THE NORT HWEST FILM CENTER / PORTLAND ART M USE UM PRESENTS 3 5th portland international film festival SPONSORED BY: THE OREGONIAN / R E GAL CINEMAS

F E BRU ARY 9–25, 2012

WELCOME

Welcome to the Northwest Film Center’s 35th annual showcase of new world cinema. Like our annual Northwest Filmmakers’ Festival, which celebrates the creativity and vision of artists in our community, the Portland International Film Festival (PIFF) seeks to explore the diversity of not only the art of film, but also the world around us. This year’s PIFF presents 93 feature and 46 short films from over three dozen countries, in an inspiring, eclectic snapshot of recent international cinema that we hope will stimulate your filmgoing well beyond the Festival itself. As part of the Film Center’s 40th Anniversary Season, we continue to look forward to the new more than celebrating the past, as we ­consider the role that film and the Film Center play in animating the regional cultural community. In that spirit, PIFF 35 is expanding its footprint, with theaters spread throughout the city and, we hope, with new audiences to match. In addition to our home base at the Whitsell Auditorium in the Portland Art Museum, PIFF screenings will come alive at Cinema 21, Cinemagic, Regal Lloyd Center Mall, Pioneer Place Cinemas, Newmark Theatre of the Portland Center for the Performing Arts, World Trade Center, and Lake Twin Cinema in Lake Oswego. This year, we welcome a host of new sponsors, too. The Bank of Lake Oswego and City of Lake Oswego are enthusiastic partners in engaging new audiences there. The Safeway Foundation and the James F. and Marion L. Miller Foundation’s ­support are helping develop our Global Classroom screenings for high school students and teachers, as well as broader ­family programming. Among many new sponsors are SP Newsprint, Fox Networks, Lamar Advertising, Portland General Electric, and Hong Kong Economic & Trade Office, San Francisco. They join the dozens of amazing sponsors who have ­supported the Festival for many years and whom we hope you will let know that their investment in the Festival is recognized­ and appreciated. As always, we invite you to vote in the Alaska Airlines Audience Award balloting and give us feedback on your Festival experience. Enjoy!

BILL FOSTER, Director Northwest Film Center festival sponsors 35th portland international film festival 3

(Philippines); Alexandru Maftei, Hello! How DOCUMENTARY VIEWS screen six of this year’s selections for high Are You? (Romania); Marian Crisan, Morgen school students and teachers at special program highlights This year’s Festival boasts 20 fresh perspec- (Romania); Sivaroj Kongsakul, Eternity weekday times in the Whitsell Auditorium. tives on the world we live in and the fasci- (Thailand); Tolga Karaçelik, Toll Booth To make reservations for these free screen- nating people and stories that surround us. (Turkey); Kimi Takesue, Where Are You Taking ings or for more information, please call This year’s nonfiction selections include: NEW DIRECTORS Me? (US); Bess Kargman, First Position (US); the Film Center at 503-221-1156 or email A Bitter Taste of Freedom (US); Darwin Among the surprises in PIFF every year and David Gelb, Jiro Dreams of Sushi (US). [email protected]. Groups of 10 or more (Switzerland); The Extraordinary Voyage is finding exciting new cinematic voices. may purchase tickets to regular Festival (France); First Position (US); Gerhard Richter While this year’s Festival has its share of new screenings (Thursday–Sunday only) by (Germany); Grandma, A Thousand Times works by established masters—Jean-Pierre contacting the Advance Ticket Outlet at (Lebanon); How Much Does Your Building and Luc Dardenne, Béla Tarr, Jafar Panahi, 503-276-4310, beginning February 1. Weigh, Mr. Foster? (Great Britain); The Island Robert Guédiguian, Nanni Moretti, Kaneto OSCAR SUBMISSIONS President (US); Jiro Dreams of Sushi (US); Shindo, Lawrence Kasdan, Johnnie To, This year’s Festival features the Portland José y Pilar (Portugal); Last Days Here (US); Mohammad Rasoulof, Michel Ocelot, Tran premieres of 20 films submitted for the Best Pelotero (US); Pink Ribbons, Inc. (Canada); Anh Hung, and Leá Pool, to name but a Foreign Language Film Oscar, including: El Sicario, Room 164 (US); Somewhere FILM FOR FAMILIES few—and new films by maturing talents like Breathing (Austria); Bullhead (Belgium); Between (US); This is Not a Film (Iran); Film lovers from nine to 90 will be charmed Hong Sang-Soo, Jean-Marc Vallée, Nadine Monsieur Lazhar (Canada); Habanastation To Be Heard (US); Unfinished Spaces (US); by the award-winning films suitable for Labaki, Mia Hansen-Løve, Cristi Puiu, (Cuba); Declaration of War (France); Patagonia Where Are You Taking Me? (Uganda/US); family filmgoing. Family-friendly Festival Joseph Cedar, Jiang Wen, and Fernando (Great Britain); Attenberg (Greece); The Turin and Whore’s Glory (Austria). Our thanks go films include: Pelotero (US), Habanastation León de Aranoa, discovering new directors Horse (Hungary); Volcano (Iceland); Abu, Son to The Paul G. Allen Family Foundation (Cuba), Monsieur Lazhar (Canada), Jiro Dreams is part of the Festival’s mission too. If you of Adam (India); Footnote (Israel); Postcard for their support of these films. of Sushi (US), Tales of the Night (France), are looking toward the next generation, the ( Japan); Where Do We Go Now? (Lebanon); Somewhere Between (US), First Position (US), intriguing new works by two dozen first- The Orator (New Zealand); Woman in A Cat in Paris (France), Grandma, A time feature filmmakers reveal a wealth of the Septic Tank (Philippines), José y Pilar Thousand Times (Lebanon), To Be Heard (US), new international talent. Our thanks to (Portugal), Morgen (Romania); The Front Line and Abu, Son of Adam (India). Wieden+Kennedy for their support. (South Korea); and Once Upon a Time in PIFF AFTER DARK Among the filmmakers and films eligible Anatolia (Turkey). Our late-night series—for the nocturnally for this year’s New Director Audience inclined whose cinematic tastes are adven- Award are: Pablo Giorgelli, Las Acacias SHORT CUTS turous—offers special treats for devotees of (Argentina); Paula Siero, The Water at the This year’s Festival features six programs genre films that push the boundaries. End of the World (Argentina); Justin Kurzel, featuring 46 memorable snapshots—animated, Programmed by Dan Halsted, master of AUDIENCE AWARDS Snowtown (Australia); Karl Markovics, the Grindhouse Film Festival, the screen- live action, documentary, experimental, and As always, you get to be the judge. Let us Breathing (Austria); Michael R. Roskam, ings will take place at Cinema 21 and will narrative—from near and far. Special thanks know your opinions about the films in this Bullhead (Belgium); Charly Braun, Beyond start at 11:30pm. The program includes: to LAIKA for supporting these programs. year’s Festival. Ballots will be available at the Road (Brazil); Julia Murat, Found Headhunters (Norway), Let the Bullets Fly the screenings for you to rate and comment Memories (Brazil); Ian Padrón, Habanastation (China), Kill List (Great Britain), and on the films, or you can vote online at (Cuba); Mikkel Nørgaard, Clown: The Movie Invasion of the Alien Bikini (South Korea). ­oregonlive.com. At the conclusion of the (Denmark); Jean-Loup Felicioli and Alain Festival, the results of the balloting will be Gagnol, A Cat in Paris (France); Yasemin GLOBAL CLASSROOM announced, with Audience Awards for Samdereli, Almanya—Welcome To Germany VISITING ARTISTS The Festival’s Global Classroom program Best Film, Best Director, Best Documentary, (Germany); Rúnar Rúnarsson, Volcano Thanks to Alaska Airlines and Delta Airlines serves as a point of introduction for the Best Short, Best New Director, and other (Iceland); Salim Ahamed, Abu, Son of Adam for helping to bring our guests and to our next generation of cinema lovers by enrich- special recognitions. We also welcome your (India); Alice Rohrwacher, Corpo Celeste hotel partners—Hotel deLuxe, Hotel Modera, ing the high school classroom experience feedback on your PIFF experience and (Italy); Tusi Tamasese, The Orator (New and Heathman Hotel—for their hospitality and broadening young people’s under- how we can make next year’s Festival better. Zealand); Jannicke Systad Jacobsen, Turn in providing guest accommodations. standing of our world through film. Me On, Dammit! (Norway); Sameh Zoabi, With support from the James F. and Man Without a Cell Phone (Palestine/Israel); Marion L. Miller Foundation, Oregon Arts Marlon Rivera, Woman in the Septic Tank Commission, and others, the Festival will 4 35th portland international film festival

Payment Options THE FESTIVAL SCENE TICKETs Visa, MasterCard, American Express, and Discovery cards are accepted at the Advance Nel Centro once again plays host to the General: $10 Ticket Outlet and online. For day-of-show PIFF Lounge (a.k.a. Nel Centro’s bar), our Members: $9 sales, theater box offices accept cash or designated hang-out space, where you can Student/Senior (62+): $9 check only. Online and phone orders have a $1-per-ticket handling fee. Opening Night grab a quick bite before or after a screen- Children (12 and under): $7 ing, enjoy featured drink specials from Film & Party tickets have a $3-per-ticket THE FESTIVAL PROGRAM group our Festival partners, and chat up fellow (10 or more, Thursday–Sunday handling fee. screenings only): $7 The Festival program is arranged by country, Festival-goers whom you’ll find pouring with showtimes and locations listed at the over their schedules. With a number of rush tickets end of each film description. Our programs PIFF functions taking place at Nel Centro Silver Screen Club Even if advance tickets are no longer of short films follow the country listings. throughout the Festival, there’s likely to be ­available, rush tickets are offered at each Friend ($75 annually): $7 (one discount per To find a film by title, please see the film a PIFF crowd spilling into the bar on any theater’s box office as soon as the number film, per screening) index on page 33. The master schedule on given night. Check out the Festival’s schedule of unoccupied passholder seats has been page 43 lists each day’s films, showtimes, board for daily updates, located at the Director ($300 annually), Producer determined—typically a few minutes before and locations. Please note that a few films ­restaurant’s entrance. The PIFF Lounge is ($450 annually), Benefactor ($1,300 showtime. The rush line may start any- have only one showing. Sometimes, for open February 10–25, Sunday–Thursday annually), and Sustainer ($2,500 annually) where from 15 minutes to two hours prior reasons beyond our control, screenings 4pm–11pm and Friday–Saturday 4pm–12am. members receive free admission with their to the screening.­ Consider trying the PIFFtini this year! valid Silver Screen Club cards may be changed, rescheduled, or canceled. Festival Passes For the most up-to-date information, call In between movies, beers, and great food, Opening Night Film & Party: $25 the Advance Ticket Outlet at 503-276-4310, An allotment of seats is reserved at every stay connected through PIFF’s social media General; $20 Silver Screen Club Friend screening for passholders. Passholders check the Festival schedule board at outlets. Schedule updates, visiting artist and Portland Art Museum members Nel Centro or the Whitsell Auditorium, are guaranteed admission until 10 minutes information, party details, and discussion Please note: Opening Night tickets are prior to showtime or until the passholder or log on to the Festival’s website at threads can all be found on the Northwest f­estivals.nwfilm.org/piff35. ­available at the Advance Ticket Outlet or allotment has been reached. Early arrival is Film Center website and Facebook, Twitter, at the PCPA box office, 1111 SW Broadway, recommended; although exceedingly rare and Tumblr pages. Visit the PIFF microsite: (open 10am–5pm Monday–Saturday). in occurrence, passholders may not always festivals.nwfilm.org/piff35/updates. Tune in Also at all Ticketmaster outlets, by phone be able to attend a film at their first choice to our Tweets: search #PIFF35 and follow at 800-745-3000, or online at ticketmaster.com of screening times. @nwfilmcenter. Follow us on Facebook: (subject to additional service charges). search Northwest Film Center. Get filled Passes are available exclusively as a benefit of Silver Screen Club membership with the in on our Tumblr page: search Northwest Purchase Methods Film Center. Maybe you’re less of a talker Northwest Film Center at the Director level and more of a looker? Visit our Flickr page Advance tickets go on sale beginning and above. Get more from your PIFF expe- and browse Festival photos by searching Wednesday, February 1. rience as a member with year-round access the website. to Northwest Film Center screenings. No Online: Daily, 24 hours at www.nwfilm.org. more waiting in box office lines or keeping Walk-up: Daily, 12–6pm, February 1–25 track of individual tickets! in person at the Advance Ticket Outlet in the lobby of the Portland Art Museum’s Festival Vouchers Mark Building, 1119 SW Park Avenue. Please be aware that a voucher may not be used at a theater for admission. Vouchers Phone: Daily, 12–6pm, February 1–25 at must be redeemed at least one day in 503-276-4310. advance for a specific film screening at the Day-of-show: On the day of a screening, Festival’s Advance Ticket Outlet. Tickets tickets (if still available) can be purchased are subject to availability. You’ll know it’s a at the Advance Ticket Outlet until three voucher because it says VOUCHER at the hours prior to showtime, then at the top, as well as THIS IS NOT A TICKET. ­specific theater’s box office beginning We recommend exchanging vouchers at as early as 30 minutes prior to showtime. your earliest convenience. 35th portland international film festival 5

other locations Festival Venues Opening Night Party/PIFF Lounge Out-Of-Town Visitors Festival Policies Nel Centro Restaurant Following up on the success of our expan- 1408 SW Sixth Ave at Columbia We’re glad you’re here! We recommend sion to the East Side last year, this year staying with one of the Festival’s hotel The 10-Minute Rule you’ll find PIFF screenings in all four quad- Advance Ticket Outlet sponsors for great access to Festival venues. rants of the city and Lake Oswego too! 1119 SW Park Ave at Main The Hotel Modera, adjoining the Festival’s Seats for advance ticket and passholders Enjoy the Festival in the Northeast at (inside Portland Art Museum’s Mark Building) social hub Nel Centro, is a convenient and are held until 10 minutes before show- time, when any unfilled seats are Regal’s Lloyd Mall Cinema, in the Please note: As a security policy, the comfortable choice for those who want to Southeast at Cinemagic, in the Northwest be in the middle of everything PIFF. The released to the public. Thus, advance Portland Art Museum and Regal Cinemas tickets or passes ensure that you will not at Cinema 21, and in the Southwest at require a bag check. Food and drink are Hotel deLuxe and the Heathman Hotel are have to wait in the ticket purchase line but Regal’s Pioneer Place Stadium, the World not allowed in the Whitsell Auditorium or also conveniently located downtown and do not guarantee a seat in the case of arrival Trade Center Theater, and of course our the World Trade Center Theater. We appre- near all the action. own Whitsell Auditorium inside the after the 10-minute window has begun. Your ciate your observance of these policies and For lodging, dining, and other activities Portland Art Museum. Opening Night will early arrival also helps get screenings started your assistance in keeping the theaters as near our Lake Oswego venue, visit take place at the Newmark Theatre, “PIFF promptly. We appreciate your understanding. clean as possible. Concession items are www.sayhellotolo.com. After Dark” will take place at Cinema 21 Advance ticket holders who arrive within available for purchase at Regal Cinemas, the 10-minute window but are not seated this year, and for seven days, the Festival Cinema 21, Cinemagic, Lake Twin Cinema, For those looking for other things to do will also make its debut appearance at the besides PIFF, Travel Portland is an excel- may exchange their tickets for another and the Newmark Theatre. No outside food screening at the Advance Ticket Outlet or Lake Twin Cinema in Lake Oswego. or beverages allowed in any of the theaters. lent resource for everything happening in Portland. www.travelportland.com/visitors. obtain a cash refund at the theater.­ There Find us at the addresses below and check Thank you. are no refunds or exchanges for arrivals out page 42 for a map including public Need help getting around? Portland has after showtime or for missed screenings. transit options. For parking information, great public transportation, and you can please visit the Festival website: Patron Courtesies find your way by visiting Trimet at festivals.nwfilm.org/piff35. www.trimet.org. Separate Admission We appreciate your assistance in helping And for getting here and back, we highly Each screening is a separate admission. C21 Cinema 21 to keep the Festival pleasant and fun for all. recommend patronizing our Festival airline Theaters are cleared between screenings in 616 NW 21st Ave at Hoyt Our staff and volunteers are on site to sponsors, Alaska Airlines and Delta Airlines. most cases. Advance ticket holders for a film immediately following the one they are CM Cinemagic assist, and we ask that all audience members observe Festival etiquette. attending will be guaranteed admission to 2021 SE Hawthorne Blvd at 20th the second film but cannot save a particular LT Lake Twin Cinema • All seats are general admission, and seat disability Services seat. You must take your belongings with 106 N State Street, Lake Oswego saving is not permitted. you. We appreciate your understanding. The Festival is committed to accommodating NT Newmark Theatre • Please turn off cell phones and other devices during film presentations. audience members with disabilities. We allow 1111 SW Broadway at Main Non-Festival Tickets early seating for persons with disabilities and Passes LM Regal Lloyd Mall Cinema • Please complete and return your Audience when logistically possible. Please make Awards ballot immediately following Portland Art 2320 Lloyd Center Mall yourself known to the theater house manager Film Center scrip and comps, each screening in the designated boxes. (inside Lloyd Center Mall) for assistance. All venues are wheelchair Museum passes, Regal, student, and other regular passes or discount admission tickets PP Regal Pioneer Place Stadium • While waiting in line, please be considerate accessible and have wheelchair-accessible of our neighbors and local businesses. restrooms. The Whitsell Auditorium, Regal are not valid during the Festival. 340 SW Morrison Street Cinemas, and Newmark Theatre offer (inside Pioneer Place Mall) • Please refrain from smoking near Festival ­hearing assistance devices. The Fine Print WH Whitsell Auditorium doorways. All orders are final. There are no refunds • To expedite theater cleaning and seating, 1219 SW Park Ave at Madison or exchanges except as noted. If a screening (inside the Portland Art Museum) please discard your waste in the appropriate is canceled, tickets must be returned to the containers when exiting the theater. WTC World Trade Center Theater Advance Ticket Outlet within a week of 121 SW Salmon St • Be aware that many lines are outside of the canceled screening date for refund or the theaters and dress appropriately. exchange. Processing fees are non-refundable.

6 35th portland international film festival

OPENING NIGHT

SALMON FISHING IN THE YEMEN (Great Britain) Lasse Hallström Opening Night Film & party

With a script from Simon Beaufoy (Slumdog Millionaire, 127 Hours) based on Paul Torday’s The Northwest Film Center, with support from The Paul G. Allen Family bestselling novel, this witty romantic comedy revolves around the effort to make the impos- Foundation, invites you to join us after the screening for our Opening Night Party, sible possible. Fred (Ewan McGregor), a stuffy government fisheries scientist, is reluctantly hosted by Nel Centro and the Hotel Modera. Expanding upon last year’s event, drawn into the seemingly ludicrous effort by a fishing-obsessed Arab sheik (Amr Waked) to we’ll kick off the Festival with delicious offerings from restaurateur David introduce British salmon into the highlands of the Yemen. At first resistant, he is pressured Machado, enjoy complimentary beverages from Pyramid Breweries and Firesteed into going along with the plan at the behest of senior diplomats and the prime minister’s PR maven (Kristin Scott Thomas), who are all intent upon gaining the sheik’s favor. Urged on Cellars, mark the return of the PIFFtini, and enjoy the sounds of Swing Papillon by the sheik’s British rep, Harriet (Emily Blunt), Fred is ultimately won over by the sheik’s as we roam between the restaurant, hotel lobby, and (new this year) tented patio passion for the sport, which he believes brings him “closer to God” and hopes it will do the courtyard. Opening Night Film & Party Tickets: $25; $20 Silver Screen Club Friend same for his countrymen. As the mismatched Fred and Harriet embark upon their task, a and Portland Art Museum members. different sort of sport gains their interest. (112 mins.) Selected Filmography: My Life as a Dog (85), What’s Eating Gilbert Grape (93), The Cider House Rules (99), Chocolat (00), A Unfinished Life (07), Hachi: A Dog’s Tale (09). 2/9 7:30pm Newmark Theatre Sponsored by Hotel Modera and Nel Centro. 35th portland international film festival 7

ALBANIA argentina AUSTRALIA

FORGIVENESS OF BLOOD LAS ACACIAS THE WATER AT THE SNOWTOWN Joshua Marston Pablo Giorgelli END OF THE WORLD Justin Kurzel Paula Siero Winner of the Silver Bear for Best Rubén is a lonely, middle-aged truck driver During the 1990s, a dozen people were Screenplay at the Berlin Film Festival, who for years has been hauling timber Sisters in their twenties, Laura and Adriana murdered in an area north of Adelaide. Forgiveness of Blood is set in a small Albanian from Asunción, Paraguay, to Buenos Aires. live together in a dingy Buenos Aires All were killed by the same group of people, town where the old and the new are never But the journey he’s about to make today apartment. When Adriana is diagnosed under the leadership of John Bunting, far apart. Heading to his job, Mark takes will be different. At the behest of his boss, with a terminal illness that gives her only Australia’s most notorious serial killer. a shortcut across a neighbor’s property. he is to pick up Jacinta—who arrives with weeks to live, she makes a final request of With harrowing authenticity, Kurzel’s In a place known for its centuries-old blood Anahí, her eight-month-old daughter—and her sister, namely that she travel with her account of how this happened and what feuds, the transgression results in murder. take them to a new life in Argentina. Used to the literal end of the earth—Ushuaia, at brought the killings to an end is disturbingly Ancient Balkan code of law allows for ret- to his solitary journey, he is not looking the southern tip of Argentina. The problem memorable. The central character is ribution, forcing Mark into hiding, while forward to the company. But as the miles is that the paltry income Laura earns by 16-year-old Jamie, who is taken under the his teenage son Nik—more interested in go by, despite their difficulties in commu- working at a pizzeria isn’t enough to pay charismatic Bunting’s wing and gradually motorcycles, the internet, and his girlfriend nicating, they come to know each other for the trip. Then she hooks up with Martín, manipulated into becoming one of his than in old rivalries—must confine himself until, arriving at their destination, both an alcoholic accordion player, and the gruesome gang. Jamie has been a victim in at home to escape the avenging family. It is share the same desire: they don’t want the two embark on an intense liaison while the past, and although he is in a sense still then up to Nik’s sister, a promising student, journey to end. Giorgelli’s poignant film scheming to raise funds for the voyage— a victim, Bunting manages to make him to quit school and somehow keep her was the winner of the Camera d’Or for until, that is, Martín develops an attraction feel as if he is powerful for the first time father’s business alive. Weaving a story of Best First Feature at the Cannes Film to Laura’s dying sister. Mixing humor and in his life through hate-fueled, righteous justice, family loyalty, outdated tradition, Festival and the Premio Horizontes Prize heartfelt drama, Siero takes viewers on a rhetoric empowering for those who have and personal survival into a riveting for Best Latin American Film at the San journey of their own—into the complicated little else. One of the most highly praised drama, Marston explores the collision of Sebastián International Film Festival. world of two sisters embracing life even as Australian films of the decade, Snowtown generations in a society at once ancient (85 mins.) they face death. (84 mins.) was the ­winner of the Jury Prize at the and modern. (109 mins.) First Feature. First Feature. Cannes Film Festival. “A sincere examina- tion of violence that is no cheap slasher Filmography: Maria Full of Grace (04). 2/11 8:30pm Cinemagic 2/21 6:15pm Pioneer Place 5 movie.”—The Guardian. (120 mins.) Mature 2/10 8:30pm Cinemagic 2/13 8:45pm Lloyd Mall 5 2/23 6:30pm Cinemagic audiences. 2/12 5:00pm Lloyd Mall 5 2/15 8:30pm Lake Twin Cinema 2/25 6:00pm Lloyd Mall 6 First Feature. 2/24 6:30pm Lloyd Mall 6 2/25 8:30pm Whitsell Auditorium 8 35th portland international film festival

AUSTRIA BELGIUM

BREATHING WHORE’S GLORY BULLHEAD THE KID WITH A BIKE Karl Markovics Michael Glawogger Michael R. Roskam Jean-Pierre and Luc Dardenne

Nineteen-year-old Roman Kogler lives Glawogger was awarded the Special Jury In an unlikely setting for organized crime, The Dardennes’ latest film centers on in a grim juvenile detention center on the Prize at the Venice Film Festival for the third the farmlands of Flanders, Bullhead Cyril, a restless 11-year-old boy placed in a outskirts of Vienna for having accidentally part of his observational trilogy—preceded plunges us into the corrupt underbelly of a children’s home after being abandoned by killed a minor. After a series of disastrous by Megacities and Workingman’s Death—on mafia-run meat industry, where illegal use his father. Unwilling to face the fact that job tryouts, his compassionate parole globalization and its impact on lives around of growth hormones on cattle runs rampant. parents are imperfect people, Cyril runs ­officer finds him a place driving a truck for the world. Focusing on the uncertain lives After a detective is murdered, Jacky, a away to his former apartment block in the city morgue, working on the team that of prostitutes in Thailand, Bangladesh, and ­grotesquely muscular man supped up on search of both Dad and his abandoned collects cadavers, a job that gives Roman Mexico, the jury praised its “stunning visual steroids, becomes suspicious of a potential bicycle. Rebuffed by his father, he meets a sense of purpose for the first time in his eloquence and precision,” which produces partnership with a rival manufacturer. Samantha, a kind hairdresser who helps to life. After a surprising turn of events on the imagery whose beauty and emotional Compounding his weariness is the presence retrieve his bike and eventually agrees to job, Roman is compelled to seek out the engagement almost match that of fiction of Diederik. Flashbacks into Jacky’s child- become his weekend guardian. But literally birth mother who abandoned him as a cinema. We see women speaking freely hood soon reveal the two men are linked and figuratively, Cyril isn’t out of the child. Perhaps the years of holding his about all aspects of their work, including by a physically traumatic, life-altering woods just yet. Shooting once more in the breath for life to start will be over. Markovics’ aging and the role of religion as a form of ­tragedy. A fascinating genre mash-up— Belgian seaport town of Seraing, the (star of the Oscar-winning Counterfeiters) support, as well as customers who have a gritty, gonzo crime thriller with quirky Dardennes have created another poetic, film is this year’s Austrian submission for their say about why they visit prostitutes. humor, harrowing suspense, and elements universally resonant drama about parents, the Best Foreign Language Film Oscar and Avoiding clichés and easy judgments, of Frankenstein and Dr. Jekyll and Mr. Hyde— children, and moral responsibility. Winner was the winner of the Best European Film, Glawogger reminds us about the price of Roskam’s film is this year’s Belgian sub- of the Grand Jury Prize at this year’s Directors’ Fortnight, at the Cannes Film commerce: for all the money these women mission for the Best Foreign Language Cannes Film Festival. (87 mins.) In French Festival. (90 mins.) may have received, their lives are not rich Film Oscar. (124 mins.) In Dutch and with English subtitles. First Feature. in anything but stories. (119 mins.) French with English subtitles. Selected Filmography: The Sons (92), La Promesse (96), Rosetta (99), The Child (05), Lorna’s Silence (08). 2/10 6:15pm Lloyd Mall 6 Selected Filmography: Megacities (98), France, First Feature. Here We Come! (99), Slugs (03), Workingman’s 2/12 8:00pm Cinemagic 2/11 12:30pm Whitsell Auditorium 2/17 6:15pm Whitsell Auditorium Death (05), Slumming (06), Kill Daddy Good Night 2/14 6:00pm Lake Twin Cinema 2/14 8:45pm Whitsell Auditorium 2/19 7:45pm Lloyd Mall 6 (09), Contact High (09). Sponsored by the Austrian Consulate General Sponsored by Southpark Seafood Grill. in Los Angeles. 2/23 8:15pm Cinema 21 Sponsored by the Austrian Consulate General in Los Angeles. 35th portland international film festival 9

BOSNIA BRAZIL

CIRKUS COLUMBIA BEYOND THE ROAD FOUND MEMORIES THE SILVER CLIFF Danis Tanovic Charly Braun Julia Murat Karim Aïnouz

After living in exile in Germany for On the ferry from Buenos Aires to Invested with elements of magic realism, Violeta has it all: a loving husband, a 20 years, Ditko returns to his hometown in Montevideo, twenty-something Argentine Found Memories (“Stories only exist when ­beautiful child, a fulfilling career, and a Communist-free (1991) Yugoslavia to start banker Santiago meets Juliette, a free- remembered”) is a fable set in a forgotten new apartment near the beach. Like any a new life. He comes back in style: sexy spirited Belgian tourist. He is headed to town steeped in a forgotten time. Every normal day, she dives into her routine, gets girlfriend Azra, new Mercedes, loads of claim some inherited property, she to meet morning, Madalena makes bread for ready for work, kisses her husband good- cash, and a precious cat named Bonny. But up with her boyfriend at a hippie commune. Antonio’s old coffee shop, crosses the rail- bye, and heads off on her bike commute he also has revenge on his mind: his primary The materialist opposites impulsively decide ways where no trains have passed for through the hectic city of Rio de Janeiro. target is wife Lucija who failed to follow to road trip together up the Uruguayan years, cleans the cemetery gate, and listens The tides violently change when she him to Germany when he was forced to coast—falling in love with it and each other to the priest’s sermon before sharing lunch receives a stunning voicemail from her flee. He kicks her out of her/their house along the way. Braun captures the airy with the other old villagers. Clinging to husband. He is leaving and never plans on while trying to reconnect with his now restlessness of youth in his beguiling road the image of her dead husband and living returning. In shock and confusion, Violeta 20-year-old son, Martin, who is far more movie, as well as gorgeous panoramic in her memories, Madalena is awakened leaves work and floats heartbroken through interested in Azra than in him. But soon coastal vistas and backcountry punctuated by the arrival of Rita, a young photogra- the streets. Inspired by the song “Eye to war reaches the town, and once again with an agglomeration of whimsical road- pher attracted to a ghost village where Eye” by Brazil’s celebrated Chico Buarque, overriding life choices must be made. side attractions and quirky Uruguayan time seems to have stopped. They forge a Aïnouz’s beautifully shot film draws visual Tanovic uses his absurdist tale to illustrate locals. “Like all good road movies, this deep relationship, which builds to have a parallels between the ocean, the lumines- the beginnings of the bloody internecine one melds the physical journey with inner profound effect on both of their lives, as cent city streets, and the characters’ inner strife in Bosnia, making clear both the discovery... Braun brings a heady affection well as on the rest of the aging villagers. turmoil as he portrays the brave 24-hour incredulity and opportunism set in motion for his characters, melding French and “A gentle, poetic film in which one can odyssey of a wounded woman mourning by the dissolution of Yugoslavia. Winner American and South American influences delight in getting lost, if just for a little her lost love. Winner of the Best Director of the Audience Award at the Sarajevo to achieve a surprising freshness.”—Variety. while.”—Toronto International Film Festival. Award at the Rio de Janeiro Film Festival. Film Festival. (113 mins.) (85 mins.) In Spanish, French, and English (98 mins.) (85 mins.) Filmography: No Man’s Land (01), Hell (05), with English subtitles. First Feature. Filmography: Madam Sata (02), Love For Sale (06), Triage (09). I Travel Because I Have To, I Come Back Because I First Feature. 2/11 6:00pm Lloyd Mall 6 Love You (09). 2/13 6:00pm Pioneer Place 5 2/11 8:30pm Lloyd Mall 5 2/13 8:45pm Pioneer Place 5 2/18 2:30pm Cinemagic 2/14 6:15pm Pioneer Place 5 2/16 8:45pm Cinemagic 2/17 8:45pm Cinemagic 2/21 8:45pm Lloyd Mall 6 2/16 8:45pm Lloyd Mall 6 Sponsored by Hotel deLuxe. 2/19 2:30pm Cinema 21 Sponsored by Delta Airlines. 10 35th portland international film festival

CANADA CHILE

CAFÉ DE FLORE MONSIEUR LAZHAR PINK RIBBONS, INC. BONSAI Jean-Marc Vallée Philippe Falardeau Léa Pool Cristián Jiménez

Blending smooth electro beats with the When a group of Montreal students finds Breast cancer is the most common form of Reading Flaubert and Proust with your retro sounds of big band strings and horns, that their beloved teacher has committed cancer in women. As one of the scientists girlfriend after passionate lovemaking… the music sets the tone for a story about suicide, the shock is traumatizing. Her interviewed puts it, “The most important what more could a young intellectual love in its many forms. The film opens in replacement, Algerian refugee Bachir risk factor in getting breast cancer is being want? Adapting the award-winning novel present-day Montreal, where Antoine, a Lazhar, now has the doubly difficult task a woman.” Léa Pool’s eye-opening film pulls by Alejandro Zambra, Jiménez’s effortlessly successful DJ in his early ’40s, has not only of reaching his distraught students while the curtain back on the industry surround- shimmering, sensually Latin story chroni- a dream job and home but also two beautiful securing his own asylum from past tragedies ing breast cancer awareness and exposes cles the lengthy love affair between two young daughters and the love of his life, in his homeland. Falardeau tackles both the truth of how little money actually goes college students, Julio and Emilia. The two Rose, by his side. Life is not as rosy for the threads with a delicate touch, bringing wit towards research while corporations fatten initially meet after a class in which Julio occasionally foul-mouthed, working-class and warmth to the classroom scenes and their bottom line. Breast cancer has become lies about reading Proust; fast-forwarding Frenchwoman Jacqueline who is raising granting the political appropriate gravity. the poster child of corporate cause-related eight years into the future, Julio is still her mentally challenged seven-year-old As Bachir and his students come to terms marketing campaigns. Countless women spinning tales about his literary prowess to son alone in 1967 Paris. These two stories with loss, guilt, and other issues that life and men walk, bike, climb, and shop for his latest lover, Blanca, while staying up each unspool side by side, bound together by has prematurely thrown at them, insight, the cure. Each year, millions are raised in night writing a novel about his love affair love—euphoric, obsessive, tragic, youthful, empathy, and eloquence shine through. the name of breast cancer, but where does with Emilia. With a structure that revolves timeless love. “Bracing, daring, and “With Falardeau’s gentle humor and elegant this money go and what does it actually loosely around Proust’s Remembrance of entirely invigorating. A word of advice, touch, Monsieur Lazhar tells a gorgeous achieve? Pink Ribbons, Inc. shows how the Things Past, Jiménez’s sure-handed synthesis though: when the credits start rolling, story about a man who transcends his own devastating reality of breast cancer, which of comedy, melancholy, and romantic remain seated.”—Now, Toronto. Winner grief and tragedy to help his young students marketing experts have labeled a “dream ­sensuality keeps us constantly off-balance of the Best Canadian Film Award at the process death and loss in their lives.” cause,” becomes obfuscated by a shiny, until Bonsai ’s bittersweet conclusion. Toronto International Film Festival. —Sundance Film Festival. This year’s pink story of success. “There are plenty of “A generational echo resonates in the film. (120 mins.) Canadian submission for the Best Foreign women who’ll want to see it. And they’ll It is a tribute to the act of lying, as a way to Filmography: Black List (95), Los Locos (97), Loser Language Film Oscar. (94 mins.) Ages 13+. be seeing red, not pink.”—Variety. (98 mins.) discover the truth.”—Cristián Jiménez. Love (99), C.R.A.Z.Y. (05), The Young Victoria (09). Filmography: The Left-Hand Side of the Fridge (00), Selected Filmography: Anne Trister (86), (95 mins.) 2/11 5:30pm Lake Twin Cinema Congorama (06), It’s Not Me, I Swear! (09). La demoiselle sauvage (91), Lost and Delirious (01), Filmography: Optical Illusions (09). The Blue Butterfly (04), La dernière fugue (10). 2/13 6:00pm Lloyd Mall 5 2/11 3:00pm Lake Twin Cinema 2/15 6:15pm Lloyd Mall 5 2/20 7:30pm Cinema 21 2/13 6:15pm Lloyd Mall 6 2/22 8:30pm Cinema 21 2/18 8:00pm Lloyd Mall 6 Sponsored by Firesteed Cellars. 2/15 8:45pm Pioneer Place 5 2/25 3:30pm Whitsell Auditorium 2/24 6:15pm Cinema 21 35th portland international film festival 11

CHINA CUBA

THE LIFE OF FISH LET THE BULLETS FLY MR. TREE HABANASTATION Matías Bize Jiang Wen Han Jie Ian Padrón

At a house party, a handsome man wan- In remote 1920s Warlord China, a gang of Winner of the Jury Grand Prize at the Cuban director Ian Padrón presents his ders around catching up with friends he bandits, led by “Pocky” Zhang ( Jiang Wen), Shanghai Film Festival, Mr. Tree is at once first feature-length film as “a fictional story has not seen for some years. A travel writer hijack a train that happens to have the an offbeat character study about a village about reality.” Tracing the lives of two now based in Berlin, Andre appears to be ­destination town’s new governor on board. idiot who might just be a prophet and a sly, Cuban classmates with contrasting lives, living an exciting international life, and yet When the train crashes, the lone survivors comedic commentary on rampant urban- Padrón follows Mayito, a young boy whose something has drawn him back home to are the governor’s sleazy advisor (Ge You) ization in China. The film charts a year wealthy jazz pianist father showers him Santiago. As the night goes on, we realize and his wife (Carina Lau). Zhang, an hon- in the life of Mr. Shu (a.k.a. Tree), a man with privilege, who gets lost and wanders that a tragedy binds this group—an event orable outlaw, decides to pose as the new whose life allegorically mirrors the social blindly into the dangers of Carlos’ West that was also the impetus for Andre’s governor and share the fortune from the and economic development of his home- Havana neighborhood, La Timba. What departure from Chile years ago. Moreover, hijacking with the townspeople. But ruthless town. Shu loses his job after a workplace follows is a heartwarming journey of there is someone at the party he goes to mobster Master Huang (Chow Yun-Fat) accident, the start of events that offer friendship and inspirational discovery as great lengths to avoid. But she is the very aims to stop Zhang’s scheme, launching unique insight into the ties between local the selfish Mayito learns there are other person he most needs to see. The weight of an epic battle of both wits and bullets. As leaders, families, workers, businessmen, joys than having the latest PlayStation. missed opportunities hangs in the air, and action-packed as it is hilarious, Jiang Wen’s and even the past and future. “You’ve Featuring members of the internationally we are left to contemplate: if one could film is a throwback to the Hong Kong probably never seen a film from China renowned children’s theater company turn back time, would the outcome be any action heyday of the 1980s and ’90s, with quite like Han Jie’s gently absurd, somewhat La Colmenita, Padrón’s stylish film offers different? Winner of the Spanish Goya a nod to classic American westerns. The twisted social-romance-comedy: there’s a a telling portrait of the inequality in Cuban Award for Best Spanish Language Foreign highest-grossing domestic Chinese release bit of Fellini, a hint of Jia Zhangke (the society while telling a story about human Film and this year’s Chilean submission for ever, this comic western’s gun slinging, producer), and a lot that’s utterly original nature that resonates with viewers of all the Best Foreign Language Film Oscar. story twists, and sharp dialogue provide in this eccentrically inventive movie.” ages. This year’s Cuban submission for the (83 mins.) a highly entertaining ride. (132 mins.) —Vancouver Film Festival. (88 mins.) Best Foreign Language Film Oscar. Filmography: Sábado, una película en tiempo real Filmography: In the Heat of the Sun (94), Devils on Filmography: Walking on the Wild Side (06). (91 mins.) (03), Juego de verano (04), Lo bueno de llorar (06). the Doorstep (00), The Sun Also Rises (07), New 2/12 12:45pm Cinemagic First Feature. York, I Love You (09). 2/11 1:00pm Lloyd Mall 6 2/14 6:15pm Lloyd Mall 5 2/11 1:00pm Cinemagic 2/15 6:15pm Pioneer Place 5 2/18 11:30pm Cinema 21 2/18 3:00pm Cinema 21 2/13 8:30pm Lake Twin Cinema Sponsored by Nel Centro. 2/15 8:45pm Cinemagic Sponsored by French American International School. 12 35th portland international film festival

CZECH REPUBLIC DOMINICAN REP. DENMARK

IDENTITY CARD SURVIVING LIFE Jean Gentil CLOWN: THE MOVIE Ondrej Trojan Jan Svankmajer Israel Cárdenas, Laura Amelia Guzmán Mikkel Nørgaard

Prague, 1974. Four friends—Petr, Ales, “Legendary surrealist director Svankmajer Jean is an educated and devout Christian Frank and Casper have a plan. A canoe Popelka, and Mita—are about to come of returns with one of the warmest and funni- man, forced like many others to leave Haiti trip—with tents and minimal personal age in socialist Czechoslovakia. As with est films of his career. Eugene, seemingly to look for work in the Dominican Republic. hygiene—that the women won’t possibly all youths at age 15, they are required to content in his marriage and mundane His biggest virtue is his remarkably genteel want to go on. The trip’s agenda can then attend a ceremony at which they are to be career, finds himself repeatedly dreaming and dignified attitude in the face of rejec- be to find as much sex as possible. But issued identity cards. Officially, this is a of a mysterious beautiful woman. Seeking tion and discrimination. Having failed to when Frank discovers that his girlfriend is milestone in the life of citizens; in reality, the help of a psychoanalyst to explain find work in Santo Domingo, he sets out pregnant and, doubting his capabilities as however, it’s a document that the police can this phenomenon, he finds himself torn into the incredibly lush countryside, only a father, hasn’t told him, he brilliantly takes use to humiliate and manipulate young between his erotic dream life and the waking to find himself pushed further into loneli- her young nephew on the trip to bond and rebels at their convenience. Having turned world. This being Svankmajer, complete ness and desperation. Cárdenas and prove his parental capabilities. Based on a up in jeans and, even more remarkably, with trademark mix of live action with ani- Guzmán create an intimate portrait of a popular Danish television comedy, Clown without the ubiquitous pioneer neckties, mation and scabrous wit, Eugene surprises quiet soul searching for a better life in a was a massive commercial and critical hit the four boys immediately attract the his doctor by saying he doesn’t want to seemingly indifferent world. With its stun- in Denmark, a sort of ribald fusion of “The attention of the zealous policemen charged stop the dreams but rather wants to plunge ning landscape, naturalistic performances, Office” and The Hangover. “This is gutter with conducting the ceremony—a sign of deeper into his subconscious to spend and focus on character rather than societal comedy elevated to the level of high art, a things to come, as the boys’ unconventional more time with this woman of his injustice, this gentle film makes an inspir- laugh-till-it-hurts comedy of transgression hairstyles, love for western rock bands, and dreams.”—ICA, London. (105 mins.) ing, universal statement of the triumph of and moral degradation played out in front general unwillingness to conform to the Selected Filmography: Alice (88), Lesson Faust dignity. Winner of the Special Jury Mention of—and often involving—an 11-year-old all-encompassing melancholy and double (94), Conspirators of Pleasure (96), Little Otik (00), at the Venice Film Festival and the Special boy. A movie this wrong has seldom been standards of their parents’ generation Lunacy (05), plus two dozen shorts since 1964. Jury Award for Originality and Innovation this funny.”—Todd Brown, Fantasia Film ensure that they remain the object of 2/15 8:45pm Whitsell Auditorium at the Thessaloniki Film Festival. (84 mins.) Festival, Montreal. (88 mins.) Mature police attention. (137 mins.) 2/22 9:00pm Whitsell Auditorium In Spanish and Haitian Creole with audiences.­ Selected Filmography: Let’s All Sin Around (91), Sponsored by Lamar Transit Advertising. English subtitles. First Feature. Zelary (03). Filmography: Cochochi (07). 2/16 8:45pm Whitsell Auditorium 2/16 6:45pm Lloyd Mall 5 2/11 1:00pm Lloyd Mall 5 2/18 5:30pm Lloyd Mall 6 2/18 5:30pm Cinemagic 2/19 5:00pm Cinemagic 2/20 8:00pm Pioneer Place 5 Sponsored by KINKfm. 2/22 6:15pm Cinemagic Sponsored by Scandinavian Heritage Foundation and ScanDesign Foundation. 35th portland international film festival 13

EGYPT FRANCE

CAIRO EXIT A CAT IN PARIS DECLARATION OF WAR THE EXTRAORDINARY VOYAGE Hesham Issawi Jean-Loup Felicioli, Alain Gagnol Valérie Donzelli Serge Bromberg, Eric Lange

Issawi’s powerful story is set in contempo- An enchanting fable about looking past Romeo and Juliette face the ultimate test The magical Georges Méliès, one of the rary Cairo, where the struggles of a pair of appearances and cultivating unlikely loyalties when they discover their newborn child is celebrated heroes of Martin Scorsese’s new star-crossed lovers reflect on the many in times of need, A Cat in Paris turns the critically ill. Gathering friends and family, movie Hugo, was the creator of one of the social and cultural taboos that complicate streets of Paris into a delicately animated they confront the dark challenges as a form most unforgettable images in cinema—the survival. Amal is an 18-year-old Coptic watercolor study. Dino, a cat, lives a double of warfare. Donzelli infuses the story with Man in the Moon being poked in the eye girl living in the slums. Her Muslim boy- life. By day he lives with Zoe, whose mother unexpected verve using a host of cinematic by a rocket ship. Now, thanks to one of the friend Tarek is planning to leave on an ille- is a police detective; by night he sneaks out techniques, music, and heartbreaking per- most technically sophisticated restorations gal boat crossing to Italy. Amal tells Tarek the window to work with Nico, a slinky cat formances that result in an unexpected in film history, the original A Trip to the she is pregnant, but he gives her an ultima- burglar. Dino’s two worlds collide when he film about a contemporary couple who Moon can thrill audiences once again. This tum—come with him or have an abortion. has to team up with Nico to save Zoe from surprise even themselves with their ability fascinating documentary charts the film’s Despite her love for him, she rejects both a team of bumbling thieves plotting to to fight not only for the life of their child voyage from production in 1902 to the choices. She cannot bear to consider the steal the so-called Colossus of Nairobi. but for each other. “A joy to watch... Few astonishing rediscovery of a color nitrate future she faces as a poor woman in Egypt, A humorous love letter to classic noir films viewers will fail to be moved and charmed print in 2003 and its premiere at Cannes in reflected in the lives of her sister and best and the stylized wit of Pink Panther cartoons, by this tale of a parent’s worst nightmare... 2011. (60 mins.) Presented with the com- friend: one makes grave sacrifices so her children of all ages will root for the under- and to make it funny and romantic, with plete hand-painted color version of A Trip son can have a better life, while the other cats in this droll thriller, while the moody musical interludes, so that it plays like to the Moon, the first outer space adventure prepares for a surgery to feign her virginity cityscape and cool retro jazz soundtrack something Jacques Demy and François in the history of cinema, in which six so she can enter into a loveless marriage to will appeal to their elders. (70 mins.) Truffaut might have cooked up together.” members of the Astronomers’ Club set off an older, wealthy foreigner. But what to do? First Feature. —Screen International. This year’s French on an expedition to the moon, encounter (100 mins.) submission for the Best Foreign Language the Selenites and flee their King, and 2/10 6:15pm Cinemagic Filmography: American East (08), El Khorug (10). 2/11 3:30pm Cinemagic Film Oscar. (100 mins.) return home to a triumphant parade. (19 mins.) 2/17 8:45pm Whitsell Auditorium 2/16 6:30pm Pioneer Place 5 Filmography: The Queen of Hearts (09). 2/19 5:00pm Whitsell Auditorium Sponsored by TV5Monde and SP Newsprint. 2/10 8:30pm Whitsell Auditorium Filmography: Inferno (09). Sponsored by Alliance Française de Portland 2/10 8:45pm World Trade Center Theater and TV5Monde. 2/12 3:00pm Whitsell Auditorium Sponsored by TV5Monde. 14 35th portland international film festival

FRANCE (cont.)

THE FAIRY FREE MEN GOODBYE FIRST LOVE SNOWS OF KILIMANJARO Dominique Abel, Ismaël Ferroukhi Mia Hansen-Løve Robert Guédiguian Fiona Gordon, Bruno Romy The little-known stories of Muslim freedom Mia Hansen-Løve shows her talent for “Inspired not by the Hemingway novel Dom works the night shift in a small hotel fighters and a Paris mosque that sheltered ­capturing the agony and the ecstasy of but by a Victor Hugo poem, Guédiguian near the industrial seaport of Le Havre. Jews during World War II are woven into a adolescence in this perceptive, delicate returns to the working-class Marseille that One night, a woman arrives with no luggage gripping wartime espionage drama inspired portrait of a bright young woman in the inspired his Marius and Jeannette. Brimming and no shoes. Her name is Fiona. She tells by actual events. Younes, a young, unem- wake of her first romance. Fifteen-year-old with passion, humanity, and political con- Dom she is a fairy and grants him three ployed Algerian immigrant, survives Nazi- Camille (Lola Créton) is a serious, intensely viction, the film asks what it means to be wishes. Off on a whirlwind romp around occupied France by hawking black market focused girl who has joyously fallen in love socialist in the 21st century. Standing the town, two wishes come true, but then goods. Arrested by police, the apolitical and with cheerful Sullivan, an older boy who shoulder-to-shoulder with laid-off dock Fiona mysteriously disappears. Dom, now unaware Younes agrees to spy on the Paris reciprocates her feelings, mostly, but wants comrades, union rep Michel finds himself hopelessly in love, searches for her every- Grand Mosque and its shrewd imam who to be free to explore the world. When he jobless but faces the future with dogged where. “This delightfully off-kilter comedy is suspected of providing Jews with false leaves her to travel through South America, optimism. Then, for their anniversary, he seems to have been born without a cynical identification papers while feigning cordi- she is totally devastated. But over the next and his wife are presented with cash and bone in its body. The Tati-inspired physical alities with a Gestapo major. A dangerous eight years, she develops into a more fully tickets for an African dream ­holiday. But comedy and charming dance numbers abet cat-and-mouse game ensues when Younes formed woman, with new interests and a a shocking event leaves the couple trauma- an ingenious, whimsical tale... The retro befriends a charismatic cabaret singer with new love—and the possibility that she’ll be tized and causes Michel to ponder the attitude is further apparent in the recurrence a secret identity, prompting an awakening less defenseless when Sullivan enters her nature of solidarity and the fact that justice of the jazz standard ‘What a Difference to the terror and injustices at play and a life again. “Touchingly illuminating the for some can entail deprivation for others. a Day Makes,’ as well as the use of rear change of loyalties despite the extreme risks. indelible imprint that first romance leaves, Guédiguian revives the regionalist pride of ­projection in a road chase that may shock In a time of religious tension and ­valiant Hansen-Løve’s film also explores the hard- Marcel Pagnol and the socialist humanism some in its all-out recklessness.”—The resistance across the Middle East, Free Men won satisfaction of leaving the past behind.” of Jean Renoir, qualities that shine.”— Hollywood Reporter. (94 mins.) In French resonates as a powerful reminder of the —New York Film Festival. (101 mins.) London Film Festival. (107 mins.) with English subtitles. timeless struggle for liberation. (99 mins.) Filmography: All Is Forgiven (07), The Father of My Selected Filmography: Last Summer (81), Marius Filmography: Iceberg (08), Rumba (09). Filmography: Goodbye Happiness (94), Le Grand Children (09). and Jeannette (97), The Town is Quiet (00), My Voyage (04). Father is an Engineer (04), Army of Crime (09). 2/10 8:45pm Lloyd Mall 6 2/12 2:00pm Lloyd Mall 5 2/11 3:30pm Lloyd Mall 5 2/12 5:00pm Lake Twin Cinema 2/17 8:45pm Cinema 21 2/11 6:00pm Cinemagic 2/14 8:30pm Lake Twin Cinema 2/14 6:00pm Cinemagic Sponsored by TV5Monde. 2/13 8:45pm Lloyd Mall 6 2/16 8:30pm Lake Twin Cinema Sponsored by TV5Monde. 2/20 2:30pm Lloyd Mall 6 Sponsored by TV5Monde. Sponsored by TV5Monde. 35th portland international film festival 15

GERMANY

TALES OF THE NIGHT ALMANYA—WELCOME TO GERMANY GERHARD RICHTER THE LONELIEST PLANET Michel Ocelot Yasemin Samdereli Corinna Belz Julia Loktev

Renowned animation auteur Michel Ocelot’s Winner of the Audience Award at the “Corinna Belz’s documentary is an unprec- Nica (Hani Furstenberg) and Alex (Gael new film extends the distinguished shadow Chicago Film Festival and German Film edented and oddly dangerous journey into García Bernal), a few months away from puppet style of his Princes and Princesses Prizes for Best Film and Best Screenplay, the studios of Gerhard Richter, widely their wedding, are on a backpacking trip and Azur and Asmar with black-silhouetted Almanya is a breezy culture clash comedy ­considered to be among the world’s most in the Caucasus Mountains of Georgia. characters set off against exquisitely detailed centering on multiple generations of a important living painters. Famously cranky With their guide Dato, the two appear to Day-Glo backgrounds bursting with color German-Turkish clan. After working and iconoclastic, Richter is an ideal subject be completely in control of their environ- and kaleidoscopic patterns. A girl, a boy, for 45 years in Germany as a Turkish to illuminate the deep fissures in the con- ment and wildly attracted to each other. and an old man get together in a small “gastarbeiter” or guest worker, Hüseyin temporary art world. His career has been But as they journey through the deserted movie theater full of wonders where they Yilmaz, now in his 70s and a citizen, a high-wire balancing act between eye- landscape, they are suddenly taken by invent, draw, dress up, and become charac- announces to his family that he has bought popping, colorful abstractions—seen in ­surprise. A momentary mistake is made, ters in magical stories. The film weaves a house in Turkey and wants everyone to construction throughout much of the film— an involuntary gesture. Brief though this is, together six of their exotic fables, each go back with him to renovate it. After some and enormously famous photorealist por- it threatens everything the couple believed unfolding in a unique locale—Tibet, medieval convincing, the family is Anatolia-bound. traiture. He has also been an influential about themselves and each other. With Europe, an Aztec kingdom, the African Cross-cutting between Hüseyin and his essayist on art-making and its place in the looks and glances, no words are needed plains, and even the Land of the Dead. young family’s migration to Germany world. Though we see the 79-year-old artist to uncover the toxic, erosive effects of In Ocelot’s storytelling, history blends with (Almanya) in the 1960s and the now much- talking with his legendary gallerist Marian ­disappointment and resentment. “Loktev’s fairytale as he whisks us away to enchanted expanded brood’s road trip in the current Goodman, being feted at London’s National staging of the crucial moment is expert; lands full of dragons, werewolves, captive day, Almanya is a family story mixed with Portrait Gallery, speaking with critics and her look at the aftermath is poignant and princesses, sorcerers, and enormous talk- laugh-out-loud humor. Samdereli’s film collaborators, the film lives in his places of nuanced, culminating in a nocturnal ing bees. “Instantly timeless! A triumph of delivers a touching reflection on cultural work: giant studios with taciturn assistants sequence that condenses a world of bitter intricate craftsmanship!”—Variety. (84 mins.) misunderstandings and the fundamental preparing toxic brews and giant canvasses and incommensurable experience into a Selected Filmography: Kirikou and the Sorceress (98), question of what constitutes national identity, for Richter to attack.”—Toronto single shot.”—Richard Brody, The New Azur and Asmar (06). if not necessarily assimilation. (101 mins.) International Film Festival. (97 mins.) Yorker. (113 mins.) In English and 2/12 5:30pm Whitsell Auditorium First Feature. Filmography: Live by Microsoft (01), Three Wishes, Georgian with English subtitles. Three Women, One Year (05), Porifera—The Wonderful 2/15 6:15pm Whitsell Auditorium 2/10 6:00pm Whitsell Auditorium Filmography: Moment of Impact (98), Day Night Day World of Sponges (09). 2/18 1:00pm World Trade Center Theater 2/11 3:15pm Lloyd Mall 6 Night (06). Sponsored by French American International 2/12 8:00pm Lake Twin Cinema 2/18 3:00pm Whitsell Auditorium 2/20 5:15pm Cinema 21 School and TV5Monde. Sponsored by Zeitgeist Northwest. Sponsored by OPB TV. 2/24 8:45pm Cinema 21 16 35th portland international film festival

great britain GREECE

HOW MUCH DOES YOUR KILL LIST PATAGONIA ATTENBERG BUILDING WEIGH, MR. FOSTER? Ben Wheatley Marc Evans Athina Rachel Tsangari Carlos Carcas, Norberto López Amado A truly unique crime thriller that unravels In the midst of the stunning mountains of Attenberg is about Marina, a young woman Norman Foster’s vision and passion to into terrifying horror. Jay, a retired hitman, Patagonia is an almost mythical community living in a small coastal town who is improve quality of life through design has is trying his hand at a normal family life. of Welsh natives, born of settlers from the ­infatuated with synth-pop band Suicide not only earned him the nickname the But when the money starts to dry up and 1800s. Evans incorporates the culture and and the mammal documentaries of David “Mozart of Modernism” but has led to some he can’t keep up with his wife’s spending, countryside of both countries to tell the Attenborough. Her other primary cultural of the world’s most stunning landmarks, he decides to take on one last high-paying tales of two women. In Cardiff, Gwen and influence is Monty Python, prompting including the Gherkin and Wembley job and enlists his old partner Gal. The husband Rhys have felt a strain on their her and her one friend Bella to adopt some Stadium in London, the Hearst Tower in mysterious client only gives them a short relationship. When Rhys is sent on a pho- Silly Walks. Despite help from her dying New York City, the Beijing Airport, France’s list of names, no whys, and they set out to tographic project to Patagonia, Gwen sees father, a visionary architect, and Bella, Millau Bridge, the Great Court at the British execute the “kill list.” It doesn’t take long a chance to repair their relationship with she struggles to understand the rituals of Museum, and an entire University Campus before they realize that they are involved a bit of escapism. In Patagonia, elderly human interactions, attempting to make for Petronas in Malaysia. This insightful in something far more sinister than simple Argentinean Cerys is starting a pilgrimage sense of her relationships with sex and documentary follows Foster’s life from his assassinations. The increasingly bizarre job to the Welsh countryside that was once her death with the same detached manner humble beginnings in Manchester, through begins to create confusion and paranoia, mother’s home. Gwen’s quest for meaning demonstrated by her favorite naturalist. his collaborations with R. Buckminster until the pair are plunged into a horrific in her family’s future leads to unwelcome Given the oddities of human nature, will Fuller, to his designs for Masdar City in world of violent terror. What starts out as a adventure, while Cerys’s search for the the virginal Marina ever overcome her Abu Dhabi, the first zero-waste, zero-carbon “normal,” even lightly humorous thriller truth about her heritage produces no easy repulsion at the idea of physical contact city in the world. “We cannot ignore the about two bad hired ­killers slowly, master- answers. Their stories make Patagonia a with the male of the species? Filled with damage that our buildings inflict on the fully reveals that they have no idea what film of intimate moments played out playful set pieces, deadpan humor, and natural environment. Designing for a sus- bad means. (95 mins.) against sweeping panoramic landscapes. unexpected poignancy, Attenberg defies tainable future becomes a necessity, not a Filmography: Down Terrace (09). This year’s British submission for the Best easy categorization other than as a likely Foreign Language Film Oscar. (118 mins.) candidate for a future cult classic. This choice.”—Norman Foster. (78 mins.) 2/24 11:30pm Cinema 21 Filmography: They’re Watching Us (02), Old Man Selected Filmography: House of America (97), year’s Greek submission for the Best Bebo (08). Resurrection Man (98), Snowcake (06). Foreign Language Film Oscar. (97 mins.) Filmography: The Slow Business of Going (00). 2/18 6:00pm World Trade Center Theater 2/11 8:30pm Lake Twin Cinema 2/20 3:00pm Cinema 21 2/14 8:45pm Pioneer Place 5 2/13 8:45pm Cinemagic 2/16 6:00pm Cinemagic Sponsored by OPB TV. 2/15 6:15pm Lloyd Mall 6 Sponsored by Pyramid Breweries. 2/17 6:15pm Cinemagic 35th portland international film festival 17

HONG KONG HUNGARY ICELAND INDIA

LIFE WITHOUT PRINCIPLE THE TURIN HORSE VOLCANO ABU, SON OF ADAM Johnnie To Béla Tarr Rúnar Rúnarsson Salim Ahmed

A departure from To’s action films, Life The prologue describes an (apocryphal) This year’s Icelandic submission for the This year’s Indian submission for the Best Without Principle is a sharp and complex event in the life of Friedrich Nietzsche— Best Foreign Language Film Oscar is a Foreign Language Film Oscar is a quiet, look at contemporary Hong Kong life in witnessing a carriage driver whipping his “coming-of-age story about a 67-year-old contemplative film in which one man’s the wake of the financial crisis over the last horse, the philosopher flung himself around man.” It opens with elegiac images of a ­sincerity and virtue shine through. Aging few years. The film tells the story of three the defenseless animal, then collapsed, a volcanic eruption that devastated a coastal Abu and his wife share the lifelong dream characters: a financial analyst forced to sell mute invalid for the final decade of his life. town before fast-forwarding to the present— of devout Muslims to go on a religious high-risk securities to customers in order But what of the horse? Recalling both Tarr’s when Hannes, a survivor of the disaster, is ­pilgrimage to Mecca before they die. They to meet sales targets, a thug dealing in masterpiece Sátántangó and the parable- retiring from his job as a school custodian. register their names with a travel agent but futures in order to earn enough money to like work of Bresson, Tarr introduces the He advises his successor that it’s best if the soon realize that their ambition will require post bail for a friend, and a police inspector miserable cabman Ohlsdorfer, leading his students fear him; at his sparsely attended severe sacrifices. They sell everything they suddenly in financial straits due to family long-suffering steed home to their hovel, retirement party, Hannes responds to the have of any value, including the jackfruit obligations. In dire need of money, each both to be cared for by his granddaughter. principal’s gently teasing farewell by saying, tree in front of their house. Although the is forced to make morally questionable The Ohlsdorfers’ lives consist of drudgery, “My skin is thicker than a shark’s. I can tree is found to be hollow and the timber choices when stolen money turns up. With strong performances by his cast, To fashions subsistence on potatoes, and repetition, take it.” But can he? Hannes attempts merchant is willing to take the loss, Abu— a powerful depiction of desperation and monumentally staged and hypnotically ­suicide; upon failing, he returns home to being a true Muslim—will only accept compromise in a time of financial strain. paced by Tarr, aided by Fred Keleman’s his long-suffering wife, adult children, and money to go to Hajj according to the prin- “To shows his mastery of urban space, striking camerawork and Mihály Vig’s grandchild. As they share their lives over ciples of Islam and turns down the offer. ­tension, and action...one of contemporary evocative score. Is the horse a symbol of dinner, Hannes can only gripe about the This rare tale of Muslim community life in cinema’s preeminent visual structuralists.” universal suffering? Of humanity’s fail- soup. Then a pair of mishaps—one trivial, the South Indian state of Kerala also won —Vancouver Film Festival. (107 mins.) ures? Something else? No easy answers to the other devastating—forces Hannes to the Gold Lotus (Best Film Award) at the Selected Filmography: The Heroic Trio (93), PTU Tarr’s extended metaphysical riddle. This reassess his armored emotional isolation. Indian National Film Awards. (112 mins.) (03), Election (05), Election 2 (06), Exiled (06), year’s Hungarian submission for the Best (99 mins.) Ages 13+. Sparrow (08), Vengeance (09). Foreign Language Film Oscar. (146 mins.) First Feature. First Feature. 2/12 8:00pm Whitsell Auditorium Selected Filmography: Damnation (87), Sátántangó 2/12 2:15pm Lake Twin Cinema 2/12 3:00pm Cinemagic 2/21 6:15pm Lloyd Mall 6 (94), Werckmeister Harmonies (00), The Man From 2/18 8:30pm Cinemagic 2/14 8:45pm Lloyd Mall 6 2/23 8:45pm Cinemagic London (07). 2/20 8:00pm Cinemagic 2/16 8:45pm Pioneer Place 5 Sponsored by the Hong Kong Economic 2/18 8:15pm Cinema 21 Sponsored by Vindalho. & Trade Office. 2/21 7:00pm Cinema 21 18 35th portland international film festival

IRAN IRAQ ISRAEL

GOODBYE THIS IS NOT A FILM QARANTINA FOOTNOTE Mohammad Rasoulof Jafar Panahi Oday Rasheed Joseph Cedar

Goodbye is the story of Noora (Leyla Zareh), “Accused of collusion against the Iranian A broken family under incestuous patri- This wry, painfully funny, intellectual a Tehran lawyer in search of a visa to leave regime and currently appealing a prison arch Salih lives uneasily within the gated tragicomedy was the winner of the Best the country. Recently disbarred for partici- sentence and a ban from filmmaking, Jafar courtyard of a dilapidated house in Screenplay Award at Cannes and is this pating in activist campaigns against the Panahi collaborated with the documentar- Baghdad. Meriam, Salih’s pregnant daugh- year’s Israeli submission for the Best Foreign government, Noora is pregnant and alone, ian Mojtaba Mirtahmasb on a remarkable ter, has fallen silent, refusing to tell her Language Film Oscar. Thanks to a clerical her husband exiled because of his role as a day-in-the-life chronicle that, as with many father what’s wrong. She finds some pro- error, Eliezer, a respected, if little-known political journalist. But Noora’s problems great Iranian films, finds a rich middle tection from Salih’s young second wife, Talmudic scholar, is informed that he’s are compounded by her gender: women are ground between fiction and reality. Shot Kerima, and his pre-teen son, Muhanad. won the coveted Israel Prize; in truth, the not allowed to drive, cannot get medical with a digital camera and an iPhone, the Meanwhile, with the family struggling for prize was meant for his son, Uriel, a much procedures or check into a hotel without a movie is almost entirely confined to the money, Muhanad must work in the street more respected, widely-read Talmudist. male family member’s consent, and cannot director’s apartment, where he discusses shining shoes, and, more ominously, the The prize committee implores Uriel to take charge of simple transactions, like get- his films and an unrealized script, while entire household must live with a sullen help them rectify the sticky situation, but ting a security deposit back, without being the outside world imposes itself through and imperious boarder, a man who works Uriel argues that his father deserves the harassed or cheated. Fed up, she decides to phone calls, television news, a few comic as a white-collar killer and who has taken honor for his years of work. To take it back leave the country with the help of an Iranian interruptions, and the sound of New Year’s Kerima under his spell. Rasheed moodily would kill him. Meanwhile, Eliezer plans version of a “coyote.” The title ­literally fireworks. Far more than the modest home captures Baghdad’s beautiful, colorful sur- to use the occasion as an opportunity to translates as “hope to see you again,” and movie it initially seems to be, This is Not a roundings and the brooding angst of life in take down his son and the whole generation the film’s action mimics director Rasoulof’s Film is an act of courage and a statement a militarized society, slowly juxtaposing of à la mode Talmudists who have over- situation during the winter of 2010-11 as he of political and moral conviction: surpris- the suffering with unexpected flashes of looked him. Both the ironies of a father-son received a one-year prison sentence and ing, radical, and enormously moving.” loveliness that reveal unexpected resilience conflict and the weight of a culture’s intel- 20-year ban from filmmaking. (104 mins.) —New York Film Festival. (75 mins.) in the wake of catastrophe. (90 mins.) In lectual past find memorable examination. Filmography: The Twilight (02), Iron Island (05), Filmography: The White Balloon (95), The Mirror (97), Arabic with English subtitles. (106 mins.) Head Wind (08), The White Meadows (09). The Circle (00), Crimson Gold (03), Offside (06). Filmography: Underexposure (05). Filmography: Time of Favor (00), Campfire (04), Beaufort (07). 2/11 8:30pm Lloyd Mall 6 2/18 6:00pm Whitsell Auditorium 2/19 2:30pm Lloyd Mall 6 2/13 6:00pm Cinemagic 2/19 8:45pm World Trade Center Theater 2/25 1:00pm Lloyd Mall 6 2/18 8:30pm Whitsell Auditorium 2/15 8:45pm Lloyd Mall 6 Sponsored by KBOO. 2/19 5:00pm Cinema 21 Sponsored by the Consulate General of Israel to the Pacific Northwest. 35th portland international film festival 19

ITALY

RESTORATION CORPO CELESTE HABEMUS PAPAM THE SALT OF LIFE Yossi Madmoni Alice Rohrwacher Nanni Moretti Gianni Di Gregorio

An aging recluse tries to salvage his After a decade in Switzerland, 13-year-old Moretti’s new film (translated as “We Have Writer/director/star Gianni Di Gregorio antique furniture store and solitary way of Marta moves back to her family’s impover- a Pope”) is a gentle satire centered around follows up his acclaimed Mid-August Lunch life in Restoration, a nuanced drama nomi- ished hometown in Calabria in southern papal succession in the Catholic Church: with another gentle comedy of manners nated for 12 Israeli Ophir Awards. After Italy. Although Marta was born there, the what if a newly elected pontiff got cold and melancholy. Rome retiree Gianni has his longtime business partner dies, stoic local customs seem strange to her, a feeling feet, in the time between the Conclave of time on his hands, but none of the women Yakov Fidelman discovers his Tel Aviv of dislocation and confusion that only Cardinals’ election (declaring him infallible) in his life do—his wife works, his daughter workshop is near bankruptcy. When his increases after she enrolls in her local and the announcement of “Habemus is busy with university, his mother has a full estranged son Noah tries to sell the property church’s confirmation class. Rohrwacher’s Papam” to the public in St. Peter’s Square, social calendar, and his party-girl neighbor from under him, Fidelman hires apprentice sensitive and perceptive debut feature iron- ensnaring the clergy in a doctrinal loophole just has too much drama in her life. Anton to refurbish a neglected Steinway ically pits a young girl’s crisis of faith and of suspended succession? Call a shrink, Gianni’s friend Alfonso thinks he should that could save the business. An attraction adolescence against a community struggling of course. The result is a winning blend of have an affair, which Gianni pursues half- between Anton and Noah’s pregnant wife for survival and the ancient traditions of witty farce (emphatically not anti-clerical heartedly with comically inept results. Hava complicates matters. Anchored by the Catholic Church facing waning influ- and filmed at the Vatican) with a deeply In the end, his big-hearted desire and Sasson Gabay’s mesmerizing performance ence. “In Italy nowadays, there’s a feeling affecting portrait of a man elected to an lively imagination prove that the wanting as Yakov, Madmoni’s critically acclaimed that people don’t ask themselves questions, office that carries crushing human respon- may be as good as the getting. Throughout psychological study depicts a complex set and the idea of community is not there sibilities. Writer/director/star Moretti is Gianni’s misadventures, the motif of food— of frayed relationships for which restoration anymore. The Church doesn’t think about the skeptical psychiatrist, Jerzy Stuhr is the from morning coffee to bistro lunches and proves an apt metaphor. Winner of faith. Its main concern is to organize people’s Vatican PR spokesman in furious spin mode, family dinners—bears testament to film- the Sundance Film Festival Dramatic lives.”—Alice Rohrwacher. “The big payoffs and Michel Piccoli shines as the indecisive maker Di Gregorio’s dedication to capturing Screenwriting Award and Best Feature arrive in a couple of small, understated Pope-elect. Winner of the Best Film Prize the comedy and tragedy woven through prizes at the Jerusalem and Karlovy Vary moments of grace. Thanks to restrained at the Italian Critics Awards. (102 mins.) daily life. “Gentle, hilarious, and charm- International Film Festivals. (105 mins.) build-up and direction, they certainly feel Filmography: Dear Diary (93), April (98), The Son’s ing.”—The Guardian, London. (90 mins.) Filmography: The Barbecue People (03). well-earned.”—Variety. (100 mins.) Room (01), Il Camino (06). Filmography: Mid-August Lunch (08), screenplay Gomorrah (08). 2/11 6:00pm Lloyd Mall 5 First Feature. 2/15 6:00pm Lake Twin Cinema 2/20 5:15pm Pioneer Place 5 2/23 6:15pm Lloyd Mall 6 2/17 6:00pm Cinema 21 2/10 6:00pm Lake Twin Cinema Sponsored by the Consulate General of Israel 2/25 6:00pm Cinema 21 Sponsored by the Italian Cultural Institute, 2/12 5:45pm Cinemagic to the Pacific Northwest. Sponsored by the Italian Cultural Institute, San Francisco, and the Portland-Bologna Sister Sponsored by the Italian Cultural Institute, San Francisco. City Association. San Francisco. 20 35th portland international film festival

JAPAN LEBANON

NORWEGIAN WOOD POSTCARD GRANDMA, A THOUSAND TIMES WHERE DO WE GO NOW? Tran Anh Hung Kaneto Shindo Mahmoud Kaabour Nadine Labaki

Set in the late ’60s when Tokyo universities­ This late-life masterpiece—his 49th film— Grandma, A Thousand Times is filmmaker In a remote Lebanese village, Christians were rife with political unrest, Watanabe is won writer/director Shindo the Tokyo Mahmoud Kaabour’s poetic cinematic trib- and Muslims have lived together all their a student whose deepening relationship Film Festival’s Special Jury Prize and is ute to his feisty, larger-than-life grand- lives, largely in peace despite occasional with the emotionally fragile Naoko is this year’s Japanese submission for the Best mother. Teta Kaabour is an 83-year-old flare-ups precipitated by external forces. haunted by the specter of a past tragedy. Foreign Language Film Oscar. A powerful family matriarch and sharp-witted queen Although semi-isolated from the outside Caught between her emotional and then and moving anti-war film driven by Shindo’s bee of an old Beiruti quarter. In the apart- world, landmines nevertheless surround geographical retreat and the expanding own experience, it focuses on the impact of ment where she raised six children and the countryside, and intermittent television world of college life, Watanabe’s loyalty is World War II at home. Toward the war’s 13 grandchildren, she now spends her days reception makes all aware of the religious tested by adventurous best friend and dilet- end, 100 middle-aged Japanese soldiers are smoking Argileh and drinking endless conflicts that grip the country. To combat tante Nagasawa and the enchanting and ordered to the frontlines. Expecting that he cups of coffee, alone with memories of their edgy men from absorbing outside strikingly independent Midori. The themes will not return, one soldier,­ Sadazo, leaves her beloved violinist husband (who’s been tension and localizing violence, the women of awakening, loss, and melancholy that a postcard from his wife Tomoko with his dead for 20 years). Bearing his grand­ are constantly inventive in creating distrac- ripple through both the novel and the bunkmate, Matsuyama, asking that he let father’s name as well as his likeness, the tions—everything from importing Ukrainian Beatles song from which it derives its name her know he appreciated it. Matsuyama is filmmaker is clearly his grandmother’s showgirls to baking hash cookies to keep are perfectly accentuated by an evocative one of only six men who survive from his favorite. This affection allows for an inti- everyone mellow. But when there is a death score from Jonny Greenwood of Radiohead, unit. By the time he finally arrives at mate portrait comprised of recollections, from crossfire outside the village, it is time gorgeous production design, and lush cine- Tomoko’s home to deliver Sadazo’s message, revelations of closely guarded recipes, and for stronger measures. Labaki’s warm, matography. “A languorous, visually strik- both of them have been through unspeak- hilarious family observations. Touching charming story of female solidarity and ing movie about life, death, art, freedom, able tragedy. In scenes filled with both rage without being sentimental, this lyrical good sense, broad and uplifting, won the and responsibility.”—The Guardian, and humor, the two survivors begin to find study is a testament to the importance of People’s Choice Award at the Toronto London. (133 mins.) a way to live with their despair. (114 mins.) preserving personal histories destined to International Film Festival and is this Filmography: The Scent of Green Papaya (93), Selected Filmography: Children of Hiroshima (52), pass with the people who have lived them. year’s Lebanese submission for the Best Cyclo (95), Vertical Ray of the Sun (00). The Naked Island (60), Onibaba (64), Kuroneko (68), (48 mins.) With I Could Be Your Grandmother Foreign Language Film Oscar. (100 mins.) Live Today, Die Tomorrow (70), Edo Porn (81). 2/12 8:00pm Lloyd Mall 6 (19 mins.). See description on page 30. Filmography: Caramel (07). 2/21 7:00pm Cinemagic 2/16 6:00pm Lake Twin Cinema Filmography: Being Osama (04). 2/11 8:30pm Whitsell Auditorium Sponsored by the Consulate-General of Japan 2/18 5:30pm Cinema 21 2/24 8:45pm World Trade Center Theater 2/13 6:00pm Lake Twin Cinema in Portland. Sponsored by the Consulate-General of Japan Sponsored by Hotel Modera. in Portland. 35th portland international film festival 21

NEW ZEALAND NORWAY

THE ORATOR HEADHUNTERS KING OF DEVIL’S ISLAND TURN ME ON, DAMMIT! Tusi Tamasese Morten Tyldum Marius Holst Jannicke Systad Jacobsen

While The Orator’s status as Samoa’s first Roger Brown is Norway’s most successful This gripping true story of an uprising in Only a woman could tell this wry, aston- feature film makes it a native landmark, headhunter, recruiting personnel for a brutally run Norwegian reform school ishingly candid tale of a teenage girl with writer/director Tusi Tamasese’s deft com- ­powerful corporations. But as successful as in 1915 is told in an epic style that won an unbridled sexual appetite. Fifteen-year- mand of atmospherics, tone, and rhythm he is, it’s not enough to keep up with what the Best Film Prize at the Norwegian Film old Alma is consumed by her out-of-control transforms it into a genuinely noteworthy he thinks his wife needs. So to keep things Awards. Located on a remote island in hormones and fantasies that range from achievement. Primarily employing first- afloat, he uses his job to find wealthy people the Oslo fjord, the Bastoy Boys’ Home was sweetly romantic images of Artur, the boy- time actors to bring this delicately wrought he can steal art from. When the master established as a place to reform wayward friend she yearns for, to down-and-dirty tale to life, Tamasese centers his film on conman sets his sights on a priceless paint- teenagers—using beatings, manual labor, daydreams about practically everybody Saili, a diminutive taro farmer who lives ing, its owner turns out to be a former mer- and rigid discipline to keep the youngsters she lays eyes on. Alma and her best friend with his wife Vaaiga and her willful daughter cenary with a terrible secret, and Roger is subdued. But when newcomer Erling Saralou live in an insufferably boring little at the outskirts of a remote jungle village. in for much more than he ever could have arrives on the island and starts to question town in the hinterlands of Norway. After When Vaaiga’s estranged family suddenly imagined. His client has excellent hunting the authority of the abusive “housefathers,” Alma has a highly perplexing encounter demands her return, Saili must settle the skills, leading to a perilous journey rife he finds more than a murmur of support with Artur, she makes the mistake of tell- dispute through the Samoan tradition of with gunfights, mountaintop car chases, from his fellow inmates. Determined both ing her incredulous friends, who ostracize oration. As he prepares, we witness a sense and bloodthirsty pit bulls. Based on the to escape and to reveal the institution’s cor- her at school. At home, Alma’s mother is of self-worth being instilled in Saili, lend- bestselling Norwegian novel, this violent ruption, Erling has to choose between him- overwhelmed and embarrassed by her ing him the resilience necessary to fight and twisted thriller is packed to the brim self and the friends he has won. Starring daughter’s extravagant phone sex bills and for what he holds most dear. And when the with nail-biting set pieces and surprising Stellan Skarsgård as the school governor. constant self-gratification. Throughout, climactic war of words erupts, we find our- plot revelations guaranteed to keep you (120 mins.) Jacobsen renders the complexities of selves hanging on every heartfelt word that on the edge of your seat. (103 mins.) Selected Filmography: Cross My Heart and Hope to Alma’s burgeoning­ sexuality and loneliness leaves his lips. (110 mins.) Filmography: Buddy (03), Fallen Angels (08). Die (94), Dragonfly (97), Blodsbånd (07). with a compassion and frankness that ring true. (76 mins.) First Feature. 2/17 11:30pm Cinema 21 2/11 8:30pm World Trade Center Theater 2/13 6:00pm Whitsell Auditorium First Feature. 2/15 8:45pm Lloyd Mall 5 Sponsored by the Norwegian Consulate General, 2/18 2:30pm Lloyd Mall 6 San Francisco. Sponsored by Grieg Lodge, Scandinavian Heritage 2/12 8:00pm Lloyd Mall 5 2/20 2:30pm Pioneer Place 5 Foundation, and the Norwegian Consulate 2/15 6:15pm Cinemagic General, San Francisco. 2/19 12:00pm Cinemagic Sponsored by the Norwegian Consulate General, San Francisco. 22 35th portland international film festival

PALESTINE/ISRAEL PHILIPPINES POLAND PORTUGAL

MAN WITHOUT A CELL PHONE WOMAN IN THE SEPTIC T ANK ROSE JOSÉ Y PILAR Sameh Zoabi Marlon Rivera Wojciech Smarzowski Miguel Gonçalves Mendes

When he’s not working in his cousin’s Woman in the Septic Tank chronicles a For many in Poland, the immediate post- Co-produced by Pedro and Agustín ­concrete business, aimless college dropout comic day in the life of three ambitious, World War II years were as savage and Almodóvar together with Fernando Jawdat, who lives in the quiet Palestinian passionate, but misguided filmmakers tragic as the war itself. Rose is a story about Meirelles, this affectionate portrait of town of Iksal inside West Bank Israel, determinedly intent on making an award- people who tried to rebuild their lives in Portugal’s Nobel Prize winner José spends most of his free time looking for winning film. Their screenplay will show this difficult period. It follows Tadeusz, a Saramago reveals the struggle between the new women—Muslim, Christian, or even the real essence of Philippine culture: former Home Army fighter, who travels to very private man and the world-famous Jewish, it makes no difference—and work- ­poverty. The story will follow Mila, a mother the Western region of Masuria to find the artist. A modestly successful writer at ing his cell phone. When Jawdat’s father, from the slums who out of desperation wife (Rose) of one of the fallen soldiers and home, Saramago became an international Salem, an olive farmer as intense as his has sold her child to a pedophile. As they let her know of her husband’s death. Their literary giant through the prodding of his son is laidback, decides that an Israeli cell ­discuss the possible ways to do the film, mutual attraction leads them to live together, Spanish wife, Pilar del Rio. José is an unfor- phone tower is poisoning their village with the movie-within-a-movie gets reborn: as balancing the difficulties of raising a family gettable love story of genuine soul mates: radiation, he draws the townspeople—and a gritty, no-frills, neo-realist film; a glossy and preserving normalcy amidst the lawless according to Saramago, “I have ideas for his reluctant son—into a fight with the musical; an over-the-top melodrama; and brutality of their Soviet occupiers. The people novels, and Pilar has ideas for life.” The Israelis. Through their interactions and a docudrama using non-actors. Visiting the of Masuria, ethnic Germans now living film captures the media whirlwind that struggles, writer/director Sameh Zoabi dump, excitement sets in when they see the within Poland’s borders, live in constant fear surrounds the Saramagos after the prize, addresses complicated issues of second- “beauty” of the squalor around them. But of expulsion from the lands they’ve known as well as the quiet, tender moments the class citizenship and social grievances soon enough they are faced with reality as their whole lives. A riveting film about the couple shared as his health began to fail. among Israel’s segregated Palestinian they come face to face with the real effects need for love in times of despair, Rose shows This year’s Portuguese submission for the minority—as well as the confusions of young of their chosen subject. A cheeky parody the deep scars of war and the perseverance Best Foreign Language Film Oscar. adulthood—with an appealing mixture about misguided ambitions, making mov- that will be needed to get past them. Winner (117 mins.) of humor and keen political awareness. ies, and the romanticization of poverty, of the Best Film and Audience Awards at Selected Filmography: Autographia (04), A Batalha (83 mins.) Woman is this year’s Philippine submission the Warsaw Film Festival. (94 mins.) dos Três Reis (05), Floripes (06). First Feature. for the Best Foreign Language Film Oscar. Filmography: The Wedding (04), Dark House (09). 2/11 12:30pm World Trade Center Theater (87 mins.) 2/19 2:30pm Cinemagic 2/16 6:15pm Whitsell Auditorium 2/19 2:15pm World Trade Center Theater First Feature. 2/21 8:45pm Pioneer Place 5 2/19 7:45pm Whitsell Auditorium Sponsored by Lauro Kitchen. 2/23 8:45pm Lloyd Mall 6 2/17 6:15pm World Trade Center Theater Sponsored by the Polish Library Association, 2/20 8:00pm Whitsell Auditorium Portland, and the Consulate General of the Sponsored by Phillipine Consulate General of Oregon. Republic of Poland, Los Angeles. 35th portland international film festival 23

ROMANIA RUSSIA

AURORA HELLO! HOW ARE YOU? MORGEN ELENA Cristi Puiu Alexandru Maftei Marian Crisan Andrei Zvyagintsev

Following his spellbinding Romanian hos- The antithesis of the grim naturalism of Nelu lives on an isolated farm near the Elena dotes on her selfish, wealthy husband pital odyssey The Death of Mr. Lazarescu, the best known new Romanian cinema, city of Salonta, not far from the Romanian- Vladimir and lives a lonely life surrounded Aurora is Puiu’s second film in his planned this rare romantic comedy tells a story full Hungarian border. He loves fishing each by luxury in a sterile, ultra-modern pent- series “Six Stories from the Outskirts of of humor and recognition. Gabriel and morning in the canals near the border house. But when the aging Vladimir informs Bucharest.” Here, the tightly wound cold- Gabriela have been happily married for before heading to work. One day he catches Elena that he is altering his will to leave ness of middle-aged metallurgical engineer years, but all desire has waned. As they something unusual: a Kurdish immigrant his money to his spoiled, boozy daughter Viorel—played by Puiu himself with lead their almost separate lives, they each attempting to cross the border to Hungary from a previous marriage, she makes a inscrutable intensity—slowly metastasizes can’t help but notice that everyone around on his way to Germany. Nelu is a massive, decision to speed Vladimir’s journey to into a discreet, inaccessible unraveling. them seems to be getting it on just fine. slow-thinking, seldom speaking man who, the grave before the will can be changed. Elliptically observing the day-to-day life of Even their teenage son, whose hilarious if upset, is capable of unsuspected resolute- Zvyagintsev conjures an uncompromising a seemingly normal guy who will eventually voiceover commentary intermittently ness. His quiet determination is a clear vision of a Russia in moral disarray in this commit violent acts, Puiu invites the audi- ­provides important narrative information, standout in this subtle satire that attacks tautly restrained domestic drama. A literate ence to puzzle over his motives. We watch prides himself on being the high school the absurdity of any kind of borders. and chilling take on contemporary class him from a distance, as simmering anger stud. Facing an “is this all life has to This charming fish-out-of-water tale about warfare, Elena paints a riveting portrait of and disconnection take hold. “For all the offer?” moment, they turn each to the a supermarket security guard who defies decadence and the emptying of the Russian viewer’s constant immersion in the specifics internet in search of passion. Can there obtuse rules and his grumpy wife in order soul. “A wise and impeccably controlled of Viorel’s activity, there’s the sense of con- be virtual salvation? Beyond the witty to help a friend in need is this year’s drama that finds director Zvyagintsev in stantly rubbing up against the unknowable, and simply cute, Maftei crafts a film full Romanian submission for the Best Foreign outstanding form.”—Variety. Winner of the as both the character and the meaning of real, touching emotions. (105 mins.) Language Film Oscar. (100 mins.) Un Certain Regard Special Jury Prize at of his activity and relationships remain First Feature. First Feature. the Cannes Film Festival. (109 mins.) inscrutable.”—Variety. (181 mins.) 2/11 6:00pm Whitsell Auditorium 2/12 2:00pm Lloyd Mall 6 Filmography: The Return (03), The Banishment (07). Filmography: Stuff and Dough (01), The Death of 2/14 8:45pm Cinemagic 2/14 6:00pm Lloyd Mall 6 2/20 5:15pm Cinemagic Mr. Lazarescu (05). 2/16 6:15pm Lloyd Mall 6 2/20 2:30pm Cinemagic 2/23 6:00pm Pioneer Place 5 2/20 6:00pm Lloyd Mall 6 Sponsored by the Romanian American Society. Sponsored by Hotel deLuxe. 2/22 6:30pm Pioneer Place 5 24 35th portland international film festival

RUSSIA (cont.) south KOREA

TARGET THE DAY HE ARRIVES THE FRONT LINE INVASION OF THE ALIEN BIKINI Alexander Zeldovich Hong Sang-Soo Jang Hun Young-doo Oh

In 2020, the Russian rich—now beyond Sungjoon, a film professor, arrives to visit “The Front Line offers a classically hellish Young-Gun is a lonely man who spends rich—have sealed themselves off in their an old filmmaker friend in wintry Seoul picture of frontline warfare but turns several his nights protecting the innocent as a self- single-minded pursuit of technological and and encounters various acquaintances and of the clichés of war movies inside out. appointed crime fighter and general tidier- hedonistic pleasure. A powerful minister, strangers. Over the next several days, the Most of the film is set on one (fictional) hill upper of the streets. “Disguised” in a rain- his bored but beautiful wife, her game same rendezvous occur with different which has been captured and recaptured coat and bad fake mustache, one night he show host brother, and a cynical military results—is he living a repetitive life or by both sides during the Korean War, with saves a strange, beautiful woman named officer make their way to a mysterious mil- ­re-living the same day again and again? considerable loss of life each time. A young Monica being harassed by a gang of hood- itary facility on the remote, spectacular Like the intoxicated reveries of his aimless officer sent to investigate a possible spy lums. Shaken up, Monica comes back to Mongolian border. While exposure to the characters, Hong’s storytelling transforms and what looks like a sinister case of his apartment with him, where he soon installation’s “radiation” treatment promises casual, everyday occurrences into a ‘friendly fire’ has surprises awaiting him, discovers that she is an extraterrestrial on to arrest the aging process and perfect ­mysterious meditation on human behavior. including a reunion with an old friend a very special mission. Unfortunately, it them physically, it also leads them to Mixing romantic allure and cool detach- believed to be dead, run-ins with a crack turns out to be in serious conflict with ­discover insatiable desires and, ultimately, ment, Hong’s ability to capture ordinary North Korean sniper, rife indiscipline and Young-Gun’s strict vow of chastity. their own special chaos. Written by the characters doing ordinary things—wander- insubordination, and a surprising kind of Featuring kung fu fights, a gorgeous babe much admired novelist Vladimir Sorokin, ing, drinking, conversing—within a fasci- fraternization between the two sides. Aided with tentacles, and an extremely erotic this wild science fiction ride features the nating narrative structure of repetitions by a fine cast and superb period produc- game of Jenga, this inventively stylized, astonishing visual design of a brave new and parallels, makes for a signature narra- tion design, Jang Hun here hits the premier gleeful sendup of B science fiction films world “five minutes into the future.” tive style. “A clever and dream-like game rank of Korean directors.”—Vancouver was made for a budget of less than $5,000. Mixing and matching social satire, fierce with narrative time embedded in trivial Film Festival. This year’s Korean submis- As you will see, it’s true testament to the eroticism, Mad Max-like action, and ­somber but amusing social and sexual encounters.” sion for the Best Foreign Language Film possibilities of creative independent film- philosophical speculation, Target is quite —Sight and Sound. (79 mins.) Oscar. (133 mins.) making. (75 mins.) unlike anything you’ve seen before. Selected Filmography: Virgin Stripped Bare by Her Filmography: Rough Cut (08), Secret Reunion (10). Filmography: The Neighbor Zombie (10). (152 mins.) Bachelors (00), Woman is the Future of Man (04), 2/22 6:00pm Whitsell Auditorium 2/25 11:30pm Cinema 21 Filmography: Voitelnitsa (86), Zakat (91), Moscow (00). Woman on the Beach (06), Like You Know It All (08). Sponsored by the Oregon Korea Foundation. 2/10 6:30pm Lloyd Mall 5 2/14 6:15pm Whitsell Auditorium 2/17 8:00pm Lloyd Mall 6 2/23 8:30pm Whitsell Auditorium 2/19 7:45pm Cinemagic Sponsored by the Oregon Korea Foundation. 35th portland international film festival 25

SPAIN SWEDEN

AMADOR EXTRATERRESTRIAL PLAY KISS ME Fernando León de Aranoa Nacho Vigalondo Ruben Östlund Alexandra-Therese Keining

Marcela is a young Bolivian immigrant “Nacho Vigalondo’s second feature solidifies “A deliberately provoked racial incident, “Love can blossom at the most inopportune woman living in Spain. Her sweetness and his status as one of the most creative and based on numerous similar real life trans- moments—and that’s what happens to Mia sensitivity are instantly perceptible, yet exciting young filmmakers around. His gressions, is played for all it’s worth in and Frida, two thirty-something profes- when she learns she is pregnant with the first feature Timecrimes told the story of a Play. Swedish writer/director Östlund sionals who meet at a party celebrating the child of her flower-thief boyfriend, the man who stumbles into a time machine employs mesmerizing visual strategies to engagement of Frida’s mother and Mia’s ­terrified Marcela is forced to find a way to and the improbable events that followed. relate a disturbing tale of how five savvy father. As future stepsisters—not to mention support herself and her extravagant hus- Vigalondo’s new film takes a similarly African immigrant boys in Gothenburg the fact that Mia is herself engaged—theirs band. Taking a job caring for the ill and high concept premise but veers into wildly take advantage of the liberal guilt and will not be an easy path. From this begin- elderly Amador, Marcela’s kind nature different territory. Extraterrestrial begins ­placating temperament of three local kids ning, Keining fashions a nuanced and enables her to make friends with the lonely by announcing the arrival of massive alien to rob them and take them for a ride to deeply felt drama that does not avoid con- old man. They quickly share an under- spaceships above modern-day Madrid. unknown destinations. Social, racial, and fronting the barriers—both personal and standing for one another, revealing the But instead of a sci-fi space opera, we are political credos are twisted, pulled inside social—faced by her same-sex couple. For unhappiness in their pasts. But when treated to a fanciful romantic comedy. out, and stood on their heads by this bracing the heretofore-hetero Mia, her attraction to Amador suddenly dies, Marcela is forced The alien invasion is only the catalyst for and confronting work, which will challenge Frida—a lesbian very comfortable in her to go to great lengths to pretend he is still human deception, betrayal, and suspicion the assumptions of many a viewer. Play own skin—is a shock. But as their relation- alive and collect her needed salary. Full of on an intergalactic scale. Glowing with poses more questions than it answers as ship develops emotionally and sexually, the spirituality—and some hilarious hijinks— incredible chemistry between lead actors it lays bare attitudes lurking beneath the film’s most impressive feat comes through Amador tells its poignant story through Julián Villagrán and Michelle Jenner, this surface tranquility of Scandinavian life— showing just how organic their growing twisted dark comedy, subtle social critique, may be the best comic romance to feature a peacefulness that can sometimes be tragi- love for each other is. That love knows no and memorable performances. (112 mins.) motherships ever made.”—Lane Kneedler. cally shattered.”—New York Film Festival. boundaries is confirmed in a fresh and Selected Filmography: Familia (96), Barrio (98), (90 mins.) (113 mins.) thoroughly involving way.”—Palm Springs Mondays in the Sun (02), Princesas (05). Filmography: Timecrimes (07). Filmography: Family Again (02), Gitarrmongot (04), Film Festival. (107 mins.) Involuntary (08). 2/10 8:30pm Lake Twin Cinema 2/24 8:45pm Whitsell Auditorium Filmography: Hot Dog (03). 2/12 5:00pm Lloyd Mall 6 2/25 6:00pm Whitsell Auditorium 2/20 5:15pm Whitsell Auditorium 2/18 8:30pm World Trade Center Theater 2/14 8:45pm Lloyd Mall 5 2/21 8:30pm Whitsell Auditorium 2/25 8:30pm Cinema 21 Sponsored by OregonLive.com. Sponsored by New Sweden, Scandinavian Sponsored by Celia Lyon, Principal Broker, Heritage Foundation, and the Consulate General Meadows Group Inc. Realtors. of Sweden, San Francisco. 26 35th portland international film festival

SWITZERLAND THAILAND TURKEY

DARWIN ETERNITY ONCE UPON A TIME IN ANATOLIA TOLL BOOTH Nick Brandestini Sivaroj Kongsakul Nuri Bilge Ceylan Tolga Karaçelik

In its glory years, Darwin, California, was A middle-aged man rides his motorcycle Winner of the Grand Jury Prize at Cannes, Kenan is a taciturn 35-year-old tollbooth a thriving mining town in Death Valley. through the silent landscape. He is a ghost Ceylan’s story begins as a small caravan of attendant shuffling between a suffocating Today, just 35 hard scrabble survivors hold who has returned to “walk the footsteps” cars snakes its way through the nocturnal home with his ailing but domineering on in a near ghost town with no jobs, gov- of his youth. His name is Wit, and he died countryside, looking for where a murdered father and the monotony of the traffic- ernment, or much connection to the modern three days ago. Soon the silence gives way man was buried. Yet every time the hounded box where he spends his working outside world. Survival depends on a fragile to the sound of a young woman’s laughter. ­confessed killer points out the grave, the life. Desperate to resist his father’s attempt waterline running down the mountain It is now the past, and this memory recalls gravediggers come up empty. Much of the to marry him off to a neighbor and equally from a secret weapons test range. the days when Wit fell in love with Koi, his landscape looks alike, it’s dark out, and determined to prove his worth by fixing Brandestini’s evocative film interviews the future wife. He has brought her home to anyway the killer claims he was drunk. his father’s idle old car, the pressure on town’s citizens, each of them driven to their meet his parents, and though she is at first As the increasingly frustrating investigation Kenan drives him to the edge of a nervous solitary Mojave Desert outpost by poignant wary of rural life, she soon accepts that wears on, far more is revealed than where breakdown. Temporarily reassigned to a circumstances. Capturing his subjects with this will be her future. Finally the past the body is buried. Through quick looks, tollbooth on a desolate country road, empathy and the place’s atmospheric tone fades, and we are back in the present with furtive gestures, and offhand bits of Kenan begins a flirtation with a beautiful with uncanny sensitivity, a compelling Koi, now a middle-aged woman. With two ­dialogue, Ceylan reveals in this seemingly woman who drives by at the same time ­portrait emerges of a uniquely American young children and her husband gone, she pacific Turkish outback a festering world each day—in a car remarkably like his place. “Darwin is a beautiful, elegiac work must find the strength to carry on. Poetic, of jealousies and resentments, as the story father’s. Is this salvation for the aging with unexpected impact and meaning.” philosophical, spiritual, and uniquely Thai, behind the murder gradually emerges. bachelor or the further unraveling of his —Kevin Thomas, Los Angeles Times. Eternity won the Rotterdam Film Festival’s “Impeccably photographed (by Gökhan mind? Making use of an expert cast and “Undeniable poetry...affectionately Tiger Award. (105 mins.) Tiryaki) and with a standout performance keen art direction, Karaçelik crafts a wry, documented.”­ —Peter Debruge, Variety. First Feature. by Taner Birsel as a police inspector, this is heartbreaking ode to lost dreams in a (88 mins.) Ceylan’s most impressive film yet.”—Film sleepwalking world. “Ace storytelling... 2/22 6:00pm Lloyd Mall 6 Filmography: Return to Florence (06), Legacy of the 2/25 8:15pm Lloyd Mall 6 Comment. This year’s Turkish submission impressively light-footed and heartfelt.” Great Aletsch (09). for the Best Foreign Language Film Oscar. —Variety. (96 mins.) Sponsored by Steven Smith Tea. 2/17 8:45pm World Trade Center Theater (157 mins.) First Feature. 2/25 1:00pm Cinema 21 Filmography: The Town (97), Clouds of May (99), 2/23 8:30pm Pioneer Place 5 Distant (02), Climates (06), Three Monkeys (08). Sponsored by Alaska Airlines. 2/25 3:30pm Lloyd Mall 6 2/19 7:30pm Cinema 21 2/24 3:00pm Cinema 21 35th portland international film festival 27

UGANDA/US United States

WHERE ARE YOU TAKING ME? A BITTER TASTE OF FREEDOM DARLING COMPANION EL SICARIO, ROOM 164 Kimi Takesue Marina Goldovskaya Lawrence Kasdan Gianfranco Rosi, Charles Bowden

“My work often expresses the process of In her fearless quest to uncover the In Darling Companion, Beth (Diane Keaton) The lone voice and sole subject of Rosi’s ‘looking’ cross-culturally and the interplay ­wrongdoings of the Russian state, Anna saves a bedraggled lost dog from the side harrowing film is a nameless former between the observer and the observed.” Politkovskaya inspired awe in some and of the freeway on a wintry day in Denver. Mexican narco hitman (or sicario) who —Kimi Takesue. A high society wedding, fear in countless others. An investigative Struggling with her distracted, self-involved spent 20 years executing male kidnapping a movie set, a beauty salon, bustling city journalist for Moscow’s liberal Novaya doctor husband Joseph (Kevin Kline) victims, raping and strangling helpless streets, a center for former child soldiers, a Gazeta, she was often the only spokesper- and an empty nest at home, Beth forms women, setting thieves on fire, and other- nightclub full of music and laughter: these son for victims of the Russian government. a special bond with the rescued animal. wise following the bloody orders of which- are the many images that form Takesue’s Her scalding criticism of Russia’s govern- When Joseph loses the dog after a wedding ever esteemed drug cartel he worked for. vivid portrait of today’s Uganda, a country ment-sanctioned war in Chechnya, A Dirty at their vacation home in the Rockies, a His face obscured in a claustrophobic at work dealing with the aftermath of years War, infuriated many in power. In 2006, distraught Beth enlists the help of the few Juárez hotel room, he describes his “career” of civil war. Whether exploring the pulsat- at age 48, she was assassinated for simply remaining guests and a mysterious young and the rampant corruption of the Mexican ing energy of Kampala or contemplating doing her job. The murder remains woman (Ayelet Zurer) in a spiritual search political and law enforcement establish- quiet moments in the country, lyrical pacing, unsolved, but for many, that fact does not for her new canine soul mate. Each member ments in matter-of-fact tones salted with disarming sights and sounds, and the eliminate Vladimir Putin himself from of the search party is affected by the machismo. All the while, he illustrates his unadorned honesty of an outsider’s per- ­suspicion. Drawing on unique footage of adventure, which takes them in unexpected tales with primitive drawings on a notepad spective offer an intimate, engaging oppor- Anna’s conversations with filmmaker directions, from the comically absurd to and sometimes reenacts the roles of killer tunity to consider our own stereotypes Marina Goldovskaya, Anna’s former uni- deeply felt emotions. The veteran support- and victim alike. Adapting a version of the about a little-known culture and to perhaps versity professor and friend, shot over a ing cast includes Richard Jenkins, Sam story Bowden wrote for Harper’s Magazine, draw new conclusions about our shared period of twenty years, the film shows the Shepard, Elisabeth Moss, Mark Duplass, this chilling testimony of a former college humanity. “The secret weapon is Takesue’s incredible story of a woman who gave her Diane Wiest, and a companion named student and police cadet turned murderer— unnerving ability to zoom with uncanny life for her convictions. (86 mins.) Freeway. (103 mins.) who remains free today—offers a grim por- focus into (and out of) individual perspec- Filmography: The Shattered Mirror (92), Lucky to be Selected Filmography: Bodyheat (81), The Big Chill trait of the price of the Mexican-American tives.”—Village Voice. (72 mins.) Born in Russia (94). (83), Grand Canyon (91), Mumford (93), drug trade. Winner of the Critics’ Prize at Dreamcatcher (03). First Feature. 2/11 6:00pm World Trade Center Theater the Venice Film Festival. (80 mins.) In Spanish with English subtitles. 2/13 8:45pm Whitsell Auditorium 2/24 6:15pm Whitsell Auditorium 2/19 5:00pm World Trade Center Theater Sponsored by Richard Stein Design. Rosi Filmography: Boatman (93), Afterwards (00), Below Sea Level (08). Sponsored by the World Affairs Council of Oregon. 2/20 12:45pm Cinema 21 28 35th portland international film festival

United States (cont.)

FIRST POSITION THE ISLAND PRESIDENT JIRO DREAMS OF SUSHI LAST DAYS HERE Bess Kargman Jon Shenk David Gelb Don Argott, Demian Fenton

Just as Spellbound certified that spelling The Maldives—200 tiny inhabited islands Jiro Dreams of Sushi is the story of 85-year- In the basement of his parents’ house in bees are akin to gladiatorial combat, and 1,200 coral reefs in the middle of the old Jiro Ono, considered by many to be suburban Maryland lives Bobby Liebling, Kargman proves that ballet is not for the Indian Ocean—are “the height of the good the world’s greatest sushi chef. He is the former vocalist with the 1970s cult legends faint of heart either. The film follows six life, a cross between paradise and paradise,” proprietor of Sukiyabashi Jiro, a 10-seat, Pentagram. A band once described as the ballet students, aged 9-19, as they prepare says Mohamed Nasheed, the country’s sushi-only restaurant inauspiciously street Black Sabbath, Pentagram’s heavy for the Youth America Grand Prix, a top president. Nasheed endured years of located in a Tokyo subway station. Despite rock and heavy metal riffs blew audiences’ competition at which the world’s leading imprisonment, torture, and exile as a result its humble appearances, it is the first res- minds. But something went wrong in their dance companies and schools prospect for of combating an often brutal dictatorship, taurant of its kind to be awarded a presti- career trajectory, and Liebling ended up new talent. Some of the delightful young- but he now faces a worse evil than dictators: gious three-star Michelin review, and battling many years of drug addiction. sters featured include Michaela DePrince, climate change. If sea levels continue rising sushi lovers from around the globe make New friend, fan, and manager Sean an orphan from Sierra Leone nurtured by at present rates, the Maldives will cease repeated pilgrimage, calling months in Pelletier believes he can help Bobby quit her American mom; Aran Bell, a boy to exist. Shenk captures the beauty of advance and shelling out top dollar for a his addictions and launch Pentagram once dance wonder from a US military family; the Maldives and Nasheed’s charm and coveted seat at Jiro’s sushi bar. For most of again. A combination of the unexpectedly and Joan Sebastian Zamor, a Colombian charisma, following Nasheed as he navigates his life, Jiro has been mastering the art of hilarious, tragic, poignant, and of course youth with aspirations for a career with a intricate backroom diplomatic battles, making sushi, but even at his age he sees rocking, Last Days Here offers a fascinating classical company. As the high-stakes com- ­trying to forge international consensus himself as still striving for perfection, portrait of the vocalist, the legendary petition nears, we’re party to remarkable on lowering carbon emissions. This witty, working from sunrise to well beyond sun- band, and the fans who long to see accounts of unthinkable sacrifices and entertaining, inspiring, and urgent saga— set to taste every piece of fish, meticulously Pentagram get the recognition they’ve heroic struggles. (90 mins.) In Spanish, an island David versus the Goliaths of train his employees, and carefully mold long deserved. (91 mins.) French, Hebrew, and Japanese with China, India, and the US—climaxes at and finesse the impeccable presentation Filmography: Rock School (05), The Art of the Steal English subtitles. the UN Climate Change Conference of each sushi creation. (81 mins.) (09). First Feature. in Copenhagen, with 192 countries in First Feature. 2/25 3:30pm Cinema 21 attendance. (101 mins.) 2/23 6:00pm Cinema 21 2/10 6:15pm World Trade Center Theater Sponsored by Music Millennium. 2/24 3:30pm Whitsell Auditorium Filmography: Lost Boys of Sudan (03). 2/19 12:00pm Cinema 21 Sponsored by Higgins. 2/18 3:15pm World Trade Center Theater Sponsored by the Consulate-General of Japan 2/24 6:15pm World Trade Center Theater in Portland and Shigezo. Sponsored by Mercy Corps. 35th portland international film festival 29

PELOTERO SOMEWHERE BETWEEN TO BE HEARD UNFINISHED SPACES Ross Finkel, Trevor Martin, Linda Goldstein Knowlton Roland Legiardi-Laura, Benjamin Murray, Alysa Nahimas Jonathan Paley Deborah Shaffer, Edwin Martinez Somewhere Between tells the intimate stories In 1961, in the expansive first days of the In the build-up to the most important day of four teenaged girls. They live in differ- To Be Heard is a riveting documentary that Cuban Revolution, Fidel Castro asked of their lives, two young Dominican base- ent parts of the US, in different kinds of tells the story of three teens from the three visionary architects, Ricardo Porro, ball players confront competition and families, and are united by one thing: all Bronx who use spoken word/beat poetry as Roberto Gottardi, and Vittorio Garatti, to ­corruption to achieve their Big League four were adopted from China, because all a catalyst to inspire change in themselves build the Cuban National Arts Schools— dreams. Baseball is a way of life in the four had birth parents who could not keep and others. Karina, Pearl, and Anthony one school each for dramatic arts, modern Dominican Republic. From the streets to them, due to personal circumstances col- are in many ways your average teenagers. dance, ballet, music, and sculpture—on the stadiums, young boys dream of one liding with China’s “One Child Policy.” Of They call themselves “The Tripod,” and what had been the golf course of a country day emerging from the dugout onto a Big the roughly 80,000 girls that have been they constantly support one another in club. But before construction was com- League field. From the time they can walk, adopted from China since 1991, these their efforts to succeed, find love, and pleted, the Revolution took a Soviet turn, kids practice with rolled-up sock balls and strong young women allow us to grasp overcome life’s challenges. But they are and suddenly the project was denounced broomsticks, waiting for the day they are what it is like to come of age in today’s also unique. The top talents in a poetry as bourgeois and counterrevolutionary. old enough to sign. That day comes at America as transracial adoptees. At the workshop called Power Writing, they use The story has many more fascinating age 16 when they try out for professional same time, we see them as typical the power of the written and spoken word twists and turns, as these radical, magnifi- teams. Pelotero follows two of the nation’s American teenagers doing what teenagers to articulate their deepest experiences. cent buildings become a prism through most talented hopefuls and their long, everywhere do…struggling to make sense To Be Heard is the story of poetry’s ability which we see the turbulent, ever-shifting rocky road towards achieving their of their lives. Issues of identity, race, and to transform lives and an exploration of a history of Castro’s Cuba and follow the dreams. While their stories reveal a dark gender are brought to life through these unique public education program that fates of the three architects, now in their side of Dominican baseball—age falsifica- articulate subjects, who approach life with gives voice to those who otherwise might 80s, who would get a second chance to tion, steroid use, unrealistic dreams, and honesty and open hearts. (94 mins.) In never be heard. “If you don’t learn to write revitalize their utopian project. (86 mins.) corruption—at the heart is a story of two English, Mandarin, and Spanish with your life story, someone else will write it First Feature. boys battling incredible odds to play the English subtitles. Ages 14+. for you.” (87 mins.) Ages 14+. 2/11 3:30pm Whitsell Auditorium game they love. (73 mins.) In English and Filmography: The Chef and the Architect (06), Schaffer Filmography: The Wobblies (99), Fire from Sponsored by Richard Stein Design. Spanish with English subtitles. The World According to Sesame Street (06). the Mountain (99), From the Ashes: Ten Artists (02). First Feature. Legiardi-Laura Filmography: Azu (89). 2/19 12:00pm World Trade Center Theater 2/19 2:30pm Whitsell Auditorium 2/22 6:15pm Cinema 21 2/11 3:30pm World Trade Center Theater 2/25 1:15pm Whitsell Auditorium Sponsored by U.S. Bank. 2/20 2:30pm Whitsell Auditorium Sponsored by Peter Corvallis Productions. Sponsored by the Heathman Hotel. 30 35th portland international film festival

LA LUNA SMALL FRY SHORT CUTS I: Enrico Casarosa, United States SHORT CUTS II: Angus MacLain, United States INTERNATIONAL TIES This Pixar-produced film tells the story INTERNATIONAL TIES Pixar’s new installment in its “Toy Story of a boy who finds himself conflicted Toons” finds Buzz hilariously getting between the ways of his elders as he takes trapped at a fast food restaurant support 2/12 12:30pm Whitsell Auditorium to the sea with his Papa and Grandpa. 2/18 12:30pm Whitsell Auditorium group for discarded Happy Meals toys (7 mins.) from over the years. (7 mins.)

AGLAEE Total program running time: 82 mins. THE FANTASTIC FLYING BOOKS Total program running time: 92.5 mins. Rudi Rosenberg, France OF MR. MORRIS Aglaée isn’t interested when Benoit asks William Joyce, United States her out, but upon discovering it was a cruel This lyrical love letter to books celebrates playground joke, the tables begin to turn. NWFC 40TH ANNIVERSARY the transformative powers of storytelling. (19 mins.) FILM CONTEST WINNERS (17 mins.) BIG BANG BIG BOOM At each shorts program we will screen the winners of the Film Center’s 40th GOODBYE MANDIMA Silvia Siberini, Italy Anniversary “Make It Short” 40-second Robert Jean Lancomb, Switzerland An ingenious animation that uses the city film competition—Judges’ Award winner Drawing on home movies from his African as its canvas to tell a short, unscientific Recoil, by Christian Nicolay and Ya-Chu childhood, Lancomb reflects on a pivotal story about evolution and its possible Kang, and Audience Award winner moment: the day friendships, culture, and consequences.­ (10 mins.) The Secret Life of Bluebirds, by Kyle Bell. identity changed forever. (10 mins.) Love at first sight BUKOWSKI LOVE AT FIRST SIGHT (Great Britain) Derk Jan Warrink, Netherlands Michael Davies, Great Britain A precocious 12-year-old makes a drolly Love can be found in the most unexpected indelible impression at an Amsterdam places. With John Hurt and Phyllida Law. hotel. (8 mins.) (13 mins.) I COULD BE YOUR GRAND MOTHER THE FLYING HOUSE Bernard Tanguy, France Winsor McCay, Bill Plympton, United States Touched by an old Romanian homeless A “re-imagining” of Winsor McCay’s clas- woman who reminds him of his grand- sic 1921 short, Dreams of the Rarebit Fiend: mother, a lawyer starts helping other street The Flying House, hand-colored by people by perfecting their pitches with I could be your grandmother Plympton using reprints of Winsor’s color Tooty’s Wedding wit and humor. (19 mins.) (France) comics as a guide. (7.5 mins.) (Great Britain) DIK TOOTY’S WEDDING Christopher Stollerby, Australia Frederick Casella, Great Britain A child’s drawing is the inadvertent catalyst A young couple’s marriage hits the rocks in this spirited domestic comedy about during a weekend wedding in the country. sexuality and secrets. (10 mins.) (19 mins.) THE EAGLEMAN STAG THE WHOLLY FAMILY Michael Please, Great Britain Terry Gilliam, Italy Repeat the word “fly” long enough, and An American family in the streets of it sounds like “life.” But this doesn’t help Naples. Their young son steals a Pulcinella la luna The Wholly Family Peter, the cranky protagonist of this darkly doll, which is reputed to bring bad luck. comic tale. (9 mins.) (United States) (19 mins.) (Italy) 35th portland international film festival 31

RAJU SUNDAY SHORT CUTS III: Max Zähle, Germany SHORT CUTS IV: Patrick Doyen, Canada INTERNATIONAL TIES When a German couple arrive in an INTERNATIONAL TIES On a gray afternoon, a young boy creates Indian city to adopt a boy, his brief escape his own form of entertainment when the triggers a glimpse inside a system of pro- family makes its weekly trek to visit the 2/19 12:00pm Whitsell Auditorium curement that may not be as altruistic 2/20 12:30pm Whitsell Auditorium grandparents. (9 mins.) as it first seems. (24 mins.) NULLARBOR SPECKY FOUR EYES TIME FREAK Total program running time: 84 mins. Andrew Bowler, United States Patrick Sarell, Australia Jean-Claude Rozek, France Chronology goes comically awry for a An animated road movie set across the Arnaud’s prescribed glasses interfere with wacky inventor trying to change his life vast and barren landscape of Australia’s his best views: the fantastical world his through his time machine. (10 mins.) Nullarbor Plain. (10 mins.) shortsightedness enables him to imagine. (9 mins.) WILD LIFE WEST OF THE MOON Brent Bonacorso, United States Amanda Forbis, Wendy Tilby, Canada SAILCLOTH An old man plays cards with a robot, has A dapper Englishman tries his hand at Elfar Adalstein, Great Britain a grenade instead of a heart, and pines for becoming a “rancher” in Alberta, but his The poignant story of an elderly widower his long-lost love. (10 mins.) romanticized visions of Canadian prairie ( John Hurt), who sets in motion a series of life soon take a turn for the worse. (14 mins.) events to hide his disappearance from a Total program running time: 79 mins. Cornish nursing home. (18 mins.) PENTECOST Nullabor Peter McDonald, Ireland (Australia) THE RENTER When Damian is forced to serve as an Jason Carpenter, United States altar boy at an important mass, he faces a On a young boy’s Lynchian visit to his difficult choice: conform to the status quo grandmother’s farm, he learns that caring or serve an extended ban from his passion can be shown in unexpected ways. (10 mins.) in life…football. (11 mins.) COLD BLOOD TWO’S A CROWD Martin Thibaudeau, Canada Jim Isler, Tom Isler, United States A mother brings her reluctant son to the Quintessential New Yorkers Allen and hospital for an ambiguous procedure. Collette, after four years of marriage, finally (4 mins.) decide to move in together. (19 mins.) Pentecost THE STRANGE ONES Cold Blood (Ireland) (Canada) SUMMER BUMMER Christopher Radcliff, Lauren Wolkstein, Bill Plympton, United States United States A man about to go swimming imagines A man and a boy, traveling to an unknown what horrors are lurking deep in the waters destination, find respite in a motel swim- of his backyard pool. (2 mins.) ming pool. On the surface all seems normal, but nothing is what it seems to be. (5 mins.) TMZ Bill Plympton, United States DAS TUB Plympton animates a new “Weird Al” James Cunningham, New Zealand Yankovic music video. (4 mins.) A witty homage to submarine action films. (4 mins.) Raju Time Freak (Germany) (United States) 32 35th portland international film festival

SACK BARROW SALTY SHORT CUTS V: IN Ben Rivers, Great Britain SHORT CUTS VI: Malia Jensen THE ABSENCE OF LIGHT, A sulphurous portrait of a London suburb MADE IN OREGON Possibly hilarious, possibly erotic (depend- plating factory established in 1931 for ing on your sexual and comedic fetishes) DARKNESS PREVAILS limbless and disabled war veterans. art converges with behavioral science Documenting a vanished world, the film’s 2/23 6:15pm Whitsell Auditorium when cattle find an anatomically correct A program of short avant-garde work decelerated rhythm and focus on surface— salt lick in their pasture. (13 mins.) from chemical aggregate to nostalgia-era presented by Cinema Project and the DEVICE TREEVERSE Northwest Film Center. pin-up girls—lend a portentous feel. Lawrence Johnson (21 mins.) John Waller 2/21 6:15pm Whitsell Auditorium A middle-aged man and his young female Two arborists spend five days traversing the student take an awkward trip through SEA SERIES #10 canopy of a grove of Oregon white oaks. America’s Southwest. (7 mins.) A PREFACE TO RED John Price, Canada (15 mins.) Jonathan Schwartz, Turkey/United States “Hovering at the brink of widescreen LANDSCAPE WITH DUCK “A single recording, recorded in a tunnel 271 extinction with Fukushima in mind.” Patrick Neary that one passes through after exiting a boat —John Price. (10 mins.) Spencer Alexander taking you from one continent to another, A wayward duck tries to catch up with his A dumpster diver (Andy Copeland) has Total program running time: 69 mins. where people are selling bright colored companions on their migration south in no difficulty holding up both ends of a toys and bright white sneakers.”—Jonathan this hand-drawn animated short. (4 mins.) conversation with his new friend in Schwartz. (6 mins.) ENTERING THE ATMOSPHERE Oregon’s “Best Picture” winner of the 2011 48-Hour Film Project. (7 mins.) BY FOOT-CANDLE LIGHT Brian Libby Mary Helena Clark, United States This catchy edit of the filmmakers’ home Total program running time: 67 mins. Sponsored by Pro Photo Supply. “Scenes from the proscenium wings. A film movies and astronomic images compares imagined and recounted by foot-candle the concepts of birth and arrival. (4 mins.) light. You close your eyes, and suddenly MOSSGROVE/BED OF MOSS it is dark.”—Mary Helena Clark. (9 mins.) Kurtis Hough IN THE ABSENCE OF LIGHT, Hough slugs it out in the forested DARKNESS PREVAILS Northwest in this memorable diptych. Fern Silva, Brazil/United States (10 mins.) “Silva’s film suggests a future already DEAR PETER, GOATS arrived, merging the destruction with the Orland Nutt creation of life... The film resides in a well A preface to red Device of deep time, civilizational history swallowed (Turkey/United States) Nutt successfully documents the normal by the life of the planet.”—Genevieve Yue, goats of Glacier National Park for his friend, Reverse Shot. (13 mins.) the unreliable videographer Peter. (2 mins.) SOUNDING GLASS DEAR PETER, YAKS Sylvia Schedelbauer, Germany Orland Nutt A man in a forest is subject to a flood of In this video letter to Peter, filmmaker impressions; structurally rhythmic waves Nutt confesses that yaks confuse him and of images and sounds give form to his ice should fear him. (2 mins.) introspection. (10 mins.) SHINE Jesse Blanchard sea series #10 treeverse Members of a barbershop quartet fear their (Canada) moment out of the spotlight. (3 mins.) 35th portland international film festival 33

Grandma, A Thousand Times Salmon Fishing in the Yemen The Fantastic Flying Books of Mr. Morris Mahmoud Kaabour, Lebanon...... 20 Lasse Hallström, Great Britain...... 6 William Joyce, US...... 30 Film Index Habanastation Ian Padrón, Cuba...... 11 The Salt of Life Gianni Di Gregorio, Italy...... 19 The Flying House Habemus Papam Nanni Moretti, Italy...... 19 The Silver Cliff Karim Aïnouz, Brazil...... 9 Winsor Mccay, Bill Plympton, US...... 30 features Headhunters Morten Tyldum, Norway...... 21 Snows Of Kilimanjaro Goodbye Mandima Hello! How Are You? Robert Guédiguian, France...... 14 Robert Jean Lancomb, Switzerland...... 30 Abu, Son of Adam Salim Ahmed, India...... 17 Alexandru Maftei, Romania...... 23 Snowtown Justin Kurzel, Australia...... 7 I Could Be Your Grandmother Almanya—Welcome to Germany How Much Does Your Building Weigh, Somewhere Between Bernard Tanguy, France...... 30 Yasemin Samdereli, Germany...... 15 Mr. Foster? Carlos Carcas, Linda Goldstein Knowlton, US...... 29 In the Absence of Light, Darkness Prevails Amador Fernando León De Aranoa, Spain..... 25 Norberto López Amado, Great Britain...... 16 Surviving Life Fern Silva, Brazil/US ...... 32 Athina Rachel Tsangari, Greece...... 16 Attenberg Identity Card Ondrej Trojan, Czech Republic... 12 Jan Svankmajer, Czech Republic...... 12 La Luna Enrico Casarosa, US...... 30 Cristi Puiu, Romania...... 23 Aurora Invasion of the Alien Bikini Tales of the Night Michel Ocelot, France...... 15 Landscape with Duck Patrick Neary, US.... 32 Cristián Jiménez, Chile...... 10 Bonsai Young-Doo Oh, South Korea...... 24 Target Alexander Zeldovich, Russia...... 24 Love at First Sight Charly Braun, Brazil...... 9 Beyond the Road The Island President Jon Shenk, US...... 28 This is Not a Film Jafar Panahi, Iran...... 18 Michael Davies, Great Britain...... 30 A Bitter Taste of Freedom Jean Gentil Israel Cárdenas, Laura Amelia To Be Heard Roland Legiardi-Laura, Mossgrove/Bed Of Moss Marina Goldovskaya, US...... 27 Guzmán, Dominican Republic...... 12 Deborah Shaffer, Edwin Martinez, US...... 29 Kurtis Hough, US...... 32 Michael R. Roskamm, Belgium...... 8 Bullhead Jiro Dreams of Sushi David Gelb, US...... 28 Toll Booth Tolga Karaçelik, Turkey...... 26 Nullarbor Patrick Sarell, Australia...... 31 Karl Markovics, Austria...... 8 Breathing José y Pilar Miguel Gonçalves Mendes, Portugal...22 The Turin Horse Béla Tarr, Hungary...... 17 Pentecost Peter Mcdonald, Ireland...... 31 Café de Flore Jean-Marc Vallée, Canada...... 10 The Kid with a Bike Turn Me On, Dammit! A Preface to Red Cairo Exit Hesham Issawim, Egypt...... 13 Jean-Pierre and Luc Dardenne, Belgium...... 8 Jannicke Systad Jacobsen, Norway...... 21 Jonathan Schwartz, Turkey/US...... 32 A Cat in Paris Kill List Ben Wheatley, Great Britain...... 16 Unfinished Spaces Raju Max Zähle, Germany...... 31 Jean-Loup Felicioli, Alain Gagnol, France...... 13 King of Devil’s Island Marius Holst, Norway... 21 Benjamin Murray, Alysa Nahimas, US...... 29 The Renter Jason Carpenter, US...... 31 Cirkus Columbia Danis Tanovic, Bosnia...... 9 Kiss Me Alexandra-Therese Keining, Sweden... 25 Volcano Rúnar Rúnarsson, Iceland...... 17 Sack Barrow Ben Rivers, Great Britain...... 32 Clown: The Movie Las Acacias Pablo Giorgelli, Argentina...... 7 The Water at the End of the World Sailcloth Elfar Adalstein, Great Britain...... 31 Mikkel Nørgaard, Denmark...... 12 Last Days Here Paula Siero, Argentina...... 7 Salty Malia Jensen, US...... 32 Corpo Celeste Alice Rohrwacher, Italy...... 19 Don Argott, Demian Fenton, US...... 28 Where Are You Taking Me? Sea Series #10 John Price, Canada...... 32 Darling Companion Lawrence Kasdan, US... 27 Let the Bullets Fly Jiang Wen, China...... 11 Kimi Takesue, Uganda/US...... 27 Shine Jesse Blanchard, US...... 32 Darwin Nick Brandestini, Switzerland...... 26 The Life of Fish Matías Bize, Chile...... 11 Where Do We Go Now? Small Fry Angus MacLain, US...... 30 The Day He Arrives Life Without Principle Johnnie To, Hong Kong.. 17 Nadine Labaki, Lebanon...... 20 Sounding Glass Hong Sang-Soo, South Korea...... 24 The Loneliest Planet Julia Loktev, Germany... 15 Whore’s Glory Michael Glawogger, Austria.... 8 Sylvia Schedelbauer, Germany ...... 32 Declaration of War Valérie Donzelli, France... 13 Man Without a Cell Phone Woman in the Septic Tank Specky Four Eyes Elena Andrei Zvyagintsev, Russia...... 23 Sameh Zoabi, Palestine/Israel...... 22 Marlon Rivera, Phillipines...... 22 Jean-Claude Rozek, France...... 31 El Sicario, Room 164 Monsieur Lazhar Philippe Falardeau, Canada... 10 The Strange Ones Christopher Radcliff, Gianfranco Rosi, Charles Bowden, US...... 27 Morgen Marian Crisan, Romania...... 23 Short Cuts Lauren Wolkstein, US...... 31 Sivaroj Kongsakul, Thailand...... 26 Eternity Mr. Tree Han Jie, China...... 11 271 Spencer Alexander, US...... 32 Summer Bummer Bill Plympton, US...... 31

The Extraordinary Voyage Norwegian Wood Tran Anh Hung, Japan....20 Aglaee Rudi Rosenberg, France...... 30 Sunday Patrick Doyen, Canada...... 31 Serge Bromberg, Eric Lange, France...... 13 Once Upon a Time in Anatolia Big Bang Big Boom Silvia Siberini, Italy...... 30 Time Freak Andrew Bowler, US...... 31 Nacho Vigalondo, Spain...... 25 Extraterrestrial Nuri Bilge Ceylan, Turkey...... 26 Bukowski Derk Jan Warrink, Netherlands...... 30 Tmz Bill Plympton, US...... 31 Dominique Abel, Fiona Gordon, The Fairy The Orator Tusi Tamasese, New Zealand...... 21 By Foot-Candle Light Tooty’s Wedding Bruno Romy, France...... 14 Patagonia Marc Evans, Great Britain...... 16 Mary Helena Clark, US ...... 32 Frederick Casella, Great Britain...... 30 First Position Bess Kargman, US...... 28 Pelotero Ross Finkel, Trevor Martin, Cold Blood Martin Thibaudeau, Canada...... 31 Treeverse John Waller, US...... 32 Joseph Cedar, Israel...... 18 Footnote Jonathan Paley, US...... 29 Das Tub James Cunningham, New Zealand....31 Two’s a Crowd Jim Isler, Tom Isler, US...... 31

Forgiveness of Blood Pink Ribbons, Inc. Léa Pool, Canada...... 10 Dear Peter, Goats Orland Nutt, US...... 32 West of the Moon Brent Bonacorso, US...... 31 Joshua Marston, Albania...... 7 Play Ruben Östlund, Sweden...... 25 Dear Peter, Yaks Orland Nutt, US...... 32 The Wholly Family Terry Gilliam, Italy...... 30 Found Memories Julia Murat, Brazil...... 9 Postcard Kaneto Shindo, Japan...... 20 Device Lawrence Johnson, US...... 32 Wild Life Free Men Ismaël Ferroukhi, France...... 14 Qarantina Oday Rasheed, Iraq...... 18 Dik Christopher Stollerby, Australia...... 30 Amanda Forbis, Wendy Tilby, Canada...... 31 The Front Line Jang Hun, South Korea...... 24 Restoration Yossi Madmoni, Israel...... 19 The Eagleman Stag Gerhard Richter Corinna Belz, Germany...... 15 Rose Wojciech Smarzowski, Poland...... 22 Michael Please, Great Britain...... 30 Mohammad Rasoulof, Iran...... 18 Goodbye Entering the Atmosphere Brian Libby, US.. 32 Goodbye First Love Mia Hansen-Løve, France.. 14 PORTLAND: YOUR GATEWAY TO GLOBAL GETAWAYS. With a network that spans across six continents and far-reaching alliance relationships with Air France-KLM, Alitalia, and the SkyTeam alliance, Delta can take your travelers to global heights. Our non-stop flights from Portland to Tokyo’s Narita and Amsterdam’s Schipol airports offer convenient connections to the world’s established financial capitals, emerging markets and everywhere in between.

JOHN FRAME three fragments of a lost tale February 18 – May 27, 2012

portlandartmuseum.org delta.com (Detail) The Unanswered Question, 2006-2011, Wood, glass eyes and found objects © John Frame. B:3” T:3” S:2.5”

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Publication: None Network: FMC Studio Artist: Andrew Markus Page Size - Trim: 3” x 6.4” Bleed: None Safety: 2.5” x 5.9” Contact: Meghan Evans Insertion Date: None Document Name: FMC_XFINITY AD_011812.indd Deadline: 1/18/12 Creation Date: 1-18-2012 10:22 AM Description: FMC Xfi nity Ad for Portland Film Fest Job Colors: 4C Current Date: 1-18-2012 10:22 AM 36 35th portland international film festival

Graphic Designers—Michael Smith, Tricia Chin; Northwest Film Center 40th Anniversary General; Christopher Hermann—Honorary Northwest Film Center Online Communications Specialist—Erica Moe; Planning Committee: Chair—Michou Jardini; Consul of Austria for Oregon; James Rudd— Festival Volunteer Coordinator—Casey Szot; Print Connie Apa, Byron Beck, Kim DeMent, Erin Honorary Consul, Romania; Michael Oros, The Northwest Film Center is a regional media Traffic Coordinator—Morgen Ruff; Print Traffic Donovan, China Forbes, Aysha Ghazoul, Gil Michou Jardini—Romanian American Society; arts organization founded to encourage the study, Assistant—Darrell Brett; Theatre Staff—Jason Neiger, Jillian Rabe, John Ripper, Nicky Silverstone, Chris Kang, Dave Kim, Vivina Boster—Oregon appreciation, and utilization of the moving image Longwell, Erik McClanahan, Arika Oglesbee, Mary Snyder, Jess Sword, and Connie Wohn. Korea Foundation; John Bates—Honorary arts, to foster their artistic and professional excel- Ilana Sol, Veronica Vichit-Vadakan, Joe Von Consul of Korea; Bill Failing—Honorary lence, and to help create a climate in which they Appen, Larisa Zimmerman, Helmy Membreno, Consul of Luxembourg; Andrea Bartoloni— may flourish. Founded in 1971, the Film Center Gemma Sans de la Serna, Nick Bruno, Rebecca Special Thanks to Honorary Vice Consul of Italy, Portland; provides a variety of activities and services Cole, Balázs Hertlik, Liz Lewis, Eric Macey, Magnus Aasbrenn—Norwegian Consulate ­primarily directed to the residents of Oregon, Trillium Shannon, Gabe Van Lelyveld, Khai East, General, San Francisco; Stumptown Coffee; Aaron Cooper, Mike Heiser, Sean Sterling, Linda Witt—Alliance Française de Portland; Washington, Idaho, Montana, and Alaska. The Jennifer Knop, Stephanie Hough, Becky Olsen, Chuck Spittal—The Oregonian; Jon Douglas— Film Center presents a wide-ranging, year-round Naomi Mlynski, Michael Steen, Katie Burkhart, Sanaz Alesafar—TV5Monde; Liat Dahan— Regal Cinemas; Jim McDonald, Sue Colitin— Consulate General of Israel; Meredith film exhibition program and offers a number Jennifer Hayler-Knauss, Karen Wennstrom, Lily The Paul G. Allen Family Foundation; of outreach programs and activities serving the Hudson, Wilhelmina Heyward, Halie Kampman, Weisshaar, Ellen Theodorson, Slone Pearson— Mark Shapiro, Travis Knight—LAIKA; Martha Oregon State Bar International Law Section; region. These include circulation of outstanding Lars Steir; Advance Ticketing Staff—Sean Richards, Gretchen Schackel—The James F. Tim DuRoche—World Affairs Council of work by regional artists; sponsorship of special Whiteman, Susha Pratt, Jeff Guay, Mo McFeeley, and Marion L. Miller Foundation; Steve Oregon; Oscar Chavarri Cazaurang—Consulate festivals, including the Northwest Filmmakers’ Sean McGrath; Education Program Assistants— Sandstrom, Kay Zerr—Sandstrom Partners; of Mexico in Portland; Arezu Movahed— Festival (November), Reel Music Festival Jane Ballou, Jonathan Dick, Miles Sprietsma, David Machado, Daren Hamilton, Michelle French American International School; (October), Portland Jewish Film Festival (April), Liz Lewis, Balazs Hertlik, Cassie Cohn, Miranda Glass—Nel Centro; Joanne Bosworth, Susan Malgorzata Cup—Consulate of Poland, Young People’s Film Festival (September/ Lehman; Festival, Office, & Education Interns— Siebl, Desmond Mollendor—Hotel Modera; Los Angeles; Donata Tiley—Polish Library November), and Portland International Film Caitlyn Cartlidge, Sambaran Chattaerjee, Abigail Dan Heine, Bridget Smith—Bank of Oswego; Association, Portland; Patrizia Gambarotta— Festival (February); a School of Film offering Press, Annika Wagner; Festival Volunteers—Yasue Jane Blackstone—City of Lake Oswego; Liane Italian Cultural Institute, San Francisco; diverse education classes and workshops for Arai, Jean Bellinger, Jeanne Devon, Gabrielle Cabot—The Arts Council of Lake Oswego; Consul-General Takamichi Okabe, Vice Consul ­children and adults, including a Certificate Foulkes, Connie Guist, Kay Olsen, Nandini Vince Porter—Governor’s Office of Film and Kazuki Tanabe, Natsuko Alipio—Consulate Program in film production; the statewide Young Ranganathan, John Acerbi, Pirkko Haavisto, Television; Robert Kramer—SP Newsprint; General of Japan in Portland; Claudine Fisher— Filmmakers outreach residency program; public Verone Flood, Jean Lew, Pat Holmes, Hannah Cassie Negra, Dan Floyd—Safeway Foundation; Honorary Consul of France; Jaime Lee access to film and video production facilities; and Van Loon, Lis Cooper, Douglas Hanes, Jesse Molly Brown—Alaska Airlines; Josie Toffelmier— Christiana; Celia Lyon—Meadows Group a variety of information and publication programs. Iiams-Hauser, and many more… Delta Airlines; Carol Hickman, Becky Chinn— Realtors; Richard Stein—Richard Stein Design; OPB; Julie McIlvain, Brad Nosler—Comcast; The Film Center is funded in part by grants from Faculty: Sue Arbuthnot, Bushra Azzouz, Klaus Heyne, Petra Brambrink—Zeitgeist the National Endowment for the Arts, Oregon Carlos Gutierrez—Fox Network; Karen Northwest; Kristina Bünger—Consulate Kelley Baker, Jon Beanlands, Andrew Blubaugh, Devenenzi—Southpark Seafood Grill; Marsha Arts Commission, Regional Arts and Culture Bill Bowling, Holly Brix, Carl Diehl, Mark Eifert, General of Sweden, San Francisco; Jeff Leung, Council, The Ted R. Gamble Film Endowment, Smith—Higgins; Sarah Bohlin, Kate Buska— Grace Yu—Hong Kong Economic & Trade Brenda Grell, Daniel Johnson, Lee Krist, Brian Hotel deLuxe; Tamio Nojima, Nagaoka The Paul G. Allen Family Foundation, The James Lindstrom, Ted Mahar, Roger Margolis, Chris Office; Angela Zagarella, Ayn Hotchkiss— F. and Marion L. Miller Foundation, The Rose E. Nobutoku—Shigezo; Chris Erickson, Krissy Portland-Bologna Sister City Association; Matheson, Matt McCormick, Amy O’Brien, Sonniksen—Heathman Hotel; Daniel Sheniak, Tucker Charitable Trust, Henry Lea Hillman Jr. Amy Kohnstamm—Mercy Corps; Ross Buck Skelton, Michelle Swineheart, Chris Tenzis, Dan Wieden—Wieden+Kennedy; Judy Gillies, Foundation, and the support of numerous Fogelquist—New Sweden; Mark Schleck, Mary Will Vinton, and Wayne Woods. Dennis Bash—U.S. Bank; Kregg Arntson, Carole ­corporate program sponsors, Silver Screen Club DeLorme—Scan/Design Foundation; Bjorn Morse—Portland General Electric; Kelly members, and friends. Portland Art Museum: Chairman, Board of Bakke—Grieg Lodge; Richard Woodling— Trustees—Jim Winkler; Vice Chairs—Richard Brown, Barten—Oregon Live; Diane Bullas—Journal Honorary Counsul General for the Republic Janet Geary; Executive Director—Brian Ferriso. Graphics; Matthew Cisneros, Michelle of the Phillipines. Crowley—North American Breweries; Howard Film Center Staff Northwest Film Center Committee: Rossbach, Cynthia Challacombe—Firesteed Festival Program and Poster Design—Sandstrom Chairman—Don Van Wart; Linda Andrews, Mary Vineyards; Steve Smith, Kim DeMent— Partners; Print Production—Denise Brem. Director—Bill Foster; Education Director—Ellen Hinckley, David Margulis, Dick Rubenstein, Steven Smith Teas; Tom Mittelstaedt—KINK. Alice Wiewel, Bill Whitsell. Thomas; Public Relations & Marketing Manager— fm; Juanita Lynn—Tazo Tea; Maria Corvallis— Identification Statement Jessica Lyness; Filmmaker Services Manager— Northwest Film Center 40th Anniversary Peter Corvallis Productions; Jonathan Combs, Thomas Phillipson; Education Program Manager— Tom Darnall—Pro Photo Supply; Ann Grimmer— Publication Title: Honorary Committee: Chair—Gus Van Sant; Northwest Film Center Lloyd Center; Ryan Gallagher—Criterion Cast; Pamela Minty; Membership & Public Programs Linda Andrews, Brian and Gwyneth Gamble Booth, Portland International Film Festival Danielle Ledford, York Haines—Lamar; Patrick Coordinator—Kristy Conrad; Exhibition Program Todd Haynes, Henry Hillman, Mary Hinckley, Issue Date: February 2012 Manager—Ted Hurliman; Head Projectionist— Susan Hoffman, Jennifer and Jim Mark, Bob Angus, Steven Fort—Mario’s; Tom Ranieri— Cinema 21; Chuck Nakvisil, Dave Saunders, Statement of Frequency: Melinda Kowalska; Equipment & Facilities Packard, Jordan Schnitzer, John Shipley, Al Published six times per year Coordinator—Brian Yazzie; Operations & Event Solheim, Mark Whitlow, Wendy Warren, Don Ian Westmorland, Aaron Alssen—Cinemagic; Drew Prell—Lake Twin Cinema; Dan Halsted— Authorized Organization Name and Address: Development Manager—Russ Gage; Program Van Wart, Bill and Helen Jo Whitsell, Alice Portland Art Museum, Northwest Film Center Grindhouse Film Festival; Timothy Firth; Marketing Associate—Laurel Degutis; Wiewel, and Susan and Jim Winkler. 1219 SW Park Avenue, Portland, Oregon 97205 Mike O’Bryant—Scandinavian Heritage Administrative Coordinator—Peter Fullerton; Issue Number: Volume 40; Issue 2 Foundation; Andreas Lins—Austrian Consulate 35th portland international film festival 37 sponsors

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1 Whitsell Auditorium (WH) 3 Newmark Theatre (NT) 4 Regal Pioneer Place (PP5) 6 Cinema 21 (C21) 8 Regal Lloyd Mall (LM5, LM6) 1219 SW Park Ave, Portland 1111 SW Broadway Avenue 340 SW Morrison Street, Portland 616 NW 21st Ave, Portland 2320 Lloyd Center Mall, Portland (inside Portland Art Museum) (inside the Portland Center regmovies.com cinema21.com regmovies.com nw lm.org for the Performing Arts) Bus: 1, 8, 9, 12, 17, 19, 35, 36, 44, 54, 56, 94 Bus: 17, 15 Bus: 8, 70, 73 Bus: 6, 38, 43, 45, 55, 58, 68, 92, 96 pcpa.com MAX: red, blue lines (exit Mall/SW 4th St); Streetcar: Exit NW 21st & Lovejoy MAX: red, blue lines (exit Lloyd Center) Streetcar: Exit Art Museum Bus: 1, 6, 8, 9, 12, 17, 38, 43, green, yellow lines (exit Pioneer Place/SW 5th) 7 Lake Twin Cinema (LT) 9 Cinemagic (CM) MAX: red, blue lines (exit SW 10th/Galleria) 45, 55, 58, 68, 92, 94, 96 5 World Trade Center (WTC) 106 N State St, Lake Oswego 2021 SE Hawthorne Blvd, Portland Streetcar: Exit Art Museum 2 Advance Ticket Outlet (ATO) 121 SW Salmon St, Portland Bus: 35, 36 Bus: 14 MAX: red, blue lines (exit Pioneer 1119 SW Park Ave, Portland wtcpd.com Courthouse Square); green, yellow lines Daily, 12-6 p.m., Feb 1-25, 503-276-4310 Bus: 15, 51 (exit SW 6th and Madison) For parking suggestions, visit the Festival website at festivals.nw lm.org/pi35. Please note that at the MAX: red, blue lines (exit Yamhill District) Lloyd Mall, we recommend parking on the top oor of the Lloyd Mall garage for screenings ending after 9pm. 35th portland international film festival 43

5:00 LT Free Men (France) 2:15 WTC José y Pilar (Portugal) Thursday the 9th 5:30 WH Tales of the Night (France)* Thursday the 16th 2:30 WH Pelotero (US) Thursday the 23rd 5:45 CM The Salt of Life (Italy) 2:30 C21 The Silver Cliff (Brazil) 7:30 NT Salmon Fishing (Great Britain) 6:00 LT Postcard ( Japan) 6:00 PP5 Elena (Russia) 8:00 LM5 Turn Me On, Dammit! (Norway) 2:30 CM Man Without Cell (Palestine/Israel) 6:00 CM Patagonia (Great Britain) 6:00 C21 First Position (US)* 8:00 LM6 Norwegian Wood (Japan) 2:30 LM6 Qarantina (Iraq) 6:15 LM6 Hello! How Are You? (Romania) 6:15 LM6 Corpo Celeste (Italy) Friday the 10th 8:00 LT Almanya (Germany) 5:00 C21 Footnote (Israel) 6:15 WH Rose (Poland) 6:15 WH Short Cuts VI: Made in Oregon 8:00 CM Breathing (Austria) 5:00 CM Jean Gentil (Dominican Republic) 6:00 LT The Salt of Life (Italy) 6:30 PP5 A Cat in Paris (France)* 6:30 CM The Water at the End (Argentina) 8:00 WH Life Without Principle (Hong Kong) 5:00 WH Cairo Exit (Egypt) 6:00 WH Almanya (Germany) 6:45 LM5 Identity Card (Czech Republic) 8:15 C21 Whore’s Glory (Austria) 5:00 WTC Where Are You Taking Me? (US) 6:15 CM A Cat in Paris (France)* 8:30 LT Snows of Kilimanjaro (France) 8:30 PP5 Toll Booth (Turkey) 7:30 C21 Once Upon a Time (Turkey) 6:15 LM6 Breathing (Austria) Monday the 13th 8:45 CM Found Memories (Brazil) 8:30 WH The Day He Arrives (South Korea) 7:45 CM Target (Russia) 6:15 WTC Jiro Dreams of Sushi (US)* 8:45 LM6 Beyond the Road (Brazil) 8:45 CM Life Without Principle (Hong Kong) 6:00 WH King of Devil’s Island (Norway) 7:45 LM6 The Kid with a Bike (Belgium) 6:30 LM5 Target (Russia) 8:45 PP5 Abu, Son of Adam (India)* 8:45 LM6 Man Without Cell (Palestine/Israel) 6:00 CM Goodbye (Iran) 7:45 WH Rose (Poland) 8:30 CM Forgiveness of Blood (Albania) 8:45 WH Clown: The Movie (Denmark) 6:00 PP5 Cirkus Columbia (Bosnia) 8:45 WTC This is Not a Film (Iran) 8:30 LT Amador (Spain) 6:00 LM5 Café de Flore (Canada) Friday the 24th 8:30 WH Declaration of War (France) 6:00 LT Where Do We Go Now? (Lebanon) Friday the 17th 8:45 LM6 The Fairy (France) Monday the 20th 3:00 C21 Once Upon a Time (Turkey) 6:15 LM6 Monsieur Lazhar (Canada) 8:45 WTC The Extraordinary Voyage (France) 6:00 C21 Habemus Papam (Italy) 3:30 WH First Position (US)* 8:30 LT Habanastation (Cuba) 12:30 WH Short Cuts IV: International Ties * 6:15 CM Attenberg (Greece) 6:15 C21 Bonsai (Chile) 8:45 CM Attenberg (Greece) 12:45 C21 El Sicario, Room 164 (US) 6:15 WH The Kid with a Bike (Belgium) 6:15 WH Darling Companion (US) Saturday the 11th 8:45 LM5 Las Acacias (Argentina) 2:30 CM Morgen (Romania) 6:15 WTC Woman in Septic Tank (Philippines) 6:15 WTC The Island President (US) 8:45 LM6 Snows of Kilimanjaro (France) 2:30 LM6 Free Men (France) 12:30 WH Bullhead (Belgium) 8:00 LM6 Target (Russia) 6:30 LM6 Snowtown (Australia) 8:45 PP5 Found Memories (Brazil) 2:30 PP5 The Orator (New Zealand) 12:30 WTC José y Pilar (Portugal) 8:45 C21 Goodbye First Love (France) 8:45 C21 The Loneliest Planet (Germany) 8:45 WH Where Are You Taking Me? 2:30 WH To Be Heard (US)* 1:00 CM Habanastation (Cuba)* 8:45 CM The Silver Cliff (Brazil) 8:45 WH Extraterrestrial (Spain) (Uganda/US) 3:00 C21 How Much Does Your Building 1:00 LM5 Jean Gentil (Dominican Republic) 8:45 WH Cairo Exit (Egypt) 8:45 WTC Grandma (Lebanon)* Weigh, Mr. Foster? (Great Britain) 1:00 LM6 The Life of Fish (Chile) 8:45 WTC Darwin (Switzerland) 11:30 C21 Kill List (Great Britain) 5:15 C21 The Loneliest Planet (Germany) 3:00 LT Monsieur Lazhar (Canada) Tuesday the 14th 11:30 C21 Headhunters (Norway) 5:15 CM Elena (Russia) 3:15 LM6 Almanya (Germany) 6:00 CM Free Men (France) 5:15 PP5 Restoration (Israel) Saturday the 25th 3:30 CM A Cat in Paris (France)* 6:00 LM6 Morgen (Romania) Saturday the 18th 5:15 WH Play (Sweden) 3:30 LM5 The Fairy (France) 1:00 C21 Darwin (Switzerland) 6:00 LT Breathing (Austria) 6:00 LM6 Aurora (Romania) 3:30 WH Unfinished Spaces (US) 12:30 WH Short Cuts II: International Ties 1:00 LM6 Qarantina (Iraq) 6:15 LM5 Mr. Tree (China) 7:30 C21 Café de Flore (Canada) 3:30 WTC To Be Heard (US)* 1:00 WTC Tales of the Night (France)* 1:15 WH Pelotero (US) 6:15 PP5 Beyond the Road (Brazil) 8:00 CM Volcano (Iceland) 5:30 LT Café de Flore (Canada) 2:30 CM Cirkus Columbia (Bosnia) 3:30 C21 Last Days Here (US) 6:15 WH The Day He Arrives (South Korea) 8:00 PP5 Clown: The Movie (Denmark) 6:00 CM Snows of Kilimanjaro (France) 2:30 LM6 The Orator (New Zealand) 3:30 LM6 Toll Booth (Turkey) 8:30 LT The Fairy (France) 8:00 WH Woman in Septic Tank (Philippines) 6:00 LM5 Restoration (Israel) 3:00 C21 Mr. Tree (China) 3:30 WH Pink Ribbons, Inc. (Canada) 8:45 CM Hello! How Are You? (Romania) 6:00 LM6 Found Memories (Brazil) 3:00 WH Gerhard Richter (Germany) 6:00 C21 Corpo Celeste (Italy) 8:45 LM5 Amador (Spain) 6:00 WH Hello! How Are You? (Romania) 3:15 WTC The Island President (US) Tuesday the 21st 6:00 LM6 The Water at the End (Argentina) 8:45 LM6 Abu, Son of Adam (India) 6:00 WTC A Bitter Taste of Freedom (US) * 5:30 CM Identity Card (Czech Republic) 6:00 WH Extraterrestrial (Spain) 8:45 PP5 Patagonia (Great Britain) 6:15 LM6 Life Without Principle (Hong Kong) 8:30 LT Patagonia (Great Britain) 5:30 C21 Postcard (Japan) 8:15 LM6 Eternity (Thailand) 8:45 WH Bullhead (Belgium) 6:15 PP5 The Water at the End (Argentina) 8:30 CM Las Acacias (Argentina) 5:30 LM6 Clown: The Movie (Denmark) 8:30 C21 Kiss Me (Sweden) 6:15 WH Short Cuts V: In the Absence 8:30 LM5 Beyond the Road (Brazil) 6:00 WH This is Not a Film (Iran) 8:30 WH Snowtown (Australia) 7:00 CM Norwegian Wood ( Japan) 8:30 LM6 Goodbye (Iran) Wednesday the 15th 6:00 WTC How Much Does Your Building 11:30 C21 Invasion of the Alien (South Korea) 7:00 C21 The Turin Horse (Hungary) 8:30 WH Where Do We Go Now? (Lebanon) Weigh, Mr. Foster? (Great Britain) 8:30 WH Play (Sweden) 8:30 WTC King of Devil’s Island (Norway) 6:00 LT Habemus Papam (Italy) 8:00 LM6 Bonsai (Chile) * Family-friendly films 6:15 CM Turn Me On, Dammit! (Norway) 8:45 LM6 Cirkus Columbia (Bosnia) 8:15 C21 The Turin Horse (Hungary) Schedule changes posted at 6:15 LM5 Bonsai (Chile) 8:45 PP5 Man Without Cell (Palestine/Israel) Sunday the 12th 8:30 CM Volcano (Iceland) festivals.nwfilm.org/piff35 6:15 LM6 Attenberg (Greece) 8:30 WH Footnote (Israel) 12:30 WH Short Cuts I: International Ties 6:15 PP5 The Life of Fish (Chile) 8:30 WTC Kiss Me (Sweden) Wednesday the 22nd 12:45 CM Mr. Tree (China) 6:15 WH Tales of the Night (France)* 11:30 C21 Let the Bullets Fly (China) Theater Codes 2:00 LM5 Goodbye First Love (France) 8:30 LT Las Acacias (Argentina) 6:00 LM6 Eternity (Thailand) C21 Cinema 21 8:45 CM Habanastation 6:00 WH The Front Line 2:00 LM6 Morgen (Romania) (Cuba)* Sunday the 19th (South Korea) CM Cinemagic 2:15 LT Volcano (Iceland) 8:45 LM5 The Orator (New Zealand) 6:15 C21 Somewhere Between (US)* LT Lake Twin Cinema 8:45 LM6 Goodbye (Iran) 6:15 CM Jean Gentil (Dominican Republic) NT Newmark Theatre 3:00 CM Abu, Son of Adam (India)* 12:00 C21 Jiro Dreams of Sushi (US) * LM Regal Lloyd Mall Cinema 3:00 WH The Extraordinary Voyage (France) 8:45 PP5 Monsieur Lazhar (Canada) 12:00 CM 6:30 PP5 Aurora (Romania) Turn Me On, Dammit! (Norway) PP Regal Pioneer Place Stadium 5:00 LM5 Forgiveness of Blood (Albania) 8:45 WH Surviving Life (Czech Republic) 8:30 C21 Pink Ribbons, Inc. (Canada) 12:00 WH Short Cuts III: International Ties WH Whitsell Auditorium 9:00 WH Surviving Life (Czech Republic) 5:00 LM6 Amador (Spain) 12:00 WTC Somewhere Between (US)* WTC World Trade Center Theater NON-PROFIT ORG NORTHWEST FILM CENTER U.S. POSTAGE Portland Art Museum 1219 SW Park Avenue PAID Portland, OR 97205 PORTLAND OR www.nwfilm.org PERMIT NO. 664

THE NORT HWEST FILM CENTER / PORTLAND ART M USE UM PRESENTS 35th portland international film festival SPONSORED BY: THE OREGONIAN / R E GAL CINEMAS

F E BRU ARY 9–25, 2012

Celebrating 40 years of screening unique films, teaching filmmakers, and supporting the region’s ­filmmaking community.