of the tormented narrative becomes A Rialto Sat 21 Jul, 1.45 pm a sly literalization of the starving-artist A AC Fri 27 Jul, 6.15 pm concept… He’s a bespectacled totem of BRAZIL, BULGARIA WORLD 29

Loveling Benzinho

Certain travails of motherhood are Mum Jeans embraced with buoyant good humour and poignancy in this film written Director: Gustavo Pizzi by husband-and-wife team, director Brazil/Uruguay 2018 | 98 mins Producers: Tatiana Leite, Gustavo Pizzi Gustavo Pizzi and lead actress Karine Screenplay: Gustavo Pizzi, Karine Teles Teles (The Second Mother). Photography: Pedro Faerstein Irene (Teles) has four sons. The Editor: Livia Serpa Music: Dany Roland, Pedro Sá, Maximiliano Silveira youngest are six-year-old twins, With: Karine Teles, Otávio Müller, Adriana Esteves, played by Teles and Pizzi’s sons. (The Konstantinos Sarris, César Troncoso, Artur Teles Pizzi, Francisco Teles Pizzi, Vicente Demori, abundance of first-hand experience Luan Teles clearly informing the film extends Festivals: Sundance, Rotterdam 2018 In Portuguese with English subtitles to the casting.) Middle boy Rodrigo CinemaScope | M offensive language (played by Teles’ nephew) is overweight and permanently attached to his tuba, while the apple of everybody’s eye, 17-year-old Fernando (charismatic Konstantinos Sarris) is an ace high school athlete. Irene also plays mother to her sweet but impractical husband, Klaus. Miraculously, she has carved © BIANCA AUN BENZINHO out some space for herself, studying “The first pangs of empty nest to complete the high school diploma syndrome hit the devoted, exuberant “A vibrant and sap-free she abandoned to take up work as mom at the center of Loveling, a valentine to motherhood… a maid. captivating portrait of the joys and When Fernando announces that aches of family life. Karine Teles its deft mix of humor and he wants to leave home, Irene is brings ferocious warmth and humor melancholy never falters.” blindsided. Like many before her, to the lead role… She creates an — Sheri Linden, Hollywood Reporter she does not rise to the occasion. exceptionally sympathetic focal point B Rialto Fri 20 Jul, 12.45 pm Loveling’s winning shrewdness lies for a story that embraces the messy A WGATE Sun 22 Jul, 3.30 pm in understanding all too well that tenderness of life as it’s lived.” — Sheri A Rialto Wed 25 Jul, 6.15 pm awkward rites of passage are not for Linden, Hollywood Reporter A CIVIC Mon 30 Jul, 6.15 pm 17-year-olds only. B AWT Thu 2 Aug, 11.00 am

Ága

Writer/director Milko Lazarov’s second Director: Milko Lazarov feature spotlights an aging Yakut couple Bulgaria/Germany/France 2018 whose lifestyle may soon be extinct. In 96 mins snow-covered North Eastern Siberia, Producer: Veselka Kiryakova Screenplay: Milko Lazarov, Simeon Ventsislavov every footprint, every cloud, every Photography: Kaloyan Bozhilov passing airplane must be interpreted Editor: Veselka Kiryakova Music: Penka Kouneva for crucial details on which their lives With: Mikhail Aprosimov, Feodosia Ivanova, could depend. This attentive listening Galina Tikhonova, Sergey Egorov, Afanasiy Kylaev Festivals: Berlin 2018 must also be applied internally, towards In Sakha (Yakut) with English subtitles each other. Despite the couple’s long CinemaScope | PG cert and intimate companionship there are mysteries still unknown. There are complicated family dynamics to unravel in connection with their children, one of whom works in the city and the other (the titular Ága) in a diamond mine, several days journey away. Kaloyan Bozhilov’s majestic cinematography sinks the viewer deep into every magnificent icy frame, and despite a contemplative pace this a delight as a viewer to be asked to movie never dawdles. Nothing exists engage our own whole attention. A “A fiction with a in this landscape without a reason, dangerous imminence hangs heavily documentarian’s eye and Lazarov’s precise cinematic poetry over the film, as with many stories set creates an intense, affecting and in such harsh conditions, but a sudden and feel… Lazarov emotional piece of cinema where emotional finale bursts this movie into and his cinematographer animals, bloodied or mystical, are key a whole new genre. This is a formally Kaloyan Bozhilov never players. Important messages are relayed surprising and clever piece of story- through dreams and meaning is literally telling which lands an unexpected cease to amaze.” A WGATE Sun 22 Jul, 5.45 pm carried through the air. conclusion – the triumph of connection — Demetrios Matheou, Screendaily B CIVIC Wed 25 Jul, 1.15 pm Each image, each word in this story over disengagement. — Jo Randerson A CIVIC Thu 26 Jul, 6.15 pm is placed with extreme care and it is 30 WORLD CHINA, DENMARK

The Guilty Den skyldige

This innovative debut from Danish filmmaker Gustav Möller has racked up audience awards from the Sundance Director: Gustav Möller and Rotterdam film festivals, delivering Denmark 2018 | 85 mins Producer: Lina Flint a tension-packed crime drama without Screenplay: Emil Nygaard Albertsen, Gustav Möller ever leaving the claustrophobic confines Photography: Jasper Spanning of an emergency call centre. Editor: Carla Luffe Music: Carl Coleman, Caspar Hesselager Police officer Asger Holm has With: Jakob Cedergren, Jessica Dinnage, been suspended from active duty Johan Olsen, Omar Shargawi, Katinka Evers-Jahnsen and assigned to a desk job as an Festivals: Sundance, Rotterdam, New Directors/ emergency dispatcher while he awaits New Films 2018 Audience Award, Sundance Film Festival an upcoming court case that could have & Rotterdam Film Festival 2018 serious ramifications for his future. A In Danish and English, with English subtitles CinemaScope | M offensive language & content frustratingly mundane shift dealing with that may disturb abusive drunks and ripped-off johns is suddenly upended when he receives a panicked call from an abducted woman, who is soon cut off. With the clock ticking, the short-fused Asger decides to ignore bureaucratic process and take © NIKOLAJ MLLER matters into his own hands. Piecing aids, forcing viewers to dust off their together clues with little more than a imaginations and put them to work with “A claustrophobic thriller phone and a headset at his disposal, the chillingly effective results.” — Michael that finds fascinating more he finds out the more the mystery Rechtshaffen, Hollywood Reporter deepens. Are things really as they ways to spiritually seem? — MM transcend its confines.” “A twisty crime thriller that’s every — Bilge Ebiri, Village Voice bit as pulse-pounding and involving as its action-oriented, adrenaline- A WGATE Sun 22 Jul, 7.45 pm soaked counterparts… Gustav Möller B AWT Wed 25 Jul, 4.30 pm masterfully ratchets up tension A AWT Sat 28 Jul, 9.00 pm A Rialto Fri 3 Aug, 8.45 pm without the benefit of the usual visual

Angels Wear White Jia nian hua

Director/Screenplay: Vivian Qu China 2017 | 107 mins Producer: Sean Chen Photography: Benoît Dervaux Editor: Yang Hongyu Music: Wen Zi With: Wen Qi, Zhou Meijun, Shi Ke, Geng Le, Liu Weiwei, Peng Jing, Wang Yuexin, Li Mengnan Festivals: Venice, Toronto, London 2017; San Francisco 2018 In Mandarin with English subtitles M sexual abuse themes

Vivian Qu’s enthralling drama about an Working with cinematographer Benoît illegal teenage worker who witnesses Dervaux, regular camera operator something suspicious, and two young for the Dardennes, her social realist girls who are the victims of abuse, is a approach is imbued with symbolic deeply resonant film, even more so since beauty, most sublimely apparent in the the #MeToo movement. Surveillance film’s closing sequence. Angels Wear and paranoia were dominant themes in White confirms Qu as an exciting new Qu’s debut feature Trap Street and the voice in independent Chinese cinema dramatic structure of Angels Wear (she was also producer on the Berlin- White hinges on a single piece of CCTV winning Black Coal, Thin Ice, NZIFF14) footage, impulsively captured by Mia and she brings a distinctively feminist (the wonderful Wen Qi) on her mobile perspective to a subject that is rarely phone while working a late shift at a tackled with such nuance and empathy. cheap hotel. — Clare Stewart Qu has a potent grasp of storytelling and from this single incident, and AWT A Mon 30 Jul, 6.15 pm the moral dilemma it presents she A QSt Fri 3 Aug, 6.15 pm spins a compelling narrative about gender, exploitation and corruption. CHINA WORLD 31

Ash Is Purest White Jianghu er nv

Jia Zhang-ke, China’s pre-eminent contemporary filmmaker – and veteran poet of modern life in flux – continues Director/Screenplay: Jia Zhang-ke his blessed run with this blazing jianghu China/France 2018 | 141 mins Producer: Ichiyama Shozo drama starring his faithful partner and Photography: Eric Gautier leading lady, Zhao Tao, a force to be Editors: Matthieu Laclau, Lin Xudong Music: Lim Giong reckoned with. With: Zhao Tao, Liao Fan, Xu Zheng, “A beautiful marriage of the political Casper Liang, Feng Xiaogang, Diao Yinan, Zhang Yibai, Ding Jiali, Zhang Yi, Dong Zijian and the personal... Ash Is Purest White Festivals: Cannes (In Competition) 2018 subtly distills nearly two decades of In Mandarin with English subtitles gradual social change into the story Censors rating tbc of a small-town gangster and his moll. The movie opens in 2001, in the northern village of Datong, where Guo Bin (Liao Fan), a member of the jianghu underworld, runs a mahjong parlor… But from the start, it’s Bin’s girlfriend, Qiao (Zhao Tao), who magnetizes the camera’s attention… A fiercely devoted partner to Bin, she more than holds her own in this masculine enclave, and her heroine who would be right at home own belief in the brotherly codes of the in a 1940s Hollywood melodrama… “Clever, subversive, and jianghu, a commitment referenced by In its swirl of violence and hugely ambitious… the title, runs startlingly deep. emotion… [Jia’s film] is fierce, When Bin is attacked by local thugs, gripping, emotionally generous and A quixotic and profound it is Qiao who fatefully intervenes and surprisingly funny.... Meanwhile, even statement on… life in pays the steepest price. From there, those accustomed to seeing Zhao in 21st-century China.” the film undergoes a series of thrilling Jia’s movies… might be taken aback narrative reversals but always keeps by the depths of her acting here… — Sam C. Mac, Slant IVICA C Tue 24 Jul, 8.45 pm Qiao at the fore, grounding its portrait with the richest, most subtly complex B AWT Fri 27 Jul, 11.00 am of long-term social and technological performance she’s given to date.” A HWOOD Wed 1 Aug, 8.30 pm flux with the kind of gutsy, lovelorn — Justin Chang, LA Times

Raise the Red Lantern Dahong denglong gaogao gua

Of the Fifth Generation filmmakers who reinvented Chinese cinema in the 1980s (while frequently banned from homeland Director: Zhang Yimou screens) Zhang Yimou was the superstar, China/Hong Kong 1991 | 125 mins Producer: Chiu Fu-sheng and the biggest embarrassment. Executive producer: Hou Hsiao-hsien Each of the films he made with actress Screenplay: Ni Zhen. Based on the short story Gong Li pitted her against authoritarian ‘Wives and Concubines’ by Su Tong Photography: Zhao Fei power. The political allegory was Editor: Du Yuan eagerly consumed in the west, with Music: Zhao Jiping , Tachikawa Naoki With: Gong Li, Ma Jingwu, He Saifei, encouragement from the director. Cao Cuifeng, Jin Shuyuan, Kong Lin, Zhang’s subsequent career has been Ding Weimin, Cui Zhigang, Chu Xiao, Cao Zhengyin, Zhao Qi understandably bumpy, until his staging Festivals: Venice 1991; Auckland 1992 of the opening and closing ceremonies Silver Lion, Best Director & FIPRESCI Prize, Venice Film Festival 1991 at the Beijing Olympics in 2008 signalled In Mandarin with English subtitles rehabilitation on a colossal scale. 35mm | PG adult themes Ultimately, it was the stellar Gong Li and the pictorial brilliance of Zhang’s films – the exquisite chinoiserie of this one in particular – that thrilled western audiences. We are grateful to the Academy Archive for the opportunity to Ex-cinematographer Zhang Yimou be ravished once more by a 35mm print knows when to beautify an expanse “If only the light from from their library of Oscar nominees. of smoky-blue roof with a blood-red the raised lanterns could “In this dazzling dynastic drama a lantern; when to use snowfall like young girl (Gong Li) elects to become a cosmic shroud over human hope; pierce the darkness and ‘Fourth Mistress’ to a tyrannical old when to move his camera back from an illuminate the folly of our lord in 1920s China. Trapped with her action rather than forward to enhance times.” — Zhang Yimou (1991) in the maze­like palace, we act out a its power. Brilliantly, we never see the drama of inter-concubine jealousy, false lord’s face in close-up. He is a shadowy IVICA C Sat 4 Aug, 3.45 pm pregnancies, punishment and terror totem exalted by remoteness, just like at the closing walls of an inescapable the wielders of a totalitarian power.” destiny… — Nigel Andrew, Financial Times 32 WORLD FRANCE, SWITZERLAND

Custody Jusqu’à la garde

Director/Screenplay: Xavier Legrand France 2017 | 94 mins Producer: Alexandre Gavras Photography: Nathalie Durand With: Denis Ménochet, Léa Drucker, Thomas Gioria Festivals: Venice, Toronto, London 2017; Rotterdam 2018 Best Director, Venice Film Festival 2017 In French with English subtitles Cinemascope/M violence & NOT YOUR ORDINARY HOTEL offensive language QT MUSEUM WELLINGTON We begin the film in the magistrate’s intense involvement he obtains from

WWW.QTHOTELSANDRESORTS.COM chair as a divorcing couple, Antoine Thomas Gioria as Julien, tellingly absent and Miriam, and their counsels argue from the first scene but at the centre of the case for custody. Their 18-year-old every other in the contest that follows. daughter is old enough to make her “Custody isn’t just a fine film that own choice: she is severing ties with her makes vivid and visceral the escalating, father. Miriam argues for sole custody of suffocating all-pervasive terror of 11-year-old Julien, offering in evidence domestic abuse in a way few films the boy’s own written testimony. have managed. It’s also an extremely Antoine, clearly stung, implies that the auspicious debut for a writer-director boy’s rejection is the product of Miriam’s with the rare, almost classicist ability brainwashing. to make utterly riveting drama out of For the remainder of this dauntingly painfully real life.” — Jessica Kiang, unblinkered film we watch the The Playlist consequences of the magistrate’s decision, which may or may not be AC A Mon 23 Jul, 6.15 pm the one we arrived at too. First-time B AC Fri 27 Jul, 2.00 pm director Xavier Legrand was a child A AC Mon 30 Jul, 8.15 pm actor himself, which may explain the

The Image Book Le livre d’image

Director/Screenplay: Jean-Luc Godard Switzerland/France 2018 85 mins Editors: Jean-Luc Godard, Fabrice Aragno, Jean-Paul Battagia, Nicole Brenez With: Jean-Luc Godard Festivals: Cannes (In Competition) 2018 Special Palme d’Or, Cannes 2018 In French with English subtitles CinemaScope | Censors rating tbc

“Taking the form of an essay film collage human beings continues. Why, the akin to his opus Histoire(s) du cinéma, film asks, if we have the capability of [The Image Book] is a salvo of anger and filming, of recording, acts of horror, soul-searching inquiry from [a] director do we keep repeating the cruelty, too often venerated only for his 1960s continuing the oppression? films… and dismissed for his later ones Flattening the distinction between that, with far greater rigor, ask some of the fiction films Godard is citing the hardest questions about ourselves (including many of his own) and as people living in the same era as he. newsreels and Internet clips… The Made of five chapters, opening with Image Book sees the moving image ‘Remakes’, on the mutable repetitions culture of the cinema era as both of modern human wars, moving to a inquisitor and evidence for our capacity chapter on revolutions, trains… the for horror, as well as for compassion and ‘spirit of law’… and concluding with ‘la grace.” — Daniel Kasman, Mubi.com Matthew McIntyre-Wilson, 'Kete' pendant, ct gold région centrale’ – a movement to the LEADING CONTEMPORARY NEW ZEALAND JEWELLERY SINCE Middle East – The Image Book absorbs A QSt Sun 22 Jul, 2.15 pm clips from cinema and reportage, A QSt Mon 23 Jul, 8.00 pm www.fingers.co.nz equating both, trusting both, to search B QSt Tue 24 Jul, 2.15 pm B QSt Tue 31 Jul, 2.45 pm OPEN DAYS OPPOSITE THE AUCKLAND ART GALLERY for the reason why violence between FRANCE WORLD 33

The Swimming Pool La piscine

This superb, modern French classic mingles sensuality and slow-burn suspense in a psychological thriller Director: Jacques Deray featuring two of France’s most ravishing France/Italy 1969 | 124 mins Producer: Gérard Beytout stars, Alain Delon and Romy Schneider, Screenplay: Jean-Claude Carrière, Jacques Deray. whose past off-screen romance infused Based on the novel by Jean-Emmanuel Conil their performances with a palpable Photography: Jean-Jacques Tarbès Editor: Paul Cayatte erotic charge. They are Jean-Paul and Music: Michel Legrand Marianne, lapping up the heat of With: Alain Delon, Romy Schneider, Maurice Ronet, Jane Birkin, Paul Crauchet southern France beside the pool of a Festivals: Auckland 1970 luxurious villa. Alone, the lovers can In French, with English subtitles R16 cert indulge in their passion for each other, although from the outset there is an edgy undertow to their amorous play. Their idyll is interrupted by the impromptu arrival of their friend Harry (wonderful Maurice Ronet), a garrulous, boozing record producer with his 18-year-­old daughter, Pénélope, in tow. Pénélope (Jane Birkin, fresh from her scandalous ‘Je t’aime’ collaboration with camerawork, allowing gazes to reveal Serge Gainsbourg) is news to the young depths; Michel Legrand’s cool-jazz score “This icily elegant pas couple – Harry has been as lackadaisical and the 1960s costumes, a retro-design de quatre involves four a father as he has been an erratic dream ranging from a craze-inducing friend, and has only recently decided to mini gingham sundress to a psychedelic- of the most outrageously play a part in his daughter’s existence. swirls chiffon evening gown, not to photogenic actors to This visit triggers the eruption of forget Delon’s hip-hugging swimwear. ever appear on screen.” latent rivalries and insecurities, leading Billed as The Sinners, The Swimming events to take a sinister turn. Every Pool opened the Second Auckland — David Melville, Senses of Cinema WTB A Fri 20 Jul, 3.30 pm element is masterfully combined: International Film Festival in 1970. A AWT Sat 21 Jul, 8.15 pm director Jacques Deray’s use of colour, It was remade in 2015 by Luca A HWOOD Sun 5 Aug, 1.30 pm and his extraordinary staging and Guadagnino as A Bigger Splash. — SR

The World Is Yours Le monde est à toi

Louche and charming in a distinctly Director: Romain Gavras Gallic fashion, this star-studded, France 2018 | 104 mins action-packed gangster comedy pits a Producers: Charles Marie Anthonioz, Mourad Belkeddar, Jean Duhamel, criminal matriarch (scary Isabelle Adjani) Nicolas Lhermite, Vincent Mazel, Hugo Selignac against her peace-loving son (Karim Screenplay: Romain Gavras, Noé Debré, Karim Boukercha Leklou) who dreams of setting up a Mr Photography: André Chémétoff Freeze franchise in the Maghreb. Editor: Benjamin Weill Music: Jamie XX & Sebastian Unfortunately, Mama has squandered With: Karim Leklou, Isabelle Adjani, the money he needed to secure the deal, Vincent Cassel, Oulaya Amamra, François Damiens, Philippe Katerine so it’s time to head to the Costa Brava Festivals: Cannes (Directors’ Fortnight) 2018 for that one last dope consignment that In French and English, with English subtitles | will put him in the clear. The loose- CinemaScope Censors rating tbc cannon team accompanying him on the trip includes Henry (Vincent Cassel), a garrulous Illuminati obsessive who sees triangles everywhere, and a gold- digging beauty (Oulaya Amamra), whose loyalty seems highly negotiable. “A hyper-stylish and unexpectedly sweet rebuke to the idea that screwing people is a good way to get ahead, tormented young daughter, a Jewish [Romain] Gavras’ second feature lawyer, a group of 20 bleached-blond “A French gangster comedy manages the almost impossible task Zairian guys, a karaoke singalong of that zips along with of mining something nice from the Toto’s ‘Africa’, and a live grenade in me-first mentality that’s been sweeping a Hello Kitty backpack. This strange all the bright, bouncy across… Europe. It’s Sexy Beast, Spring potpourri is strung together on the energy of a live-action Breakers, and Little Miss Sunshine all strength of André Chémétoff’s glossy Looney Tunes cartoon.” blended together and served with a cinematography and a bouncy score by lad-rock swagger; it’s the best movie Jamie XX and Sebastian… It helps that — Peter Debruge, Variety WTA A Wed 25 Jul, 9.00 pm that Guy Ritchie never made… every single one of the performances A WGATE Sat 28 Jul, 8.30 pm The World Is Yours somehow comes is extraordinary.” — David Erhlich, B AWT Thu 2 Aug, 4.00 pm to involve a Scottish drug lord, his Indiewire 34 WORLD GERMANY

In the Aisles In den Gängen

In the night-time world of an East Director: Thomas Stuber German supermarket, forklifts glide, Germany 2018 | 126 mins crates of alcohol are stacked, and Producers: Jochen Laube, Fabian Maubach Screenplay: Clemens Meyer, Thomas Stuber shelves of gourmet foodstuffs are Photography: Peter Matjasko re-filled. Despite the grim climate of ‘re- Editor: Kaya Inan With: Sandra Hüller, Franz Rogowski, unified’ Germany, where the economic Peter Kurth, Andreas Leupold, Michael Specht, imperative dictates that edible food Steffen Scheumann, Ramona Kunze-Libnow, Henning Peker, Matthias Brenner, Gerdy Zint must rot in bins, the workers find their Festivals: Berlin 2018 own ways to carve out humane spaces. In German with English subtitles Rising German star Franz Rogowski M violence (Transit, see opposite page) is immensely watchable, despite few words, as Christian, the new worker with a troubled past taking his first shift in the prestigious aisle of Beverages. Before long, he has fallen for a nearby worker from the Sweet Goods aisle. Sandra Hüller, whom many will recognise from Toni Erdmann, plays the object of his attention. Both shine, as do the surrounding support people slip through the gaps in a cast who hold their lonely realities capitalist world. It’s simple but deeply “You’re forklifting like a with poignancy and humour. Peter suspenseful, and as the screws turn in lunatic because you’re in Matjasko’s cinematography delicately the plot, several heavy threats hang captures the bizarreness of this large. Yet Stuber’s craft allows us to love!” — Bruno to Christian in surreal world, in all its magical and feel all the possible resonances without In the Aisles heart-breaking poetry. taking us to melodrama, and in the Director Thomas Stuber’s delightfully end the story’s subtlety is its triumph. considered third feature fully immerses A lively and often surprising soundtrack AIVIC C Sat 21 Jul, 1.00 pm the viewer in this culturally specific folk sets In the Aisles squarely in its own B CIVIC Tue 24 Jul, 1.00 pm tragedy which resonates with films like compassionate, totally engaging and A WGATE Wed 1 Aug, 6.15 pm I, Daniel Blake, portraying the way unique world. — Jo Randerson

Looking for Oum Kulthum

Director: Shirin Neshat Germany/Austria/Italy/ Qatar/Lebanon 2017 90 mins Co-director: Shoja Azari Screenplay: Shirin Neshat, Shoja Azari Photography: Martin Gschlacht With: Neda Rahmanian, Yasmin Raeis, Mehdi Moinzadeh, Kais Nashif Festivals: Venice, Toronto, London 2017 In English, Arabic and Farsi, with English subtitles Censors rating tbc

Iranian artist and filmmaker Shirin different quests for artistic perfection. Neshat’s visually ravishing ode to Working with regular collaborator beloved Egyptian singer Oum Kulthum Shoja Azari and reprising her interest is also a rich and complex film about in the transcendent power of song artistic pursuit. Oum Kulthum rose (so powerfully rendered in her 1998 to prominence in the 1920s and her installation work Turbulant), Neshat career soared to iconic heights over follows Women Without Men (NZIFF10) the following decades. Adored first by with another arresting film, one royalty, then the revolutionaries, she that gives glorious testimony to the became a true star of the Arab world, experience of being a creative and her trajectory inextricably linked with successful Muslim woman. — Clare Egypt’s move to nationhood. Stewart Using a prismatic, film-within- a-film structure in which outsider Iranian director Mitra struggles to make a film about her elusive heroine, BC A Wed 25 Jul, 4.15 pm Neshat parallels the prejudices and A Rialto Sun 29 Jul, 7.30 pm the personal cost experienced by both A AC Tue 31 Jul, 6.15 pm filmmaker and singer in their very GERMANY, ICELAND, INDONESIA WORLD 35

Transit

Set in a present-day Marseille occupied Director: Christian Petzold by phantoms from a wartime past, Germany/France 2018 | 101 mins Transit is Christian Petzold’s follow-up Producers: Florian Koerner von Gustorf, Michael Weber to his sublime period pieces Barbara Screenplay: Christian Petzold. Based on the novel and Phoenix. Echoes of Casablanca, by Anna Seghers Photography: Hans Fromm Kafka and Hitchcock reverberate Editor: Bettina Böhler around this coolly existential love With: Franz Rogowski, Paula Beer, Godehard Giese, Lilien Batman, Maryam Zaree, Barbara Auer, story, which is also very much its own, Matthias Brandt, Sebastian Hülk, unique thing: a haunting daylight noir Emilie de Preissac Festivals: Berlin 2018 whose characters, refugees seeking In German and French, with English subtitles safe passage from a fascist threat, CinemaScope | M cert bewitch from the first frame to the last. — Tim Wong “In Petzold’s adaptation [of Anna Seghers’ 1944 novel]… a Jewish audio technician named Georg (Franz Rogowski) assumes the identity of a recently deceased communist author after accepting a job to deliver his personal effects to the Mexican © MARCO KRÜGER / SCHRAMM FILM Consulate in Marseille. Though still Hoss), whose mysterious dealings [referencing] World War II, Transit draws lead him further into a web of false “Patient, probing, and plain but potent parallels with the identities and unrequited romance. poetic in both its affairs ongoing European refugee crises, not Shooting with customary economy, to mention the more unsettling rise Petzold takes full advantage of the of the heart and its of neo-Nazism. Armed with the dead story’s genre machinations, chiseling the worries of the soul… author’s transit papers, Georg finds melodramatic gestures that punctuated a film of intricately his escape plan getting complicated his previous triumph, Phoenix, into when he crosses paths (and slowly falls a taut thriller whose incongruous layered artistry.” IVICB C Wed 25 Jul, 10.45 am in love) with his surrogate’s widowed narrative elements only accentuate the — Sarah Ward, Goethe-Institut A WGATE Wed 25 Jul, 6.30 pm wife (Paula Beer, looking uncannily film’s timelessly tragic arc.” — Jordan A CIVIC Sun 29 Jul, 5.30 pm like the director’s longtime muse Nina Cronk, Film Comment

The Seen and Unseen And Breathe Normally Sekala Niskala Andið eðlilega

Director/Screenplay: The Heart of Spring Ísold Uggadóttir Director/Screenplay: Iceland/Sweden/Belgium Kamila Andini 2018 | 100 mins Indonesia 2017 Producer: Skúli Malmquist 86 mins Photography: Ita Zbroniec-Zaj Editor: Frédérique Broos With: Ni Kadek Thaly Titi Kasih, With: Kristín Thóra Haraldsdóttir, Ida Bagus Putu Radithya Babetida Sadjo, Patrik Nökkvi Mahijasena, Ayu Laksmi Pétursson Festivals: Toronto 2017; Berlin, Festivals: Sundance 2018 Sydney 2018 In Icelandic, English and Creole, In Indonesian and Balinese, with with English subtitles English subtitles CinemaScope | Censors rating tbc CinemaScope | PG adult themes

This enchanting and otherworldly play, dance and sing with each other. Unfolding amongst the desolate and “Guinea-born Belgian actress Indonesian film explores the deep Elements from the ‘seen’ world such windswept landscapes of Iceland, this [Babetida] Sadjo impresses with her symbiotic connection between two as the fighting cocks Tantri sees in the potent social-realist drama is deserving dignity and warmth. Meanwhile, petite young twins. Ten-year-olds Tantra and village or the monkeys living in the of comparison with the films of Ken [Kristín Thóra] Haraldsdóttir displays Tantri are boy-girl (buncing) twins temple bleed into this netherworld in Loach and the Dardenne brothers. such patience and love for her son growing up in a remote and rural part fascinating fashion. Struggling financially, single mother that she keeps viewers rooting for of Bali. They are very much yin and Aided by Anggi Frisca’s lush Lara gets a lifeline in the form of a new her to overcome her obstacles despite yang, separate but whole. While Tantra cinematography and a mesmerising job training as a border patrol officer. her occasional bad judgment. And will only eat the yolk of an egg, Tantri score from Morinaga Yasuhiro, director When she spots a suspicious looking young [Patrik Nökkvi] Pétursson is a eats only the white. One day Tantra Kamila Andini draws upon rich Balinese passport, her employers are impressed, delight as the least whiny child ever… steals an egg from a religious offering traditions of costume and dance to but the passport’s owner, Adja, a The turbulent autumn weather and and shortly afterwards he is hospitalised create a magical world where the seen female refugee from Guinea-Bissau, rugged landscapes of Iceland practically with a serious illness. and unseen, the physical and spiritual, is quickly detained and placed into a become another character.” — Alissa In Balinese philosophy the world is intersect. — MM local refugee centre. When Lara and Simon, Variety divided into the seen (sekala) and the her son are evicted from their home, unseen (niskala). With her twin brother AC A Thu 26 Jul, 6.15 pm Lara crosses paths with Adja again and A Rialto Fri 27 Jul, 6.30 pm comatose, Tantri learns to communicate B AC Tue 31 Jul, 1.15 pm the pair discover they have more in B Rialto Mon 30 Jul, 12.15 pm with him through her own ‘unseen’ A Rialto Wed 1 Aug, 6.15 pm common than first meets the eye. B AC Wed 1 Aug, 11.30 am B Rialto Fri 3 Aug, 4.30 pm A AC Sun 5 Aug, 3.45 pm dream world and they can once again 36 WORLD ICELAND

Woman at War Kona fer í stríð

Meet Halla, Icelandic superwoman in a woolly jumper. At 49 and single, she leads a full and satisfying life. She’s Director: Benedikt Erlingsson the popular conductor of an a capella Iceland/France/Ukraine | 101 mins Producers: Marianne Slot, Benedikt Erlingsson, choir, practices tai chi, swims laps, cycles Carine Leblanc everywhere – and unbeknownst to all Screenplay: Benedikt Erlingsson, Ólafur Egill Egilsson bar a single tremulous accomplice, is Photography: Bergsteinn Björgúlfsson saving the countryside from industrial Editor: Davíð Alexsander Corno pollution, one exploded pylon at a time. Music: Davíð Þór Jónsson With: Halldóra Geirharðsdóttir, Jóhann Sigurðarson, Dubbed the ‘Mountain Woman’ in Juan Camillo Roman Estrada, Jörundur Ragnarsson the media, demonised as an economic Festivals: Cannes (Critics’ Week) 2018 In Icelandic with English subtitles spoiler by government spinners, she’s CinemaScope | Censors rating tbc feeling the pressure when a letter arrives reminding her that four years earlier, supported by her twin sister, she applied to adopt a Ukrainian orphan. Actress Halldóra Geirharðsdóttir makes Halla an engagingly formidable eco-justice warrior (and plays her twin as an equally dedicated activist – of the self) in this delightfully off-the-wall new scampers across the highlands, pursued film from Benedikt Erlingsson, director by drones. “Offbeat, poignant and of Of Horses and Men. Funny – in the “Is there anything rarer than an visually exquisite… a way Halla exploits the invisibility of intelligent feel-good film that knows middle-aged womanhood – suspenseful how to tackle urgent global issues with work that’s both quirky and as spectacular as any film shot in humor as well as a satisfying sense of and altogether timely.” Iceland, Woman at War is further justice? Look no further than Woman — Jordan Mintzer, Hollywood graced by the wittiest of musical at War, Benedikt Erlingsson’s gloriously soundtracks, performed by an Icelandic Icelandic (for lack of a better adjective), Reporter A HWOOD Fri 20 Jul, 6.30 pm oompah band and Ukrainian vocal trio near-perfect follow-up to Of Horses A Rialto Sun 22 Jul, 4.00 pm within the movie, standing by even as and Men.” — Jay Weissberg, Variety B Rialto Tue 24 Jul, 12.30 pm A CIVIC Tue 31 Jul, 6.15 pm Halla aims her crossbow at pylons or

Arctic

It’s Mads Mikkelsen versus the elements in this intense survival story shot on location in the frozen grandeur of Director: Joe Penna Iceland’s polar wilderness. Iceland/USA 2018 | 97 mins Producers: Noah C. Haeussner, Having crash-landed somewhere in Christopher Lemole, Tim Zajaros the arctic tundra, Mikkelsen’s stranded Screenplay: Joe Penna, Ryan Morrison pilot seems to have been surviving for Photography: Tómas Örn Tómasson Editor: Ryan Morrison what seems like months as the film Music: Joseph Trapanese opens. He has set up a shelter in the With: Mads Mikkelsen, María Thelma Smáradóttir, Tintrinai Thikhasuk broken fuselage of his plane and is Festivals: Cannes (Out of Competition) 2018 living on a diet of raw trout from a CinemaScope | Censors rating tbc nearby frozen lake, where an ominous paw print in the snow may be a sign of dangers to come. He has meticulously carved the ice away from the rocky hillside to form a giant SOS and keeps a regular timetable signalling with a handcranked location beacon, until one day his routine is broken by a surprise occurrence. To say more would give away too much, suffice to say staying “The movie is built around the gruff put is no longer an option. mystique of Mads Mikkelsen, who “Mads Mikkelsen doesn’t First time director Joe Penna came never betrays a hint of showiness. need any dialogue to into filmmaking by producing his own Mikkelsen’s height and stalwart YouTube clips, but Arctic is a far cry presence fill the frame, and his face deliver the best from the rapid-fire cuts of his viral looks inward and outward at the same performance of his career.” MysteryGuitarMan videos. He packs time; it’s tense, focused, ravaged, not — David Ehrlich, Indiewire the film with plenty of incident and afraid to be a little blank. He speaks excitement but keeps the action firmly just a few words (of English), yet his A WGATE Thu 26 Jul, 6.30pm grounded and believable with the rapt desperation consumes the viewer.” A CIVIC Mon 30 Jul, 8.45 pm assistance of Mikkelsen’s impressively — Owen Glieberman, Variety stoic performance. — MM IRAN, ITALY WORLD 37

3 Faces Se rokh

Co-winner of the Cannes Best Screenplay award, 3 Faces is Jafar Panahi’s fourth under-the-radar production since the Director/Producer/Screenplay: Iranian government hit him with a Jafar Panahi Iran 2018 | 100 mins 20-year travel and filmmaking ban. Photography: Amin Jafari Panahi was a guest at NZIFF06 with his Editor: Mastaneh Mohajer filmOffside . With: Behnaz Jafari, Jafar Panahi, Marziyeh Rezaei, Maedeh Erteghaei, Narges Del Aram “An artful, surprising and thrillingly Festivals: Cannes (In Competition) 2018 intelligent story about a few women Best Screenplay, Cannes Film Festival 2018 In Farsi and Azeri, with English subtitles trying to make a difference, forging CinemaScope | Censors rating tbc bonds of solidarity in quiet defiance of the repressive, small-minded men in their rural village… 3 Faces may be modest and low-key on the surface, but its surprises are worth preserving, its insights casually profound. At the heart of the story is a mystery: What happened to Marziyeh (Marziyeh Rezaei), a teenage girl and aspiring actress from Iran’s Turkish-speaking Azerbaijan region, who has suddenly gone missing? Panahi and Jafari as they drop in on Before she vanished, Marziyeh, whose the villagers and make inquiries… They “The most feminist film family strongly disapproves of her choice drive slowly around the hilly, rocky of the [Cannes] festival… of calling, sent an alarming self-shot countryside, along winding mountain video to the famed actress Behnaz Jafari roads that are often too narrow is the quiet, subtle and (playing herself). Jafari was sufficiently to accommodate two cars passing beautiful work of art of a rattled by the footage that she has now each other in opposite directions – a 57-year-old male Iranian.” come to the girl’s village in search of situation that Panahi turns into an answers, chauffeured by none other ingenious metaphor for a society mired — Agnès Poirier, The Guardian A WGATE Sat 21 Jul, 2.00 pm than Panahi himself. in tradition for tradition's sake, unable A CIVIC Tue 24 Jul, 6.15 pm Much of this subtly, bracingly to see past the end of its patriarchal B AWT Wed 25 Jul, 2.15 pm A HWOOD Sat 4 Aug, 11.30 am pleasurable movie is spent following nose.” — Justin Chang, LA Times

Dogman

A gentle dog groomer makes the perilous mistake of thinking he can pacify the town psycho as readily as a Director: Matteo Garrone snarling mutt in this darkly flamboyant Italy/France 2018 | 103 mins Producers: Matteo Garrone, Paolo Del Brocco, Cannes Competition crime thriller from Jean Labadie, Jeremy Thomas the director of Gomorrah. Screenplay: Matteo Garrone, Ugo Chiti, Massimo Gaudisio “Though it has far less outright Photography: Nicolaj Bruel violence than Gomorrah, whose Editor: Marco Spoletini oppressive criminal atmosphere it Music: Michele Braga With: Marcello Fonte, Edoardo Pesce, shares, Matteo Garrone’s Dogman is Adamo Dionisi, Francesco Acquaroli, just as intense a viewing experience, Gianluca Gobbi, Nunzia Schiano, Alida Baldari Calabria one that will have audiences gripping Festivals: Cannes (In Competition) 2018 their armrests with its frighteningly real Best Actor (Marcello Fonte), Cannes Film Festival 2018 portrayal of a good man tempted by the In Italian with English subtitles devil. Once again set in the Camorra- CinemaScope | Censors rating tbc ridden hinterlands around Naples, the new film pours the various threads running through the Italian director's work into a boiling cauldron of poverty, ignorance and self-interest…. Here the conflict is reduced to its “Instead of simply returning to the barest existential essentials: A good comfortable well that yielded his best “A movie with man who loves dogs and grooms them notices, Garrone looks at the seed of incomparable bite for a living is tempted by a demonic, violence through another lens; not half-crazed brute to steal… Superb the pervasive malignancy of mafia and strength.” performances by Marcello Fonte as corruption, but rather an unsettling, — Peter Bradshaw, The Guardian a mild-mannered dog groomer and malevolent individual perpetrating his a crazed Edoardo Pesce as his fatal own brand of terror. A hyper-realistic attraction poise the film midway urban tragedy Dogman is ferocious and IVICA C Fri 27 Jul, 9.15 pm between the realistic criminal world in its own way, much more frightening A HWOOD Sun 29 Jul, 9.00 pm and a symbolic, universal dimension.” than Gomorrah.” — Jordan Ruimy, B CIVIC Fri 3 Aug, 4.00 pm — Deborah Young, Hollywood Reporter The Playlist 38 WORLD JAPAN, PORTUGAL

The Third Murder Sandome no satsujin

Celebrated as a director of humanistic Director/Screenplay/Editor: family portraits, Kore-eda Hirokazu Kore-eda Hirokazu made an unexpected turn before Japan 2017 | 124 mins his Palme d’Or-winning Shoplifters Producers: Matsuzaki Kaoru, Taguchi Hijiri Photography: Takimoto Mikiya (p14) with this intense legal drama – Music: Ludovico Einaudi though it shouldn’t surprise anyone With: Fukuyama Masaharu, Yakusho Koji, Hirose Suzu that his mastery extends to the genre. Festivals: Venice, Toronto 2017 Distinguished by sharp widescreen In Japanese, with English subtitles CinemaScope | M violence & sexual violence photography and steely performances references from a prestige Japanese cast, The Third Murder finds Kore-eda not only excelling at the craft of classical filmmaking, but imprinting it with a central theme of his work: the nature of memory and truth. From his own original script, Kore-eda draws an ever-shifting sight line between Misumi (the redoubtable Yakusho Koji), a convicted double murderer who has confessed to killing his boss; the victim’s daughter, Sakie (Hirose Suzu, Our © 2017 FUJI TELEVISION NETWORK / AMUSE INC / GAGA CORPORATION Little Sister); and Shigemori (Fukuyama much a Kore-eda film: a considered, Masaharu, Like Father, Like Son), the understated, quietly critical window “The Japanese auteur’s defence lawyer assigned to what into Japanese society, impactful striking film… turns appears to be an open-and-shut case. precisely because of what it doesn’t tell Told with a fluidity that recalls us after the final verdict. — Tim Wong convention on its head to Rashomon and through a starkly “Sleek and suspenseful, deceptive create a captivating and elegant visual style that rivals David and profound, The Third Murder is an unknowable puzzle.” Fincher’s, the complexities of who artful addition to the canon of modern- did what and why are obscured and day crime drama, one whose core — Peter Bradshaw, The Guardian AWT A Tue 31 Jul, 8.30 pm inverted just as soon as they’re pulled mysteries encompass more than just A AC Sat 4 Aug, 8.45 pm into view. But this engrossing, deftly the case at hand.” — Michael Leader, constructed murder mystery is also very Sight & Sound

sakebars.co.nz TANUKI Djon África SUSHI & SAKE BAR Directors: Filipa Reis, João Miller Guerra Portugal 2018 | 99 mins Screenplay: Pedro Pinho, João Miller Guerra Photography: Vasco Viana Editors: Eduardo Serrano, Ricardo Pretti, Luisa Homem With: Miguel Moreira Festivals: Rotterdam, New Directors/New Films 2018 In Cape Verdean Creole and Portuguese, with English subtitles PG coarse language & sexual references

A quietly charismatic turn from documentarians – Moreira was actually newcomer Miguel Moreira brings a subject in their last feature, which Opening Hours: an affable swagger to this laidback shone a light on undocumented Cape Tue to Sun 5:00pm - 10:30pm picaresque road movie. In a performance Verdeans living in Portugal. Those Lunch Thurs 12:00pm - 2:00pm not too far from reality, Moreira plays observational roots lend themselves 319 Queen Street, Auckland Miguel, an aspiring musician with a beautifully to this perennially chill screen Phone 09 379 5353 knack for smooth talk, who’s coasting journey, one that is light on incident but www.sakebars.co.nz/tanuki through a life of construction work, loaded with breezy charm. — JF petty shoplifting and womanising in “Like its central character, the film Portugal. When he learns his father has a leisurely, slightly woozy appeal… (who he has never met but greatly The warmth in [the] encounters with resembles) is residing in Cape Verde, the people of Cape Verde is wholly Miguel impulsively buys a one-way ticket persuasive.” — Wendy Ide, Screendaily and sets out to track him down. Thus begins a pleasurable African odyssey brimming with colourful characters, AC A Tue 24 Jul, 6.15 pm boozy encounters and requisite soul- A AC Sat 28 Jul, 1.00 pm KURA searching. Directors Filipa Reis and B AC Fri 3 Aug, 2.00 pm JAPANESE RESTAURANT João Miller Guerra are best known as LEBANON, PALESTINE WORLD 39

The Insult L’insulte

Galvanizing performances and even- Director: Ziad Doueiri handed moral inquiry bring a bracing Lebanon/France 2017 | 113 mins power to Ziad Doueiri’s Oscar-nominated Producers: Antoun Sehnaoui, Jean Bréhat, Rachid Bouchareb, Julie Gayet, Nadia Turincev legal thriller The Insult – the tale of how Screenplay: Ziad Doueiri, Joëlle Touma a bitter feud between a mechanic and Photography: Tommaso Fiorilli Editor: Dominique Marcombe a construction foreman snowballs into Music: Éric Neveux a national crisis. With: Adel Karam, Rita Hayek, Kamel El Basha, Christine Choueiri, Camille Salameh, “Two words set the story in motion. Diamand Bou Abboud One man shouts an insult at another, Festivals: Venice, Telluride, Toronto, Vancouver 2017; Rotterdam 2018 who's infuriated and demands an Nominated, Best Foreign Language Film, apology… Soon things escalate and Academy Awards 2018 the men end up in the first of two In Arabic with English subtitles CinemaScope | M violence, offensive language & courtrooms where they will face off content that may disturb against each other… Does it matter that Toni is a right-wing Christian and Yasser a Palestinian? In this context, it matters a lot… One can learn a lot about contemporary Lebanon from The Insult, but it's also possible to go into the film © TESSALIT PRODUCTIONS / ROUGE INTERNATIONAL knowing little about the situation With their combination of personal and depicted and still come away completely political animosities, the film's highly “A crackling legal thriller captivated. That's because the conflict charged courtroom scenes prove both that boils down centuries at the drama's center is so personal, riveting and revelatory… [Doueiri] is visceral and universally recognizable; also great with actors… [the leads] here of Middle Eastern conflict it could take place in Mississippi, Beijing are all superb (El Basha won the Best into one reckless insult or Bogota… Actor prize at Venice). Altogether, the – and lets the sparks fly.” As the second trial unfolds, it accomplishments of The Insult place provokes violent outbursts both inside Doueiri in the company of such masters — Peter Travers, Rolling Stone WTA A Fri 20 Jul, 8.30 pm and outside the courtroom, and of politicized suspense as Costa-Gavras B AWT Wed 1 Aug, 1.00 pm sensational media coverage stokes and Asghar Farhadi.” — Godfrey A WGATE Sat 4 Aug, 8.30 pm sectarian passions across Lebanon. Cheshire, RogerEbert.com

Wajib – The Wedding Invitation The Reports on Sarah and Saleem

Director/Screenplay: Director: Muayad Alayan Annemarie Jacir Palestine/Netherlands/ Palestine/France/ Germany/Mexico 2018 Germany 2017 | 96 mins 132 mins Producer: Ossama Bawardi Screenplay: Rami Alayan Photography: Antoine Héberlé Photography: Sebastian Bock Editor: Jacques Comets Editor: Sameer Qumsiyeh With: Mohammad Bakri, With: Maisa Abd Elhadi, Saleh Bakri, Maria Zreik, Adeeb Safadi, Sivane Kretchner, Rana Alamuddin Ishai Golan Festivals: Locarno, Toronto, Festivals: Rotterdam 2018 London 2017; Rotterdam, Sydney In Arabic, Hebrew and English, 2018 with English subtitles In Arabic with English subtitles CinemaScope | Censors rating tbc Censors rating tbc

In this astute and delightfully humorous frustration with the old man’s over- A casual affair between a cosmopolitan posing as a European tourist, on a late- urban road movie, which winds commitment to ‘duty’ (wajib in Arabic), Jewish café owner and the hunky night ride to Bethlehem, a West Bank through the streets of Nazareth, a is both provoked and countered by Palestinian who delivers her croissants is city under Palestinian authority, where father and son observe centuries-old Abu Shadi’s fear that their culture and swept into the battle zone of politics in he drops off black market goods for his tradition and hand-deliver wedding way of life are disappearing. Jacir has this taut, superbly acted psychological brother-in-law. The face-saving cover-up, invitations. Shadi, an architect whose a great ear for dialogue and extracts drama, inspired by a true story. contrived when Sarah’s Hebrew pendant colourful fashion sensibility makes terrific performances from real-life Sarah (Israeli actress Sivane is spotted by Arab men in a club, lands his father Abu Shadi nervous, has father and son Mohammad and Saleh Kretchner) and Saleem (Adeeb Safadi) Saleem in hazardous territory. The odds returned home from Italy for his sister’s Bakri, whose charismatic on-screen live on opposite sides of Jerusalem, mount as focus shifts from Saleem upcoming nuptials. relationship is both relatable and highly hooking up secretly at night. Both are to Bisan, his lawyer Maryam and to Annemarie Jacir’s (Salt of this Sea) enjoyable. — Clare Stewart married, Sarah to tetchy Israeli Defence Sarah, frantically negotiating their own third feature is an absorbing ride. There Force officer David (Ishai Golan), whose compromised futures and the minefield are constant shifts in the exchanges constant relocations have left her of Saleem’s jeopardy. between the estranged, cosmopolitan unsettled, and Saleem to his pregnant son and his crotchety, pragmatic father wife, Bisan (Maisa Abd Elhadi). He is as each encounter with invitation AC A Sun 22 Jul, 7.45 pm bridling at the weight of impending CA A Sat 28 Jul, 8.30 pm recipients unlocks past family tensions A Rialto Thu 26 Jul, 8.00 pm fatherhood and financial dependence B AC Tue 31 Jul, 3.30 pm or reveals the differences in their B AC Fri 27 Jul, 4.00 pm on Bisan’s ever-hovering family. A Rialto Thu 2 Aug, 8.15 pm B Rialto Mon 30 Jul, 4.15 pm lived Palestinian experience. Shadi’s Saleem persuades Sarah to join him, 40 WORLD PARAGUAY

The Heiresses Las herederas

In a Festival abounding with lesbian characters, this richly modulated tale of a couple who have been together Director/Screenplay: for three decades may be the most Marcelo Martinessi Paraguay/Germany/Brazil/Uruguay/ remarkable. Chela (Ana Brun) and Norway/France 2018 | 98 mins Chiquita (Margarita Irún) have long Producers: Sebastian Peña Escobar, been living a life of privilege in Marcelo Martinessi Chela’s family mansion. A crack in the Photography: Luis Armando Artega Editor: Fernando Epstein elaborate pattern of their lives becomes With: Ana Brun, Margarita Irún, Ana Ivanova, apparent when the much worldlier Nilda Gonzalez, María Martins, Alicia Guerra, Yverá Zayas Chiquita is imprisoned for fraud, Festivals: Berlin 2018 related, we guess, to keeping Chela in Silver Bear, Berlin Film Festival 2018 In Spanish with English subtitles the style to which she is accustomed. CinemaScope | M sexual references The sheltered Chela must for the first time fend for herself. Barely acknowledging that she’s actually doing it, she begins accepting payment from the wealthy dowagers of the neighbourhood when she drives them about in the family car. The breezily confiding daughter of one of her her journey is emotionally captivating, passengers sparks feelings in Chula Martinessi persuasively merges her “[A] beautifully realized she’d forgotten she ever knew. fate with that of a nation, providing a debut that exquisitely Ana Brun was awarded the Best lace draped window in which to pry Actress Award at Berlin this year for her on a section of Paraguayan society balances character study mesmerising performance – and first- that prefers to cling to the shadows with shrewd commentary time writer/director Marcelo Martinessi of its past, than embrace the future.” on class, desire, and took the Silver Bear for “a feature that — Patrick Gamble, Cine Vue opens up new perspectives.” the lingering privileges AWT A Sat 28 Jul, 1.30 pm “Brun has created one of the most of Paraguay’s elite.” B Rialto Fri 3 Aug, 12.45 pm complex, fully fleshed-out over-50 A Rialto Sun 5 Aug, 5.00 pm — Jay Weissberg, Variety females to ever hit the screen. Though SPAIN, SOUTH AFRICA, SOUTH KOREA WORLD 41

Cría cuervos Raise Ravens

Here is one of the great films of our first decade – and one of the great film portraits of childhood full stop. Director/Screenplay: Carlos Saura Coming at the end of an era when Spain 1976 | 109 mins Producer: Elías Querejeta every Spanish film worth its salt was Photography: Teodoro Escamilla an encrypted dispatch about life under Editor: Pablo G. Del Amo Franco, Cría cuervos, shot the year of Music: Federico Mompou With: Geraldine Chaplin, Mónica Randall, his death, beguiles with its evocation Florinda Chico, Ana Torrent, Héctor Alterio, of a child’s imagination, and mysterious Germán Cobos, Mirta Miller Festivals: Cannes 1976; Auckland 1978 affinities between mother and Grand Prix, Cannes Film Festival 1976 daughter. Be warned: it famously leaves In Spanish with English subtitles M violence & offensive language audiences as addicted as its young protagonist to the Spanish pop song ‘Porque te vas’. “An exquisitely made and deeply affecting film, told from the viewpoint of children, which has guilt and trauma running through its delicate veins… Eight-year-old Ana (Ana Torrent) is the middle of three sisters, and we meet her in her well-off and conservative where children are party to adultery, family’s claustrophobic Madrid home patriarchy, unhappiness, conflict and “The film is a masterpiece just as her ex-soldier father, Anselmo scary raw chicken feet in the fridge. of form and technique, (Héctor Alterio), dies – joining her pale, The performances of the children – weak mother, Ana (Geraldine Chaplin, especially Torrent, who has a haunting, and Chaplin and Torrent seen in flashbacks), who passed away old-beyond-her-years presence – are are both outstanding.” not long before. exceptional, and writer/director Carlos — Peter Bradshaw, The Guardian Ana is convinced she is responsible Saura moves us with a gentle, poetic for her father’s death, and we see ease through the film’s many complex WTB A Thu 2 Aug, 1.30 pm a number of episodes, past and realities.” — Dave Calhoun, Time Out A AWT Sun 5 Aug, 7.30 pm present, real and fantastical, which sketch her uneasy position in a world

The Harvesters Last Child Die Stropers

Director/Screenplay: Shin Dong-seok Director/Screenplay: South Korea 2017 Etienne Kallos 124 mins South Africa 2018 Producer: Je Jeong-ju 104 mins Photography: Lee Zi-hoon Editor: Lee Young-lim Photography: Michal Englert Music: Kim Hae-won Editor: Muriel Breton With: Choi Moo-seong, With: Bernt Vermeulen, Alex van Kim Yeo-jin, Seong Yu-bin Dyk, Juliana Venter, Morne Visser Festivals: Busan 2017; Berlin, Festivals: Cannes (Un Certain Hong Kong 2018 Regard) 2018 In Korean with English subtitles In Afrikaans and Zulu, with Censors rating tbc English subtitles CinemaScope | Censors rating tbc

Spectacularly set in the grasslands the help of an added son, he and This engrossing and startling Korean boy and decides to take him on as an and mesas of South Africa’s Free State Janno are both dismayed when she drama draws us into the lives of apprentice. At first Mi-sook objects to region, writer/director Etienne Kallos’ chooses to augment the household by grieving parent, Sung-cheol and Mi- the idea, but soon begins to form her daunting first feature drills into the rescuing Pieter, an orphan of Afrikaans sook. Their only son drowned rescuing own attachment to Ki-hyun. Before insecurities of an embattled white parentage from a halfway house. She one of his classmates and while the long the couple are treating Ki-hyun like minority ranch culture once empowered instructs Janno to make him his brother. school has posthumously proclaimed their own kin, but there’s something not by apartheid. In a devout Afrikaans We watch through Janno’s astonished, the boy a hero, six months on the loss quite right… family of cattle farmers, teenage Janno resentful eyes as this scathing, predatory is still palpably raw. First time director Shin Dong-seok feels out of step. No wonder: as his survivor of the city streets puts a blazing Sung-cheol attempts to cope by skillfully navigates the weighty subject mother observes his sturdy form trailing torch to everything that has ever throwing himself into his work as matters of grief, reconciliation and the herd we hear her implore her God held Janno back. The heart of Kallos’ an interior decorator while Mi-sook community healing with arresting to strengthen the boy’s blood, his heart, challenge to his countrymen lies in the attempts to conceive by artificial insight, delivering an intensely his seed. A long-withheld close-up of Cain and Abel dance of the two young insemination. When Sung-cheol runs emotional drama driven by a trio of his open, vulnerable face suggests that men, and they are electrifying. into Ki-hyun, the boy their son rescued, powerhouse performances. — MM no amount of prayer, obedience or he starts to take an interest in the rugby on Janno’s part can make him the AC A Wed 25 Jul, 6.15 pm withdrawn young man. Ki-hyun has A QSt Thu 2 Aug, 6.15 pm mighty man of the land and procreator B AWT Thu 26 Jul, 1.30 pm dropped out of school and doesn’t A QSt Sun 5 Aug, 3.30 pm she prays for. A AWT Mon 30 Jul, 8.45 pm seem to have a family of his own. Though her husband could do with Eventually Sung-cheol takes pity on the 42 WORLD SPAIN, UK

Petra

Petra (Bárbara Lennie), a painter in her 20s, arrives to take up a residency in the workshops of Jaume, a sculptor Director: Jaime Rosales of grand-scale commissions. Jaume’s Spain/France/Denmark 2018 107 mins Catalan estate encompasses forest lands Producers: Bárbara Díez, José María Morales, and a magnificent home. Invited to Antonio Chavarrías, Jérôme Dopffer, dinner by the great man’s wife Marisa Katrin Pons, Mikkel Jersin, Eva Jakobsen Screenplay: Jaime Rosales, Michel Gaztambide, (Marisa Paredes), Petra speaks of art as a Clara Roquet path to the truth. Marisa, it transpires, Photography: Hélène Louvart Editor: Lucía Casal has reason to be sceptical about such Music: Kristian Selin Eidnes Andersen idealism: the truth Petra seeks is the With: Bárbara Lennie, Alex Brendemühl, Joan Botey, Marisa Paredes, Petra Martínez, identity of her father, and she has Carme Pla, Oriol Pla, Chema Del Barco, reason to believe he might be Jaume. Natalie Madueño Festivals: Cannes (Directors’ Fortnight) 2018 This possibility rules out romantic In Spanish and Catalan, with English subtitles adventures offered by handsome Lucas CinemaScope | Censors rating tbc (Alex Brendemühl), Jaume’s intriguingly disenchanted photographer son. Jaime Rosales’ supremely elegant feature contains enough switches to furnish a soap opera and a body count akin to classical tragedy, satisfaction, is where the final chapter which it more closely resembles in should be. “An intense, cunningly tone. Rosales distances himself from As Jaume, the breaker-in-chief, structured and rewarding emotional frenzy, serving his story in Joan Botey makes an indelible screen achronological chapters, several of debut at the age of 77. Actually the item about a woman’s which bear titles that resonate with owner of the estate where the film was search for her father.” the authority of irrevocable fate. The shot, Botey may have taken the role — Jonathan Holland, Hollywood effect is curiously engaging, each scene to discourage the tourist invasion that exploring the one-to-one dynamics Hélène Louvart’s camerawork surely Reporter A AWT Wed 25 Jul, 6.30 pm within a seriously broken family and encourages. In an NZIFF not short of B AWT Thu 26 Jul, 11.00 am their co-dependent staff. And the men behaving badly, he plays a villain A Rialto Fri 3 Aug, 6.30 pm A final chapter, offering some gentle it’s a pleasure to heartily loathe. WGATE Sun 5 Aug, 5.45 pm

Lean on Pete

Director/Screenplay: Andrew Haigh UK 2017 | 121 mins Producer: Tristan Goligher Photography: Magnus Jonck Editor: Jonathan Alberts Music: James Edward Barker With: Charlie Plummer, Chloë Sevigny, Steve Buscemi, Travis Fimmel, Steve Zahn Festivals: Venice, Telluride, Toronto, London 2017; Rotterdam, SXSW 2018 M violence & offensive language

One could be forgiven for fearing ‘Lean on Pete’. When the fate of the sentimentality from a drama about horse is thrown into jeopardy, Charley the emotional bonding between a boy escapes with him and begins a cross- and his horse. But easy pathos isn’t in state odyssey that is as eye-opening as the toolbox of British master Andrew it is deeply affecting. — JF Haigh, whose last two films, Weekend “An outsider’s portrait of America and 45 Years, put him on the map as that’s fully attuned to both the mythic an achingly understated chronicler of grandeur and the harsh realities human relationships. of life… An emotionally complex His focus here is on a sensitive teen film, economically scripted and full named Charley (gifted newcomer of delicately crafted performances. Charlie Plummer), who, in the perennial Plummer is magnificent.” — Alistair absence of his deadbeat dad, bonds Harkness, The Scotsman with the damaged goods (both human and equine) at a local racecourse. Taken under the wing of jaded race-circuit B AWT Fri 20 Jul, 1.00 pm vet, Del (Steve Buscemi), and jockey A WGATE Fri 3 Aug, 6.15 pm Bonnie (Chloe Sevigny), Charley quickly A AWT Sun 5 Aug, 2.30 pm empathises with a racehorse named TURKEY, UK WORLD 43

The Wild Pear Tree Ahlat agaci

“The Wild Pear Tree is a gentle, humane, beautifully made and magnificently acted movie from the Director/Editor: Nuri Bilge Ceylan Turkish filmmaker and former Palme Turkey/France/Germany/Bulgaria 2018 | 188 mins winner Nuri Bilge Ceylan: garrulous, Producer: Zeynep Özbatur Atakan humorous and lugubrious in his Screenplay: Akın Aksu, Ebru Ceylan, unmistakable and very engaging style. Nuri Bilge Ceylan Photography: Gökhan Tiryaki It’s an unhurried, elegiac address to With: Aydin Doğu Demirkol, Murat Cemcir, the idea of childhood and your home Bennu Yildirimlar, Hazar Ergüçlü, Serkan Keskin, Tamer Levent town – and how returning to both has Festivals: Cannes (In Competition) 2018 a bittersweet savour… In Turkish with English subtitles CinemaScope | Censors rating tbc An ambitious, malcontent young graduate and would-be writer comes back to his rural village with a diploma but no job… The graduate is Sinan (Aydın Doğu Demirkol), who has come back with ambiguous feelings about the place where he grew up. As for so many writers, his home looks wonderful when he is away from it, © NBC FILM when it is tamed and transformed by bluster and cajoling. He is a gambling his imagination. But actually being addict who has borrowed money all “Ceylan expertly draws there reminds him of all its irritations over town; his addiction has kept his your eye and ear to and absurdities. Sinan is from a village family on the poverty line… near the port of Çanakkale, a tourist The question of life, and the gamble the drama behind the destination on account of being near on life that we are required to make drama, and gives the the site of the Gallipoli campaign, and in our early 20s, runs under the most gently naturalistic also the ancient city of Troy… movie’s meandering path. It is another His father is Idris, tremendously deeply satisfying, intelligent piece of scenes the weight and A Rialto Sun 22 Jul, 12.30 pm played by Murat Cemcir, a man whose film-making from Ceylan.” — Peter grain of visions.” — Robbie B Rialto Wed 25 Jul, 11.00 am youthful charm and romanticism has Bradshaw, The Guardian A HWOOD Sat 28 Jul, 12.15 pm Collin, The Telegraph A AWT Sat 4 Aug, 1.45 pm curdled with age into a pre-emptive

Disobedience

“Is the greater sin to defy God, or defy Director: Sebastián Lelio your true nature? It’s not a question UK 2017 | 114 mins that’s asked directly in Disobedience, Producers: Frida Torresblanco, Ed Guiney, Rachel Weisz but lingers at the edges of the turmoil Screenplay: Sebastián Lelio, Rebecca Lenkiewicz. that slowly simmers into passion Based on the novel by Naomi Alderman Photography: Danny Cohen and penitence, in a story that turns Editor: Nathan Nugent a colorful premise into a thoughtful Music: Matthew Herbert With: Rachel Weisz, Rachel McAdams, rumination on choice. Set inside the Alessandro Nivola conservative community of Orthodox Festivals: Toronto 2017; Tribeca 2018 In English, Hebrew and Yiddish, Judaism, Sebastián Lelio’s graceful with English subtitles adaptation of Naomi Alderman’s novel R13 sex scenes & sexual references is a probing look at the illusion of freedom in both religious and secular life, and the bracing reality faced by two women when the relationship between them sparks back to life. When Ronit (Rachel Weisz), a portrait photographer living in New York City, learns that her father Rav, a revered rabbi and community leader, has passed © BLEEKER STREET away, she temporarily numbs the pain After the transcendent Gloria and in booze and sex, before boarding a [last] year’s buzzworthy A Fantastic “[A] striking and warmly plane to London… Ronit has been Woman, Lelio once again shows a nuanced portrait of the disconnected for so long, she’s surprised remarkable sensitivity to the challenges to learn her former friends Dovit women face, particularly those who are kinds of women whose (Alessandro Nivola) – who became Rav’s marginalized by their age or identity… internal lives are rarely spiritual son and protegé – and Esti [He] crafts a drama that’s both sensual portrayed on screen.” (Rachel McAdams) are now married. and spiritual, deeply moving and However, Ronit and Esti have a surprise tender.” — Kevin Jagernauth, The — Andrew Barker, Variety IVICA C Fri 20 Jul, 6.30 pm of their own – a long buried connection Playlist A Rialto Sat 21 Jul, 8.30 pm that will be rekindled, and unravel the B CIVIC Tue 24 Jul, 10.30 am B Rialto Wed 1 Aug, 4.00 pm orderly world around them… 44 WORLD UK, USA

Orlando

Sally Potter’s sumptuous adaptation of Virginia Woolf’s fantasia of shifting gender identity through 400 years of Director: Sally Potter English history is as fresh today as it UK/Russia/France/Italy/ The Netherlands 1992 | 94 mins was when it first dazzled New Zealand Producer: Christopher Sheppard festivalgoers in 1993. Screenplay: Sally Potter. “Many intellectual traditions vie for Based on the novel by Virginia Woolf Photography: Aleksei Rodionov ascendancy in Sally Potter’s adaptation Editor: Hervé Schneid of Virginia Woolf’s 1928 modernist Music: David Motion, Sally Potter With: Tilda Swinton, Billy Zane, Lothaire Bluteau, novel, but the joy is that the film comes John Wood, Heathcote Williams, over simply: a beautiful historical Charlotte Valandrey, Quentin Crisp, Dudley Sutton, Thom Hoffman, Jimmy Somerville pageant of 400 years of English history, Festivals: Auckland 1993 full of grand visual and aural pleasures, In English and French, with English subtitles sly jokes, provocative insights, PG sexual references emotional truths – and romance… The film, comprising six or so major scenes, begins at the opulent court of the Virgin Queen, Elizabeth (played by self-proclaimed stately homo Quentin Crisp), where the male Orlando receives favour, an estate and immortality; film’s complicitous eyes and ears… It’s a it then follows his quest for love in critical work, in that it comments wryly “Tilda Swinton’s 50-year jumps through the Civil War, on such things as representations of performance as Orlando the early colonial period, the effete English history, sexuality/androgyny and literary salons of 1750 by which time class – but made in the spirit of a love- in this adaptation of Orlando is apparelled as a woman, and poem to both Woolf and the England Virginia Woolf’s novel is the Victorian era of property, to a 20th that made us. It’s wonderful.” — Wally luminous and thrilling, an century postscript added by Potter. Hammond, Time Out The fine, stylised performances from omnisexual romp through AIVIC C Sun 29 Jul, 3.00 pm an idiosyncratic international cast are 400 years of history.” B CIVIC Wed 1 Aug, 1.30 pm admirably headed by Tilda Swinton’s A WGATE Thu 2 Aug, 6.30 pm — Kate Muir, The Sunday Times magnificent Orlando, who acts as the

You Were Never Really Here Juliet, Naked

I Will Not Write Unless I Am… Director: Lynne Ramsay Director: Jesse Peretz UK/France/USA 2017 USA 2018 | 97 mins 89 mins Producers: Judd Apatow, Barry Screenplay: Lynne Ramsay. Based Mendel, Albert Berger, Ron Yerxa, on the novel by Jonathan Ames Jeffrey Soros Music: Jonny Greenwood Screenplay: Tamara Jenkins, With: Joaquin Phoenix, Judith Jim Taylor, Phil Alden Robinson, Roberts, Ekaterina Samsonov, Evgenia Peretz. Based on the Alessandro Nivola novel by Nick Hornby Festivals: Cannes (In Competition), With: Ethan Hawke, Rose Byrne, London 2017; Sundance 2018 Chris O’Dowd, Jimmy O. Yang Best Actor & Best Screenplay, Festivals: Sundance 2018 Cannes Film Festival CinemaScope | Censors rating tbc CinemaScope/Censors rating tbc © ALEX-BAILEY. COURTESY OF LIONSGATE & ROADSIDE-ATTRACTIONS “Lynne Ramsay’s stark inversion of deeper into the hallucinatory darkness Annie (Rose Byrne) has long tolerated Hornby’s smart, pop culture obsessed, the noir thriller is a devastatingly and closer to the truth. her partner Duncan’s (Chris O’Dowd) emotionally stunted characters. Juliet, brutal portrayal of one man’s battle Working from Jonathan Ames’ 2013 obsession with the obscure rocker Naked is a witty, niftily constructed and with repression and abuse, anchored novel, Ramsay (who jointly won the Tucker Crowe (Ethan Hawke), but sneakily romantic film – with a great by a rage-fuelled, Cannes-winning best screenplay award in Cannes) is she’s reaching the end of her tether. soundtrack, of course. performance from Joaquin Phoenix. more concerned with the psyche of Crowe had a following in the 1990s, “The Sundance audience was Joe (Phoenix) is a Gulf War veteran her unhinged protagonist than she is but he disappeared after a mid-show buzzing after the premiere of Juliet, and former FBI agent turned killer- with the action… Her taut, syncopated breakdown, to become the subject of Naked, not because it moves the for-hire, specialising in saving victims cinema is intensified by Jonny rumour and legend ever since – at least boundary posts but because it’s from child sex rings, and living at home Greenwood’s pulsating score, Thomas to those who care. everything a mainstream rom-com with his ailing mother. When Nina, a Townend’s expressive camerawork and No one cares more than Duncan, should be but no longer is – literate, US Senator’s daughter, is kidnapped, razor-sharp editing from Joe Bini.” who runs a fan forum for similar unpredictable, full of bustling he is contracted to dispense with the — Clare Stewart, London Film Festival obsessives around the world. When a tangents.” — David Edelstein, Vulture perpetrators and save the girl (Ekaterina previously unknown demo of a Crowe Samsonov is hauntingly good). Having album emerges after 25 years, Annie located Nina in a seedy New York B QSt Fri 20 Jul, 4.45 pm finally takes to Duncan’s forum with a BIVIC C Wed 1 Aug, 11.00 am brothel, Joe’s escape plan suddenly A CIVIC Sun 22 Jul, 9.15 pm withering review. Amongst the startled A CIVIC Fri 3 Aug, 6.30 pm derails, unleashing a maelstrom of A QSt Sat 28 Jul, 9.00 pm readers there’s one Tucker Crowe. violence that ultimately takes him Perfectly cast, Jesse Peretz’s film nails USA WORLD 45

Beirut

The magnetic Jon Hamm brings Director: Brad Anderson swagger in spades to this cracking, USA 2018 |109 mins old-fashioned spy thriller from the Producers: Mike Weber, Tony Gilroy, Shivani Rawat, Monica Levinson writer of Michael Clayton. Hamm plays Screenplay: Tony Gilroy Mason Skiles, an alcoholic ex-diplomat Photography: Bjorn Charpentier Editor: Andrew Hafitz who fled Beirut in 1972 when a terror Music: John Debney raid upended his life. When an old With: Jon Hamm, Rosamund Pike, Dean Norris, Mark Pellegrino, Larry Pine, Shea Whigham colleague is taken hostage ten years Festivals: Sundance 2018 later, and the kidnappers ask for him In English, Arabic and French, with English subtitles by name, Mason is forced to return and CinemaScope | Censors rating tbc navigate a web fraught with danger, deceit and personal demons. Viewers can expect the requisite twists and jolts of gritty action characteristic of its writer Tony Gilroy, while Hamm and a roster of ace supporting players (that includes Rosamund Pike, Shea Whigham and Dean Norris) bring welcome human gravitas to the knotty plot workings. — JF © SIFE EDDINE EL AMINE “A handsome, charismatic actor with the force of surprise… Beirut is as who has had difficulty finding film roles relevant as it is entertaining, and it is “A tense, tight kidnapping that suit him as well as his TV success very entertaining indeed.” — Kenneth thriller about shifting in Mad Men, Hamm is all he should be Turan, LA Times as the film's flawed hero, projecting “Beirut is a crafty drama that doesn’t loyalties and finding a juicy combination of weakness and depend on car crashes or shootouts redemption, Beirut marks strength that involves us completely... for its sense of propulsive action. It Jon Hamm’s finest film As any fan of the Bourne films can may be a mostly pessimistic portrait of attest, screenwriter Gilroy is a master at its time and place, but it offers hope, work to date.” — Adam A WGATE Sat 21 Jul, 8.15 pm laying out a twisty plot, and Anderson if only that movies of its style, scope Graham, The Detroit News B CIVIC Mon 23 Jul, 3.45 pm directs with the kind of verve that and smarts can still get made.” — Ann A CIVIC Fri 3 Aug, 9.00 pm enables almost all the twists to hit us Hornaday, The Washington Post

Desert Hearts

“Exuberant and sexy, Desert Hearts is the most untrammelled love story in this Festival, and the most assured and Director/Producer: Donna Deitch liberating lesbian movie ever. It belts USA 1985 | 91 mins Screenplay: Natalie Cooper. Based on along on fresh air, country music and the novel Desert of the Heart by Jane Rule sassy dialogue so that you can almost Photography: Robert Elswit feel that warm wind in your hair.” Editor: Robert Estrin With: Helen Shaver, Patricia Charbonneau, — 18th Auckland International Film Audra Lindley, Andra Akers, Gwen Welles, Festival, 1986 Alex McArthur Festivals: Locarno 1985; Sundance, Auckland 1986 “‘You’re just visiting the way I Best Actress (Helen Shaver), Locarno Film Festival live,’ confidently queer Cay (Patricia 1985 Special Jury Price, Sundance Film Festival 1986 Charbonneau) cries out to newly M sex scenes lesberated Vivian (Helen Shaver) during their first romantic set-to in Donna Deitch’s swoony and sharp- witted Desert Hearts. The same can’t be said of Deitch’s 1985 film, her first, which became a sapphic touchstone precisely by not treating lesbian love as a topic for tourism (as Personal Best did in ’82) or something far worse (cf. The something in Cay, a coltish soft butch Children’s Hour, from ’61). a decade younger who sculpts when “Steeped in moody, Adapted from Desert of the Heart, she’s not working as a change operator classic country and the 1964 debut novel by lavender at the casino. However self-assured, legend Jane Rule, and scripted by and no matter how many women may western music, it conveys Natalie Cooper, Deitch’s movie takes have shared her bed previously, Cay romantic longing and place in Reno, Nevada, in 1959. is also nakedly vulnerable around this confusion with Vivian, a 35-year-old literature soigné New Yorker. She is, in other professor at Columbia, has headed words, falling in love, a condition never bittersweet intensity.” B Rialto Mon 23 Jul, 12.15 pm to the city for a quickie divorce from pathologized or diminished in Deitch’s — Camille Paglia, Sight & Sound A Rialto Wed 25 Jul, 8.30 pm a fellow academic… The scholar – film but rather celebrated to the fullest.” A AWT Fri 3 Aug, 6.30 pm fragile, remote, wry, serious – ignites — Melissa Anderson, Village Voice (2017) 46 WORLD USA

First Reformed

Gripping and intensely focused, First Director/Screenplay: Paul Schrader Reformed is Paul Schrader’s latest USA 2017 | 114 mins character study of male self-destruction Producers: Christine Vachon, David Hinojosa, Frank Murray, Jack Binder, Greg Clark, Victoria Hill, and redemption. Haunted by the Gary Hamilton, Deepak Sikka ghost of Taxi Driver, it stands as the Photography: Alexander Dynan Editor: Benjamin Rodriguez Jr. culmination of a writing/directing career Music: Lustmord studded with God’s lonely men – and With: Ethan Hawke, Amanda Seyfried, Cedric Antonio Kyles, Victoria Hill, Philip Ettinger one of Schrader’s most personal films Festivals: Venice, Toronto, New York 2017; in decades. Rotterdam, SXSW 2018 A terrific Ethan Hawke cuts a stern, Censors rating tbc troubled figure as Toller, a Protestant minister of a tiny congregation overshadowed by a nearby populist church. His internal and spiritual despair – rivetingly chronicled in Schrader’s powerful script – begins to seep out into the unforgiving world upon meeting Mary (Amanda Seyfried) and her husband Michael, a distraught environmental activist whose salvation lies in a suicide vest. of the great American filmmakers. As Toller’s dwindling faith and — Tim Wong “An important and moving growing political rage points ostensibly “First Reformed [is] the writer/ work by a master towards an explosive final act, director’s best work in a very long Schrader’s artistry, heavily indebted to time. The writer of Taxi Driver [and] filmmaker.” — Godfrey his cinematic heroes Carl Dreyer and Raging Bull… is having a crisis of faith, Cheshire, RogerEbert.com Robert Bresson, beautifully counteracts examining personal issues of religion the violent pathos of his most iconic in a way that he hasn’t done in a very screen antiheroes. At once austere and long time… It’s the kind of work of art BIVIC C Fri 20 Jul, 3.45 pm electrifying, First Reformed is directed that seems like it could inspire fantastic A HWOOD Wed 25 Jul, 8.30 pm with startling simplicity and profundity; conversation. We need more movies like A CIVIC Thu 2 Aug, 9.15 pm a bravely un-American film by one it.” — Brian Tallerico, RogerEbert.com

A Kid Like Jake

At the outset of this smart, topical Director: Silas Howard and moving comedy-drama, one-time USA 2018 | 92 mins lawyer Alex (Claire Danes) and her Producers: Jim Parsons, Todd Spiewak, Eric Norsoph, Paul Bernon, Rachel Xiaowen Song psychiatrist husband, Greg (Jim Parsons), Screenplay: Daniel Pearle. Based on his play are plotting private school applications. Photography: Steven Capitano Calitri Editor: Michael Taylor Their young son Jake’s intelligence and Music: Roger Neill imagination have won him impressive With: Claire Danes, Jim Parsons, Octavia Spencer, Priyanka Chopra, Ann Dowd, Leo James Davis, test scores. He is also expressing a Amy Landecker preference for what Judy (Octavia Festivals: Sundance, San Francisco 2018 Spencer), the proprietor of his preschool, Censors rating tbc labels ‘gender-variant play’. When she PRESENTED IN ASSOCIATION WITH encourages them to play up Jake’s transgender leanings so that he might be considered a ‘diverse’ candidate for a progressive school, the parents are torn. Both want what’s best for their son, but as they struggle to agree on what that might be, the identity politics they have always embraced begin to impact in painfully personal ways. These are educated, privileged “Expansively humane and funny… characters, who, along with their The drama of A Kid Like Jake, which is “A sensitive and friends, talk things out – sometimes small and contained and also somehow nuanced portrait of saying things best not said. The script, about everything, is the question of how adapted by Daniel Pearle from his own to protect someone you’re responsible modern parenting.” play, provides fuel for illuminating fire, for, or even if there’s anything to protect — David Ehrlich, Indiewire delivered by a superb cast, including them from; what to cultivate and what the redoubtable Ann Dowd as Alex’s to let run wild, and all the life-altering mother, and Amy Landecker as a choices that happen around a child AWT A Sat 21 Jul, 3.15 pm patient exasperated by Greg’s Zen-like when they’re barely even old enough A HWOOD Mon 23 Jul, 6.15 pm calm. Director Silas Howard, trans to remember them.” — Emily Yoshida, B AWT Tue 24 Jul, 4.15 pm A WGATE Sun 29 Jul, 8.00 pm himself, is a veteran of Transparent. Vulture 47

AC Academy Cinemas AWT ASB Waterfront Theatre HWOOD Hollywood Avondale CIVIC Civic Theatre QSt Event Cinemas Queen Street WGATE Event Cinemas Westgate Schedule RIALTO Rialto Cinemas Newmarket

Thursday 19 July A 6.30 pm Shoplifters (CIVIC) 121 14 B 4.00 pm Liquid Sky (QSt) 113 87 A 6.30 pm Westwood: Punk, Icon… (WGATE) 78 83 B 4.15 pm Madeline's Madeline (AC) 94 59 A 7.00 pm Birds of Passage (CIVIC) 125 9 A 6.45 pm Border (HWOOD) 108 55 B 4.15 pm Apostasy (Rialto) 96 54 Friday 20 July A 8.15 pm The Swimming Pool (AWT) 124 33 A 6.15 pm Custody (AC) 94 32 B 11.00 am Hunger (AC) 111 28 A 8.15 pm Beirut (WGATE) 109 45 A 6.15 pm RBG (AWT) 98 71 B 11.00 am I Used to Be Normal… (AWT) 96 68 A 8.30 pm Madeline's Madeline (AC) 94 59 A 6.15 pm Breath (CIVIC) 116 27 B 11.15 am Animation for Kids 4+ (CIVIC) 65 63 A 8.30 pm Shut Up and Play the Piano (QSt) 82 79 A 6.15 pm A Kid Like Jake (HWOOD) 92 46 B 11.30 am Liyana (QSt) 77 62 A 8.30 pm Disobedience (Rialto) 114 43 A 6.15 pm The Cleaners (QSt) 89 72 B 12.45 pm Loveling (Rialto) 98 + 8 29 A 9.15 pm Searching (CIVIC) 102 60 A 6.15 pm Jill Bilcock: Dancing… (Rialto) 81 81 B 1.00 pm Lean on Pete (AWT) 121 42 A 9.15 pm Terrified (HWOOD) 87 87 A 6.30 pm Little Woods (WGATE) 105 52 A 8.00 pm The Image Book (QSt) 85 32 B 1.15 pm Gurrumul (AC) 96 74 Sunday 22 July B 1.15 pm Mirai (CIVIC) 98 15 A 8.00 pm Milla (Rialto) 128 59 A 10.30 am Science Fair (AWT) 90 62 B 1.15 pm The Cleaners (QSt) 89 72 A 8.15 pm Dog's Best Friend (AC) 78 67 A 11.00 am The Trial (AC) 139 73 B 3.00 pm Science Fair (Rialto) 90 62 A 8.30 pm Rafiki (AWT) 83 59 A 11.00 am The Atlantic (CIVIC) 76 65 B 3.00 pm Our New President (QSt) 78 73 A 8.30 pm A Mother Brings Her Son… (HWOOD) 84 70 B 11.00 am Animation for Kids 4+ (Rialto) 65 63 B 3.15 pm Cold Blooded: The Clutter… (AC) 168 66 A 9.00 pm Leto (CIVIC) 126 75 A 12.30 pm Liyana (QSt) 77 62 B 3.30 pm The Swimming Pool (AWT) 124 33 A 12.30 pm The Wild Pear Tree (Rialto) 188 43 Tuesday 24 July B 3.45 pm First Reformed (CIVIC) 114 46 A 12.45 pm Eldorado (AWT) 92 72 B 10.30 am Disobedience (CIVIC) 114 43 B 4.15 pm The Miseducation of Cameron… (HWOOD) 90 51 A 1.00 pm Yellow is Forbidden (CIVIC) 97 15 B 11.00 am Ngaˉ Whanaunga… (AWT) 94 23 B 4.45 pm Bombshell: The Hedy Lamarr… (Rialto) 90 80 A 1.30 pm Rafiki (HWOOD) 83 59 B 12.15 pm Keep the Change (AC) 93 57 B 4.45 pm You Were Never Really… (QSt) 89 44 A 1.30 pm The Ice King (WGATE) 89 76 B 12.15 pm Virus Tropical (QSt) 97 61 A 6.15 pm Matangi/Maya/M.I.A. (AWT) 97 79 A 2.00 pm Speak Up (AC) 96 70 B 12.30 pm Woman at War (Rialto) 101 36 A 6.30 pm McKellen: Playing the Part (AC) 96 83 A 2.15 pm The Image Book (QSt) 85 32 B 1.00 pm In the Aisles (CIVIC) 126 34 A 6.30 pm Disobedience (CIVIC) 114 43 A 3.00 pm Ngaˉ Whanaunga… (AWT) 94 23 B 1.15 pm Stray (AWT) 104 21 A 6.30 pm Woman at War (HWOOD) 101 36 A 3.30 pm Loveling (WGATE) 98 + 8 29 B 2.15 pm Chulas Fronteras (AC) 58 + 29 74 A 6.30 pm Lucky (QSt) 88 52 A 3.45 pm Mirai (CIVIC) 98 15 B 2.15 pm The Image Book (QSt) 85 32 A 6.30 pm Pick of the Litter (Rialto) 81 70 A 3.45 pm If I Leave Here Tomorrow… (HWOOD) 95 77 B 2.30 pm Pick of the Litter (Rialto) 81 70 A 6.30 pm The Kindergarten Teacher (WGATE) 96 52 A 4.00 pm Nico, 1988 (QSt) 93 79 B 3.45 pm Searching (CIVIC) 102 60 A 8.15 pm Virus Tropical (QSt) 97 61 A 4.00 pm Woman at War (Rialto) 101 36 B 4.00 pm Skate Kitchen (QSt) 106 60 A 8.15 pm Diamantino (Rialto) 92 56 A 4.15 pm Keep the Change (AC) 93 57 B 4.15 pm Jill Bilcock: Dancing… (AC) 81 81 A 8.30 pm The Devil We Know (AC) 88 66 A 5.45 pm Ága (WGATE) 96 29 B 4.15 pm A Kid Like Jake (AWT) 92 46 A 8.30 pm The Insult (AWT) 113 39 A 6.00 pm Stray (AWT) 104 21 B 4.15 pm Eldorado (Rialto) 92 72 A 9.00 pm Mega Time Squad (HWOOD) 79 86 A 6.00 pm McQueen (HWOOD) 111 82 A 6.15 pm Djon África (AC) 99 38 A 9.15 pm American Animals (CIVIC) 116 55 A 6.00 pm Brimstone & Glory (QSt) 67 65 ✚ 6.15 pm Paul Callaghan: Dancing… (AWT) 103 20 Saturday 21 July A 6.00 pm The Ice King (Rialto) 89 76 A 6.15 pm 3 Faces (CIVIC) 100 37 A 6.15 pm The Green Fog (AC) 65 57 A 6.15 pm Brimstone & Glory (HWOOD) 67 65 A 11.00 am Kusama – Infinity (CIVIC) 83 81 A 6.15 pm Wings of Desire (CIVIC) 128 13 A 6.15 pm Bludgeon (QSt) 90 18 A 11.15 am Dog's Best Friend (AC) 78 67 A 7.30 pm Liquid Sky (QSt) 113 87 A 6.15 pm Kevin Roche: The Quiet… (Rialto) 82 82 A 11.15 am Ex Libris: The New York… (AWT) 197 67 A 7.45 pm Wajib (AC) 96 39 A 6.30 pm Maui's Hook (WGATE) 92 21 B 11.45 am Animation for Kids 8+ (HWOOD) 76 63 A 7.45 pm The Guilty (WGATE) 85 30 A 8.00 pm Wings of Desire (HWOOD) 128 13 A 12.00 pm The Ancient Woods (Rialto) 86 64 A 7.45 pm Apostasy (Rialto) 96 54 A 8.00 pm Happy As Lazzaro (Rialto) 125 14 A 12.15 pm Our New President (QSt) 78 73 A 8.30 pm The Field Guide to Evil (HWOOD) 117 85 A 8.30 pm The Distant Barking of Dogs (AC) 91 67 A 1.00 pm In the Aisles (CIVIC) 126 34 A 9.00 pm In the Realm of Perfection (AWT) 95 68 A 8.45 pm Ash Is Purest White (CIVIC) 141 31 A 1.45 pm Gurrumul (AC) 96 74 A 9.15 pm You Were Never Really… (CIVIC) 89 44 A 8.45 pm The Field Guide to Evil (QSt) 117 85 A 1.45 pm Chulas Fronteras (HWOOD) 58 + 29 74 A 9.15 pm The Green Fog (AWT) 65 57 A 1.45 pm Hunger (Rialto) 111 28 Monday 23 July A 2.00 pm An Elephant Sitting Still (QSt) 234 56 B 10.30 am Shoplifters (CIVIC) 121 14 Wednesday 25 July A 2.00 pm 3 Faces (WGATE) 100 37 B 11.00 am Wildlife (AWT) 105 53 B 10.30 am Ex Libris: The New York… (AWT) 197 67 A 3.15 pm A Kid Like Jake (AWT) 92 46 B 12.00 pm McKellen: Playing the Part (AC) 96 83 B 10.45 am Transit (CIVIC) 101 35 A 3.45 pm The Green Fog (AC) 65 57 B 12.15 pm Desert Hearts (Rialto) 91 45 B 11.00 am The Wild Pear Tree (Rialto) 188 43 A 4.00 pm Le Grand Bal (CIVIC) 99 75 B 12.30 pm Brimstone & Glory (QSt) 67 65 B 11.30 am Nico, 1988 (QSt) 93 79 A 4.00 pm Foxtrot (HWOOD) 113 58 B 1.15 pm Maui's Hook (AWT) 92 21 B 12.00 pm Lots of Kids, a Monkey… (AC) 91 69 A 4.00 pm The Price of Everything (Rialto) 105 83 B 1.15 pm Le Grand Bal (CIVIC) 99 75 B 1.15 pm Ága (CIVIC) 96 29 A 4.00 pm Happy As Lazzaro (WGATE) 125 14 B 2.00 pm Minding the Gap (QSt) 98 69 B 1.30 pm Breath (QSt) 116 27 A 5.15 pm Cold Blooded: The Clutter… (AC) 168 66 B 2.15 pm The Distant Barking of Dogs (AC) 91 67 B 2.00 pm Dog's Best Friend (AC) 78 67 A 5.30 pm Maui's Hook (AWT) 92 21 B 2.15 pm Lots of Kids, a Monkey… (Rialto) 91 69 B 2.15 pm 3 Faces (AWT) 100 37 A 6.00 pm Capharnaüm (Rialto) 123 13 B 3.45 pm Beirut (CIVIC) 109 45 B 2.30 pm The Distant Barking of Dogs (Rialto) 91 67 A 6.15 pm Skate Kitchen (QSt) 106 60 B 4.00 pm Matangi/Maya/M.I.A. (AWT) 97 79 B 3.30 pm Birds of Passage (CIVIC) 125 9 48 AUCKLAND SCHEDULE

B 3.45 pm Bludgeon (QSt) 90 18 B 4.15 pm Rafiki (AWT) 83 59 A 1.15 pm Angie (AWT) 119 19 B 4.15 pm Looking for Oum Kulthum (AC) 90 34 B 4.30 pm Diamantino (Rialto) 92 56 A 1.30 pm Virus Tropical (HWOOD) 97 61 B 4.30 pm The Guilty (AWT) 85 30 B 4.45 pm Terrified (QSt) 87 87 A 1.30 pm Ex Libris: The New York… (Rialto) 197 67 B 4.30 pm Kevin Roche: The Quiet… (Rialto) 82 82 A 6.15 pm Hunger (AC) 111 28 A 1.45 pm Dog's Best Friend (WGATE) 78 67 A 6.15 pm The Harvesters (AC) 104 41 A 6.15 pm Jirga (AWT) 78 26 A 2.00 pm Ryuichi Sakamoto: Coda (QSt) 102 79 A 6.15 pm Three Identical Strangers (CIVIC) 96 71 A 6.30 pm Shut Up and Play the Piano (HWOOD) 82 79 A 3.00 pm Orlando (CIVIC) 94 44 A 6.15 pm Kusama – Infinity (HWOOD) 83 81 A 6.30 pm Leto (QSt) 126 75 A 3.30 pm The Song Keepers (WGATE) 88 77 A 6.15 pm If I Leave Here Tomorrow… (QSt) 95 77 A 6.30 pm And Breathe Normally (Rialto) 100 35 A 3.45 pm Birds of Passage (HWOOD) 125 9 A 6.15 pm Loveling (Rialto) 98 + 8 29 A 6.30 pm Yellow is Forbidden (WGATE) 97 15 A 4.00 pm Lots of Kids, a Monkey… (AC) 91 69 A 6.30 pm Petra (AWT) 107 42 A 6.45 pm McQueen (CIVIC) 111 82 A 4.00 pm An Elephant Sitting Still (QSt) 234 56 A 6.30 pm Transit (WGATE) 101 35 A 8.30 pm Skate Kitchen (Rialto) 106 60 A 4.45 pm United Skates (AWT) 89 71 A 8.15 pm Bludgeon (QSt) 90 18 A 8.45 pm We the Animals (AC) 93 61 A 5.15 pm Cosy Dens (Rialto) 120 28 A 8.30 pm Filmworker (AC) 94 80 A 8.45 pm Let the Corpses Tan (HWOOD) 93 85 A 5.30 pm Transit (CIVIC) 101 35 A 8.30 pm First Reformed (HWOOD) 114 46 A 9.00 pm Good Manners (AWT) 135 58 A 5.30 pm Shoplifters (WGATE) 121 14 A 8.30 pm Desert Hearts (Rialto) 91 45 A 9.00 pm Piercing (QSt) 81 86 A 6.15 pm Jill Bilcock: Dancing… (AC) 81 81 A 8.45 pm Foxtrot (CIVIC) 113 58 A 9.15 pm Dogman (CIVIC) 103 37 A 6.30 pm Blue My Mind (HWOOD) 97 84 A 9.00 pm The World Is Yours (AWT) 104 33 A 7.30 pm Little Woods (AWT) 105 52 Saturday 28 July A 7.30 pm Looking for Oum Kulthum (Rialto) 90 34 Thursday 26 July B 10.30 am Animation for Kids 4+ (HWOOD) 65 63 A 8.00 pm Island of the Hungry Ghosts (AC) 98 68 B 10.45 am Yellow is Forbidden (CIVIC) 97 15 A 11.00 am Garry Winogrand: All Things… (AC) 90 81 A 8.00 pm Donbass (CIVIC) 121 73 B 11.00 am The Trial (AC) 139 73 A 11.00 am RBG (CIVIC) 98 71 A 8.00 pm A Kid Like Jake (WGATE) 92 46 B 11.00 am Petra (AWT) 107 42 A 11.30 am Pick of the Litter (AWT) 81 70 A 8.15 pm Mega Time Squad (QSt) 79 86 B 12.00 pm The Cleaners (QSt) 89 72 A 12.00 pm Liyana (Rialto) 77 62 A 9.00 pm Dogman (HWOOD) 103 37 B 12.15 pm McKellen: Playing the Part (Rialto) 96 83 A 12.15 pm The Wild Pear Tree (HWOOD) 188 43 B 1.15 pm Three Identical Strangers (CIVIC) 96 71 A 12.45 pm The Cleaners (QSt) 89 72 Monday 30 July B 1.30 pm The Harvesters (AWT) 104 41 A 1.00 pm Djon África (AC) 99 38 B 10.30 am Kusama – Infinity (CIVIC) 83 81 B 1.45 pm Ryuichi Sakamoto: Coda (QSt) 102 79 A 1.30 pm The Heiresses (AWT) 98 40 B 11.00 am Angie (AWT) 119 19 B 2.00 pm Garry Winogrand: All Things… (AC) 90 81 A 1.30 pm Monterey Pop (CIVIC) 79 77 B 11.30 am Island of the Hungry Ghosts (AC) 98 68 B 2.15 pm I Used to Be Normal... (Rialto) 96 68 A 1.45 pm Paul Callaghan: Dancing… (Rialto) 103 20 B 12.15 pm And Breathe Normally (Rialto) 100 35 B 3.30 pm Foxtrot (CIVIC) 113 58 A 2.00 pm The Ancient Woods (WGATE) 86 64 B 12.30 pm Burning (CIVIC) 148 11 B 3.45 pm Jirga (AWT) 78 26 A 2.30 pm Cold Water (QSt) 95 56 B 12.30 pm Lucky (QSt) 88 52 B 3.45 pm Mandy (QSt) 121 86 A 3.15 pm Apostasy (AC) 96 54 B 2.15 pm Filmworker (AC) 94 80 B 4.00 pm The Rider (AC) 104 51 A 3.30 pm Burning (CIVIC) 148 11 B 2.15 pm Pick of the Litter (AWT) 81 70 B 4.15 pm RBG (Rialto) 98 71 A 3.45 pm Bombshell: The Hedy Lamarr… (AWT) 90 80 B 2.15 pm Cold Water (QSt) 95 56 A 6.15 pm The Seen and Unseen (AC) 86 + 10 35 ◆ 4.00 pm Film Quiz (CIVIC, Wintergarden) 120 91 B 2.15 pm Gurrumul (Rialto) 96 74 A 6.15 pm The Ice King (AWT) 89 76 A 4.00 pm Mirai (WGATE) 98 15 B 3.45 pm Border (CIVIC) 108 55 A 6.15 pm Ága (CIVIC) 96 29 A 4.15 pm The Miseducation of Cameron… (HWOOD) 90 51 B 4.00 pm New Zealand's Best 2018 (AWT) 87 23 A 6.15 pm Matangi/Maya/M.I.A. (HWOOD) 97 79 A 4.30 pm Minding the Gap (QSt) 98 69 B 4.15 pm A Mother Brings Her Son… (AC) 84 70 A 6.15 pm Eight Uneasy Pieces (QSt) 81 25 A 4.30 pm Keep the Change (Rialto) 93 57 B 4.15 pm Breath (QSt) 116 27 A 6.15 pm Kusama – Infinity (Rialto) 83 81 A 5.30 pm Moscow Does Not Believe… (AC) 150 51 B 4.15 pm Wajib (Rialto) 96 39 A 6.30 pm Arctic (WGATE) 97 36 A 6.00 pm New Zealand's Best 2018 (AWT) 87 23 A 6.15 pm Kevin Roche: The Quiet… (AC) 82 82 A 8.00 pm Wajib (Rialto) 96 39 A 6.00 pm Breath (WGATE) 116 27 A 6.15 pm Angels Wear White (AWT) 107 30 A 8.30 pm Holiday (AC) 93 57 A 6.30 pm An Evening with Beverly… (HWOOD) 108 84 A 6.15 pm Loveling (CIVIC) 98 + 8 29 A 8.30 pm TERROR NULLIUS (AWT) 55 61 A 6.30 pm Let the Corpses Tan (QSt) 93 85 A 6.15 pm The Atlantic (HWOOD) 76 65 A 8.30 pm Piercing (HWOOD) 81 86 A 6.30 pm The Kindergarten Teacher (Rialto) 96 52 A 6.15 pm Lots of Kids, a Monkey… (Rialto) 91 69 A 8.45 pm The Miseducation of Cameron… (CIVIC) 90 51 A 6.45 pm Leave No Trace (CIVIC) 109 9 A 6.30 pm Monterey Pop (QSt) 79 77 A 8.45 pm Terrified (QSt) 87 87 A 8.30 pm The Reports on Sarah… (AC) 132 39 A 6.30 pm Le Grand Bal (WGATE) 99 75 A 8.30 pm Matangi/Maya/M.I.A. (Rialto) 97 79 A 8.15 pm Custody (AC) 94 32 Friday 27 July A 8.30 pm The World Is Yours (WGATE) 104 33 A 8.15 pm Holiday (HWOOD) 93 57 B 10.45 am Leave No Trace (CIVIC) 109 9 A 9.00 pm The Guilty (AWT) 85 30 A 8.15 pm Our New President (QSt) 78 73 B 11.00 am Ash Is Purest White (AWT) 141 31 A 9.00 pm What Keeps You Alive (HWOOD) 99 87 A 8.15 pm Eldorado (Rialto) 92 72 B 11.45 am Paul Callaghan: Dancing… (Rialto) 103 20 A 9.00 pm You Were Never Really… (QSt) 89 44 A 8.45 pm The Harvesters (AWT) 104 41 B 12.00 pm Apostasy (AC) 96 54 A 9.30 pm Liquid Sky (CIVIC) 113 87 A 8.45 pm Arctic (CIVIC) 97 36 B 12.15 pm Samouni Road (QSt) 126 69 B 1.15 pm Wings of Desire (CIVIC) 128 13 Sunday 29 July Tuesday 31 July B 2.00 pm Custody (AC) 94 32 B 10.30 am Animation for Kids 8+ (CIVIC) 76 63 B 10.30 am Puzzle (CIVIC) 104 53 B 2.00 pm TERROR NULLIUS (AWT) 55 61 A 11.00 am Chulas Fronteras (AC) 58 + 29 74 B 11.00 am The Ancient Woods (Rialto) 86 64 B 2.30 pm Keep the Change (Rialto) 93 57 A 11.00 am Speak Up (AWT) 96 70 B 11.15 am The Devil We Know (AC) 88 66 B 2.45 pm If I Leave Here Tomorrow… (QSt) 95 77 A 11.30 am Samouni Road (QSt) 126 69 B 11.15 am United Skates (AWT) 89 71 B 4.00 pm Wajib (AC) 96 39 A 11.30 am Science Fair (Rialto) 90 62 B 12.30 pm Eight Uneasy Pieces (QSt) 81 25 B 4.00 pm American Animals (CIVIC) 116 55 A 12.30 pm The Price of Everything (CIVIC) 105 83 B 12.45 pm Ex Libris: The New York… (Rialto) 197 67 B 4.00 pm An Evening with Beverly… (HWOOD) 108 84 A 1.00 pm Island of the Hungry Ghosts (AC) 98 68 B 1.00 pm Happy As Lazzaro (CIVIC) 125 14 AUCKLAND SCHEDULE 49

B 1.15 pm The Seen and Unseen (AC) 86 + 10 35 B 4.00 pm The World Is Yours (AWT) 104 33 A 2.00 pm Cold Blooded: The Clutter… (HWOOD) 168 66 B 2.00 pm Bombshell: The Hedy Lamarr… (AWT) 90 80 B 4.00 pm An Evening with Beverly… (QSt) 108 84 A 2.30 pm Lucky (QSt) 88 52 B 2.45 pm The Image Book (QSt) 85 32 B 4.15 pm The Song Keepers (AC) 88 77 A 3.30 pm The Trial (AC) 139 73 B 3.30 pm The Reports on Sarah… (AC) 132 39 B 4.15 pm The Miseducation of Cameron… (CIVIC) 90 51 A 3.45 pm Raise the Red Lantern (CIVIC) 125 31 B 3.45 pm McQueen (CIVIC) 111 82 B 4.30 pm The Ice King (Rialto) 89 76 A 3.45 pm Capharnaüm (WGATE) 123 13 B 4.00 pm The Kindergarten Teacher (AWT) 96 52 A 6.00 pm Pick of the Litter – audio discriptive (Rialto) 81 70 A 4.00 pm McKellen: Playing the Part (Rialto) 96 83 B 4.30 pm Piercing (QSt) 81 86 A 6.15 pm Cosy Dens (AC) 120 28 A 4.15 pm The King (QSt) 117 76 B 4.30 pm Jill Bilcock: Dancing… (Rialto) 81 81 A 6.15 pm Merata: How Mum… (AWT) 95 20 A 5.30 pm Burning (HWOOD) 148 11 A 6.15 pm Looking for Oum Kulthum (AC) 90 34 A 6.15 pm Puzzle (HWOOD) 104 53 A 5.45 pm The Heart Dances… (AWT) 99 19 A 6.15 pm In the Realm of Perfection (AWT) 95 68 A 6.15 pm Last Child (QSt) 124 41 A 6.00 pm Gurrumul (Rialto) 96 74 A 6.15 pm Woman at War (CIVIC) 101 36 A 6.15 pm The Distant Barking of Dogs (Rialto) 91 67 A 6.15 pm Girl (WGATE) 105 27 A 6.15 pm Madeline's Madeline (HWOOD) 94 59 A 6.30 pm Happy As Lazzaro (CIVIC) 125 14 A 6.30 pm [CENSORED] (AC) 63 54 A 6.15 pm Ryuichi Sakamoto: Coda (QSt) 102 79 A 6.30 pm Orlando (WGATE) 94 44 A 6.30 pm Minding the Gap (QSt) 98 69 A 6.15 pm Garry Winogrand: All Things… (Rialto) 90 81 A 8.15 pm The Reports on Sarah… (Rialto) 132 39 A 6.45 pm Cold War (CIVIC) 89 11 A 6.30 pm Pick of the Litter (WGATE) 81 70 A 8.45 pm A Mother Brings Her Son… (AC) 84 70 A 8.00 pm Zama (Rialto) 115 26 A 8.15 pm Bisbee ’17 (AC) 118 64 A 8.45 pm Climax (HWOOD) 96 85 A 8.30 pm Donbass (QSt) 121 73 A 8.15 pm Skate Kitchen (QSt) 106 60 A 8.45 pm Blue My Mind (QSt) 97 84 A 8.30 pm The Insult (WGATE) 113 39 A 8.15 pm The Rider (Rialto) 104 51 A 9.15 pm Diamantino (AWT) 92 56 A 8.45 pm The Third Murder (AC) 124 38 A 8.30 pm The Third Murder (AWT) 124 38 A 9.15 pm First Reformed (CIVIC) 114 46 A 8.45 pm Wildlife (AWT) 105 53 A 8.30 pm Nico, 1988 (HWOOD) 93 79 Friday 3 August A 8.45 pm Liquid Sky (HWOOD) 113 87 A 8.45 pm Mandy (CIVIC) 121 86 A 9.30 pm Climax (CIVIC) 96 85 B 10.45 am Capharnaüm (CIVIC) 123 13 Wednesday 1 August B 11.00 am Zama (AWT) 115 26 Sunday 5 August B 11.00 am Science Fair (AWT) 90 62 B 11.30 am Cosy Dens (AC) 120 28 A 11.00 am Bisbee ’17 (AC) 118 64 B 11.00 am Juliet, Naked (CIVIC) 97 + 6 44 B 12.45 pm The Heiresses (Rialto) 98 40 B 11.15 am Animation for Kids 8+ (Rialto) 76 63 B 11.30 am And Breathe Normally (AC) 100 35 B 1.30 pm Merata: How Mum… (AWT) 95 20 A 11.30 am Celia (AWT) 101 18 B 12.00 pm The Price of Everything (Rialto) 105 83 B 1.30 pm Girl (CIVIC) 105 27 A 12.00 pm Brimstone & Glory (QSt) 67 65 B 12.15 pm An Elephant Sitting Still (QSt) 234 56 B 2.00 pm Djon África (AC) 99 38 A 1.00 pm Westwood: Punk, Icon… (CIVIC) 78 83 B 1.00 pm The Insult (AWT) 113 39 B 2.00 pm Donbass (QSt) 121 73 A 1.00 pm Speak Up (Rialto) 96 70 B 1.30 pm Orlando (CIVIC) 94 44 B 2.45 pm Garry Winogrand: All Things… (Rialto) 90 81 A 1.30 pm [CENSORED] (AC) 63 54 B 1.45 pm Bisbee ’17 (AC) 118 64 B 4.00 pm Dogman (CIVIC) 103 37 A 1.30 pm The Swimming Pool (HWOOD) 124 33 B 2.00 pm The Rider (Rialto) 104 51 B 4.15 pm Holiday (AC) 93 57 A 1.30 pm If I Leave Here Tomorrow… (QSt) 95 77 B 3.30 pm Good Manners (AWT) 135 58 B 4.15 pm Little Woods (AWT) 105 52 A 1.30 pm RBG (WGATE) 98 71 B 3.45 pm Climax (CIVIC) 96 85 B 4.15 pm Speak Up (HWOOD) 96 70 A 2.30 pm Lean on Pete (AWT) 121 42 B 4.00 pm Disobedience (Rialto) 114 43 B 4.30 pm Shut Up and Play the Piano (QSt) 82 79 A 3.00 pm Capharnaüm (CIVIC) 123 13 B 4.15 pm We the Animals (AC) 93 61 B 4.30 pm The Seen and Unseen (Rialto) 86 + 10 35 A 3.00 pm Bombshell: The Hedy Lamarr… (Rialto) 90 80 A 6.15 pm Angels Wear White (QSt) 107 30 B 4.30 pm Our New President (QSt) 78 73 A 3.30 pm Last Child (QSt) 124 41 A 6.15 pm Lean on Pete (WGATE) 121 42 A 6.15 pm The Song Keepers (AC) 88 77 A 3.30 pm The Price of Everything (WGATE) 105 83 A 6.30 pm Filmworker (AC) 94 80 A 6.15 pm She Shears (AWT) 86 21 A 3.45 pm And Breathe Normally (AC) 100 35 A 6.30 pm Desert Hearts (AWT) 91 45 A 6.15 pm Girl (CIVIC) 105 27 A 4.15 pm Cold War (HWOOD) 89 11 A 6.30 pm Juliet, Naked (CIVIC) 97 + 6 44 A 6.15 pm In the Realm of Perfection (HWOOD) 95 68 A 5.00 pm The Heiresses (Rialto) 98 40 A 6.30 pm Good Manners (HWOOD) 135 58 A 6.15 pm Cold Water (QSt) 95 56 A 5.15 pm I Used to Be Normal… (AWT) 96 68 A 6.30 pm Petra (Rialto) 107 42 A 6.15 pm The Seen and Unseen (Rialto) 86 + 10 35 A 5.45 pm Petra (WGATE) 107 42 A 8.30 pm The Rider (AC) 104 51 A 6.15 pm In the Aisles (WGATE) 126 34 ✪ 6.15 pm The General (CIVIC) 79 17 A 8.30 pm An Evening with Beverly… (QSt) 108 84 A 8.15 pm Milla (AC) 128 59 A 6.30 pm Leto (HWOOD) 126 75 A 8.45 pm The Kindergarten Teacher (AWT) 96 52 A 8.15 pm What Keeps You Alive (QSt) 99 87 A 7.00 pm The Heart Dances… (Rialto) 99 19 A 8.45 pm The Guilty (Rialto) 85 30 A 8.15 pm We the Animals (Rialto) 93 61 A 7.30 pm Cría cuervos (AWT) 109 41 A 9.00 pm Beirut (CIVIC) 109 45 A 8.30 pm Ash Is Purest White (HWOOD) 141 31 A 8.00 pm Three Identical Strangers (WGATE) 96 71 A 9.30 pm Mandy (HWOOD) 121 86 A 8.45 pm Border (CIVIC) 108 55 A 9.00 pm Zama (AWT) 115 26 Saturday 4 August Animation NOW! Thursday 2 August A 11.00 am The Devil We Know (AC) 88 66 Friday 10 August B 11.00 am Loveling (AWT) 98 + 8 29 A 11.00 am The Ancient Woods (CIVIC) 86 64 C 6.30 pm International Showcase (AC) 79 88 B 11.30 am Kevin Roche: The Quiet… (AC) 82 82 A 11.15 am Liyana (Rialto) 77 62 B 11.30 am She Shears (Rialto) 86 21 A 11.30 am The Song Keepers (AWT) 88 77 Saturday 11 August

B 11.45 am The King (QSt) 117 76 A 11.30 am 3 Faces (HWOOD) 100 37 C 4.00 pm Handmade (AC) 78 88 B 12.00 pm Westwood: Punk, Icon… (CIVIC) 78 83 A 12.00 pm Samouni Road (QSt) 126 69 C 6.00 pm Fresh Eyes on Estonia (AC) 77 89 B 1.30 pm Milla (AC) 128 59 A 1.00 pm Foreign Correspondents (AC) 78 25 C 8.00 pm Dark Hearts (AC) 78 89 B 1.30 pm Cría cuervos (AWT) 109 41 A 1.00 pm Moscow Does Not Believe… (Rialto) 150 51 B 1.45 pm Moscow Does Not Believe… (Rialto) 150 51 A 1.15 pm Puzzle (CIVIC) 104 53 Sunday 12 August B 2.00 pm Cold War (CIVIC) 89 11 A 1.45 pm The Wild Pear Tree (AWT) 188 43 C 4.00 pm Morph ‘n’ Move (AC) 75 89 B 2.00 pm Minding the Gap (QSt) 98 69 A 1.45 pm Speak Up (WGATE) 96 70 C 6.00 pm Crazy Towne (AC) 78 89 50

Jason Books The city’s favourite 16 O’Connell Street used book store Auckland 1010 since 1969 jasonbooks.co.nz

USA, USSR WORLD 51

The Miseducation of Cameron Post

It’s 1993 in small town America and as Cameron (Chloë Grace Moretz) prepares for prom, Irma Thomas’ Director: Desiree Akhavan ‘Anyone Who Knows What Love Is’ USA 2018 | 90 mins Producers: Cecilia Frugiuele, Jonathan Montepare, plays over the proceedings. We can Michael B. Clark, Alex Turtletaub sense this is not going to end well. Screenplay: Desiree Akhavan, Cecilia Frugiuele. Based on the novel by Emily M. Danforth Before the night is over she and her Photography: Ashley Connor girlfriend Coley are caught getting Editor: Sara Shaw hot and heavy in the back of a car by Music: Julian Wass With: Chloë Grace Moretz, Sasha Lane, Cameron’s boyfriend. Just as quickly Forrest Goodluck, John Gallagher Jr., Jennifer Ehle as passion flared, Cameron is whisked Festivals: Sundance, San Francisco, Tribeca 2018 Grand Jury Prize, Sundance 2018 off to God’s Promise, a gay conversion Censors rating tbc camp in remote Montana. Run by the Nurse Ratched-like Dr Lydia Marsh (Jennifer Ehle), God’s Promise works with its ‘disciples’ to identify the root cause of their same-sex attraction and cure them of their sinful ways. Cameron shares a room with the fully indoctrinated Erin, a young woman whose gender confusion and ‘SSA’ she haunting music direction. While the enthusiastically confesses stem from her leaders truly believe they are doing “Peppered with biting love of sports. Cameron’s attempts at right by these young people, Cameron humor and warmed by a fitting into the programme are written attempts to come to terms with her ‘sins’ all over her face as she searches for the before realising the truth of her situation. generous spirit that answers they want to hear rather than Featuring strong supporting extends understanding, if fighting for her truth. performances by Sasha Lane (American not forgiveness, even to Never resorting to shocking or Honey) and Forrest Goodluck (The confrontational scenes, director Desiree Revenant) as the camp’s surreptitious the religious zealot WOODB H Fri 20 Jul, 4.15 pm Akhavan keeps the darkness in her rebels, The Miseducation of Cameron characters.” — Leslie Felperin, A CIVIC Thu 26 Jul, 8.45 pm material always hovering just on the Post is an ode to survival and finding A HWOOD Sat 28 Jul, 4.15 pm Hollywood Reporter B CIVIC Thu 2 Aug, 4.15 pm surface, blossoming with Julian Wass’ your logical family. — Kailey Carruthers

The Rider Moscow Does Not Believe in Tears Moskva slezam ne verit

Director/Screenplay: Chloé Zhao USA 2017 | 104 mins Director: Photography: Joshua James Vladimir Menshov Richards USSR 1980 | 150 mins Editor: Alex O’Flinn With: Brady Jandreau, Screenplay: Valentin Chernykh Tim Jandreau, Lilly Jandreau, Photography: Igor Slabnevich Lane Scott, Cat Clifford With: Vera Alentova, Festivals: Cannes (Directors’ Alexey Batalov, Irina Muravyova, Fortnight), Telluride, Toronto, Alexsandr Fatyushin London, New York 2017; Best Foreign Language Film, Sundance, Rotterdam, SXSW, Academy Awards 1981 San Francisco 2018 Festivals: Auckland 1982 CinemaScope | M drug use In Russian with English subtitles & offensive language PG cert

COURTESY OF SONY PICTURES CLASSICS “The Rider, a marvellous film by Chloé Ridge Reservation in South Dakota, Considered charmingly old-fashioned a panorama of Russian lifestyles that Zhao, tells the story of rodeo horseman The Rider reinvigorates tropes from the when it arrived in the West in 1980 are more familiar than foreign, and Brady Blackburn, who, after suffering western genre of men, horses, honor and won the Oscar for Best Foreign the experience is comical, warming, a near-fatal head injury after being codes and vast expanses of nature with Film, this epic romantic comedy from engaging and, finally, charming.” stepped on by a bucking bronco, must a refreshing lack of sentimentality, the USSR stands as a classic now – — Ray Loynd, Hollywood Reporter find his place within a world where the without sacrificing their inherent and remains a refreshingly authentic, “There is something so beguilingly phrase ‘ride or die’ takes on real, high- lyricism and poetry... propaganda-light window on Moscow innocent about the characters, so stakes meaning. Zhao is a filmmaker of extraordinary life in the Soviet era. intelligent about the performances, so Blackburn is played by Brady tact and insight: She has taken a story “Three provincial teenage girls, full of basically interesting about the sociology Jandreau, a real-life bronc rider who that could have been unremarkable the promises of life, come to Moscow to of Moscow’s working-class class system, sustained similar injuries. After Zhao or too romanticized and made it find a fresh beginning, to seek out love and so universal in the romantic met him while researching another into something honest, magnificent and money… They settle into a girls’ relationships, that the movie is hard film [Songs My Brothers Taught Me, and lasting.” — Anne Hornaday, dorm and work in a factory. It is the to resist.” — Judith Crist, New York NZIFF16], she decided to create a Washington Post mid-50s and the horizons are limitless. Magazine movie around him, lightly fictionalizing By the film’s conclusion, 20-some years his story and casting other non- BC A Thu 26 Jul, 4.00 pm later, the women are still in touch and CA A Sat 28 Jul, 5.30 pm professionals – including Brady’s father A Rialto Tue 31 Jul, 8.15 pm the scenes are mellow. They have had B Rialto Thu 2 Aug, 1.45 pm and sister – in supporting roles. Filmed B Rialto Wed 1 Aug, 2.00 pm their romances, their careers, their A Rialto Sat 4 Aug, 1.00 pm A AC Fri 3 Aug, 8.30 pm with widescreen grandeur on the Pine heartaches. We watch it all through 52 WORLD USA

Little Woods

Set in a fracking boomtown in North Director/Screenplay: Nia DaCosta Dakota, Little Woods’ wide-open prairies USA 2018 | 105 mins are inhabited by people who have little Producers: Rachael Fung, Gabrielle Nadig, Tim Headington room to move. Trapped by poverty and Photography: Matt Mitchell failed by a broken health system, for Editor: Catrin Hedström Music: Brian McOmber them it’s hard work for little return. First- With: Tessa Thompson, Lily James, time writer and director Nia DaCosta James Badge Dale, Lance Reddick, Luke Kirby Festivals: Tribeca 2018 has drawn a rich world of dynamic Censors rating tbc characters, complex relationships and hard choices that recalls Winter’s Bone. She expertly draws on crime movie tropes to tell an important story: that of the female rural poor. Everyone is after OxyContin, but Ollie (Tessa Thompson) isn’t selling it anymore. She hawks only coffee and sandwiches to cold men at cold worksites. She’s almost completed probation after being caught smuggling Canadian prescription meds, mainly for her terminally ill mum, over the nearby way to get that sort of money. When border. Her mum has now passed away Deb realises she cannot have the baby, “Nia DaCosta’s absorbing and she’s grieving, but things might it turns out that finding a safe abortion debut is laced with urgent finally be looking up: with support is just as difficult. from her probation officer there’s the The sisterly bond between Ollie dread, experienced by possibility of a new job in a new town. and Deb is at the heart of this story. characters you care deeply But that all changes when her adoptive Little Woods is a tense watch that about.” — Sam Weisberg, sister Deb (Lily James), a struggling solo illuminates many aspects of the US mother with a dropkick ex, finds out political zeitgeist from a strong female Village Voice A WGATE Mon 23 Jul, 6.30 pm she’s pregnant and in need of a place perspective. This is deeply felt cinema, A AWT Sun 29 Jul, 7.30 pm to live. The sisters need $3,000 to save a directorial debut that is not to be B AWT Fri 3 Aug, 4.15 pm the family home and there’s only one missed. — Catherine Bisley

The Kindergarten Teacher Lucky

Director: John Carroll Lynch Director: Sara Colangelo USA 2017 | 88 mins USA 2018 | 96 mins Screenplay: Logan Sparks, Screenplay: Sara Colangelo. Drago Sumonja Based on the film Haganenet by Photography: Tim Suhrstedt Nadav Lapid Editor: Slobodan Gajic Photography: Pepe Avila del Pino With: Harry Dean Stanton, With: Maggie Gyllenhaal, Ron Livingston, Ed Begley Jr, Parker Sevak, Anna Baryshnikov, Tom Skerritt, Barry Shabaka Henley, Rosa Salazar, Michael Chernus, James Darren, Beth Grant, Gael García Bernal Yvonne Huff Lee, David Lynch Festivals: Sundance, Sydney 2018 Festivals: SXSW, Melbourne, Directing Award (Dramatic), Vancouver, London 2017 Sundance Film Festival 2018 CinemaScope | M drug use Censors rating tbc & offensive language © MAGNOLIA PICTURES “Maggie Gyllenhaal gives her best film way, even if it destroys her life. Epitaphs rarely come more perfect than suffocated by the weight of its themes. performance in years as Lisa Spinelli, a Gyllenhaal, appearing in every single John Carroll Lynch’s Lucky, a stellar There’s a lovely, shambling rhythm at 40-year-old Staten Island teacher who scene of the film, gives a completely curtain call for renowned character work, with first-timer Lynch consistently is somewhat adrift in life. Her teenage committed, three-dimensional actor Harry Dean Stanton, who left us finding poetry and humor in the kids are more invested in Instagram performance… It’s a performance in September last year. From the nods everyday. And then there’s Stanton, than family dinners and she’s not doing always on the edge of danger as we to Stanton’s most iconic roles to the who offers up one of his richest turns as well as she’d like in her poetry class worry with increasing alarm that Lisa parallels with his personal life, Lucky ever: a performance of wily charisma (taught by Gael García Bernal). One is going to do something very, very feels like a handwritten love letter and bruising melancholy. David Lynch, day after school, she hears one of her wrong. It’s a thriller almost, but it’s to the man from the opening frame. Ron Livingston and Beth Grant co-star. five-year-old students, a sweet boy suspense that's borne out of human Stanton is the titular Lucky, an eccentric — JF named Jimmy Roy, recite a poem. It’s need for something real in a world veteran living a quiet life of routine “A first-rate showcase for its star as a beauty. She becomes fascinated by that feels increasingly fake.” — Brian in a small Arizona town. But when well as an ideal swan song. The man this child who seems to enter a trance Tallerico, RogerEbert.com he suddenly collapses one morning, couldn’t have gone out any better.” and produce gorgeous, pure art… Lisa the shock sends him reeling into a — Mike D’Angelo, AV Club becomes convinced that Jimmy is a philosophical self-excavation, in which once-in-a-generation talent, and she’s A WGATE Fri 20 Jul, 6.30 pm he must confront the inevitability of A QSt Fri 20 Jul, 6.30 pm going to do whatever it takes to help A Rialto Sat 28 Jul, 6.30 pm his own death. What’s remarkable is B QSt Mon 30 Jul, 12.30 pm that flower grow. And she’ll push back B AWT Tue 31 Jul, 4.00 pm that despite being a reflection on our A QSt Sat 4 Aug, 2.30 pm A AWT Fri 3 Aug, 8.45 pm against everyone who stands in her impending demise, Lucky never feels USA WORLD 53

Wildlife

Carey Mulligan and Jake Gyllenhaal, Director: Paul Dano two of the most gifted performers USA 2018 | 105 mins of their generation, lend a haunted Producers: Alex Saks, Paul Dano, Oren Moverman, Ann Ruark, Jake Gyllenhaal, Riva Marker melancholy to this evocative portrait Screenplay: Paul Dano, Zoe Kazan of a crumbling marriage in 1950s Photography: Diego García Editors: Matt Hannam, Louise Ford Montana. Adapted from Richard Ford’s Music: David Lang novel, Wildlife observes with acute With: Carey Mulligan, Jake Gyllenhaal, Ed Oxenbould, Bill Camp nuance the emotional fallout that Festivals: Sundance, Cannes 2018 occurs for a small American family M offensive language when dad Jerry (Gyllenhaal) loses his job. In a crisis of self, Jerry departs for the mountains to fight wildfires, leaving wife Jeanette (Mulligan) and son Joe (Ed Oxenbould) to fend for themselves. Jaded by the confines of domesticity, Jeanette responds with an identity exploration of her own, trashing her 1950s homemaker image and embarking on an unsettling affair with a local bachelor. This dual metamorphosis is sensitively observed by only child Mulligan’s frayed performance resolves Joe, whose coming of age here is rife into an immensely powerful study of “It’s astounding this is with the volatility evoked in the film’s reinvention. It’s striking to see such a a director’s first time title. First-time helmsman Paul Dano proven actress deliver what’s so clearly is best known as an actor (There Will the best work of her career… Directing behind the camera… Be Blood, Love & Mercy), but judging with all the confidence you might A fascinatingly complex by the virtues of this deeply affecting expect from someone who’s spent portrait of the fracturing excavation of period mores, he’ll soon the last two decades living the best be equally revered as a director. — JF film school imaginable, Dano crafts of American ideals.” WTB A Mon 23 Jul, 11.00 am “Supported by a script that an unsparing portrait that’s harsh and — Jordan Raup, The Film Stage A AWT Sat 4 Aug, 8.45 pm understands Jeanette’s challenges and humane in equal measure.” — David approaches them with rare empathy, Ehrlich, Indiewire

Puzzle

“Marc Turtletaub’s film… revels in Director: Marc Turtletaub the possibilities of finding something USA 2018 | 104 mins new in a wholly ordinary life. For Producers: Wren Arthur, Guy Stodel, Marc Turtletaub, Peter Saraf Agnes (Kelly Macdonald), that starts Screenplay: Oren Moverman with the literal opening of a birthday Photography: Chris Norr Editor: Catherine Haight gift, one that contains a 1,000-piece Music: Dustin O’Halloran jigsaw puzzle that ignites in her With: Kelly Macdonald, Irrfan Khan, David Denman, Bubba Weiler, Austin Abrams, Liv Hewson not only a new passion, but also Festivals: Sundance, Sydney 2018 the long-dormant sense that she’s M offensive language & sexual references excellent at something. And Agnes is really, really good at puzzling, a quick PRESENTED IN ASSOCIATION WITH worker who takes great pride in the finished product – before she breaks it all up to start again… Oren Moverman’s script, based on the Argentinian film by Natalia Smirnoff [NZIFF10], is graceful with the details and its characters. Agnes never went to college, lives in the same house she did while growing up with her Hungarian © CHRIS NORR immigrant dad, and looks way too looking for a partner. Agnes’ entire life young to already have two grown sons. blows up. “Puzzle is a superb Her husband Louie (David Denman, Puzzle toes a tough line, managing vehicle for the talents essentially playing the same role he did to stay relentlessly good-hearted and in The Office) is a blue-collar dude who deeply humane, even as Agnes herself of Kelly Macdonald loves his wife, but is unable to truly plunges into deeper, more dramatic and Irrfan Khan, and see her. Agnes’ world is a tight circle, waters. It’s the kind of mid-life crisis a sweet and empathetic moving between home and church and story that so rarely centers on a errands and back again… woman and Macdonald shines in the film about finally IVICB C Tue 31 Jul, 10.30 am At the puzzle store, a small note role, riveting even in the quietest of finding independence.” A HWOOD Thu 2 Aug, 6.15 pm hangs from the register: a champion moments.” — Kate Erbland, Indiewire A CIVIC Sat 4 Aug, 1.15 pm — Sydney Film Festival puzzler [charismatic Irrfan Khan] is 54

Apostasy FRESH Director/Screenplay: Daniel Kokotajlo UK 2017 | 96 mins Producers: Marcie MacLellan, Andrea Cornwell Photography: Adam Scarth Editor: Napoleon Stratogiannakis Music: Matthew Wilcock With: Siobhan Finneran, Sacha Parkinson, Molly Wright, Robert Emmst Festivals: Toronto, London 2017 In English and Urdu, with English subtitles PG adult themes

Set in the cloistered world of and the narrative of the film – the Manchester's Jehovah's Witness foundation of this pious family is torn community, this exquisitely observed, asunder. Rigorous in its critique of superbly acted British debut is a quietly the church, and entirely sympathetic devastating film about the tension in its treatment of character, this is between personal devotion and a rare film about a rarefied world. It institutional power. Alex and Luisa heralds Daniel Kokotajlo (who draws have grown up in the faith with their on his own experience growing unquestioning single mother, Ivanna, up as a Jehovah’s Witness) as a major as spiritual guide. The deeply reverent new talent. This is reflected in his Alex is suffering from a disease receipt of the prestigious BFI and that requires blood transfusions, IWC Schaffhausen Filmmaker Bursary a 'contaminating' procedure that Award. — Clare Stewart is forbidden by the church. Her older sister Luisa begins art school, romances an outsider and starts to A Rialto Sun 22 Jul, 7.45 pm doubt the tenets of their religion. B Rialto Mon 23 Jul, 4.15 pm When a sudden rift occurs – in B AC Fri 27 Jul, 12.00 pm A AC Sat 28 Jul, 3.15 pm both the lives of the protagonists

[CENSORED]

We line up the films that held our attention Sari Braithwaite with their energy and originality – in terms of Director/Screenplay: Sari Braithwaite subject, technique and sensibility. One of them Australia 2018 | 63 mins Producers: Chloé Brugalé, was made in 1994, set in 1972, and still feels Sari Braithwaite Executive producer: entirely of the moment. So, not every film that Robert Connolly Editor: James Arneman feels like a harbinger of the future is the work Music: Munro Melano Festivals: Sydney 2018 of a young filmmaker – though an encouraging Colour and B&W | Censors rating tbc number on the pages that follow are.

With footage spanning classically A kiss reel will make you wonder how unimaginative smut-and-violence to the films worked without that charge. raucous Bob Dylan and heart-in-your- Context is provided by bureaucratic mouth Bergman, Sari Braithwaite’s censor's notes and beautifully abraded mesmerising and confronting slugs of celluloid separate sequences. [CENSORED] is composed solely of clips As Braithwaite views the 1,991 cut from foreign films by Australian purged clips, her original mission censors between 1951 and 1978. to ‘liberate’ the footage takes a Braithwaite, who narrates, pieces provocative turn. [CENSORED] reaches selections from the National Archives of far in 63 minutes. If you like to think Australia into deft montages. Hers is a about how we look, who we look at, distinct and entertaining voice. A knife- and the power dynamics involved, themed section is described with the don’t miss it. — Catherine Bisley double-edged ‘little man, with his little knife’ and at one point she refers to the archive as ‘a state sanctioned spank AC A Sat 4 Aug, 6.30 pm bank’. Between the Peeping Toms and A AC Sun 5 Aug, 1.30 pm gut-turning violence against women, expect surprising tenderness and desire. FRESH 55

American Animals

In 2003, a bored American college Director/Screenplay: Bart Layton student visits his university library and USA/UK 2018 | 116 mins tours a private collection of art and Producers: Katherine Butler, Mary Jane Skalski, Derrin Schlesinger, Dimitri Doganis literature valued in the millions. A Photography: Ole Bratt Birkeland matter of months (and several crime Editors: Nick Fenton, Julian Hart Music: Anne Nikitin movie marathons) later, he and three With: Evan Peters, Barry Keoghan, Blake Jenner, friends will don disguises and attempt Jared Abrahamson, Ann Dowd, Udo Kier Festivals: Sundance 2018 one of the most audacious art heists in CinemaScope | Censors rating tbc recent American history. It’s a real-life set-up so juicily cinematic that it virtually PROUDLY SPONSORED BY demands its pulse-pounding Hollywood treatment, but also one so loaded with psychological curiosity that you feel equally compelled to sit down with the subjects and hear what on earth they were thinking. Acclaimed documentarian Bart Layton slyly gives us both with this slick, suspenseful heist thriller which playfully alternates between fireworks from an ensemble of rising actors, and older but wiser recollections from the adrenalin, before U-turning into a real-life perpetrators. — JF sobering reflection on young male “A stylish and compelling… “[This is] ideal material for Layton, privilege and entitlement. Performed portrait of how privilege, whose 2012 hybrid documentary The with piss, vinegar and some poignancy Imposter [NZIFF12] hinged on the by a fractious quartet of bright young entitlement and boredom tension between facts and subjective things… Layton’s crowdpleasing [film] can give rise to wayward storytelling. In American Animals, is tricked out to the max with lithe criminal impulses.” Layton brings that same preoccupation structural fillips, flashes of cinematic to (mostly) narrative form for the first quotation and formal sleight of hand — Justin Chang, LA Times IVICA C Fri 20 Jul, 9.15 pm time, and the results are sensational: that gradually reveals a pointed B CIVIC Fri 27 Jul, 4.00 pm a riveting college-boy crime caper that thematic purpose.” — Guy Lodge, speeds along on pure movie-movie Variety

Border Gräns

Based on a short story from Let the Right One In author John Ajvide Lindqvist, this genre-defying supernatural romantic Director: Ali Abbasi thriller draws us into the mysterious life Sweden/Denmark 2018 | 108 mins Producers: Nina Bisgaard, Piodor Gustaffson, of a gifted outsider. Iranian-born Swedish Petra Jönsson filmmaker Ali Abbasi has adapted and Screenplay: Ali Abbasi, Isabella Eklöf, John Ajvide Lindqvist. Based on the novel by Lindqvist expanded Lindqvist’s cunning tale with Photography: Nadim Carlsen assistance from the author himself and Editors: Olivia Neergaard-Holm, Anders Skov Music: Christoffer Berg, Martin Dirkov Isabella Eklöf, director of sun-soaked With: Eva Melander, Eero Milonoff, shocker Holiday (p57). Jörgen Thorsson, Ann Petrén, Sten Ljunggren, Kjell Wilhelmsen, Rakel Wärmländer, Stout and ruddy with a puffed- Andreas Kundler, Matti Boustedt up face and a pronounced overbite, Festivals: Cannes (Un Certain Regard) 2018 customs officer Tina is used to being Un Certain Regard Prize, Cannes Film Festival 2018 In Swedish with English subtitles ignored, but her unique talent for CinemaScope | Censors rating tbc literally sniffing out illegal contraband makes her an invaluable team member at the ferry port she works. She lives with a boyfriend who is more interested in his growling show dogs than spending any time with her. Tina only feels truly at home in the verdant “A gripping drama that rests woods surrounding her home, bonding on the strength of its two leads’ “An exciting, intelligent with the wild animals that live there. performances… Unique, unforgettable mix of romance, Nordic One day a strange man passes and cathartic, Border is an oddball, through the port that sends Tina’s but poignant cult classic in the noir, social realism senses tingling, but a search for making. Abbasi’s sincerity wisely and supernatural horror contraband comes up empty. The man, avoids caricature and mocking his that defies and subverts Vore, shares a similar appearance to marginalized characters and in doing Tina and she soon becomes obsessed so he crafts a surprisingly humanist and genre conventions.” WOODA H Sat 21 Jul, 6.45 pm with finding more about him, but in artful story of love for the diminished — Alissa Simon, Variety B CIVIC Mon 30 Jul, 3.45 pm doing so uncovers a dark secret about and dismissed outsiders of the world.” A CIVIC Wed 1 Aug, 8.45 pm herself. — MM — Jordan Ruimy, The Playlist 56 FRESH

An Elephant Sitting Still Da Xiang Xi Di Er Zuo

A hot ticket at Berlin this year, this impressively crafted and deeply felt super-sized epic has continued to pull Director/Screenplay/Editor: Hu Bo big audiences at festivals around the China 2018 | 234 mins Producer: Liu Xuan world, the film’s tragically sad backstory Photography: Fan Chao notwithstanding – first-time director Music: Hua Lun Hu Bo committed suicide late last year. With: Zhang Yu, Peng Yuchang, Wang Yuwen, Liu Congxi Elephant is a truly symphonic piece of Festivals: Berlin, New Directors/New Films 2018 cinema filled with moody close-ups and Best First Feature, Berlin Film Festival 2018 In Mandarin with English subtitles virtuoso tracking shots. RP16 violence, sexual material, suicide & offensive The extended runtime passes quickly language as Hu takes us into the lives of four characters over the course of a day. Teenager Wei Bu accidentally injures a bully defending a friend and goes into hiding with the assistance of his elderly neighbour. Meanwhile, Wei’s female classmate is engaged in a risky affair with the school’s dean and the bully’s gangster older brother arrives seeking retribution. — MM “Debut features seldom come as “Influenced by European art house ambitious, or as accomplished, as the Sure to be remembered icons such as Krzysztof Kieślowski magisterial An Elephant Sitting Still… as a landmark in Chinese and Béla Tarr – specifically the latter’s This four-hour chronicle of numb Werckmeister Harmonies, in terms of desperation echoes the work of Jia cinema… An Elephant its fatalistic premise and omnipresent Zhangke through its focus on the Sitting Still is nothing tracking shots – Elephant provides personal struggles of individuals left short of a masterpiece.” proof of Hu’s promise as a thoughtful behind in China’s headlong pursuit of filmmaker. The movie stands as a economic progress… but Hu’s chosen — New Directors/New Films A QSt Sat 21 Jul, 2.00 pm memorial to a young talent who aesthetic and mode of storytelling are A QSt Sun 29 Jul, 4.00 pm burned out too soon.” — Clarence entirely his own.” — Giovanni Marchini B QSt Wed 1 Aug, 12.15 pm Tsui, Hollywood Reporter Camia, Sight & Sound

Cold Water Diamantino L’eau froide

Director/Screenplay: Directors/Screenplay: Olivier Assayas Gabriel Abrantes, France 1994 | 95 mins Daniel Schmidt Photography: Denis Lenoir Portugal/France/Brazil Editor: Luc Barnier 2018 | 92 mins With: Virginie Ledoyen, Cyprien Fouquet, László Szabó, Dominique With: Carloto Cotta, Cleo Tavares, Faysse, Jackie Berroyer Anabela Moreira, Margarida Moreira Festivals: Cannes (Un Certain Regard) 1994; Auckland 1995 Festivals: Cannes (Critics’ Week) 2018 In French with English subtitles In Portuguese with English M violence, offensive language subtitles & sex scenes CinemaScope | Censors rating tbc

Belonging to one of the most enthralling night away to Joplin, Dylan and Cohen Gleefully trafficking in the ludicrous to genetically engineered to headline their series this Festival has had the pleasure of at an old rundown mansion – one of satirise the toxic vacuity of media- EU exit campaign. Next move: send in programming, Cold Water was Olivier the great party scenes in all of cinema. manufactured nationalism, Diamantino a female spy disguised as an African Assayas’ fifth feature as a director. To Cold Water first screened in Auckland is a heady mix of B-movie thrills, designer boy refugee whom the sweet-natured this day it remains one of his best – and alongside contributions by Claire Denis, kitsch and gender-blind casting. It sails Diamantino promptly adopts and most underseen – films. After years André Téchiné and other modern smoothly through multiple outrageous smothers with love… trapped in music licensing purgatory, it French auteurs to Tous les garçons et implausibilities thanks to the sweet “Glued together with candyfloss returns to the big screen in an all-new les filles de leur âge, a legendary film comic ingenuity of Carloto Cotta, the clouds of romantic reverie, it’s a film digital presentation, with its glorious anthology for which the prerequisites heartthrob-handsome star of Tabu best seen with as little forewarning soundtrack of classic pop songs restored. were that the directors set their stories (NZIFF12). In a performance modelled, as possible: To go in blind is to be A restless, emotionally bracing vision in the year they turned 18, and included in appearance at least, on metrosexual carried along by its irrational tumble of of teenage melancholy, Assayas’ film a sequence of adolescents partying to football superstar Cristiano Ronaldo, he events as blissfully and buoyantly as its takes place in 1972 on the outskirts music of the day. — Tim Wong plays Diamantino, erstwhile champion empty-headed soccer-star protagonist.” of Paris. Two delinquents (Virginie of Portugal’s honour on the soccer field. — Guy Lodge, Variety Ledoyen and Cyprien Fouquet) escape When sinister forces hack into the their unsympathetic families to shoplift A QSt Sat 28 Jul, 2.30 pm hero’s hard drive, all that awaits them A Rialto Fri 20 Jul, 8.15 pm EPs and explode dynamite for kicks. B QSt Mon 30 Jul, 2.15 pm is a cache of cute baby animal pics. B Rialto Fri 27 Jul, 4.30 pm The fledgling lovers eventually flee to A QSt Wed 1 Aug, 6.15 pm Bingo! He is their man, a super clean, A AWT Thu 2 Aug, 9.15 pm the countryside, where they dance the sweet-natured blank slate fit to be FRESH 57

Holiday

Sascha, the young girlfriend of Michael, Director: Isabella Eklöf a 40-something Danish gangster, Denmark/The Netherlands/Sweden arrives in Turkey with a suitcase of 2018 | 93 mins cash. After she dips into the money to Producer: David B. Sørensen Screenplay: Johanne Algren, Isabella Eklöf avoid social embarrassment, Michael’s Photography: Nadim Carlsen associate metes out two slaps to the Editor: Olivia Neergaard-Holm Music: Martin Dirkov face. Soon after, at a jewellery store With: Victoria Carmen Sonne, Lai Yde, Thijs Römer with Michael, Sascha goes for emeralds Festivals: Sundance 2018 In Danish and English, with English subtitles over diamonds. R18 explicit rape, domestic abuse, violence Michael’s crime family kicks back at & drug use his nouveau-riche mansion and blasts obnoxious loud music on the beach. It’s all water parks and ice creams, tacky resort wear, Fanta-vodkas and drugs. There are also many disturbing acts of violence. Victoria Carmen Sonne’s portrayal of an ambitious young woman looking for opportunity in this world is complex and deeply felt. Sasha is at turns bored and curious, © JONAS LODAHL passive and bold. Staring at herself in a When a horrific sexual assault takes mirrored nightclub, it is unclear if she is place, it is in broad daylight. “It’s an exceptional feature more afraid of what she sees in herself As in films like Dogtooth and Fish debut… A sexual and or in the world around her – though it Tank, a dance scene can take you to could just be that she's on a bad trip. the heart of a film. Holiday opens criminal shocker, destined Sascha’s perilous situation becomes with a dancer illuminated in a dark to stir hot debate even more so when she meets a real empty space, her jolting, twisting body wherever it shows.” estate agent-turned-sailor, Tomas. The expressing a deep rage. Something sun beats and the Aegean sparkles, but is boiling up inside Sascha. Holiday’s — Todd McCarthy, Hollywood CA A Thu 26 Jul, 8.30 pm Eklöf’s images frame the tourist paradise destination could turn out to be the Reporter A HWOOD Mon 30 Jul, 8.15 pm of Bodrum with ominous formality and most hotly debated of this year’s B AC Fri 3 Aug, 4.15 pm do not omit the roadside piles of trash. Festival. — Catherine Bisley

The Green Fog Keep the Change

Directors: Guy Maddin, Director/Screenplay: Evan Johnson, Rachel Israel Galen Johnson USA 2017 | 93 mins USA 2017 | 65 mins Photography: Zachary Halberd Producers: Evan Johnson, Editor: Alex Camilleri Guy Maddin Music: Amie Doherty Editors: Evan Johnson, With: Brandon Polansky, Galen Johnson Samantha Elisofon, Nicky Gottlieb, Music: Jacob Garchik. Performed Jessica Walter, Tibor Feldman by the Kronos Quartet Festivals: Tribeca, Los Angeles Festivals: San Francisco 2017; 2017 Berlin 2018 M offensive language & sexual Colour and B&W | Censors rating references tbc

Guy Maddin, contemporary cinema’s subversion of Hitchcock’s powerful In this funny, affecting and refreshingly occasion. Sparks begin to fly, however, finest purveyor of the celluloid past, is male gaze, a lusty tone poem on authentic New York romcom the happy when the easily smitten young woman at it again, this time with The Green homoeroticism and sapphic longing, pair – and the non-professional actors declares she finds him “really smoking Fog, an ingenious, frequently hilarious and a cheeky, self-reflexive meditation who play them – are autistic. David, hot and so sexy.” tribute to Vertigo and the city it’s on watching. Full of pregnant pauses played by Brandon Polansky, on whose But can her cheerfulness withstand synonymous with. San Francisco plays and arcane juxtapositions, it’s also experience the film is based, has long the streak of scorn he’s clearly absorbed itself in the hundreds of clips Maddin a hoot, and the perfect vehicle for been sheltered by his wealthy parents. from a lifetime of tolerant disdain from and his collaborators Evan and Galen Maddin’s florid sense of humour, with Whether his habit of letting chauffeurs his mother (Arrested Development’s Johnson have pillaged from movies and such delightful perversions as Rock keep the change is a matter of noblesse Jessica Walter)? Played with such TV shows shot on location in the Bay Hudson eyeballing an NSYNC music oblige or a lack of arithmetic skill is a directness, the familiar romcom Area, and then stitched together into video and wooden action star Chuck moot point. Equipped with a repertoire setbacks feel clean and unforced, a giddy fantasy version of Hitchcock’s Norris wowing us with a performance of deeply inappropriate jokes for every and Rachel Israel’s direction is imbued 1958 masterpiece. for the ages. — Tim Wong occasion, he is ordered to attend with unmistakable empathy and good Naturally, Maddin’s own feverish an autism support group after one humour. obsession with film history insists pig reference too many to a police that this is no literal reconstruction AC A Sat 21 Jul, 3.45 pm officer. His contempt for this group CA A Sun 22 Jul, 4.15 pm of arguably the greatest film about A AC Sun 22 Jul, 6.15 pm of ‘weirdos’ is total, not least for the B AC Tue 24 Jul, 12.15 pm obsession ever made. At once playful A AWT Tue 24 Jul, 9.15 pm super-chirpy Sarah who buses in daily B Rialto Fri 27 Jul, 2.30 pm A Rialto Sat 28 Jul, 4.30 pm and experimental, it’s a woozy from Queens – and has a song for every 58 FRESH

Foxtrot

An unsettling vision of military service pervading everyday Israeli life, Samuel Maoz’s (Lebanon) visceral and startlingly Director/Screenplay: Samuel Maoz unpredicable film centres on a Tel Aviv Israel/Germany/France/Switzerland 2017 | 113 mins couple coping with the death of their Producers: Michael Weber, Viola Fügen, son, a soldier stationed in the middle of Eitan Mansuri, Cedomir Kolar, Marc Baschet, nowhere. Michel Merkt Photography: Giora Bejach “Maoz’s marvelous, harrowing Editors: Arik Lahav Leibovich, Guy Nemesh drama about death and life in Israel Music: Ophir Leibovitch, Amit Poznansky With: Lior Ashkenazi, Sarah Adler, Yonatan Shiray, marches boldly through the no-man’s- Shira Haas land between realism and surrealism. Festivals: Venice, Telluride, Toronto, London 2017; Sundance, Rotterdam 2018 It’s a prize collection of paradoxes, Grand Jury Prize, Venice Film Festival 2017 combining an intimate, eviscerating In Hebrew, Arabic and German, with English subtitles depiction of parental grief over a CinemaScope | R13 violence, drug use & sexual serviceman’s death with an empathic, material absurdist rendering of young Israeli Defence Force soldiers manning a remote and otherworldly roadblock… Foxtrot carries the excitement and punch of a fearless writer-director © GIORA BEJACH tackling contemporary material with a — Michael Sragow, Film Comment bracing cocktail of potent traditional “[Foxtrot] contains some of the “Brilliantly constructed drama, wild black comedy, and most striking, memorable imagery of with a visual audacity serrated style. [It all] comes together as the year… It’s a film designed to move a complex plea for honesty, openness, you with its depiction of senseless that serves the subject frankness, and forgiveness. The movie tragedy but also to spark that part rather than the other way is also, incidentally, a spectacularly of your thinking process that only around, this is award- effective antiwar film, focusing on the moviemaking can tap… This multi- randomness and cruelty of life lived on talented filmmaker has taken that winning filmmaking on AWOOD H Sat 21 Jul, 4.00 pm military roads... Its final image registers darkness and turned it into something a fearless level.” A CIVIC Wed 25 Jul, 8.45 pm like a blow to the chest. It’s a shot that unforgettable for everyone who sees B CIVIC Thu 26 Jul, 3.30 pm — Jay Weissberg, Variety should be seen around the world.” it.” — Brian Tallerico, RogerEbert.com

Good Manners As boas maneiras

Working-class Clara is employed by rich young Ana as housekeeper, in anticipation of her role as nanny to Directors/Screenplay: Juliana Rojas, pregnant Ana’s baby-to-be. The taciturn Marco Dutra Brazil/France 2017 | 135 mins Clara finds Ana flighty and irritating, Producers: Sara Silveira, Maria Ionescu, but as her single employer’s neediness Clément Duboin, Frédéric Corvez becomes apparent, Clara reveals Photography: Rui Poças Editor: Caetano Gotardo sympathy for and a wary attraction to Music: Juliana Rojas, Marco Dutra, the other woman. Guilherme Garbato, Gustavo Garbato With: Isabél Zuaa, Marjorie Estiano, Miguel Lobo, Ana is afflicted by strange pains and, Cida Moreira, Andrea Marquee we discover, cravings for bloody meat Festivals: Locarno, Fantastic Fest, Vancouver, London 2017; Rotterdam, New Directors/ and nocturnal ramblings that coincide New Films 2018 with the full moon. She tells Clara Special Jury Prize, Locarno Film Festival 2017 In Portuguese with English subtitles about a one-night stand – a mysterious R16 violence, horror & sex scenes stranger, a full moon, a strange creature glimpsed in the night – and we can infer the true nature of what is gestating. These genre ingredients are served up gradually, in artfully moderated © RUI POCAS staging; distant views of São Paulo She’s the heart of this understated seem colourfully heightened and monster movie as it unfolds with a “A lovingly and lyrically otherworldly. The women are portrayed measured, unflinching trajectory. told… fantasy that with compassion and humanity. But — Jonathan King make no mistake, Good Manners “A rapturous, at times freewheeling explores themes of class is playing with some classic mythic tale that mixes social drama, horror, and sexuality, handling elements and it’s going to follow and even a touch of musical… what its tonal shifts with a through with them – in unexpected looks like a faintly moralistic tale of but narratively rigorous ways. two women’s budding love across class deftness as light-footed AWT A Fri 27 Jul, 9.00 pm To say much more would spoil the and racial divides turns into something as its female-centric cast.” B AWT Wed 1 Aug, 3.30 pm surprises ahead. Suffice to say it’s Clara much more complicated, and darkly A HWOOD Fri 3 Aug, 6.30 pm — Meredith Taylor, Filmuforia we follow as her responsibilities grow. fun.” — Ela Bittencourt, Film Comment FRESH 59

Rafiki

“Much to the displeasure of its government, the Republic of Kenya is home to a lovely lesbian coming- Director: Wanuri Kahiu out movie. Rafiki, the second film by Kenya/South Africa 2018 | 83 mins Producer: Steven Markovitz Kenyan director Wanuri Kahiu, has Screenplay: Wanuri Kahiu, Jenna Bass. been banned in its country of origin... Based on the short story ‘Jambula Tree’ by Monica Arac de Nyeko Perhaps the warm reception Rafiki Photography: Christopher Wessels received in Cannes will make the Editor: Isabelle Dedieu Film Classification Board modify its With: Samantha Mugatsia, Sheila Munyiva, Jimmi Gathu, Nini Wacera, Dennis Musyoka, decision, although in a country where Patricia Amira, Neville Misati same sex relationships are punishable Festivals: Cannes (Un Certain Regard) 2018 In English and Swahili, with English subtitles by prison sentences of 14 years, and CinemaScope | Censors rating tbc homophobia, as the film shows, is ingrained, that seems doubtful… Rafiki is set in a Nairobi housing estate, where much of daily life – work and recreation – is conducted outdoors, and privacy is next to impossible. The movie opens with Kena (Samantha Mugatsia) circumnavigating on her skateboard a neighborhood that is often enough to make her own cool- much too confining for her hopes and girl posse jealous… “A stunning expression dreams. Tall, rail-thin, and athletic, That Kenya is late to the women of love: its tenderness, Kena is a serious student who claims coming-out film party is a function she wants to study nursing although of its social and political structure; its pains and its ability her grades easily place her on track to it doesn’t lessen the courage and to triumph over even become a doctor. Kena plays soccer freshness of Kahiu’s filmmaking. The the most oppressive with the local boys, and her bestie is actors are vivid, in particular Mugatsia. Blacksta (Neville Misati)… But Kena She makes us want Kena to have a circumstances.” WOODA H Sun 22 Jul, 1.30 pm has eyes for no one except Ziki (Sheila great life and to believe that against — Zoe Tamara, The Upcoming A AWT Mon 23 Jul, 8.30 pm Munyiva), she of the pink and blue daunting odds, she definitely has a B AWT Fri 27 Jul, 4.15 pm dreads, whose flirty eyes fix on Kena shot.” — Amy Taubin, Sight & Sound

Madeline’s Madeline Milla

Director/Screenplay: Director/Screenplay/ Josephine Decker Editor: Valérie Massadian USA 2018 | 94 mins France 2017 | 128 mins Producers: Krista Parris, Producer: Sophie Erbs Elizabeth Rao Photography: Mel Massadian, Photography: Ashley Connor Robin Fresson Editor: Josephine Decker, Music: Ghost Dance Harrison Atkins With: Severine Jonckeere, Music: Caroline Shaw Luc Chessel, Ethan Jonckeere With: Helena Howard, Festivals: Locarno, Vancouver, Miranda July, Molly Parker, 2017; Rotterdam, New Directors / Okwui Okpokwasili, Sunita Mani, New Films 2018 Felipe Bonilla In French with English subtitles Festivals: Sundance, Berlin 2018 M offensive language Censors rating tbc

Newcomer Helena Howard delivers “By Decker’s own admission, the In Valérie Massadian’s second feature a cheap hotel where Milla works and a star-making turn in this fierce and creative processes depicted on screen (after Nana, NZIFF12), Milla and her grieves. vividly impressionistic tour-de-force closely mirror those of Madeline’s boyfriend Leo live an itinerant existence The ocean is an almost constant from up-and-coming indie director Madeline itself, so it’s laudable to in northern France. They are young, presence, restless and beautifully shot. Josephine Decker. see the emerging auteur grapple so economic outsiders who set up in an The immersive soundscape draws you Sixteen-year-old Madeline is an transparently and self-reflexively with abandoned house and start a tenuous into the film’s painterly frames and the exceptionally talented actress who her own methods. That she does so life together. When Leo vanishes, Milla lives that unfold inside them. First-time has become an integral part of a while delivering a flat-out thrilling rebuilds her happiness around another actor Séverine Jonckeere gives a nuanced prestigious Manhattan theatre group, stream-of-consciousness climax seals kind of love. performance as Milla. In the second but a fractious relationship with her this as something very special indeed Told with spare dialogue and at an half of the film, she acts alongside her overbearing mother (Miranda July) and – a film that is at once intimidatingly unhurried pace that merges naturalism own infant son, Ethan, in an intimate references to past visits to the psych dense and breezily concise… and and lyricism, Milla is largely composed portrayal of single motherhood. Cat ward indicate that home life is less riotously entertaining.” — Paul of incidental moments. Scenes, which lovers can expect to be charmed by a than rosy. When the theatre group’s O’Callaghan, Sight & Sound often last for over a minute in a single rambunctious feline. — Catherine Bisley ambitious director (Molly Parker) frame, are interspersed with surreal decides to evoke Madeline’s troubled AC A Sat 21 Jul, 8.30 pm interventions where time seems to fold A Rialto Mon 23 Jul, 8.00 pm history in their latest production the B AC Mon 23 Jul, 4.15 pm in on itself: in one instance, a furious A AC Wed 1 Aug, 8.15 pm lines between performance and reality A HWOOD Tue 31 Jul, 6.15 pm and unmoored rendition of the Violent B AC Thu 2 Aug, 1.30 pm start to blur. — MM Femmes’ ‘Add It Up’ is performed at 60 FRESH

Searching

Winner of this year’s Sundance Audience Award, this thriller about a father’s search for his missing daughter Director: Aneesh Chaganty ratchets up astounding tension and USA 2018 | 102 mins Producers: Timur Bekmambetov, Sev Ohanian, don’t-go-there chills without ever taking Adam Sidman, Natalie Qasabian its eyes off computer screens. First-time Screenplay: Aneesh Chaganty, Sev Ohanian director and former Google commercials Photography: Juan Sebastian Baron Editors: Will Merrick, Nick Johnson creator Aneesh Chaganty proves as Music: Torin Borrowdale savvy about genre filmmaking as he is With: John Cho, Debra Messing, Joseph Lee, Michelle La, Sara Sohn about our online behaviour – not least Festivals: Sundance, San Francisco 2018 the generational differences that are Audience Award (NEXT), Sundance Film Festival M drug references played out there. Its every screenshot executed in brilliant detail, Searching begins with a moving image gallery of Kim family history, bringing us into the present tense of David (John Cho, Star Trek, Columbus) and his daughter Margot (Michelle La). They interact through frequent messaging, and are perhaps not as close as David imagines. When Will Merrick and Nick Johnson deserve Margot goes missing, David begins a special credit for assembling a complex “Shockingly effective, not frantic search with the help of Detective 3D puzzle that seems to be happening just in creating a sense Vick (Debra Messing), using multiple in real time, creating both urgency and online tools and breaking into Margot’s the illusion that we have an active role in of constant, palpable accounts on the laptop she left behind. solving it… None of this would matter tension, but also in the “Cutting to the emotional core if we didn’t care about the characters, way it pulls off authentic, of what social media says about us, and in Searching Chaganty has found the result is as much a time capsule a new idiom for communicating not effective emotional beats.” AIVIC C Sat 21 Jul, 9.15 pm of our relationship to (and reliance only the things we share, but also those — Bryan Bishop, The Verge B CIVIC Tue 24 Jul, 3.45 pm upon) modern technology as it is a we keep hidden from the ones we cutting-edge digital thriller… Editors love.” — Peter Debruge, Variety

Skate Kitchen

A chance meeting on the New York Director: Crystal Moselle subway between Crystal Moselle USA 2018 | 106 mins (The Wolfpack) and the titular female Producers: Lizzie Nastro, Izabella Tzenkova, Crystal Moselle, Julia Nottingham, Rodrigo Teixeira, Skate Kitchen crew led to this vibrant Michael Sherman, Matthew Perniciaro film about freedom and friendship, in Screenplay: Aslihan Unaldi, Crystal Moselle, Jennifer Silverman which the real-life skaters play versions Photography: Shabier Kirchner of themselves. Editor: Nico Leunen Music: Aska Matsumiya When Camille (Rachelle Vinberg), With: Rachelle Vinberg, Dede Lovelace, a lonely girl from Long Island, injures Nina Moran, Ajani Russell, Kabrina Adams, Jaden Smith herself skateboarding, her mum bans Festivals: Sundance 2018 her from ever skating again. But skating M offensive language, sexual references & drug use is everything to Camille. Seeing that PRESENTED IN ASSOCIATION WITH a crew she follows on Instagram are going to be at a Lower East Side skate park, she is there in a heartbeat, and not only proves her ability but quickly fits in with everyone. The diverse, staunchly independent group skate together and discuss life in bedroom hangouts, all the while carving out their own unique space at the park. moves fluidly with the group as they When a boy skater (played by Jaden take Manhattan, while Moselle’s “Skate Kitchen is anarchic Smith) attracts Camille’s attention, documentary eye gives the film its in the best of ways, giving things get complicated in the group. grounded, observational realism. There is darkness hanging around The irreverent, rowdy atmosphere is a sense of authenticity the edges of the film, but, while it captured by a soundtrack featuring to the story led by its does owe Larry Clark’s NYC classic a tracks including Princess Nokia’s ‘Kitana’ band of badass girls in shoutout, this is definitely not Kids. and Khalid’s ‘Young Dumb & Broke’. The film’s best scenes, which IDGAF mode.” — Kimber A QSt Sat 21 Jul, 6.15 pm resonate proudly with a sense of Myers, The Playlist B QSt Tue 24 Jul, 4.00 pm community and camaraderie, are A Rialto Fri 27 Jul, 8.30 pm A QSt Tue 31 Jul, 8.15 pm when the crew skating. The camera FRESH 61

TERROR NULLIUS A Political Revenge Fable in Three Acts

TERROR NULLIUS is an incendiary Soda_Jerk meeting of unpopular opinion and popular culture: a wildly irreverent up Directors/Screenplay/Editors: yours to the Australian political status Soda_Jerk Australia 2018 | 55 mins quo. Part collage, part meme, this CinemaScope | R13 violence, offensive language, straight-talking montage film sets out sex scenes & content that may disturb to ‘unwrite’ history as written by the colonial victors, reworking hundreds of Soda_Jerk will introduce their film, movie and TV excerpts into a fierce – followed by a Q+A, at both screenings. and very funny – counter-narrative of the country’s national mythology. A who’s who of screen heroes and villains collide to reveal a deep strain A HWOOD Sun 22 Jul, 1.30 pm of racism, bigotry and cruelty behind A AWT Mon 23 Jul, 8.30 pm B AWT Fri 27 Jul, 4.15 pm the image of laid-back Australia, and, thanks to some creative digital compositing, you may never look at Mad Max and Skippy the Kangaroo in quite the same way again. The film’s wrecking-ball quality, personified by its punk disregard for copyright law, be more Aussie than taking credit for leaves no doubt about its activism, Kiwi talent. — Tim Wong “TERROR NULLIUS is though it is through consistently “Weird, dazzling, kinetic, dizzyingly hilariously insightful, imaginative editing that it goes well ambitious… TERROR NULLIUS is a beyond agitprop, repopulating an fiercely distinctive and interesting politically valuable, official moving image legacy with film… a crazy, punch-drunk, astral- culturally brutal and is heretofore marginalised gays, feminists projecting, bizarro roller-coaster ride more hyper-Aussie than and minorities. New Zealand cinema through Australian cinema, with an also plays a key supporting role in the unnerving ability to observe things that Paul Hogan riding a A AWT Thu 26 Jul, 8.30 pm sample mix. The filmmakers, who have were never said and forge connections crocodile in a river of VB.” B AWT Fri 27 Jul, 2.00 pm been attacked as ‘un-Australian’, are that were never made.” — Luke — Sophia Watson, Filmink the first to point out that nothing could Buckmaster, The Guardian

We the Animals Virus Tropical

Director: Jeremiah Zagar Director/Producer: USA 2018 | 93 min Santiago Caicedo Screenplay: Dan Kitrosser, Colombia 2017 | 97 mins Jeremiah Zagar Screenplay: Enrique Lozano, Photography: Zak Mulligan Powerpaola. Based on the graphic Editors: Keiko Deguchi, novel by Powerpaola Brian A. Kates Art director: Powerpaola Music: Nick Zammuto Music: Adriana García Galán With: Raul Castillo, Sheila Vand, Voices: María Cecilia Sánchez , Evan Rosado, Isaiah Kristian, Martina Toro, Alejandra Borrero Josiah Gabriel Festivals: Berlin, SXSW 2018 Festivals: Sundance, Tribeca, In Spanish with English subtitles Sydney, Edinburgh 2018 B&W | R13 drug use, sex scenes Censors rating tbc & offensive language

“Shot on 16mm, We the Animals has Ma and Paps. Theirs is a household Based on an autobiographical graphic the upheaval in her family. She is an easy-on-the-eye, dappled glow, where emotions rule, sometimes to novel by Colombian cartoonist doted on but occasionally dropped by well-suited to the idea of looking back the family’s detriment – and they Powerpaola (real name Paola Gaviria), her oldest sister, Claudia, and in time, as Zagar and Daniel Kitrosser also dominate Zagar’s film, which this appealing and affecting animated tormented by jealous middle sister adapt Justin Torres’ novel about never follows more than the loosest film reflects her experiences growing Patty. Paola’s father, a defrocked priest, growing up in a working-class family of narratives. Fluid camerawork from up in a family dominated by strong- decides to return to the cloth, leaving in upstate New York. The story is told Zak Mulligan, interspersed with willed women. The intricately detailed, Paola’s mother to raise her three from the point of view of Jonah (Evan elements from Jonah’s diary animated doodle-like style of Powerpaola’s black- daughters on her own. Rosado), who forms a unit with his two by Mark Samsonovich and magic and-white illustrations is brought to The story flows in a nimble true- brothers Joel and Manny. Often tangled realist imaginings, immerse us both vivid life by animator Santiago Caicedo. to-life fashion devoid of any whiff of together on the bed they share, Jonah in the boy's mindset and family life.” From Quito in Ecuador to Cali in screenwriter’s contrivance, delivering an is, right from the outset, starting to pull — Amber Wilkinson, Eye for Film Colombia and even to the Galapagos authentic and intimate portrait of life away from the other pair, enjoying a Islands, the film follows Paola’s growing up in a family in flux. — MM secret that's all his own, a diary full of life through the late 20th century, illustrations that is under the bed. from conception to adulthood. An He writes in it at night, once his A AC Fri 27 Jul, 8.45 pm unexpected ‘gift’ who arrives after her A QSt Fri 20 Jul, 8.15 pm brothers are asleep, an outlet for B AC Wed 1 Aug, 4.15 pm mother has had her tubes tied (with B QSt Tue 24 Jul, 12.15 pm feverish outpourings of emotion that A Rialto Wed 1 Aug, 8.15 pm doctors misdiagnosing her pregnancy A HWOOD Sun 29 Jul, 1.30 pm he could never share with them or his as a ‘virus tropical’), Paola causes quite 62

Liyana ALL AGES ALL FOR Directors: Aaron Kopp, Amanda Kopp Swaziland/Qatar/USA 2018 | 77 mins Photography: Aaron Kopp Editors: Aaron Kopp, Davis Coombe Animation: Shofela Coker With: Gcina Mhlophe Festivals: Los Angeles, London 2018 In English and siSwati, with English subtitles Censors rating tbc Recommended for audiences 10+

A group of children living in the Likhaya compelling documentary following the Lemphilo Lensha home for orphans lives of five amazing children from an are led through a workshop process by orphanage in Swaziland. Together with author Gcina Mhlophe. Together they their wonderful storytelling teacher, dive into their collective imaginations these bright and captivating youngsters to create Liyana, a brave heroine transform their difficult experiences who undertakes an epic adventure, through narrative to collectively craft outsmarting many a dangerous animal Liyana’s tale.” — NY International and even more dangerous humans Children’s Film Festival along the way. A beautifully crafted, Please note: while sensitively genre-defying exploration of fable as a handled, this film deals with challenging source of creative healing and strength, family histories and the ongoing impact Liyana is an inspiring collaborative of HIV/AIDS in Africa. project where children’s courageous voices are given centre stage. — NM “Liyana is a thrilling, beautifully- B QSt Fri 20 Jul, 11.30 am illustrated fictional tale of a young girl A QSt Sun 22 Jul, 12.30 pm on a perilous quest to reunite with A Rialto Sat 28 Jul, 12.00 pm A Rialto Sat 4 Aug, 11.15 am her brothers. At the same time, it’s a

Science Fair

Directors: Cristina Costantini, Darren Foster USA 2018 | 90 mins Producers/Screenplay: Jeffrey Plunkett, Cristina Costantini, Darren Foster Photography: Peter Alton Editors: Tom Maroney, Alejandro Valdes-Rochin Festivals: Sundance, SXSW 2018 Festival Favourite, Sundance Film Festival 2018 Recommended for audiences 10+

Two documentaries for the 10+ crowd, “Every year, over 1,700 teenage there are other underlying influences students from 75 countries compete motivating them to pursue their dreams selected by Nic Marshall of Square Eyes in the annual International Science of participating in the competition. Film Foundation, ardent promoters of and Engineering Fair (ISEF), a highly Featuring interviews with the charming competitive showcase of the world’s young scientists, their parents and international cinema to our youngest top young scientific minds. Selected mentors, as well as past ISEF winners, audiences and their movie-going from millions of students who qualified this absorbing film illuminates a group through sanctioned events to reach of amazing young men and women companions. The animated short film the international competition, these who are on a path to change the world programmes are lovingly curated by finalists are competing for the coveted through science.” — Sundance Film top prize that, as one previous winner Festival Nic with a little assistance from our explains, ‘will change your life in ways Animation NOW! maestro Malcolm Turner. you won’t even comprehend.’ Science Fair follows one mentor and See also: Mirai (p15). nine students from around the world as they prepare their projects and team B Rialto Fri 20 Jul, 3.00pm for the 2017 ISEF event in Los Angeles. A AWT Sun 22 Jul, 10.30 am Though all are participating for the A Rialto Sun 29 Jul, 11.30 am B AWT Wed 1 Aug, 11.00 am love of science, we also learn that FOR ALL AGES 63

Animation for Kids 4+ 65 mins approx. | Censors rating tbc

Once again, we’re thrilled to share an Two Trams Blueberry Hunt Outdoors eclectic and electric line-up of short Russia 2016 | Director: Svetlana Andrianova | 10 mins Czech Republic, 2017 | Directors: Alexandra France 2017 | Directors: Anne Castaldo, Sarah Chalek, animated tales. Carefully selected from Hetmerová, Kater˘ina Karhánková | 7 mins Elsa Nesme, Adrien Rouquié | 7 mins Klick and Tram stick together through all corners of the world, they’re sure thick and thin, to stay bang on time Two bear pals head out to gather An elderly woman tries to find her to amuse and engage our favourite and right on track. blueberries for breakfast dumplings missing pet. A little girl tries to find little audience – and those who attend – but first they must deal with a crazy her missing neighbour. Both find with them. Come and travel from a case of double hiccups. themselves in the middle of a New mysterious dark forest to a bustling I Want to Live in the Zoo York adventure. big city, or dive deep underwater Russia 2017 | Director: Evgenia Golubeva | 6 mins Dark, Dark Woods and dance with an elephant – all Denmark 2017 | Director: Emile Gignoux | 6 mins Sasha decides that she would much without leaving the comfort of your Big Block Singsong: Duck rather live in the zoo than at home Royal life’s not always so grand. One cinema seat. Visit nziff.co.nz for full Canada 2017 | Director: Warren Brown | 2 mins with her parents, but quickly finds little princess trades it all in for a wilder programme details. — NM that animal life is not all she hoped it kind of adventure. It’s a quack attack! You better stand back. Jazzoo would be. Funny Fish Sweden 2016 | Director: Adam Marko-Nord | 9 mins Henriyeti: Sock It To Me France/Switzerland 2018 | Director: Krishna Nair The House Fish behind the wheel, flying hippos 6 mins Czech Republic 2016 | Director: Veronika Zacharová Yeti! 5 mins and dancing elephants – all set to the Somewhere in the middle of the ocean, USA 2016 | Director: Greg Walter | 2 mins super jazzy sounds of the award- a not-so-smart school of fish come to With only one tiny clue to help him winning Oddjob quintet. Henriyeti – a little bit girl, a little bit the rescue of a mysterious creature along the way, a small house journeys Yeti – demonstrates that great matches who suddenly appears in their waters. to the big city in search of those who Boulle go well beyond appearances. left him behind. Russia 2016 | Directors: Elizaveta Monokhina, Polina Manokhina | 4 mins When you have to share a really small space, it’s definitely better to work together.

BIVIC C Fri 20 Jul, 11.15 am B Rialto Sun 22 Jul, 11.00 am B HWOOD Sat 28 Jul, 10.30 am

I WANT TO LIVE IN THE ZOO FUNNY FISH OUTDOORS

Animation for Kids 8+ 76 mins approx. | Censors rating tbc

Come join us for your annual wintery Odd Is an Egg Awaker Tip-Top fix of all-ages animated magic. From Norway 2016 | Director: Kristin Ulseth | In Norwegian Czech Republic 2017 | Director: Filip Diviak | 9 mins Russia 2016 | Director: Alla Vartanyan | 2 mins slick computer animation to hand- with English subtitles | 12 mins The Awaker leads a mundane life Here’s one way to keep warm while crafted stop motion, filmmakers the Odd is hugely protective of his head. waking people up for a living. One waiting for the bus in the middle of world over have melded exquisite When he meets Gunn, his life is turned day he receives something which winter. technique and brilliant storytelling upside down, freeing him from his transforms his humdrum routine. that’s certain to appeal to discerning anxiety in the most unexpected way. Catmos young and young-at-heart NZIFF Gokuroˉsama Czech Republic 2017 | Director: Katya Miloslavskaya audiences. Chase an elusive selfie, Undiscovered France 2016 | Directors: Clémentine Frère, Aurore Gal, 5 mins take a feline-centric ride through USA 2017 | Director: Sara Litzenberger | 3 mins Yukiko Meignien, Anna Mertz, Robin Migliorelli, Romain A unique cat takes a miraculous ride Salvini | 7 mins space, hang out after hours in a surreal There is no photo evidence of through space and time. shopping mall, and ponder some big Sasquatch – but maybe it’s for a reason A quirky tale of early morning goings- existential questions. Visit nziff.co.nz that may surprise you. on in a surreal mega-mall of the future. for full programme details. — NM Theory of Sunset If You Fall Poles Apart Russia 2016 | Director: Roman Sokolov | 9 mins UK 2017 | Director: Paloma Baeza | 12 mins Humus Canada 2017 | Director: Tisha Deb Pillai | 6 mins In the dead of night, while the world Italy 2017 | Directors: Simone Di Rocco, Simone In a harsh Arctic landscape, a hungry Cirillo, Dario Livietti, Alice Tagliapietra | 7 mins Lila takes on the daunting task of is sleeping, someone has the very learning how to balance on a bike, as and solitary polar bear must decide if a important job of ensuring the start of In a magical laboratory in the woods, a those around her balance family life. naïve Canadian grizzly bear is her food a new day. gardener tries to school his young and or her friend. wayward apprentice about the power of nature. Power USA 2017 | Director: Dana Sink, USA, 2017 | 2 mins Intersecting machinery comes together, inspired by Muybridge.

BWOOD H Sat 21 Jul, 11.45 am B CIVIC Sun 29 Jul, 10.30 am B Rialto Sun 5 Aug, 11.15 am

HUMUS IF YOU FALL AWAKER 64

The Ancient Woods Sengire˙ REALITY FRAMING Director/Photography: Mindaugas Survila Lithuania/Estonia/ Germany 2017 | 86 mins Producers: Mindaugas Survila, Ginté Žulyte˙, Radvile Šumile Screenplay: Mindaugas Survila, Ginté Žulyte˙ Editor: Danielius Kokanauskis Sound: Mindaugas Survila, Ginté Žulyte˙, Ainis Pivoras Festivals: Amsterdam Documentary 2017; Sydney 2018 Cinemascope

Immerse yourself in the life of an a stork’s nest or the struggles of a ancient Baltic forest, a habitat abundant snowbound spider with equal delight with wildlife little touched as yet by and fascination… Crows predictably human habitation. Lithuanian biologist steal the show, as their desperate turned filmmaker Mindaugas Survila fight for food provokes some impolite spent almost ten years making The but highly entertaining reactions, Ancient Woods, often taking weeks to but Survila also pays attention to the set up and capture the perfect shot. His smallest of [the forest’s] habitants, all patience and unerring eye have resulted the while making some very interesting in an enchanting, meditative experience visual choices, such as looking away – a walk in the woods where every when the violence proves too draining, creature is espied in exquisite close-up, plunging underwater or showing a and no voice of authority is explaining rather frenzied feast in slow motion.” what they are up to. — Marta Bałaga, Cineuropa “Without a clear point to make or a theory to prove, Survila simply comes A Rialto Sat 21 Jul, 12.00 pm as close as possible and… observes. A WGATE Sat 28 Jul, 2.00 pm He doesn’t limit himself to any B Rialto Tue 31 Jul, 11.00 am A CIVIC Sat 4 Aug, 11.00 am particular subject, ending up watching

Bisbee ’17

Director/Screenplay/ Editor: Robert Greene USA 2018 | 118 mins Producers: Douglas Tirola, Susan Bedusa, Bennett Elliott Photography: Jarred Alterman Music: Keegan DeWitt Festivals: Sundance, Hot Docs 2018 The profusion of excellent documentaries In English and Spanish, submitted to us is staggering. We try to with English subtitles steer a course that favours formal sophistication and complexity, while allowing ourselves on occasion to fall for the most forthright In 1917 Arizona, nearly 2,000 miners sensitively probes the personal stories advocacy or – hey, puppy – blatant appeals belonging to the Industrial Workers of townsfolk, many of whom are to the heartstrings. of the World, a radical labour union related to either the deportees or supporting immigrants and minorities, mining corporates, and then dives You will find more fine examples filling the organised a peaceful strike, only to deeper by restaging the whole incident be violently removed by mobs from with a cast made up of present-day Aotearoa section of the programme and in their homes and exiled to the middle residents. It’s a wilfully contrived yet the sections that follow. Also in our Big Nights, of the barren New Mexico desert. cathartic re-enactment that, in recalling Filmmaker Robert Greene, an expert the method of confrontation in The Act News/Fake News and For All Ages sections. at exploring the spaces between reality, of Killing, offers healing and closure for In other words, documentaries are everywhere recreation and performance, heads to the community, but also a powerful, the small ex-mining border town of lasting double image: of active racial at NZIFF. Bisbee for his latest documentary, a and political fault lines, then and most fascinating contemporary excavation especially now. — Tim Wong of a painful past. Although now part of the AC A Tue 31 Jul, 8.15 pm town’s tourist trade, the infamous B AC Wed 1 Aug, 1.45 pm Bisbee Deportation remains largely A AC Sun 5 Aug, 11.00 am unaddressed. Greene’s investigation FRAMING REALITY 65

Brimstone & Glory

For any sufferers of fireworks fatigue, Viktor Jakovleski’s euphoric debut Brimstone & Glory should swiftly restore Director: Viktor Jakovleski a sense of childlike awe. In a lean, USA 2017 | 67 mins Producers: Dan Janvey, Elizabeth Lodge Stepp, loaded 67 minutes, Jakovleski captures Kellen Quinn the week-long celebration of San Juan Photography: Tobias von dem Borne de Dios, a dazzling pyrotechnics festivity Editor: Affonso Gonçalves Music: Dan Romer & Benh Zeitlin that consumes the Mexican town of Festivals: San Francisco, Hot Docs, Tultepec yearly. The events are dedicated Fantastic Fest 2017 Best Documentary, Fantastic Fest 2017 to a patron saint who supposedly In Spanish with English subtitles rescued people from a burning hospital without a single scar or burn. Now, as one town kid tells us, to receive such an injury from the explosions is considered a sacred mark from the saint himself. Dispensing with talking heads (and deploying minimal exposition), Jakovleski opts for complete immersion, centering on the two biggest spectacles of the celebration, the Castles of Fire and the Burning of the Bulls. With detonate all around us, often fluid, kinetic camerawork that weaves threatening the revelers who happily “The theater-going us throughout the chaos, Brimstone put themselves in harm’s way to dance experience of the year… Glory is an utterly jaw-dropping blow- among the explosions... I can’t recall out that demands to be seen in a movie that better demonstrated the A film culled from reality a communal setting. — JF thin line between danger and euphoria that makes you question “More a sensory experience than a that’s inherent in such public revelries. whether you’re still structured portrait, Brimstone & Glory Brimstone & Glory is community as contains more primal, enrapturing catharsis, and you can’t stop staring in your theater seat.” A QSt Sun 22 Jul, 6.00 pm images than any documentary since in stupefied astonishment.” — Tim — Arlin Golden, Film Inquiry B QSt Mon 23 Jul, 12.30 pm Leviathan. Jakovleski’s cameras take Grierson, Paste Magazine A HWOOD Tue 24 Jul, 6.15 pm A QSt Sun 5 Aug, 12.00 pm us right onto the street as fireworks

The Atlantic Atlanten

All the CGI in the world pales beside the unearthly spectacle of the world itself as discovered by cinematographer Directors: Jan Röed, Kristian Petri, Jan Röed in this magnificent, haunting Magnus Enquist Sweden 1995 | 76 mins film, shown at the Festival in 1995 Producer/Photography/Editor: Jan Röed and never seen here since. This rare Screenplay: Kristian Petri 35mm print from the Swedish Film Music: Dror Feiler Narrator: Max von Sydow Institute may well be the very one we Festivals: Auckland 1995 screened then. In Swedish, Icelandic, Portuguese and English, with English subtitles Röed’s sound and images depict 35mm vast, erosive forces in nature that are terrifying – and thrilling to witness from the security of a cinema seat. The film is ‘about’ islands in the Atlantic, from Iceland in the north via the Azores, the Cape Verde group, St Helena and Staten Island to South Georgia. Each island has its own distinctive topography and civilisation, contained by the filmmakers in stunning compositions that are held long enough to draw our attention to St Helena describe their isolation the details, and for us to savour the with succinct dismay. There is self- “A must-see… One of the wryness with which evidence of human mockingly pretentious commentary most hauntingly beautiful occupation has been framed in vast sea drily enunciated by Max von Sydow, and cloudscapes. but despite this self-querying Swedish documentaries The inhabitants of different islands perspective, The Atlantic is like the ever made.” — Gunnar Rehlin, tell their stories, recite their poetry, work of a 19th-century showman/ Variety sing their songs. We meet, amongst explorer endowed with state-of-the- others, a gory old whale hunter from art tools of the late 20th. IVICA C Sun 22 Jul, 11.00 am the Azores. The owner of the world’s A HWOOD Mon 30 Jul, 6.15 pm largest whisky collection slyly solicits for more. A priest and the governor of 66 FRAMING REALITY

Cold Blooded: The Clutter Family Murders

Director: Joe Berlinger USA 2017 | 168 mins Co-directors: Allison Berg, Kahane Cooperman Producers: Allison Berg, Keven McAlester, Joe Berlinger, Jon Doran, Justin Wilkes Photography: Michael Neumann Editors: Jawad Metni, Seth Skundrick Music: Paul Brill Festivals: Amsterdam Documentary 2017

In 1959, in a small town in Kansas, to say about the murders – and about farmer Herbert Clutter, his wife Bonnie the indelible account provided in and their teenage children, Nancy and Capote’s book? Kenyon, were savagely murdered. “It’s a stunning panorama that Writer Truman Capote, famous at that knows it doesn’t need to ‘novelize’ a point for Breakfast at Tiffany's, visited damn thing… Respectfully rendered the town with his friend, the writer and rich with detail, this documentary Harper Lee. Earning the trust of the event is a must for anyone who wants murderers – Richard ‘Dick’ Hickock a deeper look at what happens in the and Perry Smith – he rendered them wake of a senseless violent death, unforgettably in In Cold Blood, which especially when the victim or victims became an international bestseller catch the eyes of the media.” — Amy and is often cited as the first book Glynn, Paste Magazine in the true crime genre. Director Joe Berlinger, renowned for his investigative documentaries about the West B AC Fri 20 Jul, 3.15 pm Memphis Three, revisits the case. What A AC Sat 21 Jul, 5.15 pm do the townsfolk and surviving families A HWOOD Sat 4 Aug, 2.00 pm of both victims and perpetrators have

The Devil We Know

Director: Stephanie Soechtig USA 2018 | 88 mins Producers: Kristin Lazure, Stephanie Soechtig, Joshua Kunau, Carly Palmour Screenplay: Mark Monroe, Stephanie Soechtig Photography: Rod Hassler Editors: James Leche, Dan Reed, Brian Lazarte Music: Brian Tyler Festivals: Sundance 2018

Viewers might handle their non-stick widespread pollution of neighbouring frypans with a tad more trepidation waterways and the irreversible after seeing Stephanie Soechtig’s contamination of workers. Told with blood-boiling corporate exposé. Putting a bracing urgency and a clear-headed the insidious inner workings of mega- empathy for its victims, Soechtig’s film corporation DuPont under fire, The Devil is a damning reminder of the major We Know reveals decades of top-level toll that regular people pay for modern mismanagement and environmental civilisation’s minor conveniences. — JF contamination. The eponymous devil “Soechtig presents an unusually is a chemical compound called C8, engrossing docu for this type of which has been used for years in the subject, with human interest always production of DuPont’s Teflon in the forefront… An expert assembly kitchenware, 3M’s Scotchgard and a that’s sharp in every department.” 105 Ponsonby Road Auckland the large range of water-resistant materials. — Dennis Harvey, Variety WOMEN’S 09 376 4399 When C8 was proven to be linked BOOKSHOP [email protected] to deformities in newborns and various A AC Fri 20 Jul, 8.30 pm lethal health conditions, DuPont not B AC Tue 31 Jul, 11.15 am online shopping womensbookshop.co.nz only denied the negative effects but A AC Sat 4 Aug, 11.00 am Crossing the Line since 1989 ramped up production, resulting in the FRAMING REALITY 67

Ex Libris: The New York Public Library

Frederick Wiseman, cinema’s peerless documentarian of institutions, finally turns his lens on the cornerstone of Director/Producer/Editor: every self-respecting community: the Frederick Wiseman USA 2017 | 197 mins public library. Focusing on New York Photography: John Davey City’s century-old flagship, Wiseman’s Festivals: Venice, Toronto, New York, London, approach is as always humane and Amsterdam Documentary 2017 FIPRESCI Prize, Venice Film Festival 2017 low-key, with a healthy fixation on the people who fill its spaces and give them meaning. From budget meetings, to enthusiastic archivists and educators, to patient phone operators, to live events with the likes of Patti Smith and Richard Dawkins, the scope of NYPL’s service and its social and cultural value is quietly affirmed through Wiseman’s humble observational practice. There’s no need for talking heads to tell us why any of it matters, although there’s no shortage of conversation around digital © EX LIBRIS FILMS, LLC. WITH THE PERMISSION OF ZIPPORAH FILMS, INC. inclusion and the new public–private have to… It is a soaring, Utopian mission funding era the library now faces, in a doco that builds with intellectual “Lovely, gracious, soul- eloquently argued for by CEO Anthony force and deep emotion as it shows, satisfying… a lively, Marx. Merely watching folks go about again and again, citizens… joining their business, free to think, feel and together to listen to one another and jostling monument to an learn, is the simple ideal at the heart to learn from one another. In Ex Libris, idea that represents the of this edifying and implicitly political democracy is alive and in the hands very best of civilized film, where any questions about the of a forceful advocate and brilliant relevance of libraries in the 21st century filmmaker, which helps make this one society.” — Jessica Kiang, WTA A Sat 21 Jul, 11.15 am are firmly put to bed. — Tim Wong of the greatest movies of Wiseman’s The Playlist B AWT Wed 25 Jul, 10.30 am “Wiseman never states outright extraordinary career and one of his most A Rialto Sun 29 Jul, 1.30 pm B Rialto Tue 31 Jul, 12.45 pm what the library’s mission is; he doesn’t thrilling.” — Manohla Dargis, NY Times

The Distant Barking of Dogs Dog’s Best Friend

Director: Eryn Wilson* Simon Lereng Wilmont Denmark 2017 | 91 mins Director: Eryn Wilson Producer: Monica Hellström New Zealand 2017 Photography: 78 mins Simon Lereng Wilmont Editor: Michael Aaglund Producers: Gareth Wallis, Music: Uno Helmersson, Eryn Wilson Erik Enocksson Photography: James Boddy Festivals: Amsterdam Editor: James Brown Documentary 2017; San Francisco Music: Dean Kerr 2018 With: Jacob Leezak, In Ukrainian with English subtitles Jennah Leezak

Oleg, a feisty ten-year-old Ukrainian more people leave and his beloved A canine rehabilitation centre is misunderstood canines and the boy, lives near the frontlines of the babushka’s resilience is also severely tenderly profiled in Kiwi director Eryn traumatic backgrounds that brought war between Russian-led separatists put to the test. The angel-faced boy Wilson’s affectionate documentary both him and his fiancée Jennah to this and Ukrainian forces in Eastern becomes increasingly wary. He surveys Dog’s Best Friend. Run by ex-soldier line of work. Ukraine. This searching and haunting his old playground, checking for Jacob Leezak, the Canine Behaviour Over a span of months, we get to documentary immerses us in a year landmines. But play is for kids anyhow. Expert Dog Psychology Centre is watch the couple lovingly work with a of his existence. An orphan, he lives “We’re men,” he says. “We have to be located on a property in outer Sydney range of pooches, with encounters that with his loving grandmother, who is able to endure everything.” — SR that houses no fewer than 30 dogs at range from heated to heartwarming reluctant to leave Hnutove, despite “The film is about how people deal a time – all either abandoned, set to (try not to melt as one pup reaches the rural village’s dwindling number with the cracks in illusion and about be euthanised or brought in by clients new levels of zen during a massage of inhabitants. He hangs out with his the human drive we have to survive no unable to handle their pet’s aggressive session). Without ever succumbing to younger cousin Yarick, sometimes matter what… That kind of tenacity is side. While Jacob will often allude to soapboxing, this sweet and unassuming accompanied by the older and slightly incredibly beautiful to me.” — Simon the media stigmatisation of particular portrait is essential viewing for dog- alarming Kostya, initially unmindful Lereng Wilmont breeds (the film even opens with some lovers and dog-haters alike. — JF of danger and revelling in adventures sobering euthanisation stats), Wilson characteristic of country boys their age BC A Mon 23 Jul, 2.15 pm wisely never centres the story on that CA A Sat 21 Jul, 11.15 am* anywhere else in the world. A AC Tue 24 Jul, 8.30 pm debate. Instead, he focuses on the A AC Mon 23 Jul, 8.15 pm* As the sound of explosions and B Rialto Wed 25 Jul, 2.30 pm bond between man and dog, observing B AC Wed 25 Jul, 2.00 pm* A Rialto Thu 2 Aug, 6.15 pm A WGATE Sun 29 Jul, 1.45 pm the whistling of shells draw closer, Jacob’s tailored process of rehabilitating 68 FRAMING REALITY

In the Realm of Perfection L’Empire de la perfection

Portrait docos rarely come as Director/Screenplay/Photography: idiosyncratic as this loose, freewheeling Julien Faraut look at tennis superstar John McEnroe France 2018 | 95 mins in his tantrum-prone prime. McEnroe Producer: William Jéhannin Editor: Andrei Bogdanov recorded a monumental win rate Music: Serge Teyssot-Gay of 96.5% during the 1984 season, Narrator: Mathieu Amalric Festivals: Berlin 2018 culminating at the French Open where In English and French, with English subtitles a French film crew was scrupulously B&W and Colour documenting every stroke and meltdown. Working almost exclusively from a leftover archive of their 16mm rushes, director Julien Faraut reconstructs a compelling portrait of the player from the scraps. With actor Mathieu Amalric as narrator, Faraut interrogates McEnroe’s brilliance and blemishes – from the technical mastery of his movement (observed in hypnotic slo-mo) to the unconventional relationship he had with his rage. It all culminates in McEnroe’s meditation on time, movement and the gripping showdown with Ivan Lendl unique ability of film (and McEnroe) to “An obsessive study of the in the 1984 French Open – still a manipulate both. — JF moves and mood swings suspenseful showstopper to this day. “Less a biopic and more a thesis But for every portraiture convention about human psychology… [McEnroe] of John McEnroe at the Faraut adheres to, there’s an unexpected has arguably never been profiled height of his bad-boy flourish to counter it: animated breaks, so intriguingly as in In the Realm of fame… This is fascinating witty interludes and unexpected Perfection, which draws on archive cinematic references (films excerpted footage, psychology and film theory stuff.” — David Rooney, A AWT Sun 22 Jul, 9.00 pm include Milos Forman’s Amadeus and to present a multi-faceted portrait of Hollywood Reporter A AWT Tue 31 Jul, 6.15 pm Martin Scorsese’s Raging Bull). a complex man.” — Nikki Baughan, A HWOOD Wed 1 Aug, 6.15 pm What results is a wholly distinct Screendaily

I Used to Be Normal: Island of the Hungry Ghosts A Boyband Fangirl Story

Director: Jessica Leski Gabrielle Brady Australia 2018 | 96 mins Producers: Jessica Leski, Director/Screenplay: Rita Walsh Gabrielle Brady Photography: Jason Joseffer, Simon Koloadin, Eric Laplante, Germany/UK/Australia Cesar Salmeron 2018 | 98 mins Editor: Johanna Scott Photography: Michael Latham Music: Jed Palmer Editor: Katharina Fiedler Festivals: Hot Docs, Sydney 2018 Music: Aaron Cupples Festivals: Tribeca 2018 Best Documentary, Tribeca Film Festival 2018 In English, Farsi, French and Mandarin, with English subtitles

“What was life like before One music idols, and how deep love for On Christmas Island, asylum seekers tell Brady’s film takes on a captivating Direction?” Jessica Leski’s opening these groups has helped them through heartbreaking stories to Poh Lin Lee, a form. Shaped around hypnotic music question to 1D superfan Elif jump-starts pivotal life experiences. trauma therapist at odds with her role and sound design, there’s something a vigorous investigation of the sacrifices Like a glitter cannon of boyband at the Australian territory’s immigration genuinely haunting about Poh Lin’s and sweet experiences of boyband adoration, the film is bursting with detention centre. Against the eerie torment at the centre of it all – an inner fandom. Losing friends, frustrating your colour, music and its manifesto for disquiet of the island’s landscape and conflict between her duty to counsel parents and hiding a closeted obsession music lovers of any age or gender: let ecology, this lyrical documentary reveals the distressed, and her complicity in from co-workers is par for the course, your freak flag fly proud. Release the a deep-seated malaise – one felt by the the inhumane treatment of already but not all is lost for the fangirls screams and the sing-alongs and feel workers who witness the detainees’ damaged people. It’s as if Brady allows documented in I Used to Be Normal. the music you love unashamedly. As suffering, and by the Chinese and Poh Lin to not only express her anger Leski profiles the lives and loves Dara puts it in the closing moments, South Asian locals, who perform rituals and frustration, but also act it out of Elif, Sadia, Dara and Susan, four “What’s life without a big major for those who have died without a as the film’s protagonist – a kind of women aged 16 –64 who are self- chorus?” — Kailey Carruthers proper burial throughout the island’s therapy in itself. — Tim Wong confessed boyband fangirls. From raw occupied history. Beatlemania, through Take That By interweaving between these and the Backstreet Boys to 1D, the B AWT Fri 20 Jul, 11.00 am layers extraordinary footage of red A AC Sun 29 Jul, 1.00 pm documentary celebrates and explores B Rialto Thu 26 Jul, 2.15 pm land crabs, whose migration patterns A AC Sun 29 Jul, 8.00 pm women’s stories of coming of age (and A AWT Sun 5 Aug, 5.15 pm parallel the immigration struggles of B AC Mon 30 Jul, 11.30 am coming out) through their beloved the refugees held in limbo, Gabrielle FRAMING REALITY 69

Samouni Road La strada di Samouni

The human reality of Israel’s siege of Gaza is given rare and timely airing in Stefano Savona’s captivating Samouni Director/Photography/Sound: Road. It centres on one extended family Stefano Savona Italy/France 2018 | 126 mins in a village on the outskirts of Gaza Producers: Penelope Bortoluzzi, Marco Alessi, City – a community ravaged by Israel Cécile Lestrade in early 2009 as part of an assault Screenplay: Stefano Savona, Léa Mysius, Penelope Bortoluzzi remembered in Israel as Operation Cast Animation director: Simone Massi Lead and in the Arab world as the Gaza Editor: Luc Forveille Music: Giulia Tagliavia Massacre. Twenty-nine civilians – men, Festivals: Cannes (Directors’ Fortnight) 2018 women, children – lost their lives, most In Arabic and Hebrew, with English subtitles Censors rating tbc killed by Israeli forces as they took refuge in a house. At the heart of it all is a child. “I don’t know how to tell a story,” Amal says, but she reveals eloquence far beyond her years. Her father, brothers and cousins were killed, and she was given up for dead, too, but miraculously hauled by aid workers from rubble several days on. Still fire on a group despite being told there struggling with pain from shrapnel in are children among them. For all that “The accolades sure to her head, Amal walks us to the site the film shows political and militant accrue will drown out where the agrarian village’s totem, a groups’ efforts to use the tragedy 150-year-old sycamore tree, once stood to promote their cause, it resists any the few but noisy voices – now destroyed like everything else by propagandising of its own, drawing from all sides... Destined bombs, bullets and bulldozers. on testimony from the family, from to become a touchstone The raid itself is recounted with the Red Cross and UN and from the evocative scratchboard animation and Israeli army’s own internal reports. In in the cinematic B QSt Fri 27 Jul, 12.15 pm chillingly recreated drone footage, the words of the director, “all that we representation of the A QSt Sun 29 Jul, 11.30 am including an exchange in which a see and hear comes from cross-checked A QSt Sat 4 Aug, 12.00 pm Strip.” — Jay Weissberg, Variety commander instructs a soldier to open sources.” — Toby Manhire

Lots of Kids, a Monkey and a Castle Minding the Gap Muchos hijos, un mono y un castillo,

Director/Producer: Director/Photography: Gustavo Salmerón Bing Liu Spain 2017 | 91 mins USA 2018 | 98 mins Screenplay: Gustavo Salmerón, Producers: Diane Quon, Bing Liu Raúl de Torres, Beatriz Montañez Editors: Joshua Altman, Bing Liu Photography: Gustavo Salmerón Music: Nathan Halpern, Festivals: Karlovy Vary, Toronto, Chris Ruggiero San Sebastián, London, Festivals: Sundance, San Francisco, Amsterdam Documentary 2017 Hot Docs 2018 Best Documentary, Karlovy Vary Special Jury Prize, Sundance 2018 International Film Festival 2017 & Goya Awards 2018 In Spanish with English subtitles

Oddball octogenarian Julita Salmerón with the move. What can possibly First-time director and natural born together, falters tellingly as adult had three wishes as a young newlywed: be thrown out? And where are the cinematographer Bing Liu turns his responsibilities press in. The film’s the kids (six) came naturally enough, two vertebrae, macabre heirlooms, of camera on himself and his two closest deepest tension emerges in anarchic and even the monkey wasn’t too Julita’s grandmother, brutally murdered skateboarding buddies in this riveting ringleader Zack. The self-destructive hard, but the castle was out of reach during the Spanish Civil War? time-lapse portrait of boys becoming bravado that made him so charismatic for a regular, middle-class Spanish Shot in a variety of formats over men. Bing, Zack and Keire bonded in the skate scene is beginning to fester family. Then an inheritance made Julita 14 years by one of Julita’s sons, this over a shared love of skating as kids. ominously within his own family. By the suddenly super rich and she got her entertaining and affectionate portrait Liu showcases his euphorically shot time we reach a confrontation, Minding third wish too, complete with turret, of an indomitable, impossible matriarch boyhood skate sequences throughout, the Gap has bloomed into one of the suits of armour and chandeliers. and her brood captures them coping but only ever as a means of revealing year’s great documentaries, an intensely With so much space at her disposal, with the vagaries of life, and celebrates more of his subjects’ evolving psyches; revealing meditation on masculine self- she never threw anything out from the powerful, eccentric force of their skateboarding is a triumphant respite imaging, escapism and the tortuous that day on. Open any cupboard and family bonds. — SR from the trio’s turbulent home lives, paths to exorcising violence absorbed in a lifetime’s precious detritus may come each of which, it transpires, was childhood. tumbling out. But opened they shall be, dominated by an abusive father figure. for Spain’s financial crisis puts an end B Rialto Mon 23 Jul, 2.15 pm Liu watches himself and his friends B QSt Mon 23 Jul, 2.00 pm to the castle life and Julita and husband B AC Wed 25 Jul, 12.00 pm grow up to grapple with their pasts. A QSt Sat 28 Jul, 4.30 pm Antonio must drastically downsize. A AC Sun 29 Jul, 4.00 pm Their unguarded intimacy, achieved B QSt Thu 2 Aug, 2.00 pm A Rialto Mon 30 Jul, 6.15 pm A QSt Sat 4 Aug, 6.30 pm Their children and grandchildren assist through years of reckless abandon 70 FRAMING REALITY

Pick of the Litter

“Meet Patriot, Poppet, Potomac, Directors/Producers: Primrose, and Phil, five impossibly Dana Nachman, Don Hardy adorable Labrador Retriever puppies. USA 2018 | 81 mins We meet them at the moment of Screenplay: Dana Nachman Photography/Editor: Don Hardy their birth when they are enrolled Music: Helen Jane Long into the national Guide Dogs for the Festivals: Slamdance, San Francisco, Hot Docs 2018 Blind (GDB) program based in San Rafael, CA. Soon after, they are placed with temporary trainers, individuals who have volunteered to shepherd the puppies through months of intensive training. Their emotional commitment to the dogs is intense and inspiring, making this documentary an emotional roller coaster once we realize that not all the dogs have what it takes to succeed.” — San Francisco International Film Festival “With most of the focus on the Audio descriptive film screening puppies, cinematic options might appear limited, but because there are entertainingly excels at maintaining A Rialto Thu 2 Aug, 6.00 pm so many people involved in raising the interest and building tension “A thoughtful film about The screening on Thursday 2 August 6 pm is dogs, Nachman and Hardy readily gain throughout the film’s succinctly the exacting selection an audio descriptive screening. This session will access to puppy trainers, [Guide Dogs packaged 81-minute run time. have a descriptive audio track broadcast in the for the Blind] staff and sight-impaired While Pick of the Litter stands out process for guide dogs, cinema and is designed to enhance the cinema experience for sight-impaired patrons. individuals. While there are plenty of for its canine characterizations, it’s and the bonds that form shots featuring gamboling puppies, fundamentally a film about the between the pups and the filmmakers also demonstrate the endlessly fascinating, constantly A Rialto Fri 20 Jul, 6.30 pm training process, with detailed scenes evolving relationship between dogs and the people.” — Norman Wilner, B Rialto Tue 24 Jul, 2.30 pm showing how the dogs are instructed. humans, cultivated over millennia of Now A AWT Sat 28 Jul, 11.30 am Juggling more than a half-dozen advantageous interaction.” — Justin B AWT Mon 30 Jul, 2.15 pm storylines, Hardy’s editorial work Lowe, Hollywood Reporter A WGATE Tue 31 Jul, 6.30 pm

A Mother Brings Her Son to Be Shot Speak Up À voix haute

Director/Screenplay: Director: Sinéad O’Shea Stéphane de Freitas Ireland 2017 | 84 mins France 2017 | 96 mins Producers: Ailish Bracken, Co-director: Ladj Ly Sinéad O’Shea, Figs Jackman Producers: Harry Tordjman, Executive Producer: Anna Tordjman Joshua Oppenheimer Editors: Jessica Menéndez, Photography: Richard Kendrick, Pierre Herbourg Ross McDonnell, Enda O’Dowd, Photography: Ladj Ly, Sinéad O’Shea, Paddy Stevenson Timothée Hilst Editor: Enda O’Dowd Music: Superpoze Music: George Brennan In French with English subtitles Festivals: London 2017 M violence, offensive language, drug references & suicide references

© INGRID CHABERT Be warned: the title of journalist Sinéad of Majella’s decision) as the emotional Every year there’s a breakout film training ground but a forum in which O’Shea’s jolting new documentary is in core of the film, this shocking headline at NZIFF that reminds us of the they can debate issues that arise from no way figurative. Majella O’Donnell, is only a jumping-off point for a importance of being seen and heard, their lessons, including free speech, a citizen in Northern Ireland, really did broader exploration of the festering not least those of us who belong to outrage culture and feminism. deliver her son to local gang members wounds of contemporary Ireland – minority groups. This year, that film is Although the contest is the film’s to be shot in the back of both legs, where suicide and unemployment Speak Up, an inspiring documentary endgame, it’s the journey we take after they demanded retribution for rates are rampant, gang violence is that follows a diverse group of French with these hopeful orators that leaves his drug dealing in their community (it common and political unrest from IRA university students as they prepare for a the lasting impression. Their tales of was either that or his execution). As sympathisers seems to be back on the speech contest. homelessness, immigration and cancer O’Shea’s engrossing exposé reveals, boil. This wallop of a film is executive With a training programme fuel the speeches they deliver with this brutal form of punishment, known produced by Joshua Oppenheimer (The that borrows from creative writing unquestionable passion, but it’s what as kneecapping, is not exceptional in Act of Killing), whose own work should workshops and drama classes, they’re they do with their past traumas that Derry, an impoverished community in give viewers some indication of the grit put through their paces by coaches in truly inspires. — Chris Tse which outlawed gangs of Republican to expect. — JF rhetoric, debate, slam poetry and acting dissidents have taken power, exercising techniques. In between writing prompts, A AC Sun 22 Jul, 2.00 pm vigilante justice upon residents who A HWOOD Mon 23 Jul, 8.30 pm they tumble through physical exercises A AWT Sun 29 Jul, 11.00 am step out of line. B AC Mon 30 Jul, 4.15 pm and trust games designed to help them B HWOOD Fri 3 Aug, 4.15 pm While O’Shea positions the A AC Thu 2 Aug, 8.45 pm draw strength from their vulnerabilities. A WGATE Sat 4 Aug, 1.45 pm O’Donnell family (and the repercussions The classroom becomes not only their A Rialto Sun 5 Aug, 1.00 pm FRAMING REALITY 71

Three Identical Strangers

In 1980 a 19-year-old college freshman Director: Tim Wardle named Bobby arrives at his new UK/USA 2018 | 96 mins campus for the first time, only to be Producers: Grace Hughes-Hallett, Becky Read Photography: Tim Cragg immediately recognised as someone Editor: Michael Harte else – an ex-student named Eddy. Music: Paul Saunderson With: Bobby Shafran, David Kellman, Within 24 hours, Bobby and Eddy Lawrence Wright are standing face-to-face: two identical Festivals: Sundance, San Francisco, Hot Docs, twins, given to separate adoptive Sydney 2018 families at birth, each completely unaware of the other’s existence. Their heartwarming discovery makes the front page of the paper, only to catch the attention of David, another 19-year-old who bears a similarly striking resemblance. Before they have even adjusted to their finding, the two long- lost brothers are welcoming in a third. In Tim Wardle’s utterly riveting docu- thriller, it would seem that truth really is stranger than fiction. The craziest part of the story is that the aforementioned nurture underpinning every breathless triplet reunion isn’t even the craziest twist and turn. In a film of relentless “Mind-boggling… As this part of the story. Bobby, Eddy and revelations, it’s the truths left dangling movie goes on, and the David’s surprise encounter is only that truly linger. — JF the jumping-off point for a string of “What begins as a light and fluffy, narrative unfolds, you are bombshells that just don’t stop coming; too-weird-to-be-fiction story goes likely to be saying to to reveal any more here would be a unimaginably deeper, stranger, darker. yourself, ‘Oh my God’, serious disservice to the viewer. But It’s best to go in as cold as possible, to what elevates Wardle’s film are the try (and likely fail) to guess what comes every 10 minutes or so.” IVICA C Wed 25 Jul, 6.15 pm genuinely meaty questions that linger next… Prepare for a wild, twisting — Dan Callahan, The Wrap B CIVIC Thu 26 Jul, 1.15 pm beneath its sensational headline, a non-fiction ride.” — Brent McKnight, A WGATE Sun 5 Aug, 8.00 pm slippery debate between nature and Seattle Times

RBG United Skates

Directors/Producers: Dyana Winkler Betsy West, Julie Cohen Tina Brown USA 2018 | 98 mins Directors/Producers: Photography: Claudia Raschke Dyana Winkler, Editor: Carla Gutierrez Tina Brown Music: Miriam Cutler | Festivals: Sundance, San Francisco USA 2018 89 mins 2018 Photography: Matthew Peterson, Tina Brown, Dyana Winkler Editor: Katharine Garrison Music: Jongnic Bontemps, Jim Winkler Festivals: Tribeca 2018 Audience Award, Tribeca Film Festival 2018

© CHRISTOPHER VANDERWALL ‘Witch’, ‘Anti-American’, ‘The law and elevating women from second- “Off the radar of mainstream American It’s to this present reality that directors Notorious RBG’: US Supreme Court class citizenship. “It was like teaching culture, the African-American roller-rink Dyana Winkler and Tina Brown turn Justice Ruth Bader Ginsburg has been kindergarten,” Ginsburg muses, community has thrived for decades their cameras. United Skates visits black called it all. Before she became an recalling her experience trying to open in cities across the country, fostering rink owners and observes skaters from internet sensation, Ginsburg was laying the eyes of male lawmakers to the community, hosting performances Los Angeles, Chicago, North Carolina, the foundation for a fairer and more glaring inequalities faced by women by ground-breaking hip-hop artists and beyond as they travel across the just America by fighting against gender and minorities. including N.W.A. and Queen Latifah, US, introduce their kids to the art, discrimination and blazing a highway of In contrast to the hard, heartless and serving as the incubator for a muse on its past and future, and, most progress one step at a time. Following image her dissenters would like you to radical blend of skating and dance importantly, skate. This electrifying her graduation from Columbia Law believe, Betsy West and Julie Cohen’s that stands is its own unique art form, work is at once a cultural history lesson, School, the Women’s Liberation documentary presents a full picture of complete with regional variations. an investigation into racial politics, and movement of the 1970s allowed the Ginsburg, introducing us to a pioneering Despite this remarkable history, a beautifully shot performance film.” reserved yet powerful Ginsburg to women’s rights activist, grandmother skating is in a precarious state; re-zoning — Brian Gordon, Tribeca Film Festival utilise her legal prowess to push the and fighter. — Kailey Carruthers policies have led to rinks closing down, revolution forward with the ACLU. and the long-standing, still-present Working on sex discrimination AWT A Mon 23 Jul, 6.15 pm practice of admission policies has WTA A Sun 29 Jul, 4.45 pm cases for both men and women, B Rialto Thu 26 Jul, 4.15 pm restricted attendance to racially-coded B AWT Tue 31 Jul, 11.15 am her professional life was focused on A CIVIC Sat 28 Jul, 11.00 am ‘Adult Nights’ and even discouraged or A WGATE Sun 5 Aug, 1.30 pm providing equal protection under the barred black patrons entirely. 72

The Cleaners FAKE NEWS FAKE / NEWS Directors: Hans Block, Moritz Riesewieck Germany/Brazil 2018 89 mins Photography: Axel Schneppat, Max Preiss Editors: Philipp Gromov, Hansjörg Weißbrich, Markus CM Schmidt Music: John Gürtler, Jan Miserre, Lars Voges Festivals: Sundance, Rotterdam, Hot Docs 2018 In English and Tagalog, with English subtitles Censors rating tbc

© GEBRUEDER BEETZ FILMPRODUKTION Ever wondered who polices Facebook? the cultural disparities that complicate This rattling documentary should the work, an issue which artist Illma make for illuminating viewing. The Gore’s banned portrait of Trump (with Cleaners introduces us to five content his iconic micro-penis) deftly illustrates. moderators, all based in the Philippines, There are myriad implications here, but whose services are contracted to crucially the filmmakers follow through social media giants like Facebook, on them, broadening their portrait into Twitter and Google. Every day, these an urgent exploration of the perils of ‘cleaners’ scan through thousands the digital age. The results will both of images and videos that have been absorb and disturb. — JF flagged as ‘objectionable’. There’s an “Frankenstein’s monster has been obvious toll to sweeping our feeds created and is now out of control… A for sinister material. As the subjects timely film, capable of sparking vigorous present us with their harrowing debate.” — Allan Hunter, Screendaily testimony, it quickly becomes clear how psychologically ill-equipped B QSt Fri 20 Jul, 1.15 pm anyone would be for the violence and A QSt Mon 23 Jul, 6.15 pm pornography they wade through daily. B QSt Thu 26 Jul, 12.00 pm A QSt Sat 28 Jul, 12.45 pm That’s not even taking into account

Eldorado

Director/Screenplay: Markus Imhoof Switzerland 2018 92 mins Producers: Pierre-Alain Meier, Thomas Kufus, Markus Imhoof Photography: Peter Indergand Editors: Beatrice Babin, Thomas Bachmann Music: Peter Scherer Festivals: Berlin 2018 In German and English, with English subtitles

A blistering feature from Sergei Loznitsa Deep inside the European asylum Eldorado is affecting and upsetting, system, Markus Imhoof’s uniquely but particularly so because of the eviscerates a ground zero of modern ideological personal documentary takes a long, hard historical first-hand experience it relates warfare, while two documentaries take very look at the human flotsam off the coast the current crisis to. We hear about of Italy. Aboard a giant vessel designed Imhoof’s childhood in Switzerland, different approaches to confronting the to intercept overcrowded dinghies and the young Italian refugee his mediators. Eldorado and The Trial inspect political of asylum seekers, he captures the family took in with open arms, only for exhaustion and desperation of African global politics to tear them apart. This realities often grossly misrepresented or poorly and Middle Eastern refugees oblivious personal dimension, threaded ruefully understood away from the scenes of action. to the hellish non-existence that awaits throughout the film, speaks sincerely them on dry land. There, dispassionate of the pain of forced migration – officials – servants of a country and angrily at how unwanted those politically riven by the humanitarian fleeing war and oppression today have burden – toe the line, while the film’s become. — Tim Wong observation states implicitly that wealth and resources, poured into making Italy AWT A Sun 22 Jul, 12.45 pm an efficient gateway to the continent, B Rialto Tue 24 Jul, 4.15 pm have done little to facilitate points of A Rialto Mon 30 Jul, 8.15 pm exit into the rest of Europe. NEWS / FAKE NEWS 73

Donbass

The conflict in eastern Ukraine is evoked as an anarchic and deeply cynical horror show in Ukrainian writer/director Sergei Director/Producer/Screenplay: Loznitsa’s potent dramatised report Sergei Loznitsa Ukraine/Germany 2018 | 121 mins from the theatre of war. Photography: Oleg Mutu “Donbass abandons allegory [see A Editor: Danielius Kokanauskis Gentle Creature, NZIFF17] for a bracing Sound: Vladimir Golovnitski With: Tamara Yatsenko, Liudmila Smorodina, commitment to the present in a film Olesya Zhurakovskaya, Boris Kamorzin, that has such topical urgency one Sergei Russkin, Petro Panchuk, Irina Plesnyaeva, Zhanna Lubgane wonders why (or whether) it is fiction Festivals: Cannes (Un Certain Regard) 2018 at all. Its story is a daisy-chain loosely Best Screenplay (Un Certain Regard), Cannes Film Festival 2018 connecting anecdotes of corruption, In Ukrainian and Russian, with English subtitles coercion, fear, and cynicism in the CinemaScope | Censors rating tbc Donbass region of the country, which is currently occupied by the pro-Russian separatists who have proclaimed the Donetsk People's Republic. Opening with a scene of actors preparing to film what we soon shockingly learn is a fake news report of Ukrainian nationalist terrorism, and going on from there… contradiction between Loznitsa’s Donbass is a grave, sometimes blackly, bracingly of-the-moment ‘reporting’ “In ways that could absurdly comic transmission from a and his film’s tone of resigned not be better timed to region roiling in intimate bloodshed weariness. A film at once electric and and hatred… morose, Donbass serves as a guide to our Orwellian present, Just how much of the basis of this the malignant darkness shrouding over Loznitsa continually conflict is fictive, Donbass asks, not just the eastern part of the Ukraine: fiction reveals the contours in details of fake news but in a greater filmmaking with combative intent sense of people playing roles to obtain and a powerful sense of necessity.” of a war driven by IVICA C Sun 29 Jul, 8.00 pm and maintain power? This suggestion, — Daniel Kasman, Mubi.com propaganda.” B QSt Fri 3 Aug, 2.00 pm and the film itself, comes as if from the A QSt Sat 4 Aug, 8.30 pm — Justin Chang, LA Times front lines, which creates an ambivalent

Our New President The Trial O processo

Director: Director/Producer/ Maxim Pozdorovkin Screenplay: Russia/USA 2018 Maria Augusta Ramos 78 mins Brazil/Germany/ Producers: Joe Bender, Maxim The Netherlands 2018 Pozdorovkin, Charlotte Cook 139 mins Editors: Maxim Pozdorovkin, Matvey Kulakov Photography: Alan Schvarsberg Music: Ivan Markovsky Editor: Karen Akerman Festivals: Sundance 2018 With: Gleisi Hoffmann, José In Russian and English, with Eduardo Cardozo, English subtitles Janaína Paschoal, Dilma Rousseff, Michel Temer, Hélio Bicudo Festivals: Berlin, Hot Docs 2018 In Portuguese with English subtitles

Donald Trump rendered the term ‘fake Eschewing any voiceover or armchair While global headlines about Brazil Trial is searing and damning but never news’ redundant as soon as he started analysis, Maxim Pozdorovkin, director in 2016 focused mostly on its race didactic. The title is no accident: at one shouting the words at anything he of Pussy Riot: A Punk Prayer (NZIFF13), to be ready for the Olympic Games, point Rousseff’s role in proceedings didn’t like. But there’s no doubt he has set himself the task of making “a the country itself was being torn is sardonically compared to Kafka’s been one of the great beneficiaries film that uses the news to tell a story apart by an altogether more serious ambushed protagonist, Josef K. of media misinformation in the 21st without a single true statement.” If story: the push to impeach President The crescendo arrives in an century. Nor that he has enjoyed there is a true statement, however, it Dilma Rousseff. The gripping The Trial extraordinary debate in the snake pit a powerful benefactor in Russia, arrives early on, with stolen images of draws from 450 hours of footage to of the senate. Rouseff’s impeachment wellspring of so much of the bluster, Dmitry Kiselyov, boss of the ubiquitous, chronicle the heated, byzantine lead-up – or coup d’état – saw her replaced big-noting and bullshit that came to global news channel Russia Today. to an impeachment vote demanded by her deputy, Michel Temer. Today, characterise the 2016 US campaign. Addressing editorial staff, he says: “The by politicians set upon unseating in a country that remains bedevilled Our New President – our being Russia’s, time of detached, unbiased journalism the left-wing leader over charges of by corruption and rancour, he faces the president being Trump – splices is over… Editorial policy will be based breaking budget laws – a motivation ongoing calls for his own impeachment together clips from mass-audience on love of Russia.” — Toby Manhire Rousseff’s advocates dismiss as cover on bribery allegations. — Toby Manhire Russian news television and cultish for emphatically less virtuous purposes. YouTube home videos in a kind of B QSt Fri 20 Jul, 3.00 pm Aided by exceptional access to CA A Sun 22 Jul, 11.00 am Kremlin-friendly fake-news supercut. A QSt Sat 21 Jul, 12.15 pm the defence team, whom we follow B AC Thu 26 Jul, 11.00 am Clinton is comically demonised, Trump A QSt Mon 30 Jul, 8.15 pm through the dazzling corridors of A AC Sat 4 Aug, 3.30 pm B QSt Wed 1 Aug, 4.30 pm lionised, and infantilised, too. Brasilia as protesters mass outside, The 74

Chulas Fronteras & DANCE & MUSIC MUSIC

Director/Photography/ Editor: Les Blank USA 1976 | 58 mins Producer: Chris Strachwitz Assistant editor: Maureen Gosling With: Flaco Jiménez, Lydia Mendoza, Los Alegres de Terán, Narciso Martínez, Los Pingüinos del Norte, Don Santiago Jimenez, Sr. Festivals: Auckland 1980 In English and Spanish, with English subtitles

LYDIA MENDOZA Is there another filmmaker who has eye is invariably drawn to animals, illustrated more warmly or vividly dancers, children – and to Mexican the connections between song and food you will want to eat. This music is community than Les Blank (1935–2013)? also a soundtrack to a hard life. There Shot in the late 1970s – and restored are tales of brutal fieldwork, migrant now by his son Harrod – Chulas Fronteras exploitation and heartbreaking incidents and its companion piece Del mero of racism. The songs interweave with corazón offer a rousing introduction to these stories and Blank’s beautiful the music of the Mexican–American images, offering narratives of their own. border. The films celebrate pioneering — Nick Bollinger figures like Narciso Martínez and Lydia Mendoza as well as then-current FEATURE PRECEDED BY Del mero corazón performers like Flaco Jiménez and Los Pingüinos del Norte. The simple, moving Norteña love songs shot at the same time as Chulas Fronteras. 1979/29 mins. poetry of the Spanish lyrics is spelled out in the subtitles. A HWOOD Sat 21 Jul, 1.45 pm We see the music performed in B AC Tue 24 Jul, 2.15 pm dance halls, at weddings, barbecues, A AC Sun 29 Jul, 11.00 am cockfights, in horse paddocks. Blank’s

Gurrumul

The cornucopia overflows beyond this already Director/Screenplay: Paul Damien Williams marvellous section. For more dance see: Australia 2017 | 96 mins Photography: Dan Maxwell, Climax (p85) Katie Milwright, Matt Toll, Gavin Head Girl (p27) Editors: Shannon Swan, Ken Sallows The Heart Dances (p19) Music: Michael Hohnen, Geoffrey Gurrumul Yunupingu, Liquid Sky (p87) Erkki Veltheim Festivals: Melbourne 2017; Berlin 2018 United Skates (p71). In English and Yolngu Matha, with English subtitles For more music, there’s: Cinemascope

I Used to Be Normal: A Boyband Fangirl Story (p68) “A profound and transporting and passed away last year at age 46, Juliet, Naked (p44) songline… Paul Damien Williams’ released his first solo album in 2008. poignant film captures the singular He sang mostly in the Indigenous Looking for Oum Kulthum (p34). qualities – both as an artist and a man languages of the Gumatj, Galpu and – of Geoffrey Gurrumul Yunupingu, the Djambarrpuyngu people, and attracted For music and dance and possibly also a broken widely celebrated aboriginal Australian immense global acclaim, including being heart there’s the glorious Cold War (p11). musician known for soulful tenor vocals hailed by Rolling Stone as ‘Australia’s that blended his traditional cultural most important voice’… For Gurrumul heritage and Yolngu language with fans, the film is obviously a must-see. Western folk, gospel and classical For those unfamiliar, or vaguely familiar elements. Approaching its reclusive with his work, it’s an even greater treat: subject with unerring respect, the they will be entertained, enthralled, elegantly composed doc mirrors the perhaps in some small way changed.” gentle power and ethereal hush of — Luke Buckmaster, The Guardian Gurrumul’s singing.” — David Rooney, Hollywood Reporter B AC Fri 20 Jul, 1.15 pm “Formerly a member of Yothu Yindi A AC Sat 21 Jul, 1.45 pm and Saltwater Band, Geoffrey Gurrumul B Rialto Mon 30 Jul, 2.15 pm A Rialto Sat 4 Aug, 6.00 pm Yunupingu, who was blind from birth MUSIC & DANCE 75

Le Grand Bal

Our one hesitation about programming this lovely, immersive account of the annual summer folk-dance festival at Director/Screenplay: Laetitia Carton Gennetines in central France is fear France 2018 | 99 mins Producer: Jean-Marie Gigon of a mass exodus in that direction Photography: Karine Aulnette, Prisca Bourgoin, during NZIFF19. Every year hundreds Laetitia Carton, Laurent Coltelloni of dancers of all ages, and musicians Editor: Rodolphe Molla Sound: Nicolas Joly, François Waledisch from across Europe converge and camp Festivals: Cannes (Cinéma de la Plage) 2018 out on a gigantic leafy estate. Eight In French and English, with English subtitles CinemaScope wooden dance floors are installed under marquees. Workshops run all day from 10am – then the dances run all night. “Remember 9am is very early for some of our visitors, and 9pm is very late for others,” new arrivals are warned. The most seasoned dancers may never see daylight. Different bands play 90-minute sets, incorporating numerous styles of traditional dance: mazurkas, waltzes, the bourrée, the schottische, Gennetines, women often partner partner dances mainly, but also, women so it’s not as if they don’t “We wanted to show in some of the film’s most moving know how. How do people feel about how different it is when sequences, elaborately stepped dancing with less experienced partners? communal line dances. Or being turned down by really good people finally dare to Writer-director Laetitia Carton speaks ones? The questions gently probe the touch, when they truly in voiceover about her own long intimacy of their experience, observing live in harmony and life personal relationship with traditional that the salving pleasure of touch and dance and interviews participants connection promised by balmy nights in pulsates.” — Laetitia Carton IVICA C Sat 21 Jul, 4.00 pm about theirs. How do the women feel Gennetines does not come without risk. B CIVIC Mon 23 Jul, 1.15 pm about men who want them to lead? It’s one this film might entice the most A WGATE Mon 30 Jul, 6.30 pm Though there’s no deficit of men at bashful would-be dancer to chance.

Leto

The bonding power of musicianship is fondly explored in this immersive ode to Leningrad’s 1980s rock scene, centred Director: Kirill Serebrennikov on the friendly rivalry – in love and Russia/France 2018 | 126 mins Producers: Ilya Stewart, Murad Osmann, music – of two real-life artists, Viktor Pavel Buria, Mikhail Finogenov Tsoi (German Korean Teo Yoo) and Screenplay: Mikhail Idov, Lily Idova, Kirill Serebrennikov. Based on the memoirs of Mike Naumenko (Russian rocker Roma Natalya Naumenko Zver). Naumenko is partying on the Photography: Vladislav Opelyants Editor: Yuriy Karikh beach with his band and band family Music: Ilya Demutskiy when Tsoi and his partner wander up, With: Roma Zver, Irina Starshenbaum, Teo Yoo, Philipp Avdeev, Evgeniy Serzin, introduce themselves and perform. Aleksandr Gorchilin, Vasily Mikhailov, Their plaintive, incantatory acoustic Aleksandr Kuznetsov, Nikita Yefremov duo is a party-stopper. In the Star is Festivals: Cannes (In Competition) 2018 In Russian and English, with English subtitles Born moment, the seasoned muso and Colour and B&W | CinemaScope | Censors rating his devoted, eminently sane wife (Irina tbc Starshenbaum) take the gifted younger man under their wings, like it or not. In splendid black-and-white, the film manoeuvres us through low-key jam sessions, obsessive talk about western musicians, and performances at the An altercation with sour old geezers state-sanctioned Leningrad Rock Club. on a train bursts into a driving rendition “A helium-light work Just as monitors ensure audiences sit of Talking Heads’ ‘Psycho Killer’, about scruffy young still and listen quietly, the bands must decorated with manic scratch graphics. clear their lyrics with Party officials, a Serebrennikov is currently Soviets in 1980 making thing they manage with an adroit mix under house arrest on charges of music, partying, flirting of bullshit and charm. embezzlement from the Moscow and quietly defying the Director Kirill Serebrennikov peppers theatre company he directs. Yeah, the action with visions of freedom right. The exploration of freedom state, roughly in that IVICA C Mon 23 Jul, 9.00 pm his protagonists may have felt but did under restraint conjured in his deeply order.” — Leslie Felperin, A QSt Fri 27 Jul, 6.30 pm not live to experience. Suddenly the affectionate portrait of the artist is A HWOOD Sun 5 Aug, 6.30 pm Hollywood Reporter Rock Club audience actually rocks. complicated, timely and moving. 76 MUSIC & DANCE

PRESENTED IN The Ice King ASSOCIATION WITH The King

Director/Screenplay: Director/Screenplay: James Erskine Eugene Jarecki UK 2018 | 89 mins USA 2017 | 117 mins Producer: Victoria Gregory Music: Robert Miller, Antony Photography: Paul Williams Glenn, Martin Slattery Editor: Stephen Parkinson With: Greil Marcus, James Carville, Music: Stuart Hancock, Bratislava Chuck D, Alec Baldwin, Symphony Orchestra Rosanne Cash, Ethan Hawke, Narrator: Freddie Fox Emmylou Harris, Van Jones, Ashton Kutcher, Mike Myers, Dan Rather, Luc Sante, David Simon, Linda Thompson Festivals: Cannes (Special Screenings) 2017; Sundance 2018 CinemaScope | Censors rating tbc

© CHRISTIE JENKINS Trailblazing Olympic figure skater John Curry turned his attention to his first The premise of Eugene Jarecki’s road Fools’. Riding shotgun, Greil Marcus, Curry sought to change the world love, dance, forming a company and trip doco (formerly known as Promised Luc Sante, Emmylou Harris and Scotty of ice skating. Often hailed as the taking ballet on ice to some of the Land) is as simple as his movie is wildly Moore may be the familiar experts, but greatest skater of all time, Curry drew world’s grandest venues. It’s here that ambitious. Having landed Elvis Presley’s their Elvis stories often cut deep. Chuck acclaim for his balance of artistry and the film takes flight with rare footage 1963 Rolls-Royce Phantom V, he outfits D reiterates his legendary diss (“Elvis athleticism, bridging the divide between of legendary performances, including the notably un-American vehicle as a never meant shit to me”). Others, like dance and skating. When his coaches breathtaking solo pieces that showcase travelling recording studio and drives Mike Myers, David Simon, Lana Del told him he was ‘too soft’ and needed his incredible grace. The first ‘out’ it across the US. Retracing the King’s Rey, Ethan Hawke and Ashton Kutcher, to skate like a man, Curry carved his Olympian, Curry became another young rise and fall from Tupelo to Las Vegas may seem picked at random, but who own indelible path and, in doing so, talent lost to AIDS. His legacy lives and beyond, he sounds out America’s can be surprised that Jarecki’s project challenged what ice skating could be. on in skaters like Adam Rippon who parallel decline into bloated, white- has them riffing with insight and The Ice King is a compassionately challenge the performative masculinity spangled-jumpsuit torpor. feeling on celebrity, Elvis, Trump and constructed film that explores the that still exists in competitive figure Laying down tracks in the back seat the ghastly spectre formerly known as pressures that Curry fought against skating today. — Chris Tse are musicians as attuned to the road as the American Dream? and placed on himself. Critics and John Hiatt, M. Ward and EmiSunshine fans adored him, but his struggle A WGATE Sun 22 Jul, 1.30 pm and the Rain – who let rip with some B QSt Thu 2 Aug, 11.45 am with loneliness and depression often A Rialto Sun 22 Jul, 6.00 pm fine blues licks – while the Stax Music A QSt Sat 4 Aug, 4.15 pm threatened to bring it all down. A AWT Thu 26 Jul, 6.15 pm Academy Singers offer an a cappella B Rialto Thu 2 Aug, 4.30 pm After retiring from competing, rendition of Aretha Franklin's ‘Chain of

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The Song Keepers

In Australia’s Central Desert, west Director/Screenplay: Naina Sen of Alice Springs, a 140-year musical Australia 2017 | 88 mins legacy of ancient Aboriginal languages Producers: Rachel Clements, Naina Sen, Trisha Morton-Thomas and German Baroque chorales is Photography: Chris Phillips, Naina Sen, being preserved by four generations Raoul Amaar Abbas Editors: Bergen O’Brien, Naina Sen of women who form the Central Music: Erkki Veltheim Australian Aboriginal Women’s Choir. Festivals: Melbourne 2017 In English, Western Arrernte and Pitjantjatjara, The Lutheran hymns they sing were with English subtitles brought by missionaries who translated them into the local Arrarnta and PROUDLY SPONSORED BY Pitjantjatjara tongues. The rich choral harmonics of these 16th-century hymns feel innately sacred a world away from their origins, and no lover of the repertoire will want to miss this movie. The men in the communities have, for the most part, long defected from the missionary legacy which, several of the women here attest, disrupted traditional culture to protect women and children. Though it’s the arrival of Central Australia, her camera follows of a charismatic male conductor from the women to the small Lutheran “Naina Sen’s joyful, outside that galvanises the choir into churches of Germany, where they sing compassionate film about taking a tour of Germany, filmmaker to amazed German congregations. and installation artist Naina Sen’s film The choir’s joy is palpable (and the an Aboriginal women’s feels like privileged admission into an fun they have on the road is infectious). choir shows the complex, enclave of indigenous women. There's no simple takeaway from unexpected consequences Sen spent three years alongside the this cross-cultural exchange, but its Women’s Choir where, she reports, complexity is underscored by the most of colonisation.” A WGATE Sun 29 Jul, 3.30 pm “nothing happens without long-term uplifting language of all: human song. — Jack Latimore, The Guardian A AC Wed 1 Aug, 6.15 pm thought and consensus.” Earthed in B AC Thu 2 Aug, 4.15 pm A AWT Sat 4 Aug, 11.30 am the colourful landscapes and traditions

PRESENTED IN ASSOCIATION WITH PRESENTED IN ASSOCIATION WITH If I Leave Here Tomorrow: Monterey Pop A Film About Lynyrd Skynyrd

Director: Stephen Kijak USA 2018 | 95 mins Producer: John Battsek, Director: D.A. Pennebaker Diane Becker USA 1968 | 79 mins Photography: Derek Wiesehahn Editor: Claire Didier With: The Mamas & the Papas, Music: Lynyrd Skynyrd Canned Heat, Simon & Garfunkel, Hugh Masekela, Jefferson With: Ronnie Van Zant, Airplane, Janis Joplin, Big Brother Gary Rossington, Allen Collins, and the Holding Company, Bob Burns, Leon Wilkeson, The Animals, The Who, Country Billy Powell, Ed King, Artimus Pyle, Joe and the Fish, Otis Redding, Steve Gaines & The Honkettes The Jimi Hendrix Experience, Festivals: SXSW 2018 Ravi Shankar Festivals: Auckland 2003 4K DCP | G cert

The story of Lynyrd Skynyrd is an epic guitar rock anthems such as ‘Free Bird’. Two years before Woodstock, the rock Shankar while a star-studded audience one, populated with extravagant There are Spinal Tap moments, festival was born and immediately hit sit enthralled. The revelatory brilliance characters and framed by dramatic particularly where perpetually its zenith in Monterey, California. John of the occasion shines clearer than events. No wonder fellow Southern disoriented drummer Bob Burns is Phillips of The Mamas & the Papas was ever in Criterion’s 50th anniversary 4K rockers Drive-By Truckers once wrote an involved. There is political incorrectness: on the organising committee: his band restoration, demanding this workout opera about them. But is it a tragedy or Skynyrd were famous for their and Simon & Garfunkel were seen as on a cinema sound system near you. a comedy? confederate flags, substance abuse and the festival’s headliners, but it was the Our return screening is designed to We know from the start of this film ‘Sweet Home Alabama’, a riposte to mind-boggling array of wilder, breaking obliterate all memories of a sorry how it will end, the night the band’s Neil Young and his stance on Southern talent that cemented this extraordinary moment in our own glorious history – plane plunges into a Mississippi swamp, racism that became an anthem. Yet by moment in musical history captured in a NZIFF03 Pennebaker tribute screening killing founder and lead singer Ronnie the end of this astonishing, shattering D.A. Pennebaker’s film. plagued by early digital format issues. Van Zant and two other musicians, story I found I cared about Lynyrd The line-up was as eclectic as the leaving the remainder of the band Skynyrd a whole lot more than I ever dress code, including Jimi Hendrix, broken and bereft. And yet there is expected. — Nick Bollinger Janis Joplin, Jefferson Airplane, The also farce, as this bunch of blue-collar Who and – astounding a largely white Southern stoners make their improbable AWOOD H Sun 22 Jul, 3.45 pm audience who’d likely never seen a soul IVICA C Sat 28 Jul, 1.30 pm way from a rehearsal barn in an A QSt Wed 25 Jul, 6.15 pm act before – Otis Redding. It’s a variety A QSt Mon 30 Jul, 6.30 pm alligator-infested Florida swamp to the B QSt Fri 27 Jul, 2.45 pm show for the ages, culminating in a A QSt Sun 5 Aug, 1.30 pm rock arenas of the world, blaring triple- mesmerising sitar performance by Ravi 78

A modern circus that brings to life the air we breathe. 13 & 14 OCT Bruce Mason Centre aucklandlive.co.nz THE INTERNATIONAL TOUR ‘THE SHARPEST,SLICKEST

SHOW ON THE BLOCK’The Times, UK The Times, UK

STRICTLY LIMITED SEASON • DON’T MISS OUT! FROM 25 AUGUST • THE CIVIC CHICAGOMUSICAL.CO.NZ MUSIC & DANCE 79

PRESENTED IN Matangi/Maya/M.I.A. ASSOCIATION WITH Nico, 1988

Director/Screenplay: Susanna Nicchiarelli Director: Steve Loveridge Italy/Belgium 2017 USA/UK/Sri Lanka 2018 93 mins 97 mins Photography: Crystel Fournier Photography: Graham Boonzaaier, Editor: Stefano Cravero Catherine Goldschmidt, Music: Gatto Ciliegia contro il Matt Wainwright Grande Freddo Editors: Marina Katz, With: Trine Dyrholm, John Gordon Gabriel Rhodes Sinclair, Anamaria Marinca, Festivals: Sundance, Berlin 2018 Sandor Funtek Special Jury Award, Sundance 2018 Festivals: Venice 2017; In English and Tamil, Rotterdam, Tribeca 2018 with English subtitles In English, German and Czech, M violence, offensive language & with English subtitles content that may disturb Censors rating tbc

An unconventional biography of a Tamil revolutionary’s refugee daughter “Approaching 50, singer-songwriter biopic of a singular figure in popular defiantly unconventional pop star, this who was trained in a London art school Nico leads a solitary, low-key existence culture.” — Sydney Film Festival doco delivers a rousing and multifaceted and steeped in US hip-hop. Her early in Manchester, far from her glam days “In exploring the German singer’s portrait of Sri Lankan rapper M.I.A. aspiration of becoming a documentary in the 1960s as a Warhol superstar life after her 1960s fame had waned, Better known to friends and family as filmmaker means Loveridge has a and celebrated vocalist for The Velvet writer/director Susanna Nicchiarelli and Maya, M.I.A.’s exceptional path from trove of electrifying pre- and post- Underground. Unconcerned about her star Trine Dyrholm craft a late-career stardom – propelled by her megahit fame footage to work with, which he career, Nico is urged on by her new biopic that acts not only as a portrait ‘Paper Planes’ – to media pariah is uses for a smart, lively investigation of manager to embark on a tour of Europe. of a complex figure, but recognises charted by first-time documentarian M.I.A.’s own vital themes: the lives of Dependent on heroin, and usually in the considerable toll of daring not Steve Loveridge, who attended art immigrants worldwide, the plight of an unforgiving mood, Nico uses the to conform… Aesthetically and school with her in the 1990s. — MM the Sri Lankan people, and the question tour to try to re-establish a connection emotionally immersive… the movie “Loveridge’s movie is a fantastic of whether pop stars can make with her son, from whom she’s long proves as accessible to newcomers as and kinetic fulfillment of Maya effective political activists.” — Spencer been separated. Nico is still a fearless it is to seasoned fans.” — Sarah Ward, Arulpragasam’s desire to be heard as Kornhaber, The Atlantic and extraordinary performer, and the Screendaily more than an entertainer. Starting film captures both the missteps and the with her 2004 debut, M.I.A. beat AWT A Fri 20 Jul, 6.15 pm moments of glory. With what Variety A QSt Sun 22 Jul, 4.00 pm an aesthetically game-changing and B AWT Mon 23 Jul, 4.00 pm describes as a ‘zombie-pitch-­perfect’ B QSt Wed 25 Jul, 11.30 am controversy-strewn path across pop A HWOOD Thu 26 Jul, 6.15 pm performance by Dyrholm (who sings A HWOOD Tue 31 Jul, 8.30 pm A Rialto Sat 28 Jul, 8.30 pm culture, broadcasting her backstory as a herself), Nico, 1988 is an uncompromising

Ryuichi Sakamoto: Coda Shut Up and Play the Piano

Director: Director/Screenplay: Stephen Nomura Schible Philipp Jedicke Japan/USA 2017 Germany/France/UK 102 mins 2018 | 82 mins Producers: Eric Nyari, Photography: Marcus Winterbauer, Hashimoto Yoshiko Marcel Kolvenbach Photography: Neo Sora, Editors: Henk Drees, Tom Richmond Carina Mergens Editor: Kushida Hisayo Music: Chilly Gonzales Festivals: Venice, Amsterdam With: Chilly Gonzales, Peaches, Documentary 2017 Leslie Feist, Sibylle Berg, In Japanese and English, Jarvis Cocker with English subtitles Festivals: Berlin 2018 In English, French and German, with English subtitles

There is a musical biography embedded (“the purest sound I ever heard”) to Chilly Gonzalez, punk, rapper, pianist, contradictions but are symbiotic parts in this beautiful lyrical portrait of the contamination zone around the iconoclast, has worked with many of the same beast. He’s a punk but Japanese composer Ryuichi Sakamoto, Fukushima nuclear plant – and observe zeitgeist artists, including Daft Punk, he appreciates infrastructure. He’s best known for his theme from Merry as he begins to assemble these into Peaches, Feist and Jarvis Cocker. He insincere yet his work is heartfelt. He’s Christmas, Mr Lawrence. There are compositions. is known for his piano albums full of a hack and a virtuoso. He is profound flashbacks to his 70s synth-pop days Yet the sound source he keeps atmospheric vignettes where a man yet he frequently undercuts himself (the with Yellow Magic Orchestra, along returning to is the piano. Early in the who has so much to say lets his piano last line of the film is ‘Who touched with recent scenes of him in the studio, film we see him testing an instrument do the talking. These albums are my ass?’) recording the orchestral score for recovered from the tsunami of 2012. works of spare, shimmering beauty, This is everything you could want in a 2015’s The Revenant. Eerily out of tune, he says it feels but beauty is not what interests Chilly film about an artist. It’s in your face and But for the most part it is a study of like “playing the corpse of a piano.” Gonzalez; he has a higher (or is it uncompromising, profound and inane, the composer at work. The meditative Later, speaking frankly about his own lower?) goal in mind. bitter and hilarious. Whether or not pace and contemplative detail gives us mortality, these words take on a deeper In his own words: “An entertainer is you’re already a fan, this is a must-see. a sense of the intensity of Sakamoto’s resonance. — Nick Bollinger trying to make love to you, whereas an — Duncan Sarkies relationship with sound, and the artist is more of a masturbator, because beauty he finds there. We follow him B QSt Thu 26 Jul, 1.45 pm he wants to please himself.” Gonzalez A QSt Sat 21 Jul, 8.30 pm as he gathers his sonic materials from A QSt Sun 29 Jul, 2.00 pm claims to be the former but he is both. A HWOOD Fri 27 Jul, 6.30 pm all kinds of sources – from the Arctic A QSt Tue 31 Jul, 6.15 pm This duality is shown throughout the B QSt Fri 3 Aug, 4.30 pm Circle, where he records snow melting film, full of what at first seem like 80

PRESENTED IN Bombshell: ASSOCIATION WITH The Hedy Lamarr Story AN ARTIST AN OF PORTRAIT Director: Alexandra Dean USA 2017 | 90 mins Producers: Adam Haggiag, Alexandra Dean, Katherine Drew Photography: Buddy Squires Editors: Alexandra Dean, Penelope Falk, Lindy Jankura Music: Keegan Dewitt, Jeremy Bullock Voices: Susan Sarandon, Diane Kruger With: Mia Farrow, Mel Brooks, Peter Bogdanovich, Robert Osborne Festivals: Tribeca, Vancouver 2017 Colour and B&W

In the heyday of the Hollywood studios to be experiencing an orgasm in the the popular joke about Hedy Lamarr Czech film Ecstasy. She was 19. In her was that she was so gorgeous that later years her plastic surgery provided she need not concern herself with further fodder for tabloid gossip. acting. Though the young Austrian Alexandra Dean’s timely documentary émigré successfully parlayed her draws extensively on a previously looks into Hollywood star power, she unpublished audio interview from came to see her beauty as a ‘curse’, 1990 to highlight Hedwig Eva Maria something that blinded onlookers to a Kiesler’s multiple lives and unsung far more vital attribute: a brilliant mind accomplishments. This fully rounded for mechanics. Who knew that she portrait challenges the reductive notions had invented a ‘frequency hopping’ about beauty vs brains that she, like so system to conceal Allied torpedoes many other shimmering screen sirens, from Nazi locater systems? (The have been forced to endure. — SR science anticipated the technology that underlies WiFi and Bluetooth.) B Rialto Fri 20 Jul, 4.45 pm Her international career began in A AWT Sat 28 Jul, 3.45 pm scandal: she performed naked and was B AWT Tue 31 Jul, 2.00 pm A Rialto Sun 5 Aug, 3.00 pm directed in such a way as to appear

Filmworker

Director/Photography/ Editor: Tony Zierra USA 2017 | 94 mins Producer: Elizabeth Yoffe With: Leon Vitali, Stanley Kubrick, Ryan O’Neal, Matthew Modine, R. Lee Ermey, Danny Lloyd, Stellan Skarsgård, Brian Jamieson, Ned Price, Nick Redman, Vera Vitali, Warren Lieberfarb Festivals: Cannes (Cannes Classics), London, Amsterdam Documentary 2017

© LEON VITALI See also Hunger (p28). The first film ever This portrait of Leon Vitali, who quit stepson of Ryan O’Neal’s eponymous acting to become all-purpose right- rogue in Barry Lyndon… But less shown at this Festival is a sardonic portrait hand man to Stanley Kubrick, doubles common knowledge is what became of a fictional starving artist and remains a as a fascinating account of both men: of the pretty, soft-faced young man… the notoriously fastidious director and That’s the story that Filmworker tells, Scandinavian classic. the utterly smitten, immensely able somewhat shaggily but with a great facilitator who contributed crucially deal of infectious affection, and it builds to enacting his vision. to a deeply moving portrait of Vitali’s “Many words have been written, own gift: his genius for the kind of and doubtless many more will be, unquestioning dedication and steadfast about the filmmaking genius of Stanley graft that is seldom recognized in Kubrick. But if, as Thomas Edison the annals of cinema’s Great Men.” said, genius is 1% inspiration and 99% — Jessica Kiang, The Playlist perspiration, Tony Zierra’s Filmworker is dedicated to the far less familiar name who contributed a great deal AC A Wed 25 Jul, 8.30 pm of that sweat. B AC Mon 30 Jul, 2.15 pm Leon Vitali is known to Kubrick A AC Fri 3 Aug, 6.30 pm fans as Lord Bullingdon, the petulant PORTRAIT OF AN ARTIST 81

Kusama – Infinity

Escaping a traumatic family upbringing Director/Screenplay: Heather Lenz in Japan, a young female artist hit USA 2018 | 83 mins 1960s New York determined to succeed. Producers: Karen Johnson, David Koh, Dan Braun, Heather Lenz Propelled by a psychological need to Photography: Hart Perry, Itaya Hideaki, make art for her own survival, Yayoi Ken Kobland, Takeda Shinpei Editors: Ideno Keita, Takeda Shinpei, Kusama’s extraordinary career has Carl Pfirman, Heather Lenz, Sam Karp, traversed highs and deep lows. Widely John Northrup, Nora Tennessen Music: Allyson Newman known for her polka dot covered With: Yayoi Kusama realities, she also staged public political Festivals: Sundance 2018 happenings as well as gate-crashing In English and Japanese, with English subtitles the Venice Biennale with an uninvited outdoor work. Routinely copied by male contemporaries such as Andy Warhol, she faced enormous hurdles of racism and sexism in the post-World War II American art world. Yet her relentless pursuit of recognition, and her ground- breaking use of participatory installation, eventually led her to the fame she © TOKYO LEE PRODUCTIONS INC. deserves. receives today. That’s the bittersweet Kusama literally transforms the world story of Yayoi Kusama, the 89-year-old “I hope that the power around her into colourful, boundary-less Japanese painter and sculptor whose of art can make the infinities. Now living, age 89, in a mental social-media-friendly mirror rooms have institution in Toyko, she continues to made her the most-viewed female world more peaceful.” output work which sells for millions. artist of all time. It’s vindication for a — Yayoi Kusama This is a riveting and comprehensive unique artistic vision that… created portrait of the world’s most successful soft sculptures before Claes Oldenburg, living female artist. — Jo Randerson multiples as wallpaper before Andy IVICA C Sat 21 Jul, 11.00 am “Imagine if the unhappy Vincent van Warhol and mirrored rooms before A HWOOD Wed 25 Jul, 6.15 pm Gogh had finally, in late middle age, Lucas Samaras.” — Kate Taylor, Globe A Rialto Thu 26 Jul, 6.15 pm B CIVIC Mon 30 Jul, 10.30 am witnessed the acclaim that his work and Mail

Garry Winogrand: Jill Bilcock: Dancing the Invisible All Things Are Photographable

Director/Producer/Editor: Director/Screenplay: Sasha Waters Freyer Axel Grigor USA 2018 | 90 mins Australia 2017 Photography: Eddie Marritz 81 mins Music: Ethan Winogrand Producers: Axel Grigor, Faramarz Festivals: SXSW, San Francisco K-Rahber 2018 Photography: Faramarz K-Rahber Editors: Axel Grigor, Scott Walton With: Cate Blanchett, Baz Luhrmann, Shekhar Kapur, Rachel Griffiths, Philip Noyce Festivals: Adelaide 2017 M violence & content that may disturb

COURTESY OF SFFILM This sharp, critical biography of the generation, but doesn’t shy away from You may not know Jill Bilcock by name, to join Fred Schepisi's Film House in great American photographer presents the thornier aspects of his life and but you will undoubtedly have been Melbourne, a key player in the 1970s’ a gratifying array of his work, and career.” — San Francisco International moved her work on the big screen. rebirth of the Australian cinema is enriched with his own recorded, Film Festival One of the most sought-after editors industry. Knowing the measure of big, matter-of-fact observations. “This is a film primarily about in the world, Bilcock has been a crucial brash and brightly coloured scenes has “Garry Winogrand (1928–84) photography, one that explores Garry creative force behind such iconic films become her trademark, while breaking may be the foremost chronicler Winogrand’s tremendous contributions as Muriel's Wedding and Elizabeth, and tradition and working without rules is of post-World War II America. His to the art form and his lasting influence an indispensable influence since Strictly what has made her the go-to editor photographs – from the streets of on how we think of the medium Ballroom in shaping the aesthetic of for some of the boldest filmmakers in New York to the expanses of Texas today. But it is also a film that, I hope, Baz Luhrmann. Her bracing editing popular cinema. and the heart of Hollywood – provide explores and explodes the cliché of the style and uncompromising passion for A celebration of an unsung a rich and complex portrait of a nation undomesticated, self-destructive genius on-screen excitement have had a huge cinematic icon, Dancing the Invisible in transition. Sasha Waters Freyer’s – one who is fundamentally unsuited to impact on cinema. places Jill Bilcock in the spotlight she so gorgeous and lively look at the man family life.” — Sasha Waters Freyer Starting out at a small, experimental rightly deserves. — Kailey Carruthers and his work uses still images, home film programme at Swinburne movie footage, and revelatory recently BC A Thu 26 Jul, 2.00 pm University in the 1960s, Bilcock A Rialto Mon 23 Jul, 6.15 pm discovered audio recordings to illustrate A AC Sat 28 Jul, 11.00 am discovered a passion for cutting film. B AC Tue 24 Jul, 4.15 pm why many consider Winogrand to A Rialto Tue 31 Jul, 6.15 pm Defying expectations as more than a A AC Sun 29 Jul, 6.15 pm B Rialto Fri 3 Aug, 2.45 pm B Rialto Tue 31 Jul, 4.30 pm be the central photographer of his `pretty, blonde sheila', she was invited 82 PORTRAIT OF AN ARTIST

McQueen

An astonishingly moving film, perfectly Directors: Ian Bonhôte, Peter Ettedgui attuned to its brilliant, troubled subject, UK 2018 | 111 mins McQueen relates the rags-to-riches- Producers: Nick Taussig, Paul Van Carter, Andee Ryder to-self-destruction trajectory of British Screenplay: Peter Ettedgui designer Alexander McQueen to the Photography: Will Pugh Editor: Cinzia Baldessari work itself with piercing acumen. Music: Michael Nyman Framing and sound design enhance the Festivals: Tribeca, Hot Docs 2018 ‘savage beauty’ of five legendary shows, Censors rating tbc their inherently cinematic nature now PROUDLY SPONSORED BY unleashed on the giant screen. “[Filmmakers] Ian Bonhôte and Peter Ettedgui are blessed with intimate, candid interviews with many of the people who worked closest with McQueen, as well as archival interviews with his late muse and booster Isabella Blow and his beloved mother Joyce… The shows are still the centerpieces of the film, but they take on new dimension as narrated by those who knew the designer best… His creativity fuelled a commercially What McQueen reminds those successful brand… But it also injected “Exceptionally moving… obsessives and laypeople alike is that an entire industry with possibility and a staggering visual feast.” fashion is an incredibly emotional art inspiration, and was cathartic like a form, and McQueen’s work was some great film or pop song, the operatic — Eve MacSweeney, Vogue of the most moving there was or ever awe of it all accessible to those who will be. His shows were more like will never so much as touch one of his works of modern dance or theater than haute couture creations. Bonhôte and commercial exhibitions, in which the Ettedgui make it even more accessible… A HWOOD Sun 22 Jul, 6.00 pm only choreography was the incredibly convincingly making the argument for A CIVIC Fri 27 Jul, 6.45 pm heavy, deceptively expressive act of fashion as not just art, but great art.” B CIVIC Tue 31 Jul, 3.45 pm walking… — Emily Yoshida, Vulture

Kevin Roche: The Quiet Architect

Director: Mark Noonan Ireland/France/Spain/ USA 2017 | 82 mins Producer: John Flahive Photography: Kate McCullough Editor: Jordan Montminy Music: David Geraghty With: Kevin Roche

Filmmaker Mark Noonan profiles a anybody’s ego. He’s described by contemporary icon in this lovely, life- his peers as a consummate problem affirming portrait of Kevin Roche, one solver, a relentlessly dedicated worker of the great architects of the modern (at 94 years old he has no plans for era. An Irish immigrant who moved to retirement) and a humble thinker the United States in 1949, Roche has who’s always seen life and work as presided over some of the country’s inextricable. The effect of this warm, most beloved architectural touchstones: graceful film is similar to that of last the Metropolitan Museum of Art, the year’s NZIFF highlight Columbus, a love Oakland Museum, the Ford Foundation letter to architecture that doubles as a and many more. Noonan’s film meditation on the human condition. alternates between lovingly-lensed, sun- Incidentally, most of the key buildings dappled tours of his career highlights featured in that film were designed by and interviews that delve into his Roche and his firm. — JF process, philosophy and work ethic. Roche’s work is renowned for being A Rialto Tue 24 Jul, 6.15 pm human-oriented, creating buildings and B Rialto Wed 25 Jul, 4.30 pm environments that serve the people A AC Mon 30 Jul, 6.15 pm B AC Thu 2 Aug, 11.30 am who inhabit them before serving PORTRAIT OF AN ARTIST 83

The Price of Everything

An eye-opening and highly entertaining Director: Nathaniel Kahn ride through the excesses of the USA 2018 | 105 mins contemporary art market, The Price of Producers: Jennifer Blei Stockman, Debi Wisch, Carla Solomon Everything loosely tracks the lead-up Photography: Bob Richman to a major Sotheby's auction in New Editor: Sabine Krayenbühl Music: Jeff Beal York City. This is a world in which visual With: Jeff Koons, Gerhard Richter, Njideka Akunyili art “has become a luxury brand,” an Crosby, Larry Poons acceptable, if not essential part of any Festivals: Sundance 2018 self-respecting super-wealthy investor’s PRESENTED IN ASSOCIATION WITH portfolio. Works are traded like stocks. There is even a futures market. Oscar-nominated director Nathaniel Kahn (My Architect) has won extraordinary access to this strange and at times intoxicating bazaar. Conceptual artist Jeff Koons guides us through the workshop where, under his instructions, technicians knock out artefacts that will sell for tens of millions despite his barely having touched them. As Zen as a comic- make beautiful things – keep it floating,” book supervillain, Koons has mastered he chuckles. At the film’s heart is Larry “A brilliant and captivating the marketplace. Some artists, not so Poons, the abstract painter who enjoyed documentary about much; they watch their works being a burst of stardom in the 60s before onsold between collectors without disappearing from view. After decades how the art world got getting so much as a sliver of kickback. of artist exile in upstate New York, converted into a money Among the other characters we meet Poons has put a new collection together; market.” — Owen Gleiberman, along the way are the auction house’s a dealer is enthusiastically arranging a encyclopaedic art expert, who disdains comeback show in Manhattan for an Variety A Rialto Sat 21 Jul, 4.00 pm sales to public galleries and lives for underappreciated talent. Or, to put it A CIVIC Sun 29 Jul, 12.30 pm “the chase and the deal,” and an another way, for an undervalued stock. B Rialto Wed 1 Aug, 12.00 pm A WGATE Sun 5 Aug, 3.30 pm amiable, ancient collector. “Bubbles — Toby Manhire

PRESENTED IN McKellen: Playing the Part Westwood: ASSOCIATION WITH Punk, Icon, Activist

Director: Joe Stephenson Director: Lorna Tucker UK 2017 | 96 mins UK 2018 | 78 mins Producers: Joe Stephenson, Producers: Eleanor Emptage, Mark Birmingham, Lene Bausager, Shirine Best, Nicole Stott, Sophia Gibber John Battsek Photography: Eben Bolter Editor: Paul Carlin Editors: Joe Stephenson, Music: Dan Jones Harry Yendell Festivals: Sundance, Sydney 2018 Music: Peter Gabriel With: Sir Ian McKellen, Scott Chambers, Milo Parker, Luke Evans, Frances Barber, Adam Brown, Edward Petherbridge

Throughout this autobiographical mostly from a 14-hour interview with Dame Vivienne Westwood, Britain’s most Using great archival footage with documentary, we are presented with McKellen, supplementing it with black- iconic and iconoclastic fashion designer, commentary from friends and family, a number of Sir Ian McKellens, and-white dramatisations and archival emerged from the punk movement in curators, back of house staff, models, including the actor, the gay rights material of a younger McKellen treading the 1970s but has always drawn deeply Teutonic husband/design partner activist, and the ‘concerned older gent’. the boards across the UK. For those from historical sources in her collections. Andreas Kronthaler and above all a Speaking with the gravitas that only who have only ever known McKellen Those most familiar with Westwood’s blunt and caustic Westwood herself, hindsight can provide, McKellen recalls as James Whale, Magneto or Gandalf, well-documented punk back-story Tucker has managed to craft an the pivotal moments in his life through watching this archival footage is both might be surprised to find the engaging rags to riches to rags to to his career as the leading classical an illumination and a confirmation septuagenarian subject is too bored riches story that is as much about actor of his generation, working with – he’s one of those rare actors who with it to repeat the familiar stories the nuts and bolts of the business of the likes of Maggie Smith, Albert seemingly emerged fully formed, to director Lorna Tucker. But Tucker fashion as it is about Westwood’s own Finney and Laurence Olivier. McKellen capable of taking on the meatiest roles has deftly turned potential chaos – a inimitable sense of style. — Angela recounts his longstanding fascination in the theatrical canon. — Chris Tse reluctant interviewee squirming in her Lassig with the idea of performance and chair – into the anchor for her portrait: how it finds its way into the everyday, a compelling insight into what it is from market stall holders hawking AC A Fri 20 Jul, 6.30 pm to be the aging head of a major, and A WGATE Sat 21 Jul, 6.30 pm their wares to the fake accent he put B AC Mon 23 Jul, 12.00 pm fiercely independent, fashion house that B CIVIC Thu 2 Aug, 12.00 pm on to help him fit in at school. B Rialto Thu 26 Jul, 12.15 pm continues to grow, perhaps faster than A CIVIC Sun 5 Aug, 1.00 pm A Rialto Sat 4 Aug, 4.00 pm Filmmaker Joe Stephenson draws she can handle. 84

Blue My Mind STRANGE INCREDIBLY Director/Screenplay: Lisa Brühlmann Switzerland 2017 97 mins Photography: Gabriel Lobos Editor: Noëmi Preiswerk Music: Thomas Kuratli With: Luna Wedler, Zoë Pastelle Holthuizen, Regula Grauwiller, Georg Scharegg, Lou Haltinner, Yaël Meier Festivals: San Sebastián, Fantastic Fest 2017; Rotterdam 2018 In German with English subtitles CinemaScope | Censors rating tbc

This sensual and visceral coming-of- explores with wild abandon the usual age tale began as a thesis project youth cocktail of sex, drugs and crime. and has since transformed into an The queen of the clique, Gianna, begins award-winning exploration of teenage to crush on Mia just as she spirals out rebellion and body horror. It’s one of and begins a transformation. Mia is those less-said-the-better deals, so we’ll completely unaware that inside of her is keep it simple. Directing with care and a genetic time-bomb about to explode. conviction, the talented Lisa Brühlmann Life will never be the same again. draws from the classic sexual awakening A beautiful balancing act that of De Palma’s Carrie and meshes it effortlessly skips between tones, Blue with the angst of femme-centric ‘beast My Mind makes for a singular, shocking, inside’ films like Ginger Snaps, all the raucous, poignant and heartbreaking while evoking the stark realism of look at one’s unavoidable destiny. — AT Andrea Arnold (American Honey). Mia is the new kid in high school, alienated from classmates and at odds AWOOD H Sun 29 Jul, 6.30 pm with her frustrated parents. Eventually A QSt Thu 2 Aug, 8.45 pm her toughness wins favour with a trio of neighbourhood ‘Heathers’ as she

An Evening with Beverly Luff Linn

Director: Jim Hosking UK/USA 2018 | 108 mins Producers: Sam Bisbee, Theodora Dunlap, Oliver Roskill, Emily Leo, Lucan Toh, Andrew Starke Screenplay: Jim Hosking, David Wike Photography: Nanu Segal Editors: Mark Burnett, Nick Emerson Music: Andrew Hung With: Aubrey Plaza, Emile Hirsch, Jemaine Clement, Matt Berry, Craig Robinson Festivals: Sundance 2018 Censors rating tbc

“Three Stooges meets David Lynch… scheme to bail them out of financial Films selected to keep you wide awake Jim Hosking’s [The Greasy Strangler, troubles with a ludicrous robbery, and save NZIFF from respectability by NZIFF16] sophomore effort… [is] a and an inexplicably awkward [Kiwi] playful and often charming blend of hitman named Colin (Jemaine Clement) Ant Timpson, founder of the legendary outré humor and genuine emotion that emerges to get it back. Incredibly Strange Film Festival. makes him one of the most distinctive Clement refines his deadpan stylings new voices in current cinema. to create a touching loner trapped in The evening in question provides a world that treasures mean-spirited the climax for a series of oddball gags, while Plaza’s Lulu endows the circumstances… Shane Danger (Emile movie with a soulful yearning that Hirsch), the cafe owner in a rural town, bolsters its goofiness with purpose… learns that he must cut back on his This otherworldly realm of a movie… staff to make ends meet. So he cans adheres to a logic of total absurdity.” his wife, Lulu Danger (Aubrey Plaza)… — Eric Kohn, Indiewire Late at night, she sees a TV commercial for the eponymous event, and instantly BWOOD H Fri 27 Jul, 4.00 pm recognizes Beverly (Craig Robinson) as A HWOOD Sat 28 Jul, 6.30 pm a mysterious figure from her past… B QSt Thu 2 Aug, 4.00 pm A QSt Fri 3 Aug, 8.30 pm [Meanwhile], Shane concocts a lunatic INCREDIBLY STRANGE 85

Climax

When Argentinian-born, French director Gaspar Noé (Irréversible, Enter the Void) stages a techno dance musical, you’d Director/Screenplay: Gaspar Noé be naive not to be expecting LSD in the France 2018 | 96 mins Producers: Edouard Weil, Vincent Maraval, sangria. Noé’s new film, acclaimed at Brahim Chioua Cannes, is a brilliantly staged descent Photography: Benoît Debie Editors: Denis Bedlow, Gaspar Noé from dancefloor nirvana (captured in With: Sofia Boutella, Romain Guillermic, one enthralling single take) to paranoid Souheila Yacoub, Kiddy Smile, Claude Ajan Maull, Giselle Palmer, inferno. The film, with its diverse cast Taylor Kastle, Thea Carla Schøtt, Sharleen Temple, of virtuoso dancers joined by Sofia Lea Vlamos, Alaia Alsafir, Kendall Mugler Festivals: Cannes (Directors’ Fortnight), Boutella, was choreographed and shot Sydney 2018 in a remarkable 15 days. Revelling in In French and English, with English subtitles sex, drugs, dance and dread, Climax CinemaScope | Censors rating tbc offers the year’s most visceral big screen PRESENTED IN ASSOCIATION WITH experience. “Noé may actually have a critical darling on his hands. And for good reason, as Climax is more brilliantly deranged, in its microscopic vision of society in collapse, than anything the director has ever inflicted on Climax isn’t just 90-some minutes of us. It is a party movie gone epically sustained sex, violence, and panic – a “A blazingly original, awry, a claustrophobic zombie- rollercoaster ride of very bad vibrations. extremely disturbing apocalypse potboiler in abstract, even In the hedonistic, mass-hysteric a kind of ecstatically Satanic dancehall implosion of the film’s surrogate family film… a psychotropic musical. And it finds, for once, the – a wide cross section of ethnicities and street dance movie that perfect application of Noé’s abrasive, sexual orientations – one can see the turns into an orgiastic showboating, hallucinatory style, portrait of a multicultural Europe tearing locking the audience itself into the itself apart from the inside… He’s made horror trip.” — Jonathan IVICB C Wed 1 Aug, 3.45 pm world’s worst collective freak-out, a a horror movie of uncommon topicality Romney, Screendaily A HWOOD Thu 2 Aug, 8.45 pm drug-trip straight to the inner circles and resonance: a danceable nightmare A CIVIC Sat 4 Aug, 9.30 pm of hell… for our now.” — A. A. Dowd, AV Club

The Field Guide to Evil Let the Corpses Tan

Directors: Veronika Hélène Cattet Franz, Severin Fiala, Bruno Forzani Can Evrenol, Agnieszka Directors: Hélène Cattet, Smoczyn’ska, Calvin Bruno Forzani Reeder, Ashim Ahluwalia, Belgium/France 2017 Yannis Veslemes, Katrin 93 mins Gebbe, Peter Strickland Screenplay: Hélène Cattet, New Zealand/USA 2018 With: Elina Löwensohn, Stéphane Ferrara, Bernie Bonvoisin 117 mins Festivals: Locarno, Toronto, Festivals: SXSW, Sydney 2018 Fantastic Fest, London 2017; In English, German, Turkish, Polish Rotterdam 2018 and Greek, with English subtitles In French with English subtitles R16 violence, horror, offensive CinemaScope | R16 violence & sex language & sexual themes scenes

From the sick and twisted minds that delivers a dose of campy fun with his Belgian duo Hélène Cattet and Bruno Mediterranean home. Before you brought us the cult horror anthology, outrageous American ‘folktale’ about Forzani are genre exhibitionists who pay can say ‘gimme a pastis’, leather- The ABCs of Death (including Incredibly a mob of cannibalistic Melonheads homage to the films they are possessed clad gendarmes turn up, along with Strange’s own devious maestro Ant and, if Guy Maddin were a closet by, constructing an obsessive body of Bernier’s young wife, his son and the Timpson), comes this new omnibus gorehound, he might have made a film work devoted to painstakingly fetishistic hot nanny. collection of short, but terrifying tales like Peter Strickland’s stylish Hungarian tableaux of exploitation artifice. Once all the psychodrama is laid out, from around the globe. Ant and his pantomime about two brothers vying Fans of The Love Witch know the Cattet and Forzani flip the archetypal cohorts have corralled nine of the most for the heart of a beautiful princess. drill. The directors previously tackled Euro-crime switch and deliver a feast talented genre filmmakers working Also featured is Lovecraftian terror giallo with the visceral and psychedelic of solarised visuals, excessive nudity, today and tasked them with reinventing in the swamps of India, baby snatching Amer, and with their latest they are surrealist flashbacks and hyper-manic a classic folktale from their homeland. spirits from Turkey, a tormented goblin submerging themselves in the violent shoot-outs. This is going to either be Veronika Franz and Severin Fiala from the pits of hell (via Greece) and a European crime thrillers of the 1970s. your favourite new film or a stimulus channel the softcore delights of 1970s spooky mouse demon from Germany. Based on the cult novel by Jean-Patrick overload so severe your synapses won’t eurotrash auteur Walerian Borowcyzk, — MM Manchette and Jean-Pierre Bastid, fully recover. — AT with their tale of forbidden love and Let the Corpses Tan tells the story of horrifying guilt set in medieval Austria, AWOOD H Sun 22 Jul, 8.30 pm eccentric booze-addled writer Bernier WOODA H Fri 27 Jul, 8.45 pm while Agnieszka Smoczynska presents A QSt Tue 24 Jul, 8.45 pm and various assorted flotsam – the A QSt Sat 28 Jul, 6.30 pm a grotesque tale of bloody-minded latest being a carload of robbers with ambition from Poland. Calvin Reeder a stash of gold who invade his idyllic 86 INCREDIBLY STRANGE

PROUDLY Mandy SPONSORED BY Mega Time Squad

Director: Panos Cosmatos Tim van Dammen USA 2018 | 121 mins Screenplay: Panos Cosmatos, Director/Screenplay: Aaron Stewart-Ahn Tim van Dammen Photography: Benjamin Loeb Editor: Brett W. Bachman New Zealand 2018 Music: Jóhann Jóhannsson 79 mins With: Nicolas Cage, Andrea Producer: Anna Duckworth Riseborough, Linus Roache, Photography: Tim Flower Ned Dennehy Editor: Luke Haigh Festivals: Sundance, Cannes With: Anton Tennet, Jonny Brugh, (Directors’ Fortnight) 2018 Milo Cawthorne, Hetty CinemaScope | Censors rating tbc Gaskall-Haan, Josh McKenzie, Arlo Gibson, Jaya Beach- Robertson, Tian Tan, Mick Innes CinemaScope | Censors rating tbc

It was labelled the ‘midnight-iest’ After suiting up in their Frank Tim van Dammen made his name as an This laconic action comedy features a of midnight films at Sundance. It Frazetta-inspired heavy metal armour, award-winning music video director in fully committed cast, alongside inspired promised Nicolas Cage in full beast the cult descends on the couple’s the UK and New Zealand, but it was his performances from genre stalwarts mode surrounded by dream fugues, tranquil abode, overpowering Red feature debut, Romeo and Juliet: A Love Jonny Brugh and Milo Cawthorne. animation, psychedelia and demonic and kidnapping Mandy. Eventually Song, that garnered major attention. Wearing its cinematic influences symbolism. And it delivered on those Red breaks loose (just before all hell He’s now back with an utterly bonkers like a badge of honour – from the promises and more. Now it’s your turn does) as the narrative dissolves like time-shifting crime caper set in the goofy mysticism and inspired action – to turn up, tune in and wig the f-out. strong lysergic acid and begins invoking thriving metropolis of… Thames. sequences of Hong Kong cinema, to Panos Cosmatos (Beyond the the aesthetic of fantasy novels and Anton Tennet is John, a small-town the rapid-fire repartee of contemporary Black Rainbow) directs Cage as Red, heavy metal imagery. As Red, Cage criminal with a heart of gold and a crime comedies – Mega Time Squad a lumberjack who lives with Mandy is gloriously and ferociously over-the- mind like melted hokey pokey. Sent is not only a blast, but is wrapped in a (Andrea Riseborough) in a remote cabin top, taking us along on one hell of a by his boss to rob the local triad, John hopeful veneer that could only come – an enviable co-existence that involves vengeance-seeking path of bloodlust snags an ancient Chinese bracelet with from a filmmaker who once worked at lazing under the stars and whispering and spiritual salvation. — AT mysterious powers. Absconding with Pak‘nSave Thames. — AT sweet nothings. Before long, into this the stolen cash, he uses the bracelet’s Prozaced wilderness rom-com comes B QSt Thu 26 Jul, 3.45 pm time-travelling properties to escape his AWOOD H Fri 20 Jul, 9.00 pm The Children of the New Dawn – a cult A CIVIC Tue 31 Jul, 8.45 pm enraged boss, only to discover that when A QSt Sun 29 Jul, 8.15 pm run by Jeremiah (Linus Roache), who A HWOOD Fri 3 Aug, 9.30 pm you start altering timelines, nothing will only has eyes for Mandy. ever quite be the same again.

IT JUST TASTES Piercing

BIGGER Director: Nicolas Pesce USA 2018 | 81 mins Producers: Josh Mond, Antonio Campos, Schuyler Weiss, Jacob Wasserman Screenplay: Nicolas Pesce. Based on the novel by Murakami Ryu Photography: Zachary Galler Editor: Sofía Subercaseaux With: Christopher Abbott, Mia Wasikowska, Laia Costa, Marin Ireland, Maria Dizzia, Wendell Pierce Festivals: Sundance, Rotterdam, Sydney, Edinburgh 2018 Censors rating tbc

Gorgeously adapted from Murakami (Mia Wasikowska), turns out to be Ryu’s cult novel, Piercing centres on much more of a willing participant handsome Reed (Christopher Abbott), in his sadistic fetishism than he ever a husband and father afflicted by a bargained for. troubling preoccupation to impale his Pesce dresses the luridness in a baby with an ice pick… showy style, replete with reality- Okay, stop right there. I realise that smashing miniatures, aural and visual many may want to skip ahead, but retro-aestheticism, and the starkly please don’t. This is a very black, very erotic interior design of euro-thrillers. grisly comedy with a brilliantly sustained It’s all executed with a deep knowledge provocation that lasts right up until its of cinema, an idiosyncratic vision and sumptuous blood-drenched climax. an outstanding collection of icepicks, Nicolas Pesce’s (The Eyes of My bondage gear, ropes, razorblades and Mother) psycho-sexual two-hander flesh-eating beetles. — AT begins with Reed miming his dark impulses – a funny scene of rehearsal AWOOD H Thu 26 Jul, 8.30 pm where he acts out every meticulous A QSt Fri 27 Jul, 9.00 pm movement in a planned murder. B QSt Tue 31 Jul, 4.30 pm www.epicbeer.com However, his target, call girl Jackie

00226-epic-film-fest-ad-01.indd 2 1/06/10 8:50 AM INCREDIBLY STRANGE 87

Liquid Sky

Bodiless extra-terrestrials descend on Manhattan’s post-punk club scene for the heroin and stay for the sex, Director/Producer: Slava Tsukerman vaporising their fodder in explosions USA 1982 | 113 mins Screenplay: Slava Tsukerman, Anne Carlisle, of psychedelic ecstasy at the moment Nina V. Kerova of climax. Margaret, a pansexual New Photography: Yuri Neyman Wave fashion star, discovers she can Editors: Sharyn Leslie Ross, Slava Tsukerman Music: Slava Tsukerman, Brenda I. Hutchinson, dispatch unwelcome visitors by feeding Clive Smith the aliens’ habit. Anne Carlisle, who With: Anne Carlisle, Paula E. Sheppard, Susan Doukas, Otto von Wernherr, Bob Brady, co-wrote the film with recent Russian Elaine C. Grove, Stanley Knap, Jack Adalist, émigrés Slava Tsukerman and Nina V. Lloyd Ziff, Harry Lum, Roy MacArthur Festivals: Wellington 1983, Auckland 1984 Kerova, brings eerie concentration to R18 cert playing both the dangerously bored Margaret and cokehead male model Jimmy, her caustic fashionista rival. Their jaded carnival of sexual identity as art form and weapon is as startling now as when it twice filled the St James for Festival midnight screenings in 1984. A quintessential artefact of 1980s New Wave, Liquid Sky now looks ubiquitous neon, lavishly asymmetrical and sounds sharper than ever in this hairdos and so-primitive-they-fascinate “This film isn’t about the 2018 4K restoration. alien effects demand truly to be seen… 1980s, it is the 1980s. “At last… Slava Tsukerman’s 1982 Liquid Sky has always been caught neon-fired New Wave New York alien smack between delirious curio, avant- Layered in face paint and sex-party punk-disco orgasm-as-revenge garde put-on, exploitation cheapie, neon, it is a vivid world, proto-electroclash feminist genderfuck and naive masterpiece. Today, it both nightmarish and is on screens in its finest form, scrubbed seems prescient… A singular vision and crisp and gorgeous, ready to of a twilight Manhattan haunted by seductive.” — Patrick Dahl, A QSt Sun 22 Jul, 7.30 pm baffle, disquiet, thrill, and trigger… The the lost, the daring, the damned, the Screen Slate B QSt Mon 23 Jul, 4.00 pm tangerine skylines, sweat-slick club jonesing – and some aliens.” — Alan A CIVIC Sat 28 Jul, 9.30 pm A HWOOD Sat 4 Aug, 8.45 pm dancers, grubby-chic apartments, Scherstuhl, Village Voice

Terrified What Keeps You Alive Aterrados

Director/Screenplay/ Director/Screenplay/ Music: Demián Rugna Editor: Colin Minihan Argentina 2017 | 87 mins Canada 2018 | 99 mins Producer: Fernando Díaz Producers: Kurtis David Harder, Photography: Mariano Suárez Chris Ball, Ben Knechtel, Editor: Lionel Cornistein Colin Minihan With: Maxi Ghione, Elvira Onetto, Photography: David Schuurman Norberto Gonzalo, George Lewis, Music: Brittany Allen Demián Salomón, Agustín Rittano, With: Hannah Emily Anderson, Julieta Vallina, Natalia Señorales Brittany Allen, Martha MacIsaac, In Spanish with English subtitles Joey Klein Censors rating tbc Festivals: SXSW, Sydney 2018 Censors rating tbc

Audiences were besieged with spooky death by a weary cop (near retirement, They say love is blind, but they fail to between them, right? But when an tales in a tsunami of creepiness of course) and his cohorts. The cop is mention the blood, guns, knives and old friend comes knocking, we get the following the J-horror boom, a wave baffled at first, but when paranormal murder that can come with it. Luckily uneasy feeling that Jackie is keeping an of scary movies propelled by the likes activity starts getting its spook on, it Colin Minihan’s twisting thriller is here even bigger secret. As Jules’ suspicion of The Ring, The Grudge and their US is time to call in the experts – three to remind us that love comes in all grows and other characters rear their remakes. Most of their imitators stank senior citizens who know a thing or shades and spatters. heads, cracks start appearing, and and it took the Insidious and Conjuring two about bumps in the night; only A slow-burn affair that takes time bones start cracking. films to re-energise old haunts. For this time things aren’t quite what they setting the scene before abruptly One half of cult filmmaking duo the those who can’t get enough of these seem. This is one insane south-of-the- veering into a high-stakes Grand Vicious Brothers (Grave Encounters), freak-outs, you’re going to love this border poltergeist empanada, chock- Guignol, What Keeps You Alive Minihan’s intimate understanding of the batshit-bonkers exercise in terror that full of meaty frights and helmed by a centres on Jackie and Jules, a couple genre allows him to turn it inside out revels in delivering a ridiculously high possibly unhinged director with a highly celebrating their one-year anniversary on a dime. In this fun, satisfying and ratio of scares per sequence throughout developed imagination and flair for the with a romantic getaway at a family surprising thrill-ride, he knows all the its taut running time. freaky. — AT lake house. Two women, alone, in beats and how to subvert them. — AT From the first minute, Argentinian love and in the wilderness – what horror Terrified cranks the terror AWOOD H Sat 21 Jul, 9.15 pm could possibly go wrong? At first, just WOODA H Sat 28 Jul, 9.00 pm dial to 11, opening with a brilliantly A QSt Thu 26 Jul, 8.45 pm tiny things, like Jules finding out that A QSt Wed 1 Aug, 8.15 pm bloody sequence that draws us into B QSt Fri 27 Jul, 4.45 pm Jackie’s name was originally Megan. No an ongoing investigation of a strange biggie – all couples have a few secrets 88

Animation NOW! International Showcase

Intro 79 mins approx. Censors rating tbc

TRAP (PAUL JAMES) There has never been a time when Michelle and Uri Kranot, triangulates more animation was being made by the contemporary independent more people in more places. In excess animation sphere that this programme of 4,000 films vied for a spot this year. strives to wrangle. Trying to honour the breadth of what The International Showcase the international community is creating harbours a diversity of styles, genres is the starting point for this programme. and techniques. It displays sharp 3D Ugly, by Nikita Diakur and Redbear beside beautifully textural painted work; Easterman, has torn up the indie explores true stories then moves on animation landscape. In winning the to stream-of-conscious visual essays; Grand Prix at the Ottawa International presents work by established masters Animation Festival, it redefined the and those who have recently burst ‘narrative permission path’ for short onto the stage. Visit nziff.co.nz for full animated films in the process. You be programme details. — MT the judge. Threads, by renowned animation C A Fri 10 Aug, 6.30 pm classicist Toril Kove, occupies a completely different space, while the VR-adapted work Nothing Happens, by

Animation NOW! Handmade

Welcome to Animation NOW!, Auckland’s Intro annual international festival of animated 78 mins approx. shorts from around the world. This Censors rating tbc programme is curated by tireless enthusiast and expert, Malcolm Turner, animation programmer at NZIFF since 1988; and director of the Melbourne International Animation Film Festival. LOST PROPERTY OFFICE (DANIEL AGDAG) You’ll find more animation too in the main Some animators just want to see their Lester’s I’m Still Alive treads a similar body of the NZIFF programme. See: drawings move, their paintings come to set of boards but with a deeper, wider life and their puppets take the stage. To history seeping into it. And we simply Animation for Kids (p63) these animators – and they are legion could not resist opening with the Liyana (p62) – animation is very much a hands-on brand-new, Oscar-nominated marvel medium created with the most physical Negative Space. By Max Porter and Ru Mirai (p15) of materials. They simply know no other Kuwahata, it’s a beautifully rendered Virus Tropical (p61) way. This programme is our annual study in the simple magic of animation’s tribute to the very best of these works. ability to find, and depict, beauty in the Samouni Road (p69). In them resides a passion to create with simplest of ideas. Visit nziff.co.nz for full one’s own hands and a heroic patience programme details. — MT sufficient to build a world and tell a story, one painstaking frame at a time. Michael Cusack’s After All infuses a poignancy into his puppets that bounces unpredictably like a pinball C A Sat 11 Aug, 4.00 pm between gallows humour and the reality of life’s most fundamentally irreducible truth. No less bracing, Anita ANIMATION NOW 89

Animation NOW! Animation NOW! Fresh Eyes on Estonia Morph ‘n’ Move

Intro Intro 77 mins approx. 79 mins approx. Censors rating tbc Censors rating tbc

ONCE IN THE FIELDS OF BOREDOM (TEELE STRAUSS) THE OGRE (LAURÈNE BRAIBANT) Animation NOW! has long championed for much of its earlier history. As the Space is elastic; gravity is optional; size off the programme in exactly the vein Estonian animation. No country rising generation of Estonian animators means nothing. Animation makes the we mean to continue. It is a visual produces such persistently great, approach their filmmaking with impossible irrelevant, and this is what cacophony that erupted fresh and immediately recognisable work. It much of that history in their rear-view draws so many artists to its flame. If energetic from Gutter Fest, one of is home to Priit Pärn, one of the mirrors, we thought it was time a fresh, an animator can imagine it, they can Europe’s most boisterous self-publishing undisputed living masters, as well as younger set of eyes surveyed the post- depict it. And animators can imagine graphics fairs. Bursting with energy, it’s rising stars such as Ülo Pikkov, Priit independence scene. some pretty incredible things. a film made by artists who really want Tender, Mait Laas and Chintis Lungren. Animator, musician and VJ Annie Characters that bend around to see their creations moooove. In fact, Lungren’s take on the Murray journeyed to Estonia and came corners; action that can move from one Morph ‘n’ Move is animation’s street nature of female sexuality in animation home with this wonderful programme locale to an entirely different place with parade moment. It’s a chance to show is playing a large role in resetting of the best of the new. Estonian eye-popping, imaginative seamlessness; off all its fanciest moves, wow the the agenda for how whole female animation, it would seem, is in very fine perspectives that effortlessly bend and crowds and win new hearts. Visit nziff. characters are presented. Her brand shape indeed. Visit nziff.co.nz for full contort to create a brand-new version co.nz for full programme details. — MT new Manivald is one of the most programme details. — MT of reality before our very eyes – these lauded films on the circuit right now. scenarios are all just another day at the It is a bracing, sometimes C A Sat 11 Aug, 6.00 pm office for an animator. C A Sun 12 Aug, 4.00 pm confronting truth that the caustic Knockstrike, by Spanish animation 20th-century politics of Eastern trio-on-the-move Genís Rigol Alzola, Europe flavoured Estonian animation Marc Torices and Pau Anglada, kicks

Animation NOW! Animation NOW! Dark Hearts Crazy Towne

Intro Intro 78 mins approx. 78 mins approx. Censors rating tbc Censors rating tbc

HATE FOR SALE (ANNA EIJSBOUTS) COP DOG (BILL PLYMPTON) Animation is often at its most potent Some animators treat their craft as Animation – plugged into the right to the other end of the spectrum. when examining the sinister inner a kind of creative poultice: a savage power supply – can take you to some The power of this programme derives world of untethered human impulse, form of therapeutic release drawing pretty crazy places. Any semblance from each work’s ability to maintain or the dark singular visions of a truly out all manner of inner demons. Oh of real-world norms is jettisoned the pace, as they race down paths void creative mind. God (Betina Bożek), God Bless America as a fusion of images, energy and of the usual signposting and narrative The medium has seldom been better (Dane Cree, Michelle Brost) and imagination takes charge of the edifice of conventional cinema. Only used to simultaneously soften the blow Parasitic Endeavours (Simon Christoph controls and sends us fullspeed ahead. in the world of animation could ideas and double the punch than in Wicked Krenn) share this visceral willingness The throttle rammed forward is bounce off each other like this and Girl by Turkish animator Ayce Kartal. to marshal the unique properties of literally what drives the mayhem in Cop careen inexorably towards one wildly Tackling one of our greatest social evils, animation to explore the furthest Dog. The latest from legendary US indie improbable conclusion after another. If here the precipice is hiding in plain view – imaginings of what can be done to a animator Bill Plympton features one you’ve been looking for a place where a metaphor for the crime it portrays and human body, in ways impossible in any crazed hound struggling for control none of the rules apply, you just took the near-immunity of the perpetrators. other artform. Visit nziff.co.nz for full of a party plane as the pilots and the right turn. Visit nziff.co.nz for full Kiwi animator David Midgley’s film Tom programme details. — MT passengers surrender to the Kool-Aid. programme details. — MT brings a very different kind of quarry to Matthew Rankin’s weird psychological the screen. A superb hybrid of mo-cap C A Sat 11 Aug, 8.00 pm doco The Tesla World Light, which C A Sun 12 Aug, 6.00 pm animation and live action, it brilliantly charts a romantic infatuation between captures a character in the deadly grip one of the 20th century’s greatest of a very uncertain adversary. geniuses and a pigeon, walks us down 90

Meet the Filmmakers As we go to print, the following international guests have confirmed their attendance at NZIFF in Auckland. These filmmakers will introduce their films and answer questions following the screening of the sessions indicated.

Debra Granik Hélène Cattet Benjamin Gilmour B CIVIC Fri 27 Jul, 10.45 am Bruno Forzani B AWT Thu 26 Jul, 3.45 pm A CIVIC Sat 28 Jul, 6.45 pm A HWOOD Fri 27 Jul, 8.45 pm A AWT Fri 27 Jul, 6.15 pm A QSt Sat 28 Jul, 6.30 pm Debra Granik is the director Benjamin Gilmour is an and co-writer of Winter’s Hélène Cattet and Bruno Australian filmmaker, author Bone. Nominated for four Forzani are a married and paramedic, based in Oscars, including Best Picture, filmmaking couple from Northern NSW. He was a guest it featured John Hawkes and Brussels, Belgium. From their of NZIFF in 2009 with his debut Jennifer Lawrence in early short film collaborations feature film, Son of a Lion. her breakthrough role. Granik and co-writer Anne through to their feature debut and beyond, they Jirga (p26), shot secretly in Afghanistan with hardly Rosellini were also Oscar-nominated for Best Adapted have co-directed all of their films. Amer (2009) any money or resources, reunites Gilmour with the Screenplay. Her first film, Down to the Bone, starring and The Strange Color of Your Body’s Tears (2013) Pashtun people he worked closely with on Son of Vera Farmiga, won Granik the Best Director prize at introduced the couple’s distinctive postmodern vision, a Lion. Fighting against the prevailing stereotype of the 2004 Sundance Film Festival. In 2015, Granik one inspired by the Italian giallo genre and vintage Afghans as extremists, the film portrays the lives of completed Stray Dog, a feature documentary which exploitation cinema, to film festival audiences and art- ordinary Afghan Muslims, seen through the eyes of aired on Independent Lens and was nominated for an horror fans alike. Their first feature, Amer, screened an Australian solider (Sam Smith) seeking forgiveness Independent Spirit Award. as part of NZIFF’s Incredibly Strange programme in for a civilian he accidentally killed during the war. Based on Peter Rock’s novel My Abandonment – a 2010, while they also contributed a segment (‘O is Gilmour’s paramedic work led him to the film fictionised version of the true story of a Portland girl for Orgasm’) to the Ant Timpson-produced The ABCs industry, originally working as an on-set nurse. He is and her father who were discovered to have been of Death horror anthology in 2012. also a published author, with titles including Warrior living for years in the nature preserve bordering the Cattet and Forzani’s new feature, Let the Corpses Poets: Guns, Movie-making and the Wild West of city – Leave No Trace (p9) is Granik’s fourth feature. Tan (p85), expands their range of influences to Pakistan, Paramedico – Around the World Reminiscent of fellow independent filmmaker Kelly include spaghetti Westerns and Italian crime films by Ambulance and children’s book The Travel Bug. Reichart’s Oregon-set dramas, particularly Old Joy of the 1960s and ’70s. Based on the cult novel by and Wendy & Lucy, the film, which premiered at French crime novelists Jean-Patrick Manchette and Sari Braithwaite Sundance 2018 and screened as part of the Cannes Jean-Pierre Bastid, the screen adaptation has been A AC Sat 4 Aug, 6.30 pm Directors’ Fortnight, stars Ben Foster and New more than ten years in the making. A AC Sun 5 Aug, 1.30 pm Zealand actress Thomasin Harcourt McKenzie. Sari Braithwaite is a Tina Brown filmmaker who works across Soda_Jerk Dyana Winkler the disciplines of history and A AWT Thu 26 Jul, 8.30 pm B AWT Sun 29 Jul, 4.45 pm film. Her documentary films B AWT Fri 27 Jul, 2.00 pm B AWT Tue 31 Jul, 11.15 am have played at the Melbourne, Soda_Jerk, formed by As co-directors, United Skates Sydney, Adelaide, Canberra sisters Dan and Dominique (p71) is Tina Brown and Dyana and Antenna Film Festivals, and at the BFI in Angeloro in Sydney 2002, is a Winkler’s first feature-length London. She was a recipient of the 2015 AFTRS two-person art collective best documentary. Delving into Creative Fellowship to create her first feature length known for the re-mix video the endangered future of experimental work [CENSORED] (p54). works Hollywood Burn (2006) and The Was (2016) an American pastime – the In creating [CENSORED], Braithwaite spent months Working at the intersection of documentary roller-skating rink – their film surveying the thousands of ‘celluloid scraps’ excised and speculative fiction, Soda_Jerk is fundamentally is also a vibrant chronicle of by censors between 1958–1971 and stored in the interested in the politics of images: how they the importance of these social National Archives of Australia. She describes the circulate, whom they benefit and how they can be venues to African-American resulting film as about “the female gaze, but more undone. Their sample-based practice takes the form communities and hip-hop accurately, it looks to exploit and expose the male of films, video installations, cut-up texts and lecture culture. gaze from a female perspective. [CENSORED] exposes performances. Tina Brown is a the problems of our spectatorship, with the hope that TERROR NULLIUS (p61), a political revenge fable in Vietnamese-Australian in questioning the screen, and questioning ourselves, three acts, is a collage film assembled from hundreds filmmaker. Based in New York for more than 20 years, we can be more active spectators.” of excepts from movies and TV shows, including Mad she has worked in media and entertainment through Max, The Man From Snowy River, Picnic at Hanging various roles, from film publicist to producer, and now Gabrielle Brady Rock, The Babadook, Romper Stomper, The Kettering filmmaker. In 2009, she co-founded 2300 Films with A AC Sun 29 Jul, 1.00 pm Incident, Skippy the Bush Kangaroo and many more. her husband,, multi Emmy-award winning Director of A AC Sun 29 Jul, 8.00 pm B AC Mon 30 Jul, 11.30 am The artists describe the work as “part political satire, Photography Matt Peterson, who also served as eco-horror and road movie,” taking place in “a world United Skates’ cinematographer. She also co-produced Gabrielle Brady is an in which minorities and animals conspire, and not-so- the award-winning documentary Dear Mandela, Australian filmmaker who nice white guys finish last.” which was supported by the Sundance Institute and specialises in documentary Based in New York since 2012, they have exhibited was nominated for an African Academy Award. and hybrid films. She studied in museums, galleries, cinemas and torrent sites. Dyana Winkler is a filmmaker based in Los documentary direction at the Angeles. For nearly a decade she worked full-time Cuban International Film School (EICTV), and for the supporting filmmakers at the Sundance Institute past ten years has lived between Cuba, Mongolia, Documentary Film Program and later the Tribeca Indonesia, the Australian central desert and Europe. Film Institute Feature Film Program. She has also Her short film Island (2017), which focused on programmed for the Sundance and Outfest Film Christmas Island’s refugee detention centre and Festivals. Her most recent narrative screenplay, the surrounding eco-system, was commissioned Bell, was awarded the 2016 Sundance Sloan as part of The Guardian documentary series and Commissioning and 2017 SFFILM Science in Film expanded into her first feature, Island of the Hungry Grants, and was part of the 2017 Sundance Ghosts (p68). Screenwriter’s Lab. Straddling the worlds of both fiction and documentary, Winkler is a firm believer that filmmaking is less about the genre, and more about the ability listen and tell a good story. 91

Shorts with Features As we go to print the following shorts have been scheduled to precede features.

I WILL NOT WRITE UNLESS I AM SWADDLED IN FURS. The Heart of Spring China/New Zealand 2017 | Director: Chen Chen | 10 mins A woman searches for traces of her mother who disappeared during the Cultural Revolution. Screening with The Seen and Unseen (p35). I Will Not Write Unless I Am Swaddled in Furs New Zealand 2017 | Director: Wade Shotter | 6 mins | World Premiere A fussy writer battles his large ego and high expectations Do I see ten to create a work of art. Screening with Juliet, Naked (p44). Mum Jeans films or make New Zealand 2018 | Director: Anna Duckworth | 8 mins nine friends? A new mum struggles to find a balance between individualism and motherhood. Screening with Loveling (p29).

Flicks.co.nz and Letterboxd (in association with NZIFF 2018) return to the palatial Wintergarden for this year’s Film Quiz. Will there be prizes? Yes. Can you prove your movie knowledge better than that of your peers? Most definitely. Will the audio of an entire bar room brawl from Roadhouse play at high volume? No (we did that last year).

Join us at The Civic Wintergarden for a 4.00 pm start on Saturday 28 July to test your movie mettle against other film buffs.

As space is limited, registration for teams of up to six will be required. Register your interest at quizshow.fun and keep an eye on Flicks.co.nz for registration news. And remember, this is no drawn-out pub quiz – runtime will be no more than two hours, so you NZIFF TEN-TRIP PASS can get to your next NZIFF screening on time. On sale now from Ticketmaster See page 4 for details 92

Without Whom

IN AUCKLAND Watt, Rebecca Tansley; Alex and Amber Campbell, Ocean Design; David Shanks, Jared Mullen, Office IN SYDNEY Neil Lambert, 20th Century Fox New Zealand; Sam GoodBuzz Beverage; Bianca Talaic, Rebecca of Film and Literature Classification; Brannavan Chloe Brugale, Arena Media, Sydney; Warwick Davis, Jogai Bhatt, Sarah Thomson, Mikey Havoc, Lawson, Trilogy; Tom Dorman, Tom & Luke; Mark Gnanalingam, Pantograph Punch; Vicki Jackaways, Burton; John Maynard, Felix Media; Bridget Ikin, 95bFM; Ashley McGregor, ABE’S BAGELS; Gordon Chamberlain, Amy Dalziell, L’affare; Huw Morgan, Park Road Post Production; Sibilla Paparatti; Hibiscus Films, Sydney; Paige Diamond, Nic Whatson, Moller, Auckland Theatre Company, Hamkala Nath, Bonnie Goods; Transmission Films; Adria Buckton Gaylene Preston; Rebecca Priestley; Christine Palace Films; Nashen Moodley, Jenny Neighbour, Austin’s; Ruth Montgomerie, Meredyth Morgan, & staff, Trigger Marketing; Peter Rees, Unitec; Josh Cessford, Caitlin Cherry, Jo Leavesley, Simon Morris, Andrew Perkin, Sydney Film Festival; Matt Soulos, Charmaine Ngarimu, Cheyne Stevens, ATEED; Mark Saussey, The Vault; Tim Van Dammen; Jill McNab, Dan Slevin, Radio New Zealand; Jo Randerson; Transmission Films; Amelia Rowe, Universal Pictures; Andersen, Andrew Lockett, Jane McKenzie, Justine Purdie, Vendetta Films; Paul Kim, Stewart Hadyn Bell-Norris, Barry Morrison, Reading Nick Hayes, Nane McLean, Icon Film Distribution; Auckland Film Society; Barbara Glaser, Paul Christ Putwin, Austin RudkinVista Entertainment Cinemas; Kirstie Ross; Tim Clarke, Philippa Amelia Rowe, Universal Pictures (Australasia) Pty Ltd. staff and players of the Auckland Philharmonia Solutions; Leo Koziol, Wairoa Ma¯ ori Film Festival; Whitelaw, Russell McVeagh; Michelle Savill; Tim IN THE USA Orchestra; Christina Milligan, James Nicholson, Alex Pye, Sir James Wallace, Wallace Media; Paul Prebble, Soundbite; Chris Tse; Graeme Tuckett; Cassie Blake, May Haduong, Academy of Motion AUT University; Nick Bollinger; Pietra Brettkelly; James, Waxeye; Patricia Watson, WIFT; Eryn Wilson; Douglas Easterley, School of Design, Victoria Picture Arts and Sciences Film Archive, Los Angeles, Grant Berridge, Lisa Barritt, Matthew Buchanan, Brendan Moore. University of Wellington; Felicity Birch, Luke Tobin, CA; Brittany Ewing, AMC Networks, Los Angeles; Gary Henson, Hayden Hunter, Karl von Randow, Wellington City Council; Kate Hiatt, Wellington At Academy Cinemas: At Academy Cinemas: Bryson Chun, Honolulu, HI; Jason Ishikawa, Shane Cactuslab; Philippa Campbell; Anna Duckworth, Community Trust ; Caroline Garratt, Chris Hormann, Phil Bremner, Elizabeth Ireland, Gorjan Markovski, Riley, Cinetic Media, New York, NY; Kim Hendrickson, Candlelit Pictures; Chen Chen; Steven Chow; Bennett Conran, Callum Freeman, Ardit Hoxha, Rose Miller, Wellington Film Society. Fumiko Takagi, Criterion Collection, New York, NY; Summer Agnew; Curious Film; Tui Ruwhiu, Lila Bullen-Smith, Caitlin Croteau, Noah Aiono, ELSEWHERE IN NEW ZEALAND Bennett Elliott, New York, NY; Danny Guzman, the Directors & Editors Guild of NZ; Brendan Donovan; Valentina Espinoza and staff. Luke Nicholas, Ellie Tocker, Epic Beer; Erica Austin, Tyler Adams, Christchurch; Jane Avery, Dunedin; Andy exchange, Los Angeles, CA; Jeffrey Winter, The Film At ASB Waterfront Theatre: Lester McGrath, Bill McDermid, Event Cinemas; Darren Bevan, Deere, Ryan Heron, Whanganui; James Croot, Charlie Collaborative, Los Angeles, CA; Brian Belovarac, Gary Barker, Ralph Corke, Nicola Brown, Andrew Bridget Jones Fairfax Media; David Farrier; Lani-rain Gates, Fairfax, Christchurch; Ainsley Gardiner, Miss Janus Films, New York, NY; Stephen Kijak, Carolyne Malmo, Johnny Chen, Geeling Ching, Herewini Feltham; Dustin Feneley; Nicola Denney, Sharon Conception Films, Whakatane; Nancy Gosden, Jurriaans, Los Angeles, CA; Harrod Blank, Les Blank Easton, Natasha Gordon, Josh Bond, Melissa Walling, Film & Video Labelling Body; Jimena Dunedin; Peg Gosden, Christchurch; Hiona Henare, Films Inc., Douglas, AZ; Catalina Ramirez Chaves, Hadley, Zack Howells, Bernadette Norfo, Richard Murray, Finch Company; Liam Maguren, Dan Levin; Ryan Alexander Lloyd, Blenheim; Helen Mann, Magnolia Pictures; Kristin Montalbano, National Pepper, Romana Trego, Floor Managers, Michelle, Steve Newall, Paul Scantlebury, Flicks.co. Christchurch; Philip Mathews, Christchurch; Niamh Geographic Partners, Washington, DC; John Edmond, Projectionists and staff. nz; Antonia Crowley, Flying Tresles; Jenny Gill, Lisa Peren, Queenstown; Nick Paris, Christchurch; Austin Queensland Film Festival, Brisbane; Joe Berlinger, Ridehalgh, Foundation North; Four Winds At The Civic Theatre: Chris Brooks, Robbie Proctor, Ticketek, Christchurch; Jo Scott, Christchurch; Radical Media, New York, NY; Soda_Jerk, New York, Foundation; Dorothee Basel, French Film Festival; Macrae, Bernie Haldane, Glen Crighton, Angela Karl Stanbra, Inkwise, Christchurch; Vanessa Wells, NY; Lucy Suess, Denver, CO; Maxim Pozdorovkin, Richard Howarth, Gemba; Matthew Metcalfe, Gourdie, Karyn Metcalf, Jamal Badsha, Kerry WIFT; Dr. Mary Wiles, University of Canterbury, Third Party Films, Brooklyn, NY; Elizabeth Yoffe, True General Film Corporation; Jen Huang; Paul Stokes, Griffiths, Nicola Blackman, Amanda Provan, Shona Christchurch. Studio Media, Los Angeles, CA; Slava Tsukerman, Grin Natural Products; Robyn Harper; Sir Bob Corban, James Gibbs, Richard Freeman, Sahar New York, NY; Joe Rubin, Vinegar Syndrome, New IN LONDON Harvey; Kate Cleaver, Sonya Gandras, Heart of Lone, Vanita Prasad, Francis Van Kuijk, David York, NY; Joe Yanick, Visit Films, New York; Chelsea Jessica Palmarozza, Adventure Pictures Ltd; Emily the City; Susan Gibson, Heritage Hotel; Mia Bavage; Management, Front of House and Back Winstanley, Los Angeles, CA; Emily Glaser, Zipporah Gotto, AMC Networks; Jane Balfour, Jane Balfour Henry-Tierney; Don Howie; Mark Chilvers, Paul of House Staff. Films, Inc., Cambridge, MA. Films; Georgina Conder; Joanne Michael, Cornerstone Woods, Hoyts Cinemas; Paora Joseph; Kate Ryan, At Event Cinemas Queen Street: Steve Kimi, Films; Luke Brawley, Lucy Stevens, Ana Vicente, ELSEWHERE IN EUROPE Juggernaut Graphics; Sandra Kailahi; Eric Kearney; Bruce Blackley (Projectionist), Bill McDermid and Dogwoof Ltd.; Chloe Tai, Film Constellation; David Stephanie Fuchs, AUTLOOK Filmsales GmbH, Vienna, Sue May, Kiriata Publicity; Shuchi Kothari; Marijana, staff. Fisher, Bruce MacRae, Faber Music; Simon Field, Austria; Claire Battistoni, Paméla Leu, Be For Films, Paul & Michael Brajkovich, Kumeu River Wines; At Event Cinemas Westgate: Pavan Chalasani, Illumination Films; Clare Stewart, London Film Brussels, Belgium; Cosima Finkbeiner, Beta Cinema, Quinton Hita, Karen Te O Kahurangi Waaka-Tibble, Duty Managers and staff. Festival; Vesna Cudic, Karen Simon, Metfilm Sales; Munich; Hélène Cattet, Bruno Forzani, Belgium; Jan Kura Productions Ltd; Debbie Fox, Lanyards Only; Helena Bullivant, Raw TV; Bojana Maric, Taskovski Röed, Charon Film, Kungsängen, Sweden; Carmen Ilai Amar, Leopold Wave; Andrew Cozens, Luke At Hollywood Avondale: Matt Timpson, Hugh Films; John Flahive, Wavelength Pictures. Ceneciarelli, Carmen Accaputo, Cineteca di Bologna, Murray, Jonno Young, Madman Entertainment; Sundae. Bologna; Jitka Procházková, Czech Televsion, Prague; Jake Mahaffy; Shaun Buffett, Amy Frecklington, At Rialto Cinemas: Kathryn Bennett, Adin IN MELBOURNE Anne-Marie Kürstein, Thomas C. Christensen, Shanlea Hibbs, Keeley Sander Ma¯ori Television; Wentzel, Conrad Boshoff; Projectionists, Duty Kristy Mathieson, ACMI; Tony Ianiro, Backlot Studios; Marianne Jerris, Lizette Gram, Madeleine Schlawitz, Christine Massey; Jim Rendell and the team, Managers and staff. Lizzette Atkins; Sari Braithwaite; Sue Maslin, Film Art Danish Film Institute, Copenhagen; Christina Liapi, McCollams Print; Veronica McMaughlin; Graham Media; Simon Killen, Dan O’Malley, Hi Gloss At Ticketmaster: Justin Pule, Lara Davis, Sarah Heretic Outreach, Athens, Greece; Tessa Hoffe, Hill, Sarah Nickson-Clark, Daniel Peek, Claudia Gandy, Anjelica Devoe, Kathleen King and all the Entertainment; Eddie Tamir, Tamar Simons, Erin Salford, UK; Christof Wehmeier, Icelandic Film Sykes, Mediaworks Radio; Lauren Dyke, Michelle Ticketing Team. Rosenberg, Jewish International Film Festival; Tait Centre, Helsinki; Dovile˙ Butnoriu¯te˙, Lithuanian Petry, Susannah Walker, Metro Magazine; Eleonora Brady, Label Distribution; Fergus Grady, Limelight Film Centre, Vilnius, Lithuania; Sergi Steegmann, Mignacca; Hayley Alderman, Network Visuals; IN WELLINGTON Distribution; Zoe Dahlenburg, Paul Tonta, Paul The Match Factory GmbH, Cologne; Sophie de Mac Kate Rodger, Dan Rutledge, Newshub; Jack Nicol; Gabriel Abreu; Desray Armstrong; Steve Barr; Wiegard, Madman Entertainment; Michelle Carey, Mahon, Mercury Films, Madrid; Igor Sulimov, Joanna Hunkin, Karl Puschmann, Chris Schulz, Rachel Barrowman; Catherine Bisley; Geeta Al Cossar, Kate Fitzptrick, David Thomas, Melbourne Mosfilm, Moscow, Russia; Clémence Michalon, Simon Wilson NZ Herald; Amanda Cox, Laura Blundell, Olwin Kleve, Gareth Shepperd, Buddle International Film Festival; Richard Moore; Mark Jour2fête, Paris; Mindaugas Survila, Vaida Surviliene, Haden, Monique Reid, Russell Baillie, Peter Calder, Findlay; Tony Hiles, City Associates Films; Cath Spratt, Potential Films; Kylie Pascoe, Red Thread NGO “Sengire”, Lithuania; Johan Ericsson, Petter James Robins, NZ Listener; Rob Dawson, Our Cardiff, David Pannett, Creative New Zealand; Kylie Studios; Jose Ortiz, José Ortiz, Roadshow Films; Bec Mattson, Sara Ruster, Swedish Film Institute, Auckland; Doug Dillaman, Jacob Powell, Rosabel Klein-Nixon, Dani McDonald, Martin Durrant; Brown, Natalie Miller, Katharine Thornton, Sharmill Stockholm. Tan, Pantograph Punch; Tony Bald, Paramount Caroline Toplis, Embassy of the United States of Films; Danielle Bertozzo, Ari Harrison, Dov Kornits, Pictures NZ; Jamey Holloway, Ben Stonyer, Phantom America; Caleb Button, Embassy Theatre; Judah Umbrella Entertainment. ELSEWHERE IN THE WORLD Billstickers; Shirley Horrocks, Point of View Finnigan; Marie France; Ulrike Rosenfeld, Christian Sebastien Chesneau, Cercamon Films, Dubai; Tan Productions; Craig Fasi, Pollywood Film Festival; Kahnt, Goethe-Institut; Frida Harper; Cass IN PARIS Yanrong, China Film Archive, Beijing; Leeya Mor, Lauren Porteus; Chelsie Preston Crayford; Lyn Hesom-Williams; Jonathan King; David Lascelles , Juliette Bechu, Natsuki Lambert, Bac Films; Maëlle Philippa Kowarsky, Cinephil, Tel Aviv; Kwon Yura, Chung, Stephanie Ireland, Primesite Properties; Athol McCredie; Blair Collie, Fergus Grady, Simon Guenegues, Cat & Docs; Nicolas Rebeschini, Jeon Yejin, Kim Hawon, Finecut, Seoul; Fernando Will Rooke, QMS Media; Robyn Paterson, Rabbit Werry, Limelight Distribution; Costa Botes, Lone Alexandra Reveyrand-de Menthon, Charades; Théo Díaz, Machaco Films, Buenos Aires; Maria Augusta Films; Karen Warman, Resene Paints; Kelly Rogers, Pine Films; Amanda Millar, Tennessee Mansford, Lionel, Doc & Film International; Nora Sami, Marie Ramos, NoCo Filmes, Brazil; Xu Jing, Rediance. Kevin Gordon, Nicole van Heerden, Rialto Amanda Millar and Company; David Larsen, Metro Tarascon, The Festival Agency; Pascale Ramonda, Our thanks to all who have advertised in this Distribution; Wallace Chapman, Dita de Boni, Lynn Magazine; Malcolm McKinnon; Heperi Mita; Sarah Festival Strategies; Sanam Madjedi, Joris Boyer, brochure. Freeman, Kim Hill, Denise Montgomery,Simon Catherall; Sarah McMullan; Sharon Stephenson; Films Distribution; Christophe Calmels, Films sans Morris, Jesse Mulligan Radio New Zealand; Eldon Sarah Chandler, Lara Signal, Guy Somerset, Megan Frontières; Valerie Massadian, Gaijin; Samuel Farkas, NZIFF ANIMATION SCORE Booth, Run Charlie Films; Nicola Valk, Russell Williams, NZ Festival; Tracey Brown, Mladen Ivancic, I Mediate Servicing; Anne-Laure Barbarit, MK2; Composer: Tim Prebble McVeagh; Peter Scholes; Andrew Scott; Esther Kate Larkindale, Jasmin McSweeney, Lesa Luminitsa Cotruta, MPM Film; Ilaria Gomarasca, Orchestrator & Conductor: Ewan Clark Cahill-Chiaroni, Script to Screen;, Asuka Sylvie; MacLeod-Whiting, Chris Payne, Annabelle Sheehan, Pyramide Films; Lison Hervé, Stray Dogs; Pierre Performers: Aroha Quartet, The Tudor Consort Susan Buonocore, Jacinda Ryan, Sony Pictures; New Zealand Film Commission; Mark Cubey; Jackie Menahem, Still Moving, Paris; Laurence Berbon, Mixed at: Park Road Post Production Toby Manhire, Catherine McGregor, The Spinoff; Hay, Diane Pivac, Nga¯ Taonga Sound & Vision; Matt Tamasa Films Distribution; Un Zero Films; Esther Special thanks to: Catherine Fitzgerald, Nigel Forsyth, Priscena Major, StudioCanal; Sarah Bluett, Sam Dungey, Sarah Lyford, Blair Mainwaring, Devos, Alice Gay, Wild Bunch. Tusi Tamasese, Ian Powell 93

World View

Argentina Germany New Zealand’s Best 2018 23 Matangi/Maya/M.I.A. 79 Nga¯ Whanaunga Ma¯ori 23 McKellen: Playing the Part 83 Terrified 87 The Cleaners 72 Pasifika Shorts 2018 McQueen 82 Zama 26 In the Aisles 34 Paul Callaghan: Dancing with Atoms 20 Orlando 44 Island of the Hungry Ghosts 68 Australia She Shears 21 Three Identical Strangers 71 Looking for Oum Kulthum 34 Stray 21 Westwood: Punk, Icon, Activist 83 [CENSORED] 54 Shut Up and Play the Piano 79 Breath 27 The Heart Dances – the journey of 19 You Were Never Really Here 44 Transit 35 The Piano: the ballet Gurrumul 74 Wings of Desire 13 Yellow is Forbidden 15 Ukraine I Used to Be Normal: 68 A Boyband Fangirl Story Donbass 73 Iceland Palestine Jill Bilcock: Dancing the Invisible 81 And Breathe Normally 35 The Reports on Sarah and Saleem 39 USA Jirga 26 Woman at War 36 Wajib 39 American Animals 55 The Song Keepers 77 Arctic 36 TERROR NULLIUS 61 Indonesia Paraguay Beirut 45 The Seen and Unseen 35 Belgium The Heiresses 40 Bisbee ’17 64 Girl 27 Iran Poland Bombshell: The Hedy Lamarr Story 80 3 Faces 37 Brimstone & Glory 65 Cold War 11 Brazil Chulas Fronteras 74 Good Manners 58 Ireland Portugal Cold Blooded: 66 Loveling 29 The Clutter Family Murders Kevin Roche: The Quiet Architect 82 Diamantino 56 The Trial 73 Desert Hearts 45 A Mother Brings Her Son to Be Shot 70 Djon África 38 The Devil We Know 66 Bulgaria Israel Russia Ex Libris: The New York Public Library 67 Ága 29 Foxtrot 58 Leto 75 Filmworker 80 First Reformed 46 Canada Italy Moscow Does Not Believe in Tears 51 Our New President 73 Garry Winogrand: 81 What Keeps You Alive 87 Dogman 37 All Things Are Photographable Happy As Lazzaro 14 South Africa The General 17 China Nico, 1988 79 The Harvesters 41 The Green Fog 57 Angels Wear White 30 Samouni Road 69 If I Leave Here Tomorrow: 77 Ash Is Purest White 31 South Korea A Film About Lynyrd Skynyrd An Elephant Sitting Still 56 Japan Burning 11 Juliet, Naked 44 Raise the Red Lantern 31 Mirai 15 Last Child 41 Keep the Change 57 Ryuichi Sakamoto: Coda 79 Colombia A Kid Like Jake 46 Shoplifters 14 Spain The Kindergarten Teacher 52 Birds of Passage 9 The Third Murder 38 Cría cuervos 41 The King 76 Virus Tropical 61 Lots of Kids, a Monkey and a Castle 69 Kusama – Infinity 81 Kenya Czech Republic Petra 42 Leave No Trace 9 Rafiki 59 Liquid Sky 87 Cosy Dens 28 Swaziland Lebanon Little Woods 52 Denmark Liyana 62 Lucky 52 Capharnaüm 13 The Distant Barking of Dogs 67 Madeline’s Madeline 59 The Insult 39 Sweden Holiday 57 Mandy 86 The Atlantic 65 Hunger 28 Lithuania Minding the Gap 69 Border 55 The Miseducation of Cameron Post 51 The Guilty 30 The Ancient Woods 64 Switzerland Monterey Pop 77 France New Zealand Pick of the Litter 70 Blue My Mind 84 Climax 85 Piercing 86 Angie 19 Eldorado 72 Cold Water 56 Bludgeon 18 The Price of Everything 83 Custody 32 Celia 18 Turkey Puzzle 53 Le Grand Bal 75 Dog’s Best Friend 67 The Wild Pear Tree 43 RBG 71 The Image Book 32 Eight Uneasy Pieces 25 The Rider 51 UK In the Realm of Perfection 68 The Field Guide to Evil 85 Science Fair 62 Let the Corpses Tan 85 Foreign Correspondents 25 Apostasy 54 Searching 60 Milla 59 Ma¯ui’s Hook 21 Disobedience 43 Skate Kitchen 60 Speak Up 70 Mega Time Squad 86 An Evening with Beverly Luff Linn 84 United Skates 71 The Swimming Pool 33 Merata: How Mum Decolonised 20 The Ice King 76 We the Animals 61 The World Is Yours 33 the Screen Lean on Pete 42 Wildlife 53 94

Tour Guide

Actors Djon África 38 Madeline’s Madeline 59 Cold Blooded: 66 The Clutter Family Murders Bombshell: The Hedy Lamarr Story 80 Le Grand Bal 75 The Miseducation of Cameron Post 51 Filmworker 80 Madeline’s Madeline 59 Jirga 26 Rafiki 59 The Green Fog 57 McKellen: Playing the Part 83 The Seen and Unseen 35 Virus Tropical 61 We the Animals 61 In the Realm of Perfection 68 Activism The Song Keepers 77 Stray 21 Wildlife 53 Jill Bilcock: Dancing the Invisible 81 The Devil We Know 66 The Swimming Pool 33 Courtroom McKellen: Playing the Part 83 Ex Libris: The New York Public Library 67 The Wild Pear Tree 43 Capharnaüm 13 Merata: How Mum Decolonised 20 Matangi/Maya/M.I.A. 79 the Screen Autism Merata: How Mum Decolonised 20 Custody 32 Ryuichi Sakamoto: Coda 79 the Screen Keep the Change 57 The Insult 39 Found Footage RBG 71 Based on Books RBG 71 The Third Murder 38 [CENSORED] 54 Westwood: Punk, Icon, Activist 83 Border 55 The Trial 73 The Green Fog 57 Woman at War 36 Breath 27 The Image Book 32 Americana Burning 11 Environment Our New President 73 Bisbee ’17 64 Cold Blooded: 66 Ága 29 TERROR NULLIUS 61 Chulas Fronteras + Del mero corazón 74 The Clutter Family Murders The Ancient Woods 64 Cold Blooded: 66 Cosy Dens 28 The Devil We Know 66 Gangsters The Clutter Family Murders Desert Hearts 45 Island of the Hungry Ghosts 68 Ash Is Purest White 31 Desert Hearts 45 Disobedience 43 Leave No Trace 9 Birds of Passage 9 Garry Winogrand: 81 Hunger 28 Ryuichi Sakamoto: Coda 79 Dogman 37 All Things Are Photographable Juliet, Naked 44 Westwood: Punk, Icon, Activist 83 Holiday 57 If I Leave Here Tomorrow: 77 Lean on Pete 42 Woman at War 36 A Film About Lynyrd Skynyrd Horror Leave No Trace 9 Fashion The King 76 Blue My Mind 84 The Miseducation of Cameron Post 51 Liquid Sky 87 Lean on Pete 42 Good Manners 58 Orlando 44 McQueen 82 Leave No Trace 9 Piercing 86 Piercing 86 The Price of Everything 83 Little Woods 52 Terrified 87 Rafiki 59 Westwood: Punk, Icon, Activist 83 Lucky 52 The Field Guide to Evil 85 Raise the Red Lantern 31 Yellow is Forbidden 15 Monterey Pop 77 Human Rights Transit 35 Feminism The Rider 51 The Swimming Pool 33 And Breathe Normally 35 Angels Wear White 30 United Skates 71 Virus Tropical 61 Bisbee ’17 64 [CENSORED] 54 Wildlife 53 Wildlife 53 Capharnaüm 13 Disobedience 43 Animals You Were Never Really Here 44 Celia 18 Garry Winogrand: 81 The Ancient Woods 64 Zama 26 All Things Are Photographable Chulas Fronteras + Del mero corazón 74 Dog’s Best Friend 67 Blindness Moscow Does Not Believe in Tears 51 The Cleaners 72 Lean on Pete 42 Gurrumul 74 RBG 71 The Distant Barking of Dogs 67 Pick of the Litter 70 Pick of the Litter 70 Speak Up 70 The Insult 39 The Rider 51 Cannes Competition 2018 TERROR NULLIUS 61 Island of the Hungry Ghosts 68 Animation Little Woods 52 3 Faces 37 Fifty See also Animation NOW! p88–89 Liyana 62 Ash Is Purest White 31 The Atlantic 65 Animation for Kids 4+ 63 Matangi/Maya/M.I.A. 79 Burning 11 Chulas Fronteras + Del mero corazón 74 Animation for Kids 8+ 63 Milla 59 Capharnaüm 13 Cold Water 56 Liyana 62 A Mother Brings Her Son to be Shot 70 Cold War 11 Cosy Dens 28 Mirai 15 Rafiki 59 Dogman 37 Cría cuervos 41 Samouni Road 69 RBG 71 Happy As Lazzaro 14 Desert Hearts 45 Virus Tropical 61 Samouni Road 69 The Image Book 32 The General 17 Speak Up 70 Architecture Leto 75 Hunger 28 United Skates 71 Kevin Roche: The Quiet Architect 82 Shoplifters 14 Liquid Sky 87 The Trial 73 The Wild Pear Tree 43 Monterey Pop 77 Indigenous Armchair Travel Coming of Age Moscow Does Not Believe in Tears 51 See also Ma¯ori/Pacific Orlando 44 3 Faces 37 Blue My Mind 84 Ága 29 Raise the Red Lantern 31 Ága 29 Breath 27 Birds of Passage 9 The Swimming Pool 33 The Ancient Woods 64 Girl 27 Djon África 38 Wings of Desire 13 Arctic 36 The Harvesters 41 Gurrumul 74 The Atlantic 65 I Used to Be Normal: 68 Films About Films The Rider 51 Brimstone & Glory 65 A Boyband Fangirl Story Bombshell: The Hedy Lamarr Story 80 The Seen and Unseen 35 Chulas Fronteras + Del mero corazón 74 Lean on Pete 42 [CENSORED] 54 The Song Keepers 77 95

Immigration Ma¯ori/Pacific Philosophy Trans And Breathe Normally 35 Bludgeon 18 The Image Book 32 Girl 27 Bisbee ’17 64 The Heart Dances – the journey of 19 In the Realm of Perfection 68 A Kid Like Jake 46 The Piano: the ballet Chulas Fronteras + Del mero corazón 74 Poetry Orlando 44 Ma¯ui’s Hook 21 Djon África 38 The Kindergarten Teacher 52 True Crime Merata: How Mum Decolonised 20 Eldorado 72 Speak Up 70 the Screen American Animals 55 I Used to Be Normal: 68 Wings of Desire 13 A Boyband Fangirl Story Media & Censorship Cold Blooded: 66 Punk The Clutter Family Murders Island of the Hungry Ghosts 68 [CENSORED] 54 Leto 75 A Mother Brings Her Son to Be Shot 70 Matangi/Maya/M.I.A. 79 The Cleaners 72 Liquid Sky 87 Three Identical Strangers 71 Speak Up 70 Cold Blooded: 66 McQueen 82 Transit 35 The Clutter Family Murders War Zones Virus Tropical 61 Wajib 39 Ex Libris: The New York Public Library 67 Beirut 45 Westwood: Punk, Icon, Activist 83 Jewish Matangi/Maya/M.I.A. 79 The Distant Barking of Dogs 67 Our New President 73 Social History Bombshell: The Hedy Lamarr Story 80 Donbass 73 Mental Health Bisbee ’17 64 Disobedience 43 Foxtrot 58 Bombshell: The Hedy Lamarr Story 80 Foxtrot 58 Angie 19 Jirga 26 Cold Blooded: 66 Ma¯ui’s Hook 21 Keep the Change 57 The Clutter Family Murders Samouni Road 69 McQueen 82 The Reports on Sarah and Saleem 39 Garry Winogrand: 81 Women Make Features Minding the Gap 69 All Things Are Photographable Lesbian And Breathe Normally 35 Three Identical Strangers 71 I Used to Be Normal: 68 And Breathe Normally 35 Angels Wear White 30 Noir A Boyband Fangirl Story Desert Hearts 45 Birds of Passage (co-director) 9 Angels Wear White 30 United Skates 71 Disobedience 43 Blue My Mind 84 First Reformed 46 Sports & Fitness Good Manners 58 Capharnaüm 13 The Green Fog 57 Bludgeon 18 The Heiresses 40 Desert Hearts 45 Transit 35 Breath 27 Juliet, Naked 44 Djon África (co-director) 38 You Were Never Really Here 44 In the Realm of Perfection 68 A Kid Like Jake 46 Good Manners (co-director) 58 Online Style The Miseducation of Cameron Post 51 Happy As Lazzaro 14 Rafiki 59 The Cleaners 72 Bombshell: The Hedy Lamarr Story 80 Holiday 57 Skate Kitchen 60 Juliet, Naked 44 Cold War 11 Keep the Change 57 What Keeps You Alive 87 Searching 60 Liquid Sky 87 The Kindergarten Teacher 52 Parenting Looking for Oum Kulthum 34 LGBTQI+ Leave No Trace 9 And Breathe Normally 35 Kusama – Infinity 81 See also Lesbian and Trans Let the Corpses Tan (co-director) 85 Matangi/Maya/M.I.A. 79 Climax 85 Apostasy 54 McQueen 82 Little Woods 52 Diamantino 56 Cosy Dens 28 Orlando 44 Looking for Oum Kulthum 34 Girl 27 Cría cuervos 41 The Price of Everything 83 Madeline’s Madeline 59 The Harvesters 41 Custody 32 Rafiki 59 Milla 59 The Ice King 76 Girl 27 The Swimming Pool 33 The Miseducation of Cameron Post 51 Liquid Sky 87 Good Manners 58 Westwood: Punk, Icon, Activist 83 Nico, 1988 79 McKellen: Playing the Part 83 The Harvesters 41 Yellow is Forbidden 15 Orlando 44 McQueen 82 A Kid Like Jake 46 The Kindergarten Teacher 52 Thrillers Rafiki 59 The Miseducation of Cameron Post 51 Last Child 41 American Animals 55 The Rider 51 TERROR NULLIUS 61 Leave No Trace 9 Beirut 45 The Seen and Unseen 35 We the Animals 61 Lots of Kids, a Monkey and a Castle 69 Birds of Passage 9 Skate Kitchen 60 Love Stories Loveling 29 Border 55 TERROR NULLIUS 61 Border 55 Merata: How Mum Decolonised 20 Dogman 37 Wajib 39 Burning 11 the Screen First Reformed 46 You Were Never Really Here 44 Cold War 11 Milla 59 The Guilty 30 Zama 26 Desert Hearts 45 Mirai 15 Holiday 57 WTF? Disobedience 43 A Mother Brings Her Son to Be Shot 70 Let the Corpses Tan 85 In the Aisles 34 Searching 60 Little Woods 52 Border 55 Juliet, Naked 44 Shoplifters 14 Searching 60 Climax 85 Keep the Change 57 Three Identical Strangers 71 The Swimming Pool 33 An Evening with Beverly Luff Linn 84 Milla 59 Virus Tropical 61 What Keeps You Alive 87 The Green Fog 57 Rafiki 59 Wajib 39 Woman at War 36 Liquid Sky 87 The Reports on Sarah and Saleem 39e Wildlife 53 You Were Never Really Here 44 Mandy 86 96

Features from A to Z

3 Faces 37 Disobedience 43 K Piercing 86 A The Distant Barking of Dogs 67 Keep the Change 57 The Price of Everything 83 Djon Africa 38 Puzzle 53 Ága 29 Kevin Roche: The Quiet Architect 82 Dogman 37 American Animals 55 A Kid Like Jake 46 R Dog’s Best Friend 67 The Ancient Woods 64 The Kindergarten Teacher 52 Rafiki 59 Donbass 73 And Breathe Normally 35 The King 76 Raise the Red Lantern 31 Angels Wear White 30 E Kusama – Infinity 81 RBG 71 Angie 19 Eight Uneasy Pieces 25 L The Reports on Sarah and Saleem 39 The Rider 51 Animation for Kids 4+ 63 Eldorado 72 Last Child 41 Ryuichi Sakamoto: Coda 79 Animation for Kids 8+ 63 An Elephant Sitting Still 56 Lean on Pete 42 Animation NOW! Crazy Towne 89 An Evening with Beverly Luff Linn 84 Leave No Trace 9 S Animation NOW! Dark Hearts 89 Ex Libris: The New York Public Library 67 Le Grand Bal 75 Samouni Road 69 Animation NOW! Fresh Eyes on Estonia 89 F Leto 75 Science Fair 62 Animation NOW! Handmade 88 The Field Guide to Evil 85 Let the Corpses Tan 85 Searching 60 Animation NOW! 88 Filmworker 80 Liquid Sky 87 The Seen and Unseen 35 International Showcase First Reformed 46 Little Woods 52 She Shears 21 Animation NOW! Morph ‘n’ Move 89 Foreign Correspondents 25 Liyana 62 Shoplifters 14 Apostasy 54 Foxtrot 58 Looking for Oum Kulthum 34 Shut Up and Play the Piano 79 Arctic 36 G Lots of Kids, a Monkey and a Castle 69 Skate Kitchen 60 Ash Is Purest White 31 Loveling 29 The Song Keepers 77 Garry Winogrand: 81 The Atlantic 65 Lucky 52 Speak Up 70 All Things Are Photographable B Stray 21 The General 17 M The Swimming Pool 33 Beirut 45 Girl 27 Madeline’s Madeline 59 Birds of Passage 9 Good Manners 58 Mandy 86 T Bisbee ’17 64 The Green Fog 57 Matangi/Maya/M.I.A. 79 Terrified 87 Bludgeon 18 The Guilty 30 Ma¯ ui’s Hook 21 TERROR NULLIUS 61 Blue My Mind 84 Gurrumul 74 McKellen: Playing the Part 83 The Third Murder 38 Bombshell: The Hedy Lamarr Story 80 H McQueen 82 Three Identical Strangers 71 Border 55 Mega Time Squad 86 Transit 35 Happy As Lazzaro 14 Breath 27 Merata: How Mum Decolonised 20 The Trial 73 The Harvesters 41 Brimstone & Glory 65 the Screen U The Heart Dances – the journey of 19 Burning 11 Milla 59 the The Piano: the ballet United Skates 71 Minding the Gap 69 C The Heiresses 40 Mirai 15 V Capharnaüm 13 Holiday 57 The Miseducation of Cameron Post 51 Virus Tropical 61 Celia 18 Hunger 28 Monterey Pop 77 W [CENSORED] 54 I Moscow Does Not Believe in Tears 51 Wajib 39 Chulas Fronteras 74 The Ice King 76 A Mother Brings Her Son to Be Shot 70 Westwood: Punk, Icon, Activist 83 The Cleaners 72 If I Leave Here Tomorrow: 77 N We the Animals 61 Climax 85 A Film About Lynyrd Skynyrd New Zealand’s Best 2018 23 What Keeps You Alive 87 Cold Blooded: 66 The Image Book 32 The Clutter Family Murders Nga¯ Whanaunga Ma¯ori 23 Wildlife 53 The Insult 39 Pasifika Shorts 2018 The Wild Pear Tree 43 Cold War 11 In the Aisles 34 Nico, 1988 79 Wings of Desire 13 Cold Water 56 In the Realm of Perfection 68 O Woman at War 36 Cosy Dens 28 Island of the Hungry Ghosts 68 The World is Yours 33 Cría cuervos 41 I Used to Be Normal: 68 Orlando 44 Custody 32 A Boyband Fangirl Story Our New President 73 Y D J P Yellow is Forbidden 15 You Were Never Really Here 44 Desert Hearts 45 Jill Bilcock: Dancing the Invisible 81 Paul Callaghan: Dancing with Atoms 20 The Devil We Know 66 Jirga 26 Petra 42 Z Diamantino 56 Juliet, Naked 44 Pick of the Litter 70 Zama 26

Notes in this brochure are written and compiled by the programmers, Bill Gosden (unsigned), Michael McDonnell (MM), Ant Timpson (AT), Sandra Reid (SR), Nic Marshall (NM) and Malcolm Turner (MT). Judah Finnigan (JF), Tim Wong, Kailey Carruthers, Toby Manhire, Nick Bollinger, Clare Stewart, Chris Tse, Catherine Bisley, Jo Randerson, Rebecca Priestley, Duncan Sarkies, Angela Lassig, Jonathan King and Chris Kirk also contributed notes. The brochure was edited, drawing on a wide array of writers we like, by Bill Gosden, cribbing the occasional perfect adjective from said writers. It was managed by Tim Wong with the assistance of a squadron of ace proofreaders who labour beyond the call of duty. Views expressed in the brochure do not necessarily represent the views of the staff or trustees of the New Zealand Film Festival Trust. You saw them here first. Now enjoy In My Father’s Den Utu Redux them all over again.

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