THE NORT HWEST FILM CENTER / PORTLAND ART M USE UM PRESENTS 3 7TH PORTLAND INTERNATIONAL FILM FESTIVAL SPONSORED BY: THE OREGONIAN / THE PAUL G. ALLEN FAMILY FOUNDATION

F E BRU ARY 6–22, 2014

WELCOME

Welcome to the 37th Portland International Film Festival, the Northwest Film Center’s annual showcase of new world ­cinema. Like the Film Center’s Northwest Filmmakers’ Festival, which surveys outstanding new work by our region’s media makers, the Portland International Film Festival explores not only the art of film but also the world around us, no matter the place or the language spoken. The Festival is not just for cinephiles. The cultural diversity, the extraordinary range of subjects, genres, and experiences explored—for all ages and from matinee to midnight—invite exploration and discovery, movie-lover or not. We welcome you to join in this shared cinematic and community experience and let us know your reaction to the films and the event. We want to know, and the filmmakers want to know. If you are a Festival regular, you will recognize the many longtime sponsors who support the Festival and the Film Center. The array of Festival supporters is both impressive and appreciated. We thank them all for their ongoing support and are truly thankful for your efforts to let them know in the ways you can that this event is a valued part of your, and Portland’s, cultural mix. The gratitude, of course, extends to our Silver Screen Club members, to hundreds of volunteers and industry supporters, and to the dedicated, film-loving Film Center staff whose amazing, resourceful efforts make it all possible. This year we continue in our efforts to reach new audiences and are pleased to welcome a new theater and sponsor into the mix, the Oregon Museum of Science and Industry. OMSI’s new Empirical Theater is a dazzling facility, and we’re sure you will enjoy your experience there in the course of your cinema globetrotting. Wherever you go—in Portland or via film— we hope this year’s Festival takes you someplace you’ve never been and that you share your discovery. Enjoy!

BILL FOSTER, Director Northwest Film Center

FESTIVAL SPONSORS 37TH PORTLAND INTERNATIONAL FILM FESTIVAL 3

OSCAR SUBMISSIONS The Missing Picture (Cambodia), Cairo Drive please call the Film Center at 503-221-1156 (Egypt), The Last of the Unjust (France), or email [email protected]. PROGRAM HIGHLIGHTS This year’s Festival features the Portland Google and the World Brain (Great Britain), premieres of 22 films submitted for the Best A World Not Ours (Lebanon), Manakamana Foreign Language Film Oscar, including: NEW DIRECTORS (Nepal), Maidentrip (The Netherlands), The (Afghanistan), Wajma The German Doctor New Rijksmuseum (The Netherlands), People While this year’s Festival has its share of (Argentina), (Australia), FILM FOR FAMILIES The Rocket Television in Places (Spain), The Search for Emak Bakia new works by established masters—Hayao (Bangladesh), (Canada), Film lovers from nine to 90 will be charmed Gabrielle Back to (Spain), Village at the End of the World (Great Miyazaki, François Ozon, Andrzej Wajda, 1942 (China), The Don Juans (Czech by these award-winning films suitable for Britain), Code Black (US), Finding Vivian Claude Lanzmann, Jafar Panahi, Hong Republic), Disciple (Finland), Two Lives younger viewers, depending on subject Maier (US), The Galapagos Affair (US), Sang-soo, Alex van Warmerdam, Tsai (Germany), (Great Britain), interest and subtitle-reading ability. Family- Metro Manila Levitated Mass: The Story of Michael Heizer’s Ming-Liang, Godfrey Reggio, Yûya Ishii, Boy Eating the Bird’s Food (Greece), Of Horses friendly Festival films include: Antboy Monolithic Sculpture (US), Particle Fever (US), and Bill Plympton, to name but a few—and and Men (Iceland), The Good Road (India), (Denmark), Aya of Yop City (France), The Remote Area Medical (US), Teenage (US), Tim’s new films by bright talents like Denis Côté, The Great Passage ( Japan), Juvenile Offender Day of the Crows (France), Ernest and Celestine Vermeer (US), Tito on Ice (Sweden), Visitors Lucía Puenzo, Rithy Panh, Ari Folman, (South Korea), Heli (Mexico), I Am Yours (France), My Mommy is in America and She (US), and What is Cinema? (US). Our thanks Xiaogang Feng, Pawel Pawlikowski, Ti West, (France), (The (Norway), Child’s Pose (Romania), Circles go to The Paul G. Allen Family Foundation Met Buffalo Bill Maidentrip and Daniele Luchetti, discovering new Netherlands), (The Netherlands), (Serbia), Ilo Ilo (Singapore), 15 Years and for their support of these films. The Zigzag Kid directors is part of the Festival’s delight, too. One Day (Spain), and The Butterfly’s Dream and The Tough Guys (Norway). Thanks to Among the 28 eligible for this year’s New (Turkey). Our thanks go to The James F. The Lamb-Baldwin Foundation for supporting Director Audience Award are: Vivian Qu, and Marion L. Miller Foundation for their this programming. support of these films. Trap Street (China); Mahdi Fleifel, A World ANIMATED WORLDS Not Ours (Lebanon); Diego Quemada-Díez, PIFF AFTER DARK The Golden Dream (Mexico); Fabio Grassadonia, In addition to the many award-winning Our late-night series—for the nocturnally Salvo (Italy); Gyan Correa, The Good Road animated films in the Short Cuts programs, inclined whose cinematic tastes are adven- (India); Ritesh Batra, The Lunchbox (India); SHORT CUTS this year’s Festival includes seven animated turous—offers special treats for devotees of Peyman Moaadi, The Snow on the Pines (Iran); features that have charmed audiences all This year’s Festival features five programs genre films that push the boundaries. All Flora Lau, Bends (Hong Kong); Benedikt over the world. The selections include: featuring 35 memorable snapshots—animat- the screenings take place at Cinema 21 and Erlingsson, Of Horses and Men (Iceland); Aya of Yop City (France), The Day of the Crows ed, live-action, documentary, experimental, will start at 12:00am. The selections include: Jan Ole Gerster, Coffee in Berlin (Germany); (France), Ernest and Celestine (France), My and narrative—from across the world, Borgman (The Netherlands), The Congress Katrin Gebbe, Nothing Bad Can Happen Mommy is in America and She Met Buffalo Bill including one program highlighting the (Israel), The Sacrament (US), Proxy (US), (Germany); Ramon Zürcher, The Strange (France), The Congress (Israel), The Apostle outstanding short work of Oregon film­ Coherence (US), and Nothing Bad Can Happen Little Cat (Germany); Marc Boréal and (Spain), and Cheatin’ (US). Thanks to LAIKA makers. Special thanks to Wieden+Kennedy (Germany). Our thanks to Yelp! Portland Thibaut Chatel, My Mommy is in America and for supporting these animated Festival films. for supporting these programs. for supporting this programming. She Met Buffalo Bill (France); Sherief Elkatsha, Cairo Drive (Egypt); Ask Hasselbalch, Antboy (Denmark); Clement Oubreie and Marguerite Abouet, Aya of Yop City (France); Jean- GLOBAL CLASSROOM Christophe Dessaint, The Day of the Crows VISITING ARTISTS ALASKA AUDIENCE AWARDS (France); Stephanie Spray and Pacho Velez, The Festival’s Global Classroom program Thanks to Alaska Airlines and Delta serves as a point of introduction for the As always, you get to be the judge. Let us Manakamana (Nepal); Jillian Schlesinger, know your opinions about the films in this Maidentrip (The Netherlands); Hisham Zaman, Airlines for helping to bring our guests and next generation of cinema lovers by enrich- to our hotel partners—Hotel deLuxe, Hotel ing the high school classroom experience year’s Festival. Ballots will be available at Before Snowfall (Norway); Iram Haq, I Am the screenings for you to rate and comment Yours (Norway); Anthony Chen, Ilo Ilo Modera, and Ace Hotel—for their hospitality and broadening young people’s under- in providing guest accommodations. standing of our world through film. With on the films. At the conclusion of the (Singapore); Hannah Espia, Transit (The Festival, the results of the balloting will Philippines); Oskar Alegría, The Search for support from the Harold and Arlene Schnitzer CARE Foundation, Oregon Arts be announced, with Audience Awards for Emak Bakia (Spain); Gabriela Pichler, Eat Best Film, Best Director, Best Documentary, Sleep Die (Sweden); Helena Ahonen and Commission, and Chipotle Mexican Grill, DOCUMENTARY VIEWS the Festival will screen a number of this Best Short, Best New Director, and other Max Andersson, Tito on Ice (Sweden); Ryan special recognitions. We also welcome your McGarry, Code Black (US); and John Maloof This year’s Festival boasts 22 fresh perspec- year’s selections for high school students and teachers at special weekday times in feedback on your PIFF experience and and Charlie Siskel, Finding Vivian Maier tives on the world we live in and the fasci- how we can make next year’s Festival better. (US). Our thanks to the Henry Lea Hillman nating people and stories that surround us. the Film Center’s Whitsell Auditorium. Jr. Foundation for supporting this program. This year’s nonfiction selections include: For information on the films or to make reservations for these free screenings, 4 37TH PORTLAND INTERNATIONAL FILM FESTIVAL

PAYMENT OPTIONS TICKETS Visa, MasterCard, American Express, and FESTIVAL VENUES Discovery cards are accepted at the Advance GENERAL: $11 Ticket Outlet and online. For day-of-show We are excited to announce our newest PORTLAND ART MUSEUM MEMBER: $10 sales, theater box offices accept cash or PIFF venue, the newly renovated, state-of- check only. Online and phone orders have the-art Empirical Theater at OMSI. We will STUDENT/SENIOR (65+): $10 a $1-per-ticket handling fee. also screen films in all three theaters at THE FESTIVAL PROGRAM OMSI MEMBER: $10 Cinema 21, including Theater 1 (designated CHILDREN (12 and under): $8 RUSH TICKETS as the “large theater” in film listings) for the The Festival program is arranged by country, first week and for PIFF After Dark screen- GROUP (10 or more, Sunday–Thursday Even if advance tickets are no longer with showtimes and locations listed at the ­available, rush tickets are offered at each ings, and the newer Theaters 2 and 3 screenings only, available at the Advance end of each film description. Our programs theater’s box office as soon as the number (designated as the “smaller theaters”) for Ticket Outlet only): $8 of short films follow the country listings. of unoccupied passholder seats has been the last half of the Festival. The Festival also To find a film by title, please see the film SILVER SCREEN CLUB FRIEND ($75 annually): determined—typically a few minutes before returns to familiar venues at the Regal Fox index on page 37. The master schedule on $8 (one discount per film, per screening) showtime. The rush line may start any- Tower, Cinemagic, the World Trade Center page 47 lists each day’s films, showtimes, DIRECTOR ($300 annually), PRODUCER where from 15 minutes to two hours prior Theater, and of course our own Whitsell and locations. Please note that a few films ($450 annually), BENEFACTOR ($1,300 to the screening. Auditorium inside the Portland Art Museum. have only one showing. Sometimes, for annually), SUSTAINER ($2,500 annually), Opening Night film screenings will take reasons beyond our control, screenings and PREMIERE CIRCLE ($5,000 annually) FESTIVAL PASSES place at the Whitsell Auditorium, Cinema 21, may be changed, rescheduled, or canceled. members receive free admission with their An allotment of seats is reserved at every and OMSI. For the most up-to-date information, call valid Silver Screen Club cards screening for passholders. Passholders Find us at the addresses below and check the Advance Ticket Outlet at 503-276-4310, are guaranteed admission until 10 minutes OPENING NIGHT FILM & PARTY: $25 out page 46 for a map including public check the Festival schedule board at the prior to showtime or until the passholder General; $20 Silver Screen Club Friend, transit options. For parking information, Advance Ticket Outlet or the Whitsell allotment has been reached. Early arrival is please visit the Festival website: Auditorium, or log on to the Festival’s Portland Art Museum, and OMSI members recommended; although exceedingly rare festivals.nwfilm.org/piff37. ­website at festivals.nwfilm.org/piff37. OPENING NIGHT FILM ONLY: regular in occurrence, passholders may not always ­admission be able to attend a film at their first choice C21 Cinema 21 OPENING NIGHT PARTY ONLY: $15 of screening times. 616 NW 21st Ave at Hoyt THE FESTIVAL SCENE CLOSING NIGHT PARTY: free for all Passes are available exclusively as a benefit CM Cinemagic of Silver Screen Club membership with the 2021 SE Hawthorne Blvd at 20th Stay connected through PIFF’s social media Northwest Film Center at the Director level PURCHASE METHODS OMSI Oregon Museum outlets. Schedule updates, visiting artist and above. Get more from your PIFF expe- of Science & Industry information, party details, and discussion Advance tickets go on sale beginning rience as a member with year-round access 1945 SE Water Ave threads can all be found on the Northwest Monday, January 27. to Northwest Film Center screenings. No Film Center website and Facebook, Twitter, ONLINE: Daily, 24 hours at nwfilm.org. more waiting in box office lines or keeping FT Regal Fox Tower 10 Newsroom blog, and Tumblr pages. Visit track of individual tickets! 846 SW Park Ave at Taylor WALK-UP: Daily, 12–6pm, January 27– the PIFF microsite for information about February 23 in person at the Advance FESTIVAL VOUCHERS WH Whitsell Auditorium cancellations and/or rescheduled shows. Ticket Outlet in the lobby of the 1219 SW Park Ave at Madison Tune in to our Tweets: search #PIFF37 Please be aware that a voucher may not be Portland Art Museum’s Mark Building, (inside the Portland Art Museum) and follow @nwfilmcenter. Follow us on used at a theater for admission. It must be 1119 SW Park Avenue. Facebook: search Northwest Film Center. redeemed—in person at the Advance Ticket WTC World Trade Center Theater Get filled in on our Tumblr page: search PHONE: Daily, 12–6pm, January 27– Outlet—for a specific film screening at least 121 SW Salmon St at 1st (Building 2) Northwest Film Center. Maybe you’re less February 23, at 503-276-4310. one day in advance of the screening date, and tickets are subject to availability. of a talker and more of a looker? Visit our DAY-OF-SHOW: On the day of a screening, You’ll know it’s a voucher because it says Flickr page and browse Festival photos. tickets (if still available) can be purchased VOUCHER at the top, as well as THIS IS at the Advance Ticket Outlet until three NOT A TICKET. We recommend exchanging hours prior to showtime, then at the vouchers at your earliest convenience. ­specific theater’s box office beginning as early as 30 minutes prior to showtime. 37TH PORTLAND INTERNATIONAL FILM FESTIVAL 5

OTHER LOCATIONS NON-FESTIVAL TICKETS Advance Ticket Outlet OUT-OF-TOWN VISITORS FESTIVAL POLICIES AND PASSES 1119 SW Park Ave at Main Film Center scrip and comps, Portland Art (inside Portland Art Museum’s Mark Building) We’re glad you’re here! We recommend Museum passes, and Regal, student, and staying with one of the Festival’s hotel THE 10-MINUTE RULE other regular passes or discount admission Please note: As a security policy, the sponsors for great access to Festival venues. tickets are not valid during the Festival. Portland Art Museum and Regal Fox Tower The Hotel Modera (515 SW Clay St.), Seats for advance ticket and passholders require a bag check. Food and drink are Hotel deLuxe (729 SW 15th Ave.), and are held until 10 minutes before show- THE FINE PRINT not allowed in the Whitsell Auditorium or Ace Hotel (1022 SW Stark St.) are all located time, when any unfilled seats are the World Trade Center Theater. We appre­ downtown and are convenient and com- released to the public. Thus, advance All orders are final. There are no refunds ciate your observance of these policies and fortable choices for those who want to be tickets or passes ensure that you will not or exchanges except as noted. If a screening your assistance in keeping the theaters as in the middle of everything PIFF. have to wait in the ticket purchase line but is canceled, tickets must be returned to the clean as possible. Concession items are do not guarantee a seat in the case of arrival Advance Ticket Outlet within a week of For those looking for things to do besides available for purchase at Regal Fox Tower, after the 10-minute window has begun. Your the canceled screening date for refund or PIFF, Travel Portland is an excellent Cinema 21, OMSI, and Cinemagic. No out- early arrival also helps get screenings started exchange. Processing fees are non-refundable. resource for everything happening in side food or beverages allowed in any of promptly. We appreciate your understanding. Portland. travelportland.com/visitors. the theaters. Thank you. Advance ticket holders who arrive within Need help getting around? Portland has the 10-minute window but are not seated great public transportation. Find your way may exchange their tickets for another by visiting TriMet at trimet.org. screening at the Advance Ticket Outlet or PATRON COURTESIES obtain a cash refund at the theater.­ There And for getting here and back, we highly are no refunds or exchanges for arrivals We appreciate your assistance in helping recommend patronizing our Festival airline after showtime or for missed screenings. to keep the Festival pleasant and fun for all. sponsors, Alaska Airlines and Delta Airlines. Our staff and volunteers are on site to assist, and we ask that all audience members SEPARATE ADMISSION observe Festival etiquette. DISABILITY SERVICES Each screening is a separate admission. • All seats are general admission, and seat Theaters are cleared between screenings in saving is not permitted. The Festival is committed to accommodating most cases. Advance ticket holders for a film audience members with disabilities. We allow immediately following the one they are • Please turn off cell phones and other attending will be guaranteed admission to devices during film presentations. early seating for persons with disabilities when logistically possible. Please make the second film but cannot save a particular • Please complete and return your “Audience yourself known to the theater house manager seat. You must take your belongings with Awards” ballot immediately following for assistance. All venues are wheelchair you. We appreciate your understanding. each screening in the designated boxes. accessible and have wheelchair-accessible • While waiting in line, please be considerate restrooms. The Whitsell Auditorium, of our neighbors and local businesses. Regal Fox Tower, and OMSI offer hearing assistance devices. • Please refrain from smoking near Festival doorways. • To expedite theater cleaning and seating, please discard your waste in the appropriate containers when exiting the theater. • Be aware that many lines are outside of the theaters and dress appropriately. 6 37TH PORTLAND INTERNATIONAL FILM FESTIVAL

OPENING NIGHT OPENING NIGHT PARTY

The Northwest Film Center and the Oregon Museum of Science and Industry, with ­support from The Paul G. Allen Family Foundation, invite you to join us after the films at OMSI’s Theory Eatery with co-hosts Ninkasi Brewing, King Estate Winery, and Bon Appetit. Opening Night Film & Party tickets: $25 general; $20 Silver Screen Club Friend, Portland Art Museum, and OMSI members. 2/6 9:00pm OMSI

BELLE (Great Britain) THE WIND RISES (Japan) Amma Asante Hayao Miyazaki

Often missing from the gorgeous settings, romances, and sophisti- Miyazaki, co-founder of the legendary Studio Ghibli, eschewing CLOSING NIGHT PARTY cated language of English period dramas is the institution at the his typically ­fictional characters ensconced in a fantasy world, foundation of that refined life: slavery. Raised by her aristocratic instead brings to life the story of Jiro Horikoshi, visionary designer Following encore screenings on great-uncle Lord Mansfield (Tom Wilkinson) and his wife (Emily of one of history’s most beautiful airplanes—the prototype for Sunday, February 23, join us to fete Watson), Belle’s (Gugu Mbatha-Raw) lineage—the illegitimate, the Zero WWII fighter. Adapted from Miyazaki’s own serialized biracial daughter of a Royal Navy admiral in 18th-century manga, which was itself inspired by Tatsuo Hori’s 1937 story of the the closing of the Festival. Bring your Britain—affords her wealth and certain privileges, but the color same name, this epic tale of love, invention, and hope spans decades, dancing shoes and kick up your heels of her skin keeps her on the outside looking in. Left to wonder if sweeping through great historical moments of 20th-century Japan. to the swinging sounds of Portland’s she will ever find love or acceptance, Belle falls for an idealistic In what he has said is his last film, the winner of dozens of interna- own NoPo Big Band, and enjoy delicious young vicar’s son bent on change who, with her help, shapes Lord tional awards, Miyazaki dazzles with his usual beautifully rendered treats from Chipotle Mexican Grill. Mansfield’s role as Lord Chief Justice to end slavery in England— flourishes, but this time exploring a grounded, evolved, and sophis- Closing Night Party tickets: free. and end her question, “How may I be too high in rank to dine ticated nostalgia that is a fitting final celebration of art, science, 2/23 7:00pm Fields Ballroom, with the servants but too low to dine with my family?” (105 mins.) and the impulse to create. (126 mins.) Portland Art Museum Filmography: A Way of Life (04). Filmography: Castle in the Sky (86), Princess Mononoke (97), Spirited Away (01), Howl’s Moving Castle (04), Ponyo (08). 2/6 7:00pm Whitsell Auditorium 2/6 6:30pm Cinema 21 (large theater) 2/6 6:45pm OMSI Sponsored by the Consular Office of Japan in Portland. 37TH PORTLAND INTERNATIONAL FILM FESTIVAL 7

AFGHANISTAN ARGENTINA AUSTRALIA BANGLADESH

WAJMA (AN AFGHAN LOVE STORY) THE GERMAN DOCTOR THE ROCKET TELEVISION Barmak Akram Lucía Puenzo Kim Mordaunt Mostofa Sarwar Farooki

It’s snowing in Kabul, and gregarious Set in 1960, The German Doctor imagines Winner of the Best Narrative Feature Tradition and technology clash in this waiter Mustafa charms a bright, pretty an Argentine family unknowingly Award at the Tribeca Film Festival, The ­satire set in rural Bangladesh. On religious ­student named Wajma. The pair begins a befriending Josef Mengele, the Nazi war Rocket is a heartwarming coming-of-age grounds, a local community leader, clandestine relationship—they’re playful criminal notorious for his horrific medical tale set in Laos. Ahlo is the surviving twin Chairman Amin, bans every kind of image and passionate but ever mindful of the experiments, during his period in hiding of a difficult birth and is believed by some in his little village, including televisions societal rules they are breaking. When in Patagonia. Less a conspiracy thriller to be a source of bad luck. When he and and mobile phones. He even declares that Wajma discovers she is pregnant, her cer- than a subtle meditation on complicity, his family are displaced by the construc- imagination is sinful as it leads one into tainty that Mustafa will marry her falters, willful ignorance, and the allure of perfec- tion of a dam, further tragedy strikes as prohibited territory. His order is met with and as word of their forbidden dalliance tion—even at the risk of self-destruction— they relocate to a new village. Ahlo befriends revolt, even within his own family, and the gets out, her father must decide between the film thought-provokingly ponders Kia and her eccentric uncle Purple but is once peaceful village is riven by the deci- his culturally-held right to uphold family whether, if you met the “angel of death” still ostracized by the superstitious commu- sion. As he enters into a bitter dispute with honor and his devotion to his daughter. on the road, would you recognize him? nity. Hope for redemption comes with the his beloved son and the repercussions of his Wajma (An Afghan Love Story), its title Or might you be charmed by the friendly Rocket Festival: a riotous, and dangerous, decision become more and more serious, deliberately sardonic, takes an unblinking doctor and his seductive promises to cure annual competition where huge bamboo the chairman himself needs a reinvigora- and unapologetic look at the modern your diminutive daughter, fund your rockets are set off to provoke the rain gods. tion of his faith. Using humor, romance, ­reality of women caught in situations from ­creative work, and care for your unborn Despite being too young to enter the com- visual panache, and a genuine affection for which there is no escape. “Akram plays twins? This year’s Argentinean submission petition, he’s determined to succeed. This its characters, Television tells a compelling out this contemporary morality tale in a for the Best Foreign Language Film Oscar. year’s Australian submission for the Best and important story from an unexpected lean, efficient style.... A minor revelation.” (93 mins.) In Spanish and German with Foreign Language Film Oscar. (96 mins.) place. This year’s Bangladeshi submission —The Hollywood Reporter. This year’s English subtitles.­ Filmography: Survival (97), Bomb Harvest (07). for the Best Foreign Language Film Oscar. Afghan submission for the Best Foreign (106 mins.) Filmography: XXY (07), The Fish Child (09). 2/8 6:00pm Cinema 21 (large theater) Language Film Oscar. (85 mins.) Filmography: Bachelor (03), Third Person Singular 2/7 8:30pm Cinema 21 (large theater) Sponsored by Anvil Media. Filmography: Kabuli Kid (08). 2/12 8:30pm OMSI Number (09). 2/7 8:30pm Fox Tower Sponsored by King Estate Winery. 2/15 9:00pm Whitsell Auditorium 2/16 3:00pm Cinemagic 2/17 5:00pm Cinema 21 (small theaters) Sponsored by the Portland State University English Department. 8 37TH PORTLAND INTERNATIONAL FILM FESTIVAL

CAMBODIA CANADA CHINA

THE MISSING PICTURE GABRIELLE VIC + FLO SAW A BEAR BACK TO 1942 Rithy Panh Louise Archambault Denis Côté Xiaogang Feng

As the only family survivor of Pol Pot’s reign Gabrielle is a 22-year-old woman with Deep in the snow-covered backwoods of In 1942, Henan province was devastated of terror (1975-1979), Cambodian-French Williams syndrome, a genetic disorder that Quebec, 61-year-old Vic is trying to escape by the most tragic famine in modern director Rithy Panh has been searching for often slows cognitive skills while increas- her criminal past. Fresh out of prison and Chinese history, resulting in the deaths of images all his life. While already a chroni- ing outgoingness and musical talent. She searching for solitude, her refuge is shattered at least three million people. Although the cler of Cambodia’s genocide, he shifts to sings in a Montreal choir for other disabled when fellow ex-con and younger lover Flo primary cause was a severe drought, the his own childhood recollections with The adults, where she’s met and fallen in love comes to stay—bringing with her chaos, situation was exacerbated by locusts, wind- Missing Picture. Unable to locate photos with the dashingly handsome Martin. The violence, and a madcap reckoning with the storms, earthquakes, epidemic disease, from the time, Panh uses hundreds of clay bliss of first love is interrupted, however, life they left behind. Part lesbian love story, Kuomintang government corruption, and figures and dioramas to convey the action— by Martin’s interfering mother, who worries part revenge thriller, and part oddball the chaos of the Sino-Japanese War. Like the rice fields, the camps, the summary that special needs individuals aren’t suffi- comedy, Vic + Flo Saw a Bear is an unclas- his epic Aftershock (PIFF 35), Xiaogang executions. Hand-carved and hand-painted, ciently fit for romantic relationships, and sifiable film by one of Canada’s equally Feng’s sweeping saga is a gut-wrenching these figures stand in for Panh’s parents by Gabrielle’s beloved sister, who is plan- unclassifiable auteurs. “A rich, humane, account told through the eyes of wealthy and family, along with key perpetrators. ning a move abroad to live with her fiancé. surprising film [that] manages to mix the landlord Master Fan, forced to flee both Scratchy, monochromatic stills from archival What emerges in Archambault’s warm drollery of Wes Anderson, the genre swag- famine and advancing troops, and a Time propaganda footage are eerily juxtaposed film is a portrait of a young woman fighting ger of Tarantino, and the opaque narrative magazine journalist (Adrien Brody) investi- with these colorful, miniature people, all for acceptance, freedom, and her right to of Bruno Dumont in one intriguing pack- gating the misery. “Feng Xiaogang has cleverly combining to fashion a moving experience life’s highs and lows as anyone age.”—Screen Daily. Winner of the Alfred been called China’s Spielberg. Back to 1942 autobiography. Winner of the Un Certain else would—with joy, pain, confusion, and Bauer Prize, given to a film that “opens shows his mastery of chaotic spectacle, Regard Prize at the Cannes Film Festival, eventual understanding. This year’s new perspectives on cinematic art,” at the massed human motion, and elegant camera The Missing Picture artfully explores Panh’s Canadian submission for the Best Foreign Berlin International Film Festival. (95 mins.) movements.”—Washington Post. This year’s preoccupation with how to represent and Language Film Oscar. (104 mins.) Filmography: Drifting States (05), All That She Chinese submission for the Best Foreign remember all that’s been lost. (92 mins.) Filmography: Familia (05). Wants (08), Curling (10). Language Film Oscar. (145 mins.) Filmography: S21: The Khmer Rouge Killing Machine 2/8 1:00pm Cinemagic 2/8 8:30pm Cinemagic Filmography: Dream Factory (97), Assembly (07), (03), Paper Cannot Wrap Ember (07), Duch, Master 2/15 6:15pm OMSI 2/12 8:30pm Fox Tower Aftershock (10). of the Forges of Hell (11). Sponsored by the Quebec Government Office, Sponsored by the Quebec Government Office, 2/16 6:30pm OMSI 2/7 6:00pm World Trade Center Theater Los Angeles, and TV5Monde. Los Angeles, and TV5Monde. 2/18 8:30pm Cinemagic 2/15 6:00pm World Trade Center Theater 37TH PORTLAND INTERNATIONAL FILM FESTIVAL 9

CROATIA CZECH REPUBLIC DENMARK

TRAP STREET THE PRIEST’S CHILDREN THE DON JUANS ANTBOY Vivian Qu Vinko Brešan Jirí Menzel Ask Hasselbalch

“A poignant and engaging mystery, A young Catholic priest takes subversive A lovingly observed valentine for opera A delightful adventure spoof based on Vivian Qu’s feature debut plunges us into action to enforce the Church’s position on fans, Czech New Wave master Jirí Menzel’s the popular Danish children’s books by the fascinating­ world of state surveillance birth control among his flock and soon has sex farce gently lampoons the opera world’s Kenneth Bøgh Andersen, Antboy has in China as it follows a digital mapping a baby boom on his hands in Vinko Brešan’s eccentricities, egomania, abiding passions, enough action, comedy, and charm to ­surveyor’s investigation of an ‘off-the-grid’ acerbic satire, adapted from the scandal- and workaday realities. We watch a small entertain superhero fans of all ages. Pelle, hidden alley. Li Qiuming works at a digital ously popular stage play. New priest Father town opera company’s efforts to mount a a shy 12-year-old, develops unimaginable mapping company, photographing the Fabijan takes charge of the parish on the production of Mozart’s Don Giovanni. The superpowers after being bitten by a geneti- streets that comprise the maze of China’s bucolic Adriatic island of Dnevnik, a loca- eccentric director Vitek has unusual views cally modified ant. With help from his ever-changing cities. One day while out tion that has seen its population steadily on opera—he confides to the audience that friend, comic book nerd Wilhelm, Pelle surveying, he sees through his viewfinder dwindle. After hearing confession from a he’s a great lover of sopranos, opera not so creates a secret superhero identity as an attractive woman disappearing into a devout kiosk vendor racked with guilt over much—and uses the production as an excuse Antboy and becomes a local crime fighter. secluded alley. Unable to forget the myste- selling condoms, Father Fabijan hits upon to seduce every woman he meets. Passions When a supervillain named The Flea rious lady who has triggered his romantic a solution to both their problems: pierce flare onstage and behind the scenes as the enters the scene with a plan to kidnap his imagination, Qiuming returns to where he the prophylactics. Once they enlist a kooky company prepares for a wholly unique schoolmate crush Amanda, Antboy must saw her first, only to discover that the data nationalistic pharmacist in their efforts, adaptation of the Mozart classic. This year’s step up to the challenge. “An exciting, fun he collected there was never registered. who fills the local women’s prescriptions Czech submission for the Best Foreign twist on a popular genre with plenty of Even though he stands right there in front for birth control pills with placebos, preg- Language Film Oscar. (102 mins.) heart that explores the notion that the of the street sign, Forest Lane has fallen off nancies skyrocket, and the island gains a Filmography: Closely Watched Trains (66), My Sweet power of friends is stronger than any super the map of the city, as if it never existed.” reputation as a fertility spa. But all this Little Village (85), Larks on a String (90), I Served power.”—London Film Festival. (77 mins.) —Toronto International Film Festival. playing God brings unintended conse- the King of England (06). Recommended for ages 8+. (93 mins.) quences. (93 mins.) 2/19 6:00pm Fox Tower First feature. First feature. Producer filmography: Night Train Filmography: How the War Started on My Island (96), 2/20 8:30pm Cinemagic 2/13 8:30pm Whitsell Auditorium (07), Knitting (08), Longing for the Rain (13). Marsal (99), Witnesses (03), Will Not End Here (08). Sponsored by Nel Centro. 2/15 1:00pm Cinemagic 2/8 3:30pm Cinemagic 2/14 8:30pm OMSI Sponsored by the ScanDesign Foundation and 2/10 6:00pm Whitsell Auditorium 2/17 5:00pm Cinemagic the Scandinavian Heritage Foundation. Sponsored by Delivered Dish. 10 37TH PORTLAND INTERNATIONAL FILM FESTIVAL

EGYPT FINLAND FRANCE

CAIRO DRIVE DISCIPLE 2 AUTUMNS, 3 WINTERS AGE OF UPRISING: THE LEGEND Sherief Elkatsha Ulrika Bengts Sébastien Betbeder OF MICHAEL KOHLHAAS Arnaud des Pallières Cairo, Egypt. 20 million people. 23,600 Finland, summer 1939: 13-year-old Karl is This whimsical tale of ennui and the miles of road. Two million cars. Taxis, an eager-to-please orphan sent by the state ­transformative power of calamity stylishly Arnaud de Pallières’s adaptation of buses, donkey carts, and swarms of people, to work at an isolated Baltic island lighthouse. employs New Wave-inspired visuals, ani- Heinrich von Kleist’s 1808 novella, a classic all jockeying to move through the obstacle But the lighthouse master Hasselbond mation, reality-style confessionals, and a of German Romanticism, explores a fault course that is their daily lives. Here, traffic already has his son Gustaf groomed for the raft of pop cultural references, in-jokes, line between declining feudalism and is a chaotic experience where rules are job and refuses his help. Hoping to avoid and appropriations to create a 21st-century modernity. In 16th-century France, enter- constantly challenged: an elaborate dance returning to the orphanage, Karl works like portrait of young Parisians in love. Arman, prising horse farmer Michael Kohlhaas of leading and following, flow and resis- a demon to prove his worth. Karl and Gustaf a 33-year-old hipster vaguely longs for (Mads Mikkelsen) runs afoul of a venal tance, and impeccable, almost miraculous become friends, but their friendship changes change. Maybe he’ll eat healthier? Half- baron, who attempts to shake down the timing. Shot in 2009-2012 (before and to rivalry and hate when Hasselbond gallantly, half-accidentally, he saves the farmer as he crosses the nobleman’s woods ­during the Egyptian revolution and ending begins to favor Karl over his own son. beautiful Amélie from a pair of muggers. on the way to market. After events escalate, with the most recent presidential elections), There are issues in the Hasselbond family And their meet-cute (and -dangerous) causing great harm to Kohlhaas’s horses, the film explores the country’s collective that Karl is only beginning to understand. allows love to bloom. Meanwhile, Arman’s farmhands, and family, he raises an army identity, inherent struggles, and the senti- Bengts’s beautifully shot, detail-rich period best friend from art school, Benjamin, is and wages war against the baron, who ments that led to the historic changes taking piece delves into the frightening aspects of destined for sudden change too. Over the soon sues for peace. But with the clergy place in Egypt today. Here, the times family psychology, showing that the “good course of two autumns and three winters, and courts adjudicating, will Kohlhaas win may have changed, but the traffic has not. old days” were often anything but. This the lives of the three intermingle with meet­ the war and lose the peace? The Legend of “An enthralling, insightful, and often rather year’s Finnish submission for the Best ings, accidents, love stories, and ­memories. Michael Kohlhaas was previously adapted funny look at a vibrant, complex, and Foreign Language Film Oscar. (93 mins.) “A quintessential example of mélanco- for film in 1969 by Volker Schlöndorff and ­dramatic city as seen through its teeming Filmography: Iris (11). médie.... As for soon-to-break-out talents, served as the inspiration for E.L. Doctorow’s roads and people who drive them.”—Screen. I’m betting on Betbeder.”–Gavin Smith, 2/10 8:30pm Whitsell Auditorium Ragtime. (122 mins.) (77 mins.) 2/16 5:30pm Cinema 21 (small theaters) Film Comment. (91 mins.) Filmography: Adieu (03), Parc (08). First feature. Filmography: Nuage (07), La vie lointaine (09). Sponsored by the Finlandia Foundation and 2/8 3:30pm Cinema 21 (large theater) 2/9 1:00pm World Trade Center Theater the Scandinavian Heritage Foundation. 2/18 6:00pm OMSI 2/10 8:30pm Cinemagic 2/15 9:00pm World Trade Center Theater 2/22 7:30pm Whitsell Auditorium Sponsored by TV5Monde. Sponsored by the Consulate General of France and French American Cultural Society, San Francisco, and TV5Monde. 37TH PORTLAND INTERNATIONAL FILM FESTIVAL 11

AYA OF YOP CITY CYCLING WITH MOLIERE THE DAY OF THE CROWS ERNEST AND CELESTINE Clément Oubrerie, Marguerite Abouet Philippe Le Guay Jean-Christophe Dessaint S. Aubier, V. Patar, B. Renner

Based on the series of young adult graphic Popular television celebrity Gauthier Filled with charming, gorgeous animation, Ernest and Celestine is the winner of novels, this vibrant animated tale unfolds Valence (Lambert Wilson) embarks on a The Day of the Crows is a delightful family France’s Cesar Award for Best Animated in a colorful, working-class neighborhood train journey to Brittany’s Île de Ré with a film. A father raises his son Courge in the Feature and numerous ­other festival prizes. in Abidjan, Ivory Coast. Life is good in clear mission in mind: convince his old wild and warns him never to venture Tucked away in networks of winding sub- Yop City: its sun-soaked markets, open air friend Serge Tanneur (Fabrice Luchini) to beyond the forest. One day the boy’s father terranean tunnels lives a civilization of bars, and quirky cafés are the perfect back- return to the stage in the lead of Molière’s is injured, and the son must leave the hard-working mice, terrified of the bears drop for 19-year-old Aya and her two best The Misanthrope. The task is not that simple, woods in search of help. Entering a neigh- that live aboveground. Unlike her fellow friends, Adjoua and Bintou. While the as Tanneur, a once-renowned comedian, boring village, he befriends a young girl mice, Celestine is an artist and a dreamer, bookish Aya hopes to get a degree in medi- went into exile three years prior, living in and experiences the wonders civilization and when she nearly ends up as breakfast cine, the ambitions of Adjoua and Bintou a dilapidated house bequeathed to him by offers—and the truth about his family’s past. for burly troubadour Ernest, the pair forms lean more toward the degree to which his uncle. He is sick of his vocation, burn- Exploring the blurred lines between animal an unlikely bond. But it isn’t long before they can attract young men. In this upbeat, ing every script that he receives. For good and human, nature and civilization, and the their friendship is put on trial by their ­gentle weave of modern urban Africa, and bad, a five-day struggle ensues to realms of the living and of spirits, under­ respective bear-fearing and mice-eating the three girls navigate nosy neighbors, bring the great man out of the shadows. neath is a simple story of a father’s lost love communities. Like a gorgeous watercolor­ meddling relatives, young romance, “Le Guay brings us another delicious, and a boy’s brave struggle to recapture it. painting brought to life, influences as and old traditions, all complicated by the smart, and cruel comedy about the pleasures (95 mins.) Recommended for ages 7+. ­varied as Buster Keaton, Bugs Bunny, and unexpected pregnancy of Adjoua. Aya of playing with words. Ego, pride, and First feature. the outlaw romanticism of Bonnie and of Yop City presents us with a picture of ­vanity guide this tender face-to-face, with Clyde create “a delightful melding of 2/19 6:00pm Cinemagic African life too seldom seen in the West— the Brittany setting and its appealing 2/22 12:00pm Whitsell Auditorium visual style and narrative pirouettes, a lighthearted, warm, and universal. inhabitants adding to the universality.” just-about-perfect hand-drawn animated Sponsored by LAIKA and TV5Monde. (84 mins.) Recommended for ages 15+. —Time Out. (104 mins.) feature.”—Screen Daily. (80 mins.) First feature. Filmography: L’année Juliette (95), Trois huit (01), Recommended for ages 7+. The Cost of Living (03), Du jour au lendemain (06), 2/15 3:30pm Whitsell Auditorium Filmography: Aubier and Patar: A Town Called The Women on the 6th Floor (10). 2/17 12:15pm Cinema 21 (small theaters) Panic (09); Renner: First feature. Sponsored by Chipotle Mexican Grill and 2/7 6:00pm Cinemagic 2/7 6:00pm Whitsell Auditorium TV5Monde. 2/13 8:30pm Fox Tower 2/11 6:00pm Fox Tower Sponsored by the Alliance Française de Portland Sponsored by the French American International and TV5Monde. School and TV5Monde. 12 37TH PORTLAND INTERNATIONAL FILM FESTIVAL

FRANCE (cont.)

JUST A SIGH THE LAST OF THE UNJUST MY MOMMY IS IN AMERICA STRANGER BY THE LAKE Jérôme Bonnell Claude Lanzmann AND SHE MET BUFFALO BILL Alain Guiraudie Marc Boréal, Thibaut Chatel In the short break between performances In 1975, while making his landmark Franck is a regular at a secluded lakeside of an Ibsen play in Calais, stage actress Holocaust documentary Shoah, Lanzmann Based on the award-winning book of the beach, a popular hotspot for gay men to Alix (Emmanuelle Devos) makes a quick interviewed Benjamin Murmelstein. Age 70 same name, this winner of the Special Jury sunbathe in the nude and sneak off for day-trip to Paris for an audition. On the and living in exile in Rome, Murmelstein Award at the Annecy International casual sex in the nearby woods. On the train, she meets a mysterious, stoic English was the only surviving “Jewish Elder” Animated Film Festival is a beautifully first day of the season, he spots the rugged, professor (Gabriel Byrne) and, enamored, appointed by the Nazis to run the “model moving tale full of moments of sheer, simple, mustachioed Michel and is infatuated. decides to try and track him down after ghetto” camp at Theresienstadt, Czecho­ childish joy. Six-year-old Jean is starting Even after Franck witnesses Michel commit they have seemingly parted forever. slovakia. Murmelstein’s interview wasn’t first grade. He looks forward to learning a sudden and shocking crime, it only serves Shifting in tone from drama to comedy, included in the film, but it’s the focus of this to read and write so he won’t need to deepen Franck’s carnal attraction to the over the course of a day, Just a Sigh beauti- compelling postscript. Condemned after Michelle, the girl next door, to read the stranger, and the two men descend into a fully chronicles the blossoming of an all- the war as a collaborator, he explains the postcards he gets from his mysteriously truly dizzying bout of amour fou. Filmmaker too-brief love affair between the two, a terrible accommodation he had to strike absent mother, who writes from around Alain Guiraudie’s tense, erotic, and lurid romance in Paris that brings hope and with a murderous regime. Lanzmann returns the world about her wild adventures. thriller won the top directing prize in the ­passion into Alix’s harried life and comfort to sites that marked Murmelstein’s wartime Even though they seem far-fetched at times, Un Certain Regard section at the Cannes to her chance lover. “From Brief Encounter experiences and uncovers their savage his- with his father so busy, the postcards bring Film Festival. “A bold and painterly medita- to Before Sunrise, the premise is familiar…. tory, but it’s the intelligent, witty, courageous comfort. A bittersweet, joyous, and thought- tion on longing, lust, intimacy, and fear, Credit Bonnell for a compelling romance Murmelstein who provides the film’s most provoking tale about childhood loss and Stranger by the Lake exhibits a confident about chance, fate, the different parts we compelling testimony. Comparing himself the need even for adults to hide from the ­stylistic fortitude that lingers long after its all play, and the journeys we are taking.” to Scheherazade from The Arabian Nights, truth at times. (75 mins.) Recommended secrets are laid bare.”—AFI Film Festival. —RTÉ, Dublin. (104 mins.) Murmelstein survived, he tells Lanzmann, for ­animation lovers ages 8+. (97 mins.) Recommended for adult audi- Filmography: Le chignon d’Olga (02), Waiting for because he “had a story to tell.” (220 mins.) First feature. ences only. Someone (07), The Queen of Clubs (09). Filmography: Shoah (85), A Visitor from the Living Filmography: No Rest for the Brave (03), The King 2/9 1:00pm Cinemagic (99), Sobibor, Oct. 14, 1943, 4 p.m. (01), The Karski of Escape (09). 2/13 8:30pm Cinema 21 (large theater) 2/16 1:00pm Cinemagic Report (10). 2/15 6:00pm Cinema 21 (small theaters) 2/14 6:00pm Cinemagic Sponsored by LAIKA and TV5Monde. Sponsored by TV5Monde. 2/9 5:30pm World Trade Center Theater 2/22 9:30pm Whitsell Auditorium 2/16 1:00pm World Trade Center Theater Sponsored by the Consulate General of France Sponsored by the French American International and French American Cultural Society, San School and TV5Monde. Francisco, and TV5Monde. 37TH PORTLAND INTERNATIONAL FILM FESTIVAL 13

GEORGIA GERMANY

YOUNG AND BEAUTIFUL IN BLOOM COFFEE IN BERLIN NOTHING BAD CAN HAPPEN François Ozon Nana Ekvtimishvili, Simon Gross Jan Ole Gerster Katrin Gebbe

Ozon again delves into the mysterious It’s 1992 in Tbilisi, after the collapse of the Gerster’s wry, breezy first feature (a.k.a. Young Tore belongs to the fervent Jesus world of the female soul in this story of Soviet Union, but 14-year-old best friends Oh Boy) swept all of the major German Film Freaks, a fundamentalist Christian punk 17-year-old Isabelle, who has her first sexual Eka and Natia are unfazed by the fear and Awards this year with its sly subversion of movement rebelling against established encounter at a resort in southern France— insecurity lurking around them. As civil Generation Y clichés, assured direction, religion whilst at the same time following an episode that is just the beginning for war rages in the rest of the country, the and timeless black-and-white cinematogra- Jesus’s precepts of love. One day, in what this sexually inquisitive girl in search of girls are preoccupied with school gossip, phy. Berlin slacker Niko is drifting through appears to be a miracle, Tore manages to rebellion. After returning to Paris, she learning how to smoke cigarettes, and flirt- his twenties content to let life and responsi- repair a car that has broken down and gets begins to earn money through encounters ing with the neighborhood boys. Their lives bilities slide by and oblivious to his grow- to know the driver, Benno. Before long, with various older men. Her mother and change when Natia receives a pistol as an ing estrangement. But over the course of Tore moves into a tent in Benno’s garden stepfather give Isabelle absolute freedom unexpected love gesture, and suddenly the a single day, the cosmic ­balance shifts, and gradually becomes part of his family. and have no idea of her secret activities. girls must face circumstances beyond their imperceptibly at first, and a series of unfor- But Benno can’t resist playing a cruel Yet everything changes when a routine control. Loosely based on Ekvtimishvili’s tunate and surprising encounters snowball game, designed to test Tore’s faith. As the call ends in disaster, and the police and a experiences, In Bloom portrays distinctively into what could only be described as an violence become more and more extreme, psychologist become involved.... Over the fierce female characters who struggle to existential crisis. His girlfriend turns on Tore’s capacity for love is pushed to its course of four seasons and with four songs, escape their turbulent families and male- him, and when his disappointed father ­limits. “Intense and gripping…a robust Ozon creates a mysterious teenage version dominated traditions. This year’s Georgian asks him—after discovering that he has and compelling first feature…deserving of of Buñuel’s Belle de jour—“A fascinating submission for the Best Foreign Language long ago dropped out of university—what a special Palme d’Horreur.”—Variety. contemplation of adolescent sexuality that Film Oscar “is an intimate, deeply engag- he has been doing for the last two years, (110 mins.) will be a star-making platform for its ing story of friendship between women he can only muster, “I’ve been thinking.” First feature. young lead, Marine Vacth.”—The Hollywood destined for different fates in a world of If only he could grab a cup of coffee. 2/15 12:00am Cinema 21 (large theater) Reporter. (95 mins.) male-driven violence.”—Screen. (102 mins.) (88 mins.) Filmography: Under the Sand (00), 8 Women (02), Filmography: Ekvtimishvili: First feature; First feature. Swimming Pool (03), Potiche (10), In the House (12). Gross: Fata Morgana (07). 2/14 6:00pm OMSI 2/8 8:30pm Cinema 21 (large theater) 2/15 6:00pm Cinemagic 2/17 2:30pm Cinemagic 2/10 8:30pm Fox Tower 2/17 5:00pm Fox Tower Sponsored by Zeitgeist Northwest and the Oregon Sponsored by the Consulate General of France State University Language Department. and French American Cultural Society, San Francisco, and TV5Monde. 14 37TH PORTLAND INTERNATIONAL FILM FESTIVAL

GERMANY (cont.) GREAT BRITAIN

THE STRANGE LITTLE CAT TWO LIVES ALAN PARTRIDGE: ALPHA PAPA BELLE Ramon Zürcher George Maas, Judith Kaufmann Declan Lowney Amma Asante

This droll, comic day-in-the-life chronicles 1990. After the fall of the Berlin Wall and “Those who have hungered for the big- Often missing from the gorgeous settings, a multigenerational family preparing a the end of the Cold War, a flood of infor- screen debut of Steve Coogan’s singular romances, and sophisticated language of ­dinner in their Berlin apartment. Compared mation from East Germany makes its way comic creation need wait no longer: Alpha English period dramas is the institution at with siblings Karin and Simon, their par- through Europe. Like most Norwegian Papa has landed, and it is uproariously the foundation of that refined life: slavery. ents, and their little sister Clara, the cat is children fathered by the German occupy- funny. Since 1994, various BBC series have Raised by her aristocratic great-uncle Lord ironically the paragon of normalcy. Clara ing troops during WWII, Katrine ( Juliane chronicled the hilarious downward trajec- Mansfield (Tom Wilkinson) and his wife displays her penchant for screaming, Mom Köhler) was sent to Germany as a child, tory of the vain and obliviously tactless (Emily Watson), Belle’s (Gugu Mbatha- flirts with the neighbor fixing the washing only able to return to her Norwegian Alan Partridge, from failed television talk- Raw) lineage—the illegitimate, biracial machine, doors open and close as in a bed- mother, Ase (Liv Ullmann), long after the show host to obnoxious regional radio daughter of a Royal Navy admiral in 18th- room farce, and family members scramble war’s end. Not all the war children were as broadcaster, mercilessly skewering English century Britain—affords her wealth and hither and thither. Putting the absurdities lucky—most were never reunited with their mediocrity and media ineptitude along the certain privileges, but the color of her skin of daily life on display, seemingly unspec- parents—and now a German-Norwegian way. When the staff of Radio Norwich is keeps her on the outside looking in. Left to tacular details are assembled into a surreal lawyer is building a case against the seized at gunpoint by downsized DJ Pat, a wonder if she will ever find love or accep- choreography of the quotidian that will Norwegian government for its exclusionary siege scenario is set in motion, and Alan is tance, Belle falls for an idealistic young leave audiences grinning at the film’s policy. Although a victim herself, Katrine obliged to risk his life by serving as the vicar’s son bent on change who, with her audacity and perfect execution. “Zürcher fears exposing the darkest secrets of her intermediary. As events escalate, our self- help, shapes Lord Mansfield’s role as Lord appears to be channeling the comic past. This year’s German submission for aggrandizing hero is not entirely unhappy Chief Justice to end slavery in England— ­maestros of French cinema, from Tati to the Best Foreign Language Film Oscar. to find himself at the center of a media and end her question, “How may I be too Gondry, with just a twist of Ozon to keep (97 mins.) In English, German, Norwegian, ­circus: can he save the day and, more high in rank to dine with the servants but the sweetness in check…. A sunny delight Russian, and Danish with English subtitles. importantly, resuscitate his career?”—Film too low to dine with my family?” (105 mins.) from end to end.”—The Hollywood Reporter. Filmography: Maas: Pfadfinder (99), New Found Society of Lincoln Center. (90 mins.) Filmography: A Way of Life (04). (72 mins.) Land (03); Kaufmann: First feature. Filmography: Wild About Harry (00), Cruise of the 2/6 7:00pm Whitsell Auditorium First feature. 2/7 8:30pm Cinemagic Gods (02), Celtic Women: A New Journey (06), Glastonbury 2011 U2 (11). 2/7 6:00pm Cinema 21 (large theater) 2/9 5:30pm Fox Tower 2/10 6:00pm Fox Tower Sponsored by Zeitgeist Northwest and the Oregon 2/10 8:45pm Cinema 21 (large theater) State University Language Department. 2/14 8:30pm Cinemagic Sponsored by Delta Airlines. 37TH PORTLAND INTERNATIONAL FILM FESTIVAL 15

GOOGLE AND THE WORLD BRAIN LE WEEK-END METRO MANILA VILLAGE AT THE Ben Lewis Roger Michell Sean Ellis END OF THE WORLD Sarah Gavron, David Katznelson Lewis’s engaging documentary uses science In this witty and wise romantic drama, “Seeking a brighter future in Manila, Oscar fiction writer H.G. Wells’s prophetic decla- Jim Broadbent and Lindsay Duncan shine and his family flee their impoverished life This rich, real-life human drama, full of rations of a “complete planetary memory as a long-married academic couple who in the rice fields of the northern Philippines. humor and hope, is set against the backdrop for all mankind,” or a “World Brain,” as attempt to reinvigorate their relationship by But the sweltering capital’s bustling intensity of steadily melting ice that portends larger his springboard. Talking with librarians, visiting Paris for the first time since their quickly overwhelms them, and they fall ecological changes for the whole planet. Google engineers, and futurists worldwide, honeymoon. While there, they run into an prey to the rampant manipulations of its The Inuit village of Niaqornat in spectacular his film offers a big-picture examination old friend ( Jeff Goldblum), a dismayingly hardened locals. Oscar catches a lucky northern Greenland grapples with many of the ambitious Google Book Scanning successful writer, who acts as a catalyst for break when he’s offered steady work for an of the same challenges as other small com- Project, which in its first decade has now them to recapture their lost spirits. Written armored truck company and gregarious munities around the world: a dwindling captured over 30 million texts. Lewis travels by Hanif Kureishi, a lifetime of regret and senior officer Ong takes him under his wing. population, a lack of industry and jobs, the the globe, from the Googleplex in Mountain joy is unpacked as they see the sights, revisit Soon, though, the reality of his work’s traditional giving way to modernity. It also View, California, to the 11th-century mon- the past, wrangle with mishaps and mis­ ­mortality rate and the murky motives of happens to be one of the most remote astery of Montserrat in Catalonia, Spain, understandings, and ponder their future. his new partner force Oscar to confront the human habitations on Earth. The film to capture the vast undertaking and to Personal, warm, melancholy, and funny, perils in his new life. Ellis vividly captures focuses on four townsfolk—Lars, the only contemplate the future of libraries, tech- “the Brits’ love-hate relationship with Paris the desperation of life amongst the squalid teenager, who dreams of another life; nology, money, and intellectual property. (love the city, hate the French) generates Manila slums, then ratchets up the tension, Karl, the huntsman who has never really More than just algorithms and tech, Google plenty of laughs—but it’s the couple’s own creating an intense thriller with a poignant acknowledged that Lars is his son; and the World Brain is about the dream of ambivalence—about each other, their humanity and palpable dramatic stakes.” Ilanngauq, the outsider who moved to building “a library to last forever” and the accomplishments, their marriage, and what’s —Sundance Film Festival. This year’s Niaqornat after meeting his wife online; and true cost of attaining that dream. (90 mins.) left for them—that makes Le Week-End a British submission for the Best Foreign Annie, the elder who remembers the ways Filmography: Blowing Up Paradise (05), Hammer keeper.”—The Guardian. (93 mins.) Language Film Oscar. (115 mins.) of the shamans and a time when the lights and Tickle (06), The Great Contemporary Art Bubble Filmography: Notting Hill (99), Enduring Love (04), Filmography: Cashback (06), The Broken (08). were fueled by seal blubber. (82 mins.) (09), Poor Us: An Animated History of Poverty (12). Venus (06), Hyde Park on Hudson (12). 2/13 8:30pm OMSI Filmography: Gavron: Brick Lane (07); Katznelson: 2/12 6:00pm OMSI 2/7 8:30pm Whitsell Auditorium 2/15 12:30pm Fox Tower First feature. 2/15 1:00pm World Trade Center Theater 2/9 5:30pm Cinema 21 (large theater) 2/19 8:30pm Cinemagic Sponsored by Chipotle Mexican Grill. Sponsored by Pacific University MFA in Writing. 2/20 6:00pm OMSI Sponsored by Chipotle Mexican Grill. 16 37TH PORTLAND INTERNATIONAL FILM FESTIVAL

GREECE HONG KONG

BOY EATING THE BIRD’S FOOD AMERICAN DREAMS IN CHINA BENDS THE WAY WE DANCE Ektoras Lygizos Peter Ho-Sun Chan Flora Lau Adam Wong

Based on Norwegian writer Knut Hamsun’s In 1985, in the midst of China’s economic Bends straddles the Hong Kong-Shenzhen A surprise hit in Hong Kong, the low-budget 1890 novel Hunger, Lygizos fashions a reform period, three college students in border and tells the emotionally touching The Way We Dance, like most dance movies, ­confronting, visceral take on contemporary Beijing—an overzealous country boy who story of Anna, an affluent housewife, and is a celebration of vibrant youth, as well as Greece’s stultifying economic and spiritual refuses to accept his destiny of being a Fai, her chauffeur, and their unexpected hopes and dreams fulfilled. Leaving her condition. Yorgos is an educated loner, farmer, a cynical intellectual with a superi- friendship as they each negotiate the social parents’ tofu restaurant behind, aspiring estranged from his family and friends, ority complex, and a romantic idealist who contradictions and pressures of Hong Kong dancer Fleur enters university and joins the keeping counsel only with his pet canary. wants to be a movie star—bond through a life and the city’s increasingly complex hip-hop dance club. Her idiosyncratic Unemployed and destitute after being shared fascination with Western literature, relationship to mainland China. Fai is moves are too advanced for the other evicted from his decrepit apartment, he music, and movies and an ambition to live struggling to find a way to bring his preg- dancers, but she finds approval from the seeks to placate his hunger rummaging the American dream. This sets the three on nant (in violation of the one-child policy) chairman of the tai chi club, who encour- through dumpsters for scraps. But this is a roundabout course toward the foundation wife Tai over the Hong Kong border from ages her to connect with her inner martial only the beginning of his descent into mor- of a wildly successful English-language Shenzhen to give birth to their second child, artist. With an appropriately minimalist ally bankrupt and flagrantly indecent levels tutorial institute—but fame, enormous even though he crosses the border easily (romantic drama) plot, Wong inventively of desperation. “[So] intensely corporeal ­fortune, and lawsuits test the bonds of every day working as Anna’s chauffeur. mashes contemporary street and tradi- that it can be almost painful to watch. An ambition. Shot by superstar cinematogra- Anna, in contrast, is struggling to keep up tional Chinese moves with Kung-fu spirit unforgettable experience, Lygizos’s debut pher Christopher Doyle and dubbed “the the facade of the ostentatious lifestyle into to capture “the passion and romance of feature marks him as one of the most Chinese Social Network,” this seductive, which she has married, after the sudden these dancers, whom I found representa- impressive new talents to emerge since the epic tale of business bravado reveals both disappearance of her husband amid finan- tive of the Hong Kong people who are international breakthrough of the Greek the spirit and the detail of China’s dramatic cial turmoil. Their parallel lives collide used to growing up in adversity...the devo- New Wave.”—Toronto International Film economic coming-of-age. (112 mins.) in a common space, the car. (96 mins.) tion, focus, and persistence in the pursuit Festival. This year’s Greek submission for Filmography: Comrades: Almost a Love Story (96), First feature. of their art.” (110 mins.) the Best Foreign Language Film Oscar. Who’s the Man, Who’s the Woman (97), The Warlords 2/9 5:30pm Whitsell Auditorium Filmography: When Beckham Met Owen (04), (07). (80 mins.) Recommended for adult 2/13 6:00pm Fox Tower Magic Boy (07). audiences­ only. 2/14 5:45pm Fox Tower Sponsored by the Hong Kong Economic and 2/17 7:30pm Cinema 21 (small theaters) First feature. 2/20 5:45pm Cinema 21 (small theaters) Trade Office, San Francisco. 2/21 7:00pm Whitsell Auditorium 2/18 8:30pm Cinema 21 (small theaters) Sponsored by the Hong Kong Economic and Sponsored by the Hong Kong Economic and 2/20 8:30pm Fox Tower Trade Office, San Francisco. Trade Office, San Francisco. 37TH PORTLAND INTERNATIONAL FILM FESTIVAL 17

HUNGARY ICELAND INDIA

AGLAJA OF HORSES AND MEN THE GOOD ROAD THE LUNCHBOX Krisztina Deák Benedikt Erlingsson Gyan Correa Ritesh Batra

In the hope of a better life, a Hungarian- This dry, very Icelandic comedy is a Several groups of people are making their Ila (Nawazuddin Siddiqui) is a lonely Romanian family of circus artists escapes ­country romance about the human streak way along a desolate stretch of highway in Mumbai housewife who yearns to spark from the Ceausescu dictatorship in Romania in the horse and the horse in the human. India’s dangerous Kutch region. Seven-year- the affections of her inattentive husband. to the West in the early 1980s. There they Love and death become interlaced with old Adiyta, from Mumbai, has become She patiently prepares a special lunch for realize that to stay in the ring they will immense consequences through several separated from his parents and is befriended him to enjoy at work, but through a mix-up need to devise an exotic and different per- interlinked short episodes that follow the by a truck driver on a perilous smuggling with the delivery service, the meal ends formance. The mother devises a special act inhabitants of an isolated hamlet. “This is mission. Poonya, an 11-year-old girl who up at the desk of Saajan (Irrfan Khan), an in which she hangs by her hair in the circus not a straightforward story. I hope that the has run away from the city to find her isolated accountant on the verge of retiring. dome. However, her daughter Aglaja is title gives the right point of view. And of grandmother, finds herself in danger of Thrilled by the great surprise but compelled constantly worried that her mother will fall course it must be said that here in the becoming a victim of human trafficking. to acknowledge the mistake, Saajan starts to her death, and this fear becomes an north, women are also men. It is important Over the course of 24 hours, the lives of an ongoing exchange of warm letters everyday burden for her to bear. Yet one to state that no horses were hurt in the these protagonists and others are dramati- between the lonely pair, through which day—following the family tradition—she making of this film. The entire cast and cally intertwined as The Good Road explores they reveal their innermost secrets. On his herself will become “the Woman with Hair crew are horse owners and horse lovers…. the intersection of modern, urban India retirement, Sajaan goes in search of the of Steel.” A moving story about a refugee I must admit, however, that there were with its unseen, underdeveloped rural cook of his dreams. Batra’s oftentimes family and the joys and curses of enforced some human actors who were traumatized, counterpart. This starkly beautiful meta- comedic debut feature is an intimate, heart- interdependence—all seen from the view- but I happen to know that they were still physical road movie, shot in one of India’s felt exploration of the fragility of human point of a young woman who must find her alive when this was written.”—Benedikt most isolated locations, won the Best connection in which every gesture has way in life’s instabilities. (116 mins.) Erlingsson. Winner of the Best Director Gujarati Feature Prize at India’s National meaning and every wonderfully observed Filmography: Jadviga’s Pillow (00), Who the Hell’s Prize at the Tokyo International Film Film Awards and is this year’s Indian image has compassion. (104 mins.) Bonnie and Clyde? (04). Festival, Of Horses and Men is this year’s ­submission for the Best Foreign Language First feature. Icelandic submission for the Best Foreign Film Oscar. (92 mins.) 2/11 5:45pm Cinemagic 2/11 6:00pm OMSI 2/17 12:00pm Fox Tower Language Film Oscar. (81 mins.) First feature. 2/14 8:30pm Whitsell Auditorium First feature. 2/7 6:00pm OMSI Sponsored by Southpark Seafood Grill. 2/8 3:30pm Fox Tower 2/8 6:00pm Fox Tower 2/12 8:30pm Cinemagic Sponsored by SP Newsprint. 18 37TH PORTLAND INTERNATIONAL FILM FESTIVAL

IRAN ISRAEL

CLOSED CURTAIN THE LAST STEP THE SNOW ON THE PINES THE CONGRESS Jafar Panahi, Kambuzia Partovi Ali Mosaffa Peyman Moaadi Ari Folman

Still banned from making films for 20 years, Inspired by James Joyce’s “The Dead,” this Roya (Mahnaz Afshar), a piano teacher “Folman’s follow-up to his strikingly celebrated Iranian director Jafar Panahi engrossing tale of grief, guilt, and lost love about to turn 40, realizes that her marriage rotoscoped­ Waltz with Bashir is a bold, defied Islamic authorities to make this is narrated from beyond the grave by to her older husband Ali is in crisis when metaphysical sci-fi satire: a live-action set-up ­daring and angry protest against repression architect Khosro (Mosaffa), who has died a phone call reveals that there is much she that goes down the rabbit hole of loony and devastating portrait of melancholia in a mysterious fall but lingers around does not know. Lost in fear and doubt, animation partway through. Based on a and paranoia. In a house by the sea, a man his beautiful film star wife, Leila (Leila she tries to pull herself together and find novel by Solaris author Stanislaw Lem, The hides with his illegal (considered “unclean”) Hatami), reviewing their complicated but her way out of the crisis, but an encounter Congress sees Robin Wright playing Robin dog, working on a screenplay. A mysterious loving marriage. Hanging around the set with a charming neighbor changes her Wright, an actress with diminishing young woman arrives, clearly hiding from where she is trying to finish shooting the world in yet another unforeseen way and options in a savage and surreal movie something herself, and refuses to leave. film begun before his death, previously forces a painful choice. This directorial ­business. When her agent (Harvey Keitel) Then Panahi himself arrives, and the cur- unexplained truths dawn on him, but debut from writer and actor Peyman delivers an ultimatum, Wright’s only tain on what has come before is at least Leila, who manages to insert her perspec- Moaadi (A Separation), evocatively filmed choice is to sell her very identity. Plunged partly lifted. Of his enigmatic meditation tive into the story, still has some secrets. in black and white, scored a Best Actress into a lurid Orwellian future, she must on the blurry line between fiction and real This complex, ironic, and delicate psycho- Award for Afshar and Best Film and Best rediscover herself with the help of her per- life, Panahi says: “Closed Curtain uses shift- logical thriller is lead actor Mosaffa’s soph- Script Awards for Moaadi at the Iranian sonal animator ( Jon Hamm) and human ing genres and stories within stories to omore directing effort. “Blending elements Film Critics Guild Awards. Winner of the doctor (Paul Giamatti).”—London Film highlight why filmmaking is a necessity in of whodunit mystery, love triangle, and Best First Feature Prize at the Fajar Film Festival. “[A] visionary work…it’s lyrical a filmmaker’s life: it is the imperative need poetic meditation on mortality…yet Festival. (92 mins.) and mysterious, contemplating age-old to show the reality of the world we live in.” another reminder that Iran is awash with First feature. ­sci-fi questions (of artificial intelligence, (106 mins.) world-class filmmakers.”—The Hollywood of perception versus reality) while grafting 2/16 3:00pm Cinema 21 (small theaters) Filmography: Panahi: The White Balloon (95), The Reporter. (88 mins.) 2/20 6:00pm Cinemagic them onto a commentary about the chang- Circle (00), Offside (06), This Is Not a Film (11); Filmography: Portrait of a Lady Far Away (05). ing nature of movies.”—RogerEbert.com. Sponsored by KBOO. Partovi: Border Café (05). (120 mins.) 2/17 12:15pm Cinemagic 2/8 8:30pm Whitsell Auditorium 2/18 6:00pm Cinema 21 (small theaters) Filmography: Waltz with Bashir (08). 2/12 6:00pm Cinemagic 2/14 12:00am Cinema 21 (large theater) Sponsored by the Portland State University Sponsored by the Consulate General of Israel English Department. to the Pacific Northwest, San Francisco. 37TH PORTLAND INTERNATIONAL FILM FESTIVAL 19

ITALY JAPAN

SALVO THOSE HAPPY YEARS THE GREAT PASSAGE THE WIND RISES Fabio Grassadonia, Antonio Piazza Daniele Luchetti Yûya Ishii Hayao Miyazaki

A hit man for the Sicilian mafia, Salvo is Rome in the 1970s. Young Dario, 8mm Mitsuya, a shy young bookworm, is the Miyazaki, co-founder of the legendary solitary, cold, and ruthless. When he sneaks movie camera in hand, captures the events weakest salesman in his division at the Studio Ghibli, eschewing his typically into a house on an assignment, he discovers that will forever change his family’s destiny. Genbu Publishing Company. When trans- ­fictional characters ensconced in a fantasy Rita, an innocent young blind girl who Guido (Kim Rossi Stuart), a narcissistic ferred to the dictionary department to world, instead brings to life the story of must stand by powerlessly while her brother artist who dreams of being a famous artist, work on “The Great Passage,” a 240,000- Jiro Horikoshi, visionary designer of one of is assassinated. What follows is an intense is too self-centered to see that his wife entry, state-of-the-language dictionary, his history’s most beautiful airplanes—the pro- exchange, fueled by adrenaline and fear, (Micaela Ramazzotti) is upset about all the passion for language blossoms. But he’s totype for the Zero WWII fighter. Adapted between the killer and his witness, one that time he spends with beautiful women in left speechless when he meets Kaguya, his from Miyazaki’s own serialized manga, changes their two lives in an instant. The his studio. So it’s a rude awakening when landlady’s granddaughter, who moves into which was itself inspired by Tatsuo Hori’s darkness is lifted from Rita’s eyes just as she starts to entertain ideas of her own his building and beguiles him with her 1937 story of the same name, this epic tale Salvo decides, against his murderous independent life and leaves for a “feminist obsession with cooking knives and fine of love, invention, and hope spans decades, instincts, to spare her life. Haunted by their retreat”—right after his big Milan gallery cuisine. Mitsuya soon finds that the words sweeping through great historical moments encounter, both of these damaged souls show disastrously implodes in disaster. he has studied his whole life are inadequate of 20th-century Japan. In what he has said will attempt to navigate their dangerous Loosely based on his parents’ life, this to express his true feelings for Kaguya. is his last film, the winner of dozens of next steps side by side. “Salvo embraces wryly amusing drama of a couple’s emo- Meanwhile, complications begin piling up international awards, Miyazaki dazzles crime genre tropes and then stretches them tional rollercoaster ride, played out before as the dictionary department descends into with his usual beautifully rendered flour- into a new shape, reminding that the con- their bemused and occasionally horrified chaos. Yûya Ishii’s tender and quirky ishes, but this time exploring a grounded, finement of genre can have unexpectedly children, tells a universally recognizable romance is a charming ode to the Japanese evolved, and sophisticated nostalgia that fresh results.”—Film Comment. Winner of tale of family stress while paying loving lexicon. This year’s Japanese submission is a fitting final celebration of art, science, the Critics’ Week Grand Prix at the Cannes homage to the power of home movies shot for the Best Foreign Language Film Oscar. and the impulse to create. (126 mins.) Film Festival. (104 mins.) on celluloid. (106 mins.) (134 mins.) Filmography: Castle in the Sky (86), Princess First feature. Filmography: Ginger and Cinnamon (03), Filmography: Rebel, Juro’s Love (06), Sawako Mononoke (97), Spirited Away (01), Howl’s Moving My Brother is an Only Child (07), Another Life (10). Decides (10), Mitsuko Delivers (11). Castle (04), Ponyo (08). 2/9 2:45pm Cinema 21 (large theater) 2/14 8:30pm Cinema 21 (small theaters) 2/7 8:30pm OMSI 2/16 7:45pm Whitsell Auditorium 2/6 6:30pm Cinema 21 (large theater) 2/6 6:45pm OMSI Sponsored by the Italian Cultural Institute, 2/8 6:00pm Cinemagic 2/19 8:30pm OMSI San Francisco, and Italian Film Commission, Sponsored by the Italian Cultural Institute, Sponsored by the Consular Office of Japan Sponsored by the Consular Office of Japan Los Angeles. San Francisco, and Italian Film Commission, Los in Portland. in Portland. Angeles. 20 37TH PORTLAND INTERNATIONAL FILM FESTIVAL

LEBANON MEXICO

A WORLD NOT OURS THE GOLDEN DREAM HELI THE LAST CALL Mahdi Fleifel Diego Quemada-Díez Amat Escalante Francisco Franco Alba

Drawing on a family history of videomaking, Quemada-Díez brings a gritty realism Heli works at a car factory and tries hard to From The Producers to Bullets Over Broadway, Fleifel offers an intimate glimpse into the and social conscience to a story about the provide for his young wife, son, and sister the challenges of putting on a stage show crumbling Ain el-Helweh (“Sweet Spring”) excitement and horror young Central Estela. Twelve-year-old Estela has fallen in have proved a rich source of inspiration for refugee camp in Lebanon—a settlement of American migrants regularly face in trying love with a young police cadet with whom comedy films. In this comedic ensemble less than a square mile that has, for more to make it to the United States. Sara, a she wants to run away and marry. As she piece, a Mexican theater company is in than 60 years, been home to more than Guatemalan teenager, chops her hair off pursues her dream, one deadly mistake rehearsals for a production of Caligula by 70,000 people. Fleifel spent his formative and disguises herself as a boy. She’s joined leads to another, and she unwittingly drags Albert Camus. Things aren’t going well: years there in the 1980s, before his family by her friends Juan and Samuel on a thrill- her family into the horror of devastating the lead actress is furious with the neurotic settled in Denmark. For years he’s been ing and brutal journey north, hopping drug violence. Once events are set in and depressed director, the lead actor is returning and keeping a video diary, and freight trains heading for Los Angeles. As motion, there is no escaping the destruction having panic attacks, and an older actor in A World Not Ours, he provides a frank, the group faces life-and-death challenges that results from a society ruled by men can’t memorize his lines. The assistant funny, and nostalgic insider portrait of the from bandits and corrupt law enforcement, with guns. A portrayal of the most violent director—a failed actress—turns out to have community. The conversations with resi- they learn crucial life lessons about friend- contemporary landscape imaginable, a drug problem. Then the tech crew gets dents, friends, and family provide an unfil- ship and loyalty. This poetic thriller was Escalante’s film confirms that it is the poor attacked by a group of “emo” teenagers. tered take on Palestinian grievances with inspired by the true stories unfolding daily and innocent who always pay the highest It’s going to take a miracle for this play to Israel, Lebanon, and their own political along unnamed railroad tracks, and the price. Winner of the Best Director Prize open.... This delightful backstage comedy leaders and how ideas of home, community, remarkable cast of untrained actors won at the Cannes Film Festival and this year’s won the Audience Award, Critics’ Award, victory, and hope sustain in a challenging a special prize in the Un Certain Regard Mexican submission for the Best Foreign and Best Actress Award at the Guadalajara situation. Engaging and accessible, with a section of the Cannes Film Festival. Language Film Oscar. (105 mins.) Film Festival. (92 mins.) quirky, upbeat soundtrack, Fleifel’s personal “A very substantial movie, with great Filmography: Sangre (05), Los Bastardos (08). Filmography: Burn the Bridges (07). journey offers a fresh and inviting point ­compassion and urgency.”—The Guardian, 2/9 8:00pm Cinemagic 2/15 9:00pm OMSI of entry to thorny political history and London. (102 mins.) 2/14 8:30pm Fox Tower 2/18 6:00pm Cinemagic determined resistance. (93 mins.) First feature. Sponsored by the Consulate of Mexico in Portland. Sponsored by the Consulate of Mexico in Portland. First feature. 2/17 2:30pm Cinema 21 (small theaters) 2/14 6:00pm World Trade Center Theater 2/22 5:00pm Whitsell Auditorium 2/16 5:30pm World Trade Center Theater Sponsored by Chipotle Mexican Grill. 37TH PORTLAND INTERNATIONAL FILM FESTIVAL 21

MOROCCO NEPAL THE NETHERLANDS

LA ULTIMA PELICULA HORSES OF GOD MANAKAMANA BORGMAN Raya Martin, Mark Peranson Nabil Ayouch Stephanie Spray, Pacho Velez Alex van Warmerdam

“Film and digital, documentary and fiction Two young soccer-loving friends, Yachine “Spray and Velez’s (literally) transporting A dark, mischievous, and unsettling fable all do battle as an egomaniacal director and Nabil, grow up under the fierce pro- film—shot inside a cable car that carries about a strange vagabond, Borgman takes journeys to the Yucatán to prepare for his tection of Yachine’s older brother, Hamid. pilgrims and tourists to and from a moun- the concept of home invasion to captivating (the?) last movie to be shot on celluloid, just But in the sprawling slums of Sidi Moumen, taintop temple in Nepal—is radically simple new levels. Driven by the authorities from as the Mayan apocalypse threatens to bring not even Hamid can defend them against in conception. Each of its 11 shots lasts as his underground hideout, the enigmatic forth the end of the world—and cinema. the harshness and injustice of the life that long as a one-way ride, which corresponds Camiel Borgman is on the run. Covered Schizophrenic in the best ways possible, surrounds them. Fed up with that life, to the duration of a roll of 16mm film. in dirt, he arrives at Marina and Richard’s this madcap-experimental-comedy-fever- Hamid throws a rock at a police car and This newest work from Harvard’s Sensory large suburban home asking to use their dream is alternately hilarious, poetic, and earns himself two years in prison. When Ethnography Lab—which previously pro- shower, thus beginning a game of sly cal- beautiful. Inspired by Dennis Hopper’s he returns, an eerie calm masks his new- duced Sweetgrass (PIFF 32) and Leviathan culation as he insinuates himself into their infamous The Last Movie (1971), as well as found zealotry, and his fundamentalist (PIFF 36)—is thrillingly mysterious in lives. He soon starts to manipulate the the documentary shot during its editing on friends seem to exercise a powerful influ- its effects: a staged documentary, a cross family with almost preternatural charisma Hopper’s ranch, The American Dreamer, the ence. Inspired by the real-life 2003 terrorist between science fiction and ethnography, as his more sinister plans make themselves film is a loving tribute to a great American attacks in Casablanca, Ayouch’s film is a an airborne version of an Andy Warhol known in chilling fashion. Filled with nasty artist—and to that sacred material known thoughtful and affecting inquiry into how screen test. As with the richest structural humor and demonic imagination, van as celluloid—and yet it bravely looks ahead ordinary people come to do desperate, films, Manakamana is a kind of head movie Warmerdam’s film shows that “evil comes to new possibilities in the ever-changing unfathomable things. Winner of the Best that viewers are invited to complete as in everyday form, embodied within ordi- landscape of the seventh art. This may be Director Award at the Seattle International they watch. An endlessly suggestive film nary, normal, polite men and women… the last movie, but it’s the first of its kind.” Film Festival. (115 mins.) that both describes and transcends the enacted not just on cold winter nights but in —Vancouver International Film Festival. Filmography: Mektoub (97), Ali Zoua: A Prince bounds of time and space.”—New York the optimistic summer, beneath a warm and (88 mins.) of the Streets (00), Whatever Lola Wants (07), Film Festival. (118 mins.) comforting sun.”—Alex van Warmerdam. Filmography: Martin: Autohystoria (07), Independencia My Land (11). First feature. (113 mins.) (09); Peranson: Waiting for Sancho (08). 2/15 9:00pm Cinema 21 (small theaters) 2/8 8:30pm World Trade Center Theater Filmography: The Northerners (92), The Dress (96), 2/15 9:00pm Cinemagic 2/22 2:15pm Whitsell Auditorium 2/15 3:15pm World Trade Center Theater Little Tony (98), Grimm (03), Waiter (06), The Last Days of Emma Blank (09). 2/16 7:45pm Fox Tower Sponsored by Ninkasi Brewing Company. 2/7 12:00am Cinema 21 (large theater) Sponsored by Yelp! 22 37TH PORTLAND INTERNATIONAL FILM FESTIVAL

THE NETHERLANDS (cont.)

IT’S ALL SO QUIET MAIDENTRIP THE NEW RIJKSMUSEUM THE ZIGZAG KID Nanouk Leopold Jillian Schlesinger Oeke Hoogendijk Vincent Bal

Leopold takes a precise look at solitude “At just 14 years old, Laura Dekker sets “The renovation of Amsterdam’s The Zigzag Kid is a stylish, witty, action- and sexuality in this sensitive and delicate out on a two-year voyage ‘to become the Rijksmuseum went on for 10 long, expensive packed caper à la The Pink Panther that film, based on a novel by Gerbrand Bakker. youngest person ever to sail around the years, so it is fitting that a documentary also touches on more serious themes of Helmer is a single farmer in his 50s who world alone.’ While the Dutch teen’s on this torturous (and often inadvertently self-­discovery, the strength of family, and lives with his aged, bedridden father in the announcement spurs a highly publicized hilarious) process should turn into not one acceptance. The son of the world’s greatest Dutch countryside. Each day he is visited custody battle with the Child Welfare but two feature-length movies. Spanish police inspector, Nono is on a train trip to by Johan, a milk truck driver of his own Office, Schlesinger focuses on the real architects Antonio Cruz and Antonio Ortiz see his uncle when he meets his father’s age, who is clearly attracted to Helmer but heart of the story, a fiercely independent have designed an ingenious new entryway, arch-nemesis, the notorious criminal is rebuffed. The relationship with his father girl and her audacious dream. Schlesinger but the Dutch Cyclists Union won’t tolerate Felix Glick, and must put his own detective is a difficult one, and Helmer lives in a films Laura at her many exotic ports of reduced access for the 13,000 bicyclists skills to work. Wearing disguises and evad- state of solitude and frustration. The arrival call, but it’s the young captain herself who who ride through the passageway daily. ing police, he heads to the French Riviera of an attractive farmhand triggers complex shoots all the footage at sea in journal-like The museum’s magisterial director, Ronald but only has 24 hours to compete his high- feelings of desire and hesitation in Helmer conversations with the camera. Far from de Leeuw, and his successor, the younger, stakes mission—while also confronting the and creates a new momentum in his life. scrutiny and land, she’s visibly free and scrappier Wim Pijbes, battle with curators, mystery of his own identity and the truth Beautifully capturing the pace of rural life, speaks so confidently and honestly about politicians, designers, city bureaucrats, about his mother—before his bar mitzvah! Leopold’s quiet, visually vivid drama her desires, fears, and vulnerability, you and the public as the price of construction Winner of the Audience Award at the rewards with its rare and sensitive depiction forget you’re watching a teenager. It’s clear soars to $500 million. It’s a messy, com­ Montréal International Children’s Film of the intense longings of ordinary people. this old soul is captaining not only her plicated story, but fortunately, one with a Festival and the European Film Academy (93 mins.) beloved boat Guppy, but also her future, glorious ending.”—Film Forum. “The New Young Audience Award. (95 mins.) In Filmography: Guernsey (05), Wolfsbergen (07), of which she’s already in full command.” Rijksmuseum proves that films can describe Dutch, English, and French with English Brownian Movement (10). —Hot Docs. (82 mins.) Recommended nuances of character and situation as finely subtitles. Recommended for ages 8+. 2/16 7:45pm Cinema 21 (small theaters) for ages 12+. as the finest novel or creative nonfiction.” Filmography: Man of Steel (99), Miss Minoes (01). —RogerEbert.com. (240 mins.) 2/19 8:30pm Fox Tower First feature. 2/8 1:00pm Cinema 21 (large theater) 2/8 6:15pm OMSI Filmography: The Saved (98). 2/9 3:00pm Fox Tower 2/18 8:30pm Whitsell Auditorium 2/16 2:45pm Whitsell Auditorium Sponsored by Oregon Episcopal School. Sponsored by Chipotle Mexican Grill and the 2/19 6:00pm Cinema 21 (small theaters) World Affairs Council of Oregon. Sponsored by Higgins. 37TH PORTLAND INTERNATIONAL FILM FESTIVAL 23

NORWAY PALESTINE

BEFORE SNOWFALL I AM YOURS THE TOUGH GUYS OMAR Hisham Zaman Iram Haq Christian Lo Hany Abu-Assad

How far would you go to restore your Mina is a young single mother living in Eleven-year-old Modulf fancies himself as Omar is a tense, gripping thriller about ­family’s honor? As the oldest man in his Oslo with her six-year-old son Felix. A something of a superhero, saving the other betrayal, suspected and real, in the household, Siyar confronts that question Norwegian-Pakistani, she has a troublesome kids at his school from being bullied by Occupied Territories. Omar is a Palestinian after his sister Nermin flees an arranged relationship with her family, who blame “allowing” the tough kids to pick on him baker who routinely climbs over the sepa- marriage and he must seek ­vengeance her for her divorce. Understandably: she’s so they can escape. While he’s the one ration wall to meet up with his girl, Nadja. for the slight. Siyar tracks her from their a natural flirt, and while she has plenty of being soaked in the bathroom, the other By night, he’s either a freedom fighter or village in Kurdistan to a world apart in male companions, they tend not to hang kids are protected. Then one day Lise joins a terrorist ready to risk his life to strike Istanbul. His fateful introduction to Evin, around for long. One day, Mina meets Modulf’s class, wreaking havoc with his at the Israeli military with his childhood a young girl living on the streets, leads to Jesper, a Swedish film director, and they fall plan. Lise doesn’t agree with his theories, friends Tarek and Amjad. Arrested after the first cracks in his resolve. Then Nermin head over heels in love, but boy and man and her interfering suddenly makes her a the killing of an Israeli soldier and tricked escapes, and he follows her to Germany don’t exactly see eye to eye.... “I wanted to target for trouble, forcing him to reexamine into an admission of guilt by association, and Norway on a journey that will forever make a very naked and true story.... Often his strategy and save her. Winner of the he agrees to work as an informant. So change his notions of ­loyalty, dignity, we see female characters being as good Best Children’s Film Prize at the Nordic begins a dangerous game—is he playing honor, and love. Both a tender coming-of- a person as possible. Mina is a normal Film Days. (74 mins.) Recommended for his Israeli handler or will he really betray age/road trip story and a classic tragedy, human being, always running after being ages 8+. his cause? Who can be trusted on either Before Snowfall is a heartbreaking depiction loved but not knowing what love is.” Filmography: Rafiki (09). side? A dynamic, action-packed drama of the disastrous intersection of primal —Iram Haq. This year’s Norwegian about the unsolvable moral dilemmas and 2/16 3:00pm Fox Tower forces. Winner of the Best Nordic Film ­submission for the Best Foreign Language 2/17 2:30pm Fox Tower tough choices facing those trapped on the Award at the Göteborg Film Festival and Film Oscar. (96 mins.) frontlines of a conflict over which they Sponsored by Journal Graphics. the Best Cinematography Award at the First feature. have little control. (96 mins.) Tribeca Film Festival. (105 mins.) In Kurdish 2/12 8:30pm Whitsell Auditorium Filmography: Ford Transit (03), Paradise Now (05). and German with English subtitles. 2/20 6:00pm Fox Tower 2/9 8:00pm Whitsell Auditorium First feature. Sponsored by the Scandinavian Heritage 2/13 6:00pm Cinemagic 2/9 5:30pm Cinemagic Foundation. Sponsored by KBOO. 2/11 8:30pm OMSI 24 37TH PORTLAND INTERNATIONAL FILM FESTIVAL

THE PHILIPPINES POLAND

THY WOMB TRANSIT AFTERMATH IDA Brillante Mendoza Hannah Espia Wladyslaw Pasikowski Pawel Pawlikowski

Following the fortunes of a humble Muslim This year’s Philippine submission for the A gripping psychological thriller, Aftermath Orphaned during World War II and raised fisherman and his wife, this lyrical tale of Best Foreign Language Film Oscar, Transit tells the story of two estranged brothers, in a rural convent, Anna is about to take love and beauty questions how far some- deals with the struggles of an extended Franek and Josef, who discover a terrible her own vows. But before becoming a nun, one will go to fulfill their social destiny Filipino family that has lived and worked secret that forces them to revise their per- the mother superior insists she visit her and dreams. Shaleha, an aging midwife in Tel Aviv for years. In 2009, the Israeli ception of their family, neighbors, and the last remaining relative. Aunt Wanda, Anna unable to bear her own child, embarks on government passed a new law allowing the history of their nation. The sons of a poor discovers, is a worldly intellectual—an a quest to find a second wife for her hus- children of foreign workers to be deported farmer from a small village in central embittered ex-judge in Warsaw—and a band who can bear him the child they so back to their parents’ country. Janet’s work Poland, Franek immigrated to the US in woman who deals with her painful memories desperately want. Set in the remote archi- visa has expired, and she may be deported the 1980s and cut ties with his family. Only with liberal doses of sex and drink. An off- pelago of Tawi-Tawi, Shaleha’s quest pro- back to the Philippines. Her teenage when his brother’s wife arrives two decades hand revelation about Anna’s true identity vides a backdrop for an intimate portrait daughter Yael, born of an Israeli father later without explanation does Franek sets in motion a road trip through the of a Bajau community that survives off the from a past relationship, wants to stay, and decide to return to his homeland. There he Polish countryside during which these two sea that surrounds them. The daily rituals Janet’s brother Moses hides his four-year-old finds his brother has been ostracized from strikingly different women confront devas- of the women weaving colorful straw mats, son at home for fear that if he is found, the the community and receiving various tating family secrets and postwar demons. the political unrest in the town, and the child will also be deported. A poetic illu- threats, and soon they are drawn into an One of the most internationally acclaimed elaborate ceremonial­ events such as a mination of the social and economic struggle incendiary gothic tale of intrigue and reck- films of the year, Ida’s exquisite black-and- local marriage are captured with a timeless facing displaced people across the globe oning with a dark period in Polish history. white images, superb performances, and ­perfection. Winner of the Cinema Critics’ and how immigration laws impact human “Gripping. A bombshell disguised as a haunting script combine to fashion a poetic Prize at the Venice Film Festival and the relationships. Winner of the Best Film and thriller…. An especially effective film noir. meditation on identity and the limits of Best Director and Best Actress Prizes at Audience Awards at the Cinemalaya Excellent.”—Kenneth Turan, The Los Angeles faith. (80 mins.) the Manila Film Festival. (100 mins.) Festival. (93 mins.) In Hebrew, Filipino, Times. (107 mins.) Filmography: The Stringer (98), Last Resort (00), Filmography: The Masseur (05), Foster Child (07), and Tagalog with English subtitles. Filmography: Pigs (92), Bittersweet (96), Reich (01). My Summer of Love (04), The Woman in the Fifth (11). Grandmother (09), Captive (12). First feature. 2/9 8:00pm Cinema 21 (large theater) 2/11 6:00pm Whitsell Auditorium 2/15 9:00pm Fox Tower 2/13 6:00pm OMSI 2/11 8:30pm Fox Tower 2/16 5:30pm Fox Tower 2/20 8:30pm Cinema 21 (small theaters) 2/15 3:30pm Cinema 21 (small theaters) Sponsored by the Consulate General of Poland, Sponsored by the Consulate General of Poland, Sponsored by the Philippine Consulate General of Sponsored by the Philippine Consulate General of Los Angeles. Los Angeles. Portland, Council of Filipino American Associations, Portland, Council of Filipino American Associations, and Philippine American Chamber of Commerce. and Philippine American Chamber of Commerce. 37TH PORTLAND INTERNATIONAL FILM FESTIVAL 25

ROMANIA SERBIA SINGAPORE

WALESA: MAN OF HOPE CHILD’S POSE CIRCLES ILO ILO Andrzej Wajda Calin Peter Netzer Srdan Golubovic Anthony Chen

This remarkable historical epic, tracing Winner of the Golden Bear at the Berlin Circles unfolds as a triptych, exploring the Chen’s bittersweet drama about the rela- Lech Walesa’s rise from simple shipyard International Film Festival, this dark tragi- moral convolutions of guilt and complex tionship between a 10-year-old boy named electrician to leader of Poland’s Solidarity comic exposé chronicles the efforts of an story strands that emerge from one fateful Jiale and his caretaker Teresa in late 1990s movement and Polish president, is the last overly protective and domineering mother, moment. Marco, a Serbian soldier on leave Singapore won the Camera d’Or Award part of venerable director Andrzej Wajda’s Cornelia, who uses all of the means at her during the war in 1993, returns to his for Best Debut Feature Film at the Cannes trilogy about how worker disillusionment disposal to keep her reckless adult son, Bosnian hometown. When three fellow Film Festival. Set during the Asian financial with Communism helped to bring about Barbu, out of jail when he is accused of ­soldiers accost Haris, a Muslim shopkeeper, crisis of 1997, the film focuses on Teresa’s the system’s demise. Centering on Walesa killing a child in a drunken hit-and-run. Marco intervenes, but it costs him his life. arrival from the Philippines in search of a and his wife Danuta, the screenplay, built Cornelia is an educated, wealthy woman, Twelve years later, the war is over, but the better life and the comfort Jiale takes in around a 1981 interview he gave to Italian an architect by trade, who views her wounds remain open. Marco’s father is Teresa’s expanding role within the family journalist Oriana Fallaci, chronicles two ­privilege in Romanian society as a right rebuilding a church when Bogdan, the son as monetary hardships threaten to splinter decades of high stakes events while, in that extends to her son; she has no qualms of one of Marco’s killers, appears looking his parents’ marriage. “Brimming with Wajda’s words “...making a movie about a about offering bribes or coercing the police for work. Meanwhile in Belgrade, Marco’s love, humor, and heartbreak…a small but people’s hero...a politician who came from and witnesses to lie. But the impassive friend Nabobs, a renowned surgeon, debates immensely likable gem.”—Variety. “The the social lows and rose to his position Barbu, increasingly resentful of his mother’s whether or not to operate on another of very beating heart and soul of cinematic purely and only thanks to his own will, his domination and bullying, comes to realize Marco’s killers. And in Germany, Haris storytelling.”—Film Comment. This year’s own strength, his own energy, his intelli- that he has a say in his fate too. This year’s strives to repay his debt when Marco’s Singaporean submission for the Best gence.” (127 mins.) In Polish and Italian Romanian submission for the Best Foreign widow arrives seeking refuge. This year’s Foreign Language Film Oscar. (99 mins.) with English subtitles. Language Film Oscar. (112 mins.) Serbian submission for the Best Foreign First feature. Language Film Oscar. (112 mins.) Filmography: Ashes and Diamonds (58), Landscape Filmography: Maria (03), Medal of Honor (09). 2/8 3:30pm Whitsell Auditorium After Battle (70), Man of Marble (77), Man of Iron (81), 2/8 6:00pm Whitsell Auditorium Filmography: Absolute Hundred (01), The Trap (07). 2/11 6:00pm Cinema 21 (large theater) Danton (83), The Revenge (02), Katyn (07). 2/15 6:00pm Fox Tower 2/17 6:30pm OMSI 2/17 7:30pm Whitsell Auditorium Sponsored by the Romanian American Society 2/19 5:45pm Whitsell Auditorium 2/20 8:30pm OMSI and the Portland-Iasi Sister City Association. Sponsored by the Consulate General of Poland, Los Angeles, and the Polish Library Association and the Polish Festival Nonprofit Organization, Portland. 26 37TH PORTLAND INTERNATIONAL FILM FESTIVAL

SOUTH KOREA SPAIN

JUVENILE OFFENDER NOBODY’S DAUGHTER HAEWON 15 YEARS AND ONE DAY THE APOSTLE Kang Yi-kwan Hong Sang-soo Gracia Querejeta Fernando Cortizo

An appeal for societal and personal reform, Why does Seoul student Haewon keep Margo (Maribel Verdú) is struggling to Ramon, a convict who has escaped from this intimate crime drama peers into the dozing off? Is she depressed by her mother’s deal with her son Jon, a rebellious and jail, arrives in a remote Galician mountain consequences of cyclical, intergenerational departure for Canada? Tired of her rela- free-spirited teenager who runs with a bad village searching for a treasure hidden abandonment as experienced by a troubled tionship with her teacher, the fickle—and crowd. After Jon is expelled from school, there years earlier. What at first appears to 16-year-old boy named Ji-gu. Living with married—filmmaker Seongjun? Will the Margo sends him to live with his grand­ be a deserted town in which only a few old his ailing grandfather, he falls in with the events of the coming weeks rouse her from father Max, a retired military officer who people live turns out to be a village under wrong crowd and, after committing larceny, her listlessness, or will she carry on dream- lives in a small coastal town and believes a mysterious curse that has existed for ends up in juvenile detention. There, he ing? With its focus on fraught male-female he can fix his grandson with his own style over 600 years. He soon finds himself in a reunites with Hyo-seung, his destitute relationships, mix of gentle comedy and of discipline. Max has hired Toni, a young nightmarish world in which the harmless mother, who gave birth to him as a teenager meditative melancholia, and playful way man from the village, to act as Jon’s private elders are actually looking for souls to trade and left him when he was only three years with narrative repetition and fragmentation, tutor. Unfortunately, Jon is more interested with the grim reaper himself. This adult old. Against the backdrop of Seoul’s affluent this is clearly a Hong Sang-soo film. In in spending time with a local Colombian fairy tale—a beguiling mix of stop-motion, metropolis, Ji and his mother’s story is as Hong’s view of human foibles, the various gang who are always getting in trouble and 3D animation, and motion capture, steeped much about social problems as it is about men hitting on Haewon are again prone to especially with Nelson, their cocky leader. in a dark, gothic visual style and accompa- a young outsider’s challenge to rise above bathos and self-delusion, while she herself Who is going to teach whom a lesson? nied by a haunting soundtrack composed history repeating itself. Winner of the Best is as insecure and indecisive as an Eric This year’s Spanish submission for the Best by Philip Glass—won the Audience Award Actor and Special Jury Prizes at the Tokyo Rohmer protagonist. Like those patience- Foreign Language Film Oscar. (96 mins.) at the Annecy Inter­national Animated International Film Festival and this year’s trying heroines, she’s rightly regarded with Filmography: Una estación de paso (92), El último Film Festival. (80 mins.) South Korean submission for the Best bemusement and compassion—wherein viaje de Robert Rylands (96), By My Side Again (99), First feature. Foreign Language Film Oscar. (107 mins.) lie the film’s wit and charm. (90 mins.) Héctor (04), Siete mesas de billar francés (07). 2/8 1:00pm Fox Tower Filmography: Sa-Kwa (05). Filmography: The Day a Pig Fell Into the Well (96), 2/12 6:00pm Whitsell Auditorium 2/19 8:30pm Cinema 21 (small theaters) Virgin Stripped Bare by Her Bachelors (00), Woman 2/18 8:30pm Fox Tower 2/13 6:00pm Cinema 21 (large theater) Sponsored by LAIKA. on the Beach (06), Like You Know It All (09), The 2/15 3:30pm Cinemagic Sponsored by Delivered Dish. Day He Arrives (11), Our Sunhi (13). Sponsored by the Oregon Korea Foundation. 2/17 7:30pm Fox Tower 2/20 8:30pm Whitsell Auditorium Sponsored by the Oregon Korea Foundation. 37TH PORTLAND INTERNATIONAL FILM FESTIVAL 27

A GUN IN EACH HAND PEOPLE IN PLACES THE SEARCH FOR EMAK BAKIA THE WISHFUL THINKERS Cesc Gay Juan Cavestany Oskar Alegría Jonás Trueba

A Gun in Each Hand is a witty and brutally “To uncover the strange in the ordinary, In 1926, avant-garde artist Man Ray, a Waiting for the green light on his next hilarious collection of portraits of 40- the unsettling in the everyday: this is the ­legendary figure in the Dada and Surrealist project, young filmmaker León (Francesco ­something men and the changing gender mark of imaginative wizardry that can be movements, shot a cine-poem on Spain’s Carril) is in a state of limbo. So what’s he roles of contemporary Spanish society. found in abundance in People in Places. Basque coast. The film was called Emak to do? Wander Madrid, get drunk, go on S. tries to woo back the ex-wife he divorced Working with the tiniest of micro-budgets, Bakia, a title rumored to be obtained from dates, meet up with friends, fall in love, for another woman; P. gleefully preys on Cavestany stages a series of bizarre, a gravestone in a Biarritz cemetery—or and of course talk about movies. Shot on the inappropriate advances of a coworker; Buñuelian scenarios that offer a cracked perhaps it was the name of the house in black-and-white 16mm film stock, writer/ L. is slow to catch on that his wife is having view of contemporary Spain in the wake of which the artist stayed. But what did it really director Trueba’s film is a joyous love letter an affair; and E., having lost everything, is the economic crisis. Making use of some mean? Alegría, inspired by the whimsically to cinema and the filmmaking process, in now living with his mother. And so it goes of Spain’s greatest actors alongside faces, inventive Ray, determines to uncover the particular the French New Wave, whose as what at first appears to be a collection he places them in bizarre situations that truth behind the layers of myth. His journey vintage aesthetic the film consciously of disparate episodes and characters weave will have you laughing out loud. Moving is not, however, a straightforward one. At evokes. While a film about the craft of and twine together to create a perceptive from one nondescript location to the next, one point he decides to follow the path of making work, it’s also a meditation on con- dissection of male midlife crises with all a theme, or perhaps more of an under­ a hare. He finds references to the film in temporary Spanish society, a boy-meets- their accompanying poignancy and bewil- current, emerges—until the fiercely political singular nooks and crannies across Europe, girl tale, and a seductive homage to Madrid, derment. This superbly realized battle-of- nature of the film becomes ­apparent. from clowns to publishers, from a vintage with the city as much a protagonist of the the-sexes comedy features an ensemble of Voyeuristic and confounding, Cavestany clothes shop to old postcards. An absurdist movie as Carril’s León. Winner of the some of Spain’s top actors and earned uses the preposterous to highlight the all- voyage or an assemblage of coincidence, Best Actor Award at the Buenos Aires Gaudi Awards for Best Film, Screenplay, too-real, capturing people in places doing Alegría’s film brilliantly channels this Independent Film Festival. (93 mins.) Supporting Actor, and Supporting Actress. very, very peculiar things.”—Toronto l­egendary, boundary-breaking artist. Filmography: Every Song is About Me (10). (95 mins.) International Film Festival. (83 mins.) (83 mins.) 2/12 6:00pm Fox Tower Filmography: Hotel Room (98), Nico and Dani (00), Filmography: Gente de mala calidad (08), Dispongo First feature. 2/16 7:45pm Cinemagic In the City (03), Fiction (06), V.O.S. (09). de barcos (10). 2/16 7:45pm World Trade Center Theater Sponsored by PRAGDA, with support from Spain 2/9 8:00pm Fox Tower 2/14 6:00pm Cinema 21 (small theaters) 2/21 9:15pm World Trade Center Theater Arts & Culture and the Spain/USA Foundation. 2/11 8:30pm Cinema 21 (large theater) 2/17 5:00pm Whitsell Auditorium Sponsored by the Ace Hotel. Sponsored by PRAGDA, with support from Spain Sponsored by PRAGDA, with support from Spain Arts & Culture and the Spain/USA Foundation. Arts & Culture and the Spain/USA Foundation. 28 37TH PORTLAND INTERNATIONAL FILM FESTIVAL

SWEDEN SWITZERLAND

EAT SLEEP DIE TITO ON ICE WE ARE THE BEST! MARY QUEEN OF SCOTS Gabriela Pichler Helena Ahonen, Max Andersson Lukas Moodysson Thomas Imbach

Winner of the Audience Award at the To promote their comic book Bosnian Flat Stockholm, 1982: 13-year-old best friends This sumptuous historical drama provides Venice Film Festival and the top Swedish Dog, Swedish artists Max Andersson and Bobo and Klara are united by their feel- a riveting psychological portrait of the national Guldbagge Awards, Pichler’s Lars Sjunnesson toured the countries of ings of outsiderness—embarrassed by their woman who became a pawn in the 16th- remarkable film profiles 20-year-old Raša, the former Yugoslavia with a mummified parents, repulsed by the conformity of the century conflict between Protestants a woman struggling to support herself and Marshal Tito in a refrigerator. Now comes school’s popular kids, and hating gym and Catholics. As a child, Catholic Mary her father in a southern Swedish village. the documentary, which takes Super-8mm class. After wandering into the local com- (Camille Rutherford) is sent to France to Despite being an efficient worker, Raša footage of their tour and animates it with munity center music room and banging on marry the future king. After his premature is the first to go when the packing plant cardboard cutouts, garbage, and other the instruments, they declare themselves a death, she returns to Scotland and, to her starts firing staff. Since she has Bosnian recycled materials. The result is a surreal punk band—never mind that they can’t play regret, marries Lord Darnle. In love with Muslim heritage, her dismissal stings with trip through the Balkans that is part pro- a lick. In need of some proper musician- the Earl of Bothwell, the two plot Darnle’s racial undertones. Jobless, Raša is then motion, part performance art, and part ship, they recruit their classmate Hedvig— demise. When her life is thrown into politi- abandoned by her father when he leaves to ­history of Marshal Tito and the dissolution a talented guitarist, though painfully shy cal turmoil after Darnle’s death, Mary seeks seek work in Norway. Suddenly her small of Yugoslavia in the early 1990s. Through and socially marginalized by her parents’ help from her Protestant cousin, Elizabeth I, town seems even smaller and lonelier as it all, there is a comics creator’s eye at work. unfashionable enthusiasm for evangelical the queen of England—who, threated by her she is confronted with a difficult choice: Live-action interviews suddenly switch Christianity. Now a trio, the three friends rivalry, has Mary imprisoned and, after leaving her life behind for a new job to animation, which is like moving from create a joyful noise as they play music 18 years, beheaded. Rather than focusing ­elsewhere or permanent unemployment. one panel to the next in a comic book. together and navigate the confusing world on dramatic incident, Imbach takes a The hard realities of modern Swedish, and Altogether, a joyous trip through the war- of the ’80s they are growing up in. ­personal look at British royal tragedy and global, society are depicted with profound torn subconscious of an underground artist. Moodysson’s rousing youth chronicle the story of a woman haunted by expecta- emotional insight as Raša comes to terms (77 mins.) In Swedish, English, German, was adapted from the graphic novel by tions and torn between romance and duty. with her life. (104 mins.) and Serbian with English subtitles. his wife Coco. (102 mins.) (120 mins.) In French and English. First feature. First feature. Filmography: Show Me Love (98), Together (00), Filmography: Happiness is a Warm Gun (01), Lilya 4-Ever (02), A Hole in My Heart (04). Lenz (06), I Was a Swiss Banker (07). 2/19 8:30pm Whitsell Auditorium 2/9 3:00pm Cinemagic 2/21 9:30pm Whitsell Auditorium 2/16 1:00pm Cinema 21 (small theaters) 2/8 8:30pm Fox Tower 2/9 6:30pm OMSI Sponsored by New Sweden, the Scandinavian Sponsored by the Consulate General of Sweden, 2/12 6:00pm Cinema 21 (large theater) 2/15 12:30pm Cinema 21 (small theaters) Heritage Foundation, and the Consulate General San Francisco. Sponsored by the Consulate General of Sweden, Sponsored by the Consulate General of Switzerland, of Sweden, San Francisco. San Francisco. San Francisco, and the Hotel deLuxe. 37TH PORTLAND INTERNATIONAL FILM FESTIVAL 29

TAIWAN TURKEY UNITED STATES

STRAY DOGS THE BUTTERFLY’S DREAM CHEATIN’ CODE BLACK Tsai Ming-Liang Yilmaz Erdogan Bill Plympton Ryan McGarry

In Ming-Liang’s vision, existence seems to In 1941, with World War II looming, in An adult tale of love, jealousy, revenge, “C-Booth,” the trauma bay at the LA hang by a thread that could snap at any Zonguldak, an impoverished mining city and murder—infused with Plympton’s County Hospital, was the first, the toughest, moment. Under a torrential downpour in on the Black Sea coast of Turkey, every ­surreal sense of humor—Cheatin’ takes its and the best training ground for ER doctors Taipei, a single father does odd jobs to man in the area is required by law to work inspiration from the work of such James M. in the country. But when the hospital make a meager living. His children, left in the coal mines. Amidst the poverty, Cain noir classics as Double Indemnity and moved to a modern facility, the dedicated without supervision, roam the streets. ­disease, and turmoil are two young poets, The Postman Always Rings Twice. In a fateful medical staff faced a growing crisis. Code Their divorced mother spends her nights Muzaffer and Rustu. Their persevering bumper car collision, Jake and Ella meet Black follows a group of young doctors creeping around like a ghost in her run- dream is to have their poetry published. and become the most loving couple in the as they grapple with the divide between down building and feeding the stray dogs One day they see Suzan, the beautiful long history of romance. But when a their idealistic expectations for improving that take shelter there. With his latest daughter of one of the city’s wealthy mer- scheming “other” woman drives a wedge patient care and the realities of an under- ­offering, the Taiwanese filmmaker delves chants, and make a bet over the girl: they of jealousy into their perfect courtship, funded and overly bureaucratic system. deeper into his evocative cinematic world, will both write a poem for her, and which- insecurity and hatred spell out an untimely McGarry—a full-time doctor at the hospital one where disenfranchised people are ever she likes, the other will fade from the fate. With only the help of a disgraced while making the film—explores the frus- overcome with an uneasiness they can’t scene…. As their lives progress, the rivalry magician and his forbidden “soul machine,” trations. How and why do they persist explain. With its gorgeous lighting and between an optimist and a pessimist, both Ella takes the form of Jake’s numerous in saving lives in the face of thwarting striking locations and compositions, Stray in search of happiness, will test not only ­lovers, fighting malfunction and deceit to ­regulations and paperwork? As one doctor Dogs is “as visually powerful as it is emo- their poetry but their bravery. This year’s reclaim their destiny. Plympton’s seventh states, “More people have died in this tionally overwhelming and bracingly pure Turkish submission for the Best Foreign animated feature is his first done in a square footage than in any other location in both its anger and its compassion. One Language Film Oscar. (138 mins.) hand-painted style, with over 40,000 draw- in the United States. On a brighter note, of the finest works of an extraordinary art- Filmography: Vizontele (01), Vizontele Tuuba (04), ings colored by a studio team of just 10 more people have been saved here too.” ist.”—New York Film Festival. (138 mins.) Magic Carpet Ride (05), Neseli Hayat (09). people. (76 mins.) Recommended for adult (78 mins.) Filmography: Rebels of the Neon God (92), Vive 2/8 8:30pm OMSI audiences only. First feature. L’Amour (94), The Hole (98), What Time Is It Over 2/10 5:45pm Cinema 21 (large theater) Filmography: The Tune (92), I Married a Strange 2/19 6:00pm OMSI There? (01), The Wayward Cloud (05), I Don’t Want Person! (97), Mondo Plympton (99), Mutant Aliens 2/21 7:00pm World Trade Center Theater to Sleep Alone (06), Face (09). (01), Hair High (04), Idiots and Angels (08). 2/15 3:15pm Fox Tower 2/12 8:30pm Cinema 21 (large theater) 2/17 7:30pm Cinemagic 2/16 5:30pm Cinemagic 30 37TH PORTLAND INTERNATIONAL FILM FESTIVAL

UNITED STATES (cont.)

COHERENCE FINDING VIVIAN MAIER THE GALAPAGOS AFFAIR LEVITATED MASS: James Ward Byrkit John Maloof, Charlie Siskel Daniel Geller, Dayna Goldfine THE STORY OF MICHAEL HEIZER’S MONOLITHIC SCULPTURE A group of friends and ex-lovers learn why Street photographer Vivian Maier was a Darwin meets Hitchcock in this gripping, Doug Pray you should not throw a dinner party the mystery even to those who knew her. A stranger-than-fiction murder-mystery. night a mysterious comet is passing close secretive nanny in the wealthy suburbs of In 1929, Berlin physician Friedrich Ritter Levitated Mass chronicles the journey of a to Earth in this mind-bending science fiction Chicago, she died in 2009 and would have and his lover Dore Strauch left Germany 340-ton granite boulder that was moved thriller. The first glasses of wine have barely been forgotten. But Maloof, an amateur for the deserted Galapagos island of from a quarry in Riverside to the Los been poured when tensions start to rise. historian, uncovered thousands of her Floreana. Inspired by Nietzsche, Ritter Angeles County Museum of Art and None of that matters, however, when the ­negatives at a storage locker auction and intended to escape “monster” civilization mounted upon the walls of a 456-foot-long lights go off throughout the neighborhood, changed history. Now Maier is hailed and write in solitude. But soon the couple concrete slot. First attempted in 1968, the all except for one house a few blocks over, alongside the likes of Diane Arbus, Robert was discovered by the international press, 2012 permanent installation “Levitated lit up like a beacon in the darkness. Frank, Henri Cartier-Bresson, and Weegee who trumpeted them as “the Adam and Mass” is the latest land sculpture by one of “Coherence is a cerebral low-budget sci-fi as a major artist. And that is just where the Eve of the Galapagos.” Others flocked to America’s most misunderstood and exciting that dives headfirst into a pool of quantum story begins. Finding Vivian Maier follows the island—first, the Wittmer family, who artists, Michael Heizer. His rock’s 105-mile mechanics and theoretical physics. It’s a the filmmakers as they unearth Vivian’s ­fancied themselves as “the Swiss Family transport captured international media tightly focused, intimately shot film that story, combing through thousands of nega- Robinsons of the Galapagos,” followed by attention and challenged the imagination quickly ratchets up the tension and mystery. tives and tracking down the families she an Austrian baroness with two lovers and of thousands of southern Californians over Coherence is relationship drama turned on worked for and others who remember plans for opening a luxury hotel. Then, 10 nights as it crawled through four counties its head, giving you plenty to think about her. The story that emerges goes beyond two inhabitants were found murdered, and on a football-field-long transport. As fasci- without spoon-feeding you any answers.” ­clichés of the undiscovered artist and a paradise became just another hell on earth. nating is the dramatic story of Heizer’s past —Fantastic Fest. (89 mins.) strange life to ask as many questions about Rare archival footage, voice performances and present work, the ambitions of a major Filmography: Stop at Nothing (01). ourselves as it does about her. (83 mins.) by Cate Blanchett and Diane Kruger, and metropolitan museum, and the public’s modern-day interviews spin a tale of ideal- 2/22 12:00am Cinema 21 (large theater) First feature. reaction to this massive display of modern istic dreams gone awry. (126 mins.) 2/9 3:00pm Whitsell Auditorium (yet ancient-feeling) conceptual art. 2/11 8:30pm Cinemagic Filmography: Isadora Duncan: Movement from the (88 mins.) Soul (89), Kids of Survival (96), Ballets Russes (05). Sponsored by Pro Photo Supply and Chipotle Filmography: Hype! (96), Scratch (01), Infamy (05), Mexican Grill. 2/8 3:30pm World Trade Center Theater Surfwise (07), Art & Copy (09). 2/13 8:30pm Cinemagic 2/17 2:30pm Whitsell Auditorium Sponsored by Chipotle Mexican Grill. 2/18 6:00pm Fox Tower 37TH PORTLAND INTERNATIONAL FILM FESTIVAL 31

PARTICLE FEVER PROXY REMOTE AREA MEDICAL THE SACRAMENT Mark Levinson Zack Parker Jeff Reichert, Farihah Zaman Ti West

Physicists from all over the world in search “As a pregnant Esther (Alexia Rasmussen) As the national debate over the future of A shocking tale of devotion gone horribly of the theoretical Higgs particle collaborated walks home, she is viciously attacked by a healthcare continues on, this heartfelt film wrong, The Sacrament offers a disturbing on the planning and construction of the hooded assailant. In the wake of this trau- takes a step back from the politics to give vision of the power of groupthink. Patrick is 18-mile-long Cern Large Hadron Collider. matic event, she finds some consolation an emotional, on-the-ground portrait of a photographer whose once drug-addicted Situated in an underground complex near and normalcy in the kindly Melanie (Alexa those who live every day without proper sister Caroline is a member of an isolated the Franco-Swiss border, it’s allegedly the Havins), whom she meets at a support access to medical care. Unable to afford sober-living community in Mississippi. biggest, most expensive scientific experi- group. But a chance encounter makes it treatment, an estimated 45 million people Patrick discovers that the program is closer ment ever made. The idea was to recreate clear that nothing—and no one—in Esther’s in the US lack access to preventative care to a communal-living collective and that conditions immediately after the Big Bang, life is as it appears. Setting off a chain reac- and often suffer through illnesses in the there is a strange and charismatic leader of allowing a closer understanding of the tion of increasingly shocking revelations, hopes that they’ll just go away. Remote Area the group, known only as “Father.” When ­origin of matter. Physicist-turned-filmmaker Proxy twists and turns its way through loss, Medical documents the annual two-day his sister leaves the country to start a new Mark Levinson was there with his cameras grief, and death. The surprise standout is “pop-up” medical clinic operated by the utopian society in the jungle, he enlists two when the collider went online, and he auteur Joe Swanberg in a supporting role nonprofit Remote Area Medical (RAM) co-workers to shoot a documentary on their found a way of approaching the experiment as Melanie’s husband. Be warned: Proxy in Bristol, Tennessee. During that time, whereabouts. Based on detailed research as an epic adventure story, involving begins with some deeply disturbing content, doctors, nurses, and support workers pro- of the infamous Jonestown massacre, The ­multiple setbacks, mysteries, and—according but this immensely challenging thriller will vide care for hundreds of people who can’t Sacrament provides a terrifying examination to hysterical press accounts—the possible reward audiences who stick with it as it afford routine medical checkups, dental of modern religion, charismatic influence, end of the world as we know it. Fortunately, delves into very dark territory and confronts exams, and prescription eyeglasses that and the exploitation of power as West one doesn’t need a PhD in particle physics our every assumption and belief about most take for granted. A moving portrait explores the horrific idea of a man who to keep up with a documentary as thrilling what we have seen.”—Toronto International of a one-of-a-kind community assembled can talk people into killing themselves. as any fiction. (97 mins.) Film Festival. (120 mins.) to secure a better future for us all. (80 mins.) (95 mins.) Filmography: Prisoner of Time (93). Filmography: Inexchange (06), Quench (07), Filmography: Reichert: Gerrymandering (10). Filmography: The Roost (05), Trigger Man (07), Scalene (11). The House of the Devil (09), The Innkeepers (11). 2/8 6:00pm World Trade Center Theater 2/7 8:30pm World Trade Center Theater 2/10 6:00pm OMSI 2/21 12:00am Cinema 21 (large theater) 2/9 3:00pm World Trade Center Theater 2/8 12:00am Cinema 21 (large theater) Sponsored by Chipotle Mexican Grill. 32 37TH PORTLAND INTERNATIONAL FILM FESTIVAL

UNITED STATES (cont.)

TEENAGE TIM’S VERMEER VISITORS WHAT IS CINEMA? Matt Wolf Teller Godfrey Reggio Chuck Workman

Who was the first teenager? Based on In 2001, in his book Secret Knowledge, artist Thirty years after their groundbreaking Chuck Workman is best known for creating punk-historian Jon Savage’s book Teenage: David Hockney argued that some classical Koyaanisqatsi (Qatsi trilogy), director unforgettable Oscar montage sequences. The Creation of Youth, Wolf’s compelling painters—Johannes Vermeer (“Girl with the Godfrey Reggio and composer Philip Glass In What is Cinema?, he shares his under- collage of archival images, Super-8mm Pearl Earring”) especially—had used camera have joined forces with associate director standing and love of avant-garde cinematic recreations, and the actual diaries of mid- optics in making their great paintings. Jon Kane to create a cinematic time capsule language by creating a visual essay out century teens, all set to an alluring post- There was controversy. Was this cheating? for the 21st century. If the Qatsi trilogy of clips from films that have pushed the punk contemporary soundtrack, is an Why shouldn’t an artist do whatever he reflected on ideas of balance, transforma- boundaries of the art form. Woven among entertaining look at the birth of the iconic, can think of? answered Hockney. But Tim tion, and war, Visitors asks a very different them are new and archival interviews with eternally cool figure of the teenager. Jenison, a Texas software inventor, consid- question: who and what is a visitor when a pantheon of personal filmmakers that Though the seeds of youth culture were ered how he might use 17th-century tech- we look around ourselves on this planet? provide food for thought on where cinema planted even before the hipsters of the nology to achieve Vermeer’s photographic Using this idea as a metaphysical departure might be headed. Workman’s interview 1920s, the word and concept of “teenager” look. When his first experiment seemed to for his visual reverie, Reggio takes us on subjects include the likes of Mike Leigh, was a post-World War II invention. Before work, he thought, “Why not paint my own a unique voyage into the mysteries and Jonas Mekas, Yvonne Rainer, David Lynch, then, childhood and adulthood were two Vermeer?” Spanning eight years, Jenison’s wonders of the universe. Shot in dazzling video artist Bill Viola, Kelly Reichardt, completely discrete phases with nothing in riveting mystery-adventure takes him to black and white, Reggio’s visual genius Costa-Gavras, Ken Jacobs, and Michael between. Wolf’s historical survey finds that Delft, where Vermeer painted his master- opens us to the magic of experience as it Moore, who consider key artists from the urge to escape adult oppression, fashion pieces, on a pilgrimage to the north coast calls upon its audiences to find their own Chantal Akerman to Andy Warhol, along personal identity, and influence the culture of Yorkshire to visit Hockney, and even to meaning. Through the mind-altering with vintage interviews with Robert Bresson, is universal—and eternally inspirational. Buckingham Palace. Narrated by the ever- ­imagery and Glass’s hypnotic soundscapes, Alfred Hitchcock, Akira Kurosawa, and “Pop cultural historiography of the most ebullient Penn and directed by the silent Visitors, more akin to music than narrative many others. (80 mins.) style-conscious and captivating kind.” Teller, both longtime friends of Jenison’s, storytelling, provides a dazzling, wordless Filmography: Superstar: The Life and Times of Andy —Indiewire. (78 mins.) Tim’s Vermeer is a bouncy, entertaining, ode to modern life. (87 mins.) Warhol (90), Jonas Mekas and the (Mostly) American Filmography: Wild Combination: A Portrait of Arthur real-life detective story. (80 mins.) Filmography: Koyaanisqatsi (82), Powaqqatsi (88), Avant-Garde Cinema (09), Visionaries (10). Russell (08). First feature. Naqoyqatsi (02). 2/8 1:00pm World Trade Center Theater 2/7 6:00pm Fox Tower 2/14 6:00pm Whitsell Auditorium 2/10 8:30pm OMSI 2/14 8:30pm World Trade Center Theater 2/10 6:00pm Cinemagic 2/18 8:30pm OMSI 2/15 6:00pm Whitsell Auditorium Sponsored by the Portland State University Sponsored by the Hotel Modera. Sponsored by Steven Smith Teamaker. English Department and the NWFC School of Film. Reel insight.

The Oregonian’s A&E provides the most in-depth cinematic coverage of everything frommajormotion pictures to independent films. Find reviews, articles and showtimes every Friday and Sunday in A&E or 24/7 at OREGONLIVE.COM/movies. 34 37TH PORTLAND INTERNATIONAL FILM FESTIVAL

WALKER SHORT CUTS I: SHORT CUTS II: Tsai Ming-Liang, Hong Kong INTERNATIONAL TIES INTERNATIONAL TIES Is Hong Kong beautiful, strangely beautiful, or beautifully strange? A meditative and visually striking film about a monk walk- 2/8 1:00pm Whitsell Auditorium 2/9 12:30pm Whitsell Auditorium ing slowly through the bustling streets of 2/16 12:30pm Whitsell Auditorium 2/17 12:00pm Whitsell Auditorium Hong Kong. (27 mins.)

GREAT PLACES WHERE WE LIVED Total running time: 89 mins. Andreas Henn, Germany GREAT Bernardo Britto, United States Nikola, a young Serbian projectionist, has (Germany) His parents are selling his childhood had more than enough of the occupying home. What a terrible, terrible feeling. Nazis, but instead of emulating his violent (7 mins.) partisan friends, he decides to teach the Germans a lesson all by himself. (23 mins.) GRANDPA AND ME AND A HELICOPTER TO HEAVEN TODAY’S THE DAY Åsa Blanck, Johan Palmgren, Sweden Daniel “Cloud” Campos, United States An unsentimental young boy goes on a Standing up against the inner voice that final excursion with his grandfather to spreads doubt into what we believe in ­collect chanterelle mushrooms. (15 mins.) most—our dreams. Starring Danny DeVito. (13 mins.) SAFE SATURDAY GIRLS PLACES WHERE WE LIVED Emilie Cherpitel, France SAFE (South Korea) (United States) Eva wakes up alone in an unknown flat. Byoung-Gon Moon, South Korea Her boyfriend from the night before has Isn’t it too safe? (13 mins.) disappeared, but Leon, his little brother, is MISTERIO there, and she is left with no other option than spending the day with him. (15 mins.) Chema García Ibarra, Spain They say that if you put your ear to the WHALE VALLEY back of his neck, you can hear the Virgin Guðmundur Arnar Guðmundsson, talk. (11 mins.) Denmark/Iceland DELICATE GRAVITY Two young brothers living in a remote Icelandic fjord come to terms with the Philippe André, France MISTERIO GRANDPA AND ME hard truths that make kids grow up before (Spain) (Sweden) Two lonely spirits come together by chance they’re ready. (15 mins.) when a cell phone call to a wrong number provides the catalyst for a meeting. RECORD/PLAY (30 mins.) Jesse Atlas, United States Total running time: 90 mins. War, fate, and a broken Walkman ­transcend time and space in this sci-fi love story. (10 mins.)

DELICATE GRAVITY WHALE VALLEY (France) (Denmark/Iceland) 37TH PORTLAND INTERNATIONAL FILM FESTIVAL 35

THAT WASN’T ME SMALL PARANOID MACHINES SHORT CUTS III: Esteban Crespo, Spain SHORT CUTS IV: Alvaro Torres-Crespo, United States INTERNATIONAL TIES Being a soldier is not difficult: either you INTERNATIONAL TIES When Oliver, a 12-year-old boy, takes his get used to it or they kill you. The hardest first steps as a wordsmith, his father has an thing is getting used to living with your interesting way of encouraging him. 2/13 6:00pm Whitsell Auditorium memories and being yourself again after 2/15 12:45pm Whitsell Auditorium (16 mins.) 2/18 6:00pm Whitsell Auditorium 2/20 6:00pm Whitsell Auditorium doing what you have done. (23 mins.) VIRTUOS VIRTUELL SALMON DEADLY SINS ZIMA STRINGS Cristina Picchi, Russia Thomas Stellmach, Maja Oschmann, Germany Steven Vander Meer, United States Crystal Us, United States Zima portrays the reality of Siberia’s Exciting and poetic by turns, Stellmach Five thousand salmon-colored index cards, A surreal, musical journey about a mother ­climate, where the boundary between life and Oschmann’s animation uses the music the seven deadly sins, bizarre anagrams, and daughter who end up in two different and death is so thin that it is sometimes of Louis Spohr’s opera The Alchymist to fuel and a host of serendipitous occurrences dimensions as the result of an ice-skating almost nonexistent. (13 mins.) a colorful fantasia. (7 mins.) mingled in the artist’s imagination. accident. (10 mins.) (7 mins.) RECORD MORE THAN TWO HOURS Total running time: 93 mins. Ali Asgari, Iran David Lyons, United States THE DISCARDED A young Iranian couple in Tehran A father in mourning struggles to connect David Delicado Adsuar, Juan Antonio Delicado ­anonymously and illegally seeks medical with his blind daughter after the tragic loss Adsuar, Spain help. (15 mins.) of her mother. Now he must see his wife’s A humorous look at three people living on memory through his daughter’s eyes before the edge of society in a country where the Total running time: 98 mins. he can help them both move through their economic crisis and unemployment are grief. (16 mins.) the main problems. (11 mins.) RHINO FULL THROTTLE GASPE COPPER Erik Schmitt, Germany Alexis Fortier Gauthier, Canada Bruno roams the streets of Berlin, seeking Before a family can pack up and move the soul of the city. Unexpectedly, he from their mining town, the kids are meets an ally in his quest and immediately assigned a particularly unenviable chore. falls in love. But she is also on a quest, and (14 mins.) it’s one that has her leaving Bruno and Berlin very soon. (15 mins.) WHAT DO WE HAVE IN OUR POCKETS? BUTTER LAMP Goran Dukic, United States/Israel Hu Wei, France/China VIRTUOS VIRTUELL SALMON DEADLY SINS A most unusual love story unravels when (Germany) (United States) An inventive and heartfelt travelogue the objects in a young man’s pockets come through reality, dreams, and memory, to life. (4 mins.) told through the eyes of two Tibetan ­photographers and their clients. (15 mins.) THE APOTHECARY DO I HAVE TO TAKE CARE Helen Hood Scheer, United States OF EVERYTHING? A portrait of the public and private lives of the only pharmacist in a remote Colorado Selma Vilhunen, Finland outpost. (18 mins.) All hell breaks loose when this (more than) slightly off-kilter Finnish family oversleeps on the day they are supposed to attend a wedding. (7 mins.) RHINO FULL THROTTLE THE APOTHECARY (Germany) (United States) 36 37TH PORTLAND INTERNATIONAL FILM FESTIVAL

POSSESSED SHORT CUTS V: OREGON Pam Minty, Portland FILMMAKERS’ SHOWCASE Joan Crawford returns to the screen in a thrilling trailer mash-up. (2 mins.) 2/11 8:30pm Whitsell Auditorium HEART PORTLAND MEADOWS Stephanie Hough, Portland Vanessa Renwick, Portland Brothers Jonas and Kevin Kierkowzki PORTLAND MEADOWS struggle to navigate their grief over the 3RD DEGREE This rhythmic portrait explores the sights death of their younger brother. Jonas has and sounds of Portland’s horse racetrack. become emotionally isolated while Kevin (15 mins.) takes the opposite route, chaotic and SPLIT ENDS sometimes­ self-destructive. (22 mins.) Joanna Priestley, Portland ONE LAST HUG Abstract compositions inspired by vintage AND A FEW SMOOCHES: wallpaper and wrapping paper stimulate THREE DAYS AT GRIEF CAMP a collective memory of youthful self-­ Irene Taylor Brodsky, Portland hypnosis and visual absorption. (4 mins.) Brodsky’s unflinching documentary 9 ­profiles a unique camp, where grieving Kimberly Warner, Portland SPLIT ENDS children find comfort in one another I AM HERE A young ballerina glimpses a hidden truth to deal with their pain. (36 mins.) about her future as she teeters between Total running time: 102 mins. light and dark, order and chaos. (16 mins.) 3RD DEGREE Sal Strom, Tigard Strom pairs found footage with an oral ­history from a World War II veteran. (2 mins.) I AM HERE Rachelle Sarfati, Eugene 9 HEART Sarfati recounts her story of missing ­memories and recovery after being hit by a train while on a film shoot. (5 mins.) 37TH PORTLAND INTERNATIONAL FILM FESTIVAL 37

Gabrielle Louise Archambault, Canada...... 8 Of Horses and Men SHORT CUTS Benedikt Erlingsson, Iceland...... 17 The Galapagos Affair 3rd Degree Sal Strom, Tigard...... 36 FILM INDEX Daniel Geller, Dayna Goldfine, US...... 30 Omar Hany Abu-Assad, Palestine...... 23 9 Kimberly Warner, Portland...... 36 The German Doctor Lucía Puenzo, Argentina....7 Particle Fever Mark Levinson, US...... 31 The Apothecary Helen Hood Scheer, US...... 35 FEATURES The Golden Dream People in Places Juan Cavestany, Spain...... 27 Butter Lamp Hu Wei, France/China...... 35 Diego Quemada-Díez, Mexico...... 20 The Priest’s Children Vinko Brešan, Croatia...... 9 2 Autumns, 3 Winters Delicate Gravity Philippe André, France...... 34 Sébastien Betbeder, France...... 10 The Good Road Gyan Correa, India...... 17 Zack Parker, US...... 31 Proxy The Discarded David Delicado Adsuar,

15 Years and One Day Google and the World Brain Remote Area Medical Juan Antonio Delicado Adsuar, Spain ...... 35 Gracia Querejeta, Spain...... 26 Ben Lewis, Great Britain...... 15 Jeff Reichert, Farihah Zaman, US...... 31 Do I Have to Take Care of Everything? Wladyslaw Pasikowski, Poland...... Yûya Ishii, Japan...... 19 Aftermath 24 The Great Passage The Rocket Kim Mordaunt, Australia...... 7 Selma Vilhunen, Finland...... 35 A Gun in Each Hand Cesc Gay, Spain...... 27 Age of Uprising: The Legend of Michael The Sacrament Ti West, US...... 31 Gaspe Copper Alexis Fortier Gauthier, Canada...... 35 Kohlhaas Arnaud Des Pallières, France...... 10 Amat Escalante, Mexico...... 20 Heli Salvo Fabio Grassadonia, Antonio Piazza, Italy.... 19 Grandpa and Me and a Helicopter to Heaven Krisztina Deák, Hungary...... 17 Aglaja Horses of God Nabil Ayouch, Morocco...... 21 The Search for Emak Bakia Åsa Blanck, Johan Palmgren, Sweden...... 34

Alan Partridge: Alpha Papa I Am Yours Iram Haq, Norway...... 23 Oskar Alegría, Spain...... 27 Great Andreas Henn, Germany...... 34 Declan Lowney, Great Britain...... 14 Ida Pawel Pawlikowski, Poland...... 24 The Snow on the Pines Peyman Moaadi, Iran.... 18 Heart Stephanie Hough, Portland...... 36 American Dreams in China Ilo Ilo Anthony Chen, Singapore...... 25 The Strange Little Cat I Am Here Rachelle Sarfati, Eugene...... 36 Peter Ho-Sun Chan, Hong Kong...... 16 Ramon Zürcher, France...... 14 In Bloom Misterio Chema García Ibarra, Spain...... 34 Ask Hasselbalch, Denmark...... Antboy 9 Nana Ekvtimishvili, Simon Gross, Georgia...... 13 Stranger by the Lake Alain Guiraudie, France... 12 More Than Two Hours Ali Asgari, Iran...... 35 The Apostle Fernando Cortizo, Spain...... 26 Tsai Ming-Liang, Taiwan...... 29 It’s All So Quiet Stray Dogs One Last Hug and a Few Smooches: Aya of Yop City Clément Oubrerie, Nanouk Leopold, The Netherlands...... 22 Teenage Matt Wolf, US...... 32 Three Days at Grief Camp Marguerite Abouet, France...... 11 Just a Sigh Jérôme Bonnell, France...... 12 Television Mostofa Sarwar Farooki, Bangladesh.... 7 Irene Taylor Brodsky, Portland...... 36 Back to 1942 Xiaogang Feng, China...... 8 Juvenile Offender Kang Yi-Kwan, South Korea.... 26 Those Happy Years Daniele Luchetti, Italy...... 19 Places Where We Lived Bernardo Britto, US...... 34 Before Snowfall Hisham Zaman, Norway...... 23 La Ultima Pelicula Thy Womb Brillante Mendoza, The Philippines....24 Possessed Pam Minty, Portland...... 36 Belle Amma Asante, Great Britain...... 6, 14 Raya Martin, Mark Peranson, Mexico...... 21 Tim’s Vermeer Teller, US...... 32 Portland Meadows Bends Flora Lau, Hong Kong...... 16 The Last Call Francisco Franco Alba, Mexico.... 20 Tito on Ice Vanessa Renwick, Portland...... 36 Alex Van Warmerdam, The Netherlands....21 Borgman The Last of the Unjust Helena Ahonen, Max Andersson, Sweden...... 28 Record David Lyons, US...... 35 Claude Lanzmann, France...... 12 Boy Eating the Bird’s Food The Tough Guys Christian Lo, Norway...... 23 Record/Play Jesse Atlas, US...... 34 Ektoras Lygizos, Greece...... 16 The Last Step Ali Mosaffa, Iran...... 18 Transit Hannah Espia, The Philippines...... 24 Rhino Full Throttle Erik Schmitt, Germany...... 35 The Butterfly’s Dream Yilmaz Erdogan, Turkey.... 29 Levitated Mass: The Story of Michael Trap Street Vivian Qu, China...... 9 Safe Byoung-Gon Moon, South Korea...... 34 Cairo Drive Sherief Elkatsha, Egypt...... 10 Heizer’s Monolithic Sculpture Two Lives Salmon Deadly Sins Bill Plympton, US...... Doug Pray, US...... 30 Cheatin’ 29 George Maas, Judith Kaufmann, France...... 14 Steven Vander Meer, US...... 35 Calin Peter Netzer, Romania...... 25 Le Week-End Roger Michell, Great Britain...... 15 Child’s Pose Vic + Flo Saw a Bear Denis Côté, Canada...... 8 Saturday Girls Emilie Cherpitel, France...... 34 The Lunchbox Ritesh Batra, India...... 17 Circles Srdan Golubovic, Serbia...... 25 Village at the End of the World Small Paranoid Machines Jillian Schlesinger, The Netherlands... 22 Closed Curtain Maidentrip Sarah Gavron, David Katznelson, Great Britain.....15 Alvaro Torres-Crespo, US...... 35 Jafar Panahi, Kambuzia Partovi, Iran...... 18 Manakamana Visitors Godfrey Reggio, US...... 32 Split Ends Joanna Priestley, Portland...... 36 Ryan McGarry, US...... 29 Stephanie Spray, Pacho Velez, Nepal...... 21 Code Black Wajma (An Afghan Love Story) Strings Crystal Yu, US...... 35 Jan Ole Gerster, Germany..... Mary Queen of Scots Coffee in Berlin 13 Barmak Akram, Afghanistan...... 7 Esteban Crespo, Spain...... 35 Thomas Imbach, Switzerland...... 28 That Wasn’t Me James Ward Byrkit, US...... Coherence 30 Walesa: Man of Hope Daniel “Cloud” Campos, US...... 34 Sean Ellis, Great Britain...... 15 Today’s the Day Metro Manila Andrzej Wajda, Poland...... The Congress Ari Folman, Israel...... 18 25 Thomas Stellmach, The Missing Picture Rithy Panh, Cambodia..... 8 Virtuos Virtuell Cycling With Moliere Philippe Le Guay, France...11 The Way We Dance Adam Wong, Hong Kong.... 16 Maja Oschmann, Germany...... 35 My Mommy is in America and The Day of the Crows We Are the Best! Lukas Moodysson, Sweden...... 28 She Met Buffalo Bill Walker Tsai Ming-Liang, Hong Kong...... 34 Jean-Christophe Dessaint, France...... 11 Chuck Workman, US...... 32 Marc Boréal, Thibaut Chatel, France...... 12 What Is Cinema? Whale Valley Guðmundur Arnar Guðmundsson, Disciple Ulrika Bengts, Finland...... 10 Hayao Miyazaki, Japan..... 6, 19 ...... The New Rijksmuseum The Wind Rises Denmark/Iceland 34 The Don Juans Jirí Menzel, Czech Republic...... 9 Oeke Hoogendijk, The Netherlands...... 22 The Wishful Thinkers Jonás Trueba, Spain...... 27 What Do We Have in Our Pockets? Eat Sleep Die Gabriela Pichler, Sweden ...... 28 Nobody’s Daughter Haewon A World Not Ours Mahdi Fleifel, Lebanon...... 20 Goran Dukic, US/Israel...... 35 Ernest and Celestine Stéphane Aubier, Hong Sang-Soo, South Korea...... 26 Young and Beautiful François Ozon, France... 13 Zima Cristina Picchi, Russia...... 35 Vincent Patar, Benjamin Renner, France...... 11 Nothing Bad Can Happen The Zigzag Kid Vincent Bal, The Netherlands.....22 Finding Vivian Maier Katrin Gebbe, Germany...... 13 John Maloof, Charlie Siskel, US...... 30 38 37TH PORTLAND INTERNATIONAL FILM FESTIVAL

Nikki Cormaci, Christine Davis, Joaquin de la Honorary Consul of Austria for Oregon; NORTHWEST FILM CENTER Puente, Khai East, Anne Greenwood, Rachel SPECIAL THANKS TO Michael Oros, Michou Jardini—Romanian Haigh, Balazs Hertlik, Becky Holt, Stephanie American Society; James Rudd—Honorary The Northwest Film Center is a regional media Hough, Lily Hudson, Jesse Iiams-Hauser, Oktay Sean Sterling, Paul Colvin—The Oregonian; Consul of Romania for Oregon; Koichi Kim— arts organization founded to encourage the study, Ege Kozak, Liz Lewis, Jason Longwell, Eric Jon Douglas, Rachel Lueras—Regal Cinemas; Oregon Korea Foundation; Greg Caldwell— appreciation, and utilization of the moving image Macey, Arika Oglesbee, Tony Olsen-Cardello, Jim McDonald, Sue Colitin—The Paul G. Allen Honorary Consul of Korea for Oregon; arts, to foster their artistic and professional excel- Christina Owen, Trillium Shannon, Shelley Short, Family Foundation; Mark Shapiro, Travis Bill Failing—Honorary Consul of Luxembourg lence, and to help create a climate in which they may Alex Smith, Ilana Sol, Lars Steier, Lisa Tran, Knight—LAIKA; Martha Richards, Gretchen for Oregon; Paolo Barlera—Italian Cultural flourish. Founded in 1971, the Film Center provides Veronica Vichit-Vadakan, Jane Vincent; Advance Schackel—The James F. and Marion L. Miller Institute, San Francisco; Mara Radi—Italian a variety of activities and services primarily directed Ticketing Manager—Sean Whiteman; Advance Foundation; Steve Sandstrom, Kay Zerr, Lauren Film Commission, Los Angeles; Andrea to the residents of Oregon, Washington, Idaho, Ticketing Staff—Christine Davis, Hanna Hagen, French, Jason Duerr—Sandstrom Partners; David Bartoloni—Honorary Consul of Italy for Montana, and Alaska. The Film Center presents a Mo McFeeley, Sean McGrath, Christy Valentine; Machado, Daren Hamilton, Michelle Glass— Oregon; Matt Lounsbury—Stumptown Coffee; wide-ranging, year-round film exhibition program Education Services Coordinators—Stephanie Nel Centro; Andrew Maffei—Hotel Modera; Stéphane Ré—Consulate General of France and offers a number of outreach programs and Hough, Andrew Price, Miles Sprietsma; Education Vince Porter—Governor’s Office of Film and in San Francisco; Sophie Suberville—French activities serving the region. These include circula- Program Assistants—Hazel Malone, Matt Smith, Television; Robert Kramer—SP Newsprint; American Cultural Society, San Francisco; tion of outstanding work by regional artists; spon- Jarratt Taylor; Office Interns & Volunteers— Brian Riffel, Kim Freed—The Autzen Foundation; Muriel Guidoni, Florence Almozini, Nathalie sorship of special festivals, including the Northwest Andrew Haskell, Alyssa Persons, John Pinney, Robert Depew—The Jackson Foundation; Joan Charles—Embassy of France; Linda Witt— Filmmakers’ Festival (November), Reel Music Megan Stump, Ian Westmorland; Festival Lamb Baldwin—The Lamb-Baldwin Foundation; Alliance Française de Portland; Arezu Festival (October), Portland Jewish Film Festival Volunteers—John Acerbi, Yasue Arai, Jeanne Barbara Hall—The Harold and Arlene Schnitzer Movahed—French American International (June), Fresh Film Northwest (November), and Bellinger, Lis Cooper, Verone Flood, Gabrielle CARE Foundation; Henry Lea Hillman Jr. School; Laura Gratta—TV5Monde; Frederic Portland International Film Festival (February); Foulkes, Connie Guist, Pirkko Haavisto, Douglas Foundation; Deb Vaughn—Oregon Arts Tremblay—Quebec Government Office, Los a School of Film offering diverse education classes Hanes, Martha Kinsella, Jean Lew, Kay Olsen, Commission; Clint Ostler—Alaska Airlines; Angeles; Dana Blecher—Consulate General and workshops for children and adults, including Nandini Ranganathan, Devon St. Claire, Hannah Jason Klein—88 Marketing; Haroon Ishrak— of Israel, San Francisco; Ellen Theodorson, a Certificate Program in film production; the state- Van Loon, and many more.... Delta Airlines; Karen Devencenzi—Southpark Merril Keane, Kim Boswell—Oregon State Bar, wide Young Filmmakers outreach residency pro- Faculty: Dan Ackerman, Sue Arbuthnot, Bushra Seafood Grill; Marsha Smith—Higgins; Caitlin International Law Section; Tim DuRoche— gram; public access to film and video production Azzouz, Kelley Baker, Jon Beanlands, Jackie Blain, Cooley—Hotel deLuxe; Kim Riggs—Ace Hotel; World Affairs Council of Oregon; Dulce facilities; and a variety of information and publica- Richard Blakeslee, Andrew Blubaugh, Bill Bowling, Russ Repp, Mark Patel, Tess Payne, Andrea María Zamora Lezama, Oscar Chavarri tion programs. The Film Center is funded in part Holly Brix, Barry Bruce, Delores Custer, Carl Middleton—OMSI; Sydney DeLuna—Bon Appetit; Cazaurang—Consulate of Mexico in Portland; by grants from the National Endowment for the Diehl, Mark Eifert, Beth Federici, Brenda Grell, Daniel Sheniak, Dan Wieden—Wieden+Kennedy; Agnieszka Laska—Polish Library Association; Arts, Oregon Arts Commission, Regional Arts Courtney Hermann, Lee Krist, Alain LeTourneau, Diane Bullas—Journal Graphics; Bruce Malgorzata Cup—Consulate General of Poland and Culture Council, The Ted R. Gamble Film Brian Lindstrom, Roger Margolis, Daniel Marques, Silverman, Ani Haines—KBOO; Michele Boyer— in Los Angeles; Hiroshi Furusawa, Kazuki Endowment, The Paul G. Allen Family Foundation, Chris Matheson, Matt McCormick, Pam Minty, King Estate Winery; Alison Wood—Ninkasi Tanabe, Mitsuko Kaneko—Consular Office of The James F. and Marion L. Miller Foundation, Amy O’Brien, Mark Orton, Liz Randall, Dan Brewing; Kent Lewis, Rebecca Whitefield—Anvil Japan in Portland; Jim Baumgartner—Honorary The Rose E. Tucker Charitable Trust, Henry Schaefer, Michelle Swinehart, Jean Margaret Media; Steven Smith, Kim DeMent, Amy Bourne— Consul of Canada in Oregon; Francoise Lea Hillman Jr. Foundation, and the support of Thomas, Suzanne Twining, Will Vinton, Cam Steven Smith Teamaker; Tom Mittelstaedt— Aylmer—Honorary Consul of France in numerous corporate program sponsors, Silver Williams, Wayne Woods. KINK.fm; Jonathan Combs, Lori Carruthers— Oregon; Marie Amicci—Honorary Consul of Screen Club members, and friends. Pro Photo Supply; Joseph Saraceno—Chipotle Czech Republic in Oregon; Robert Manicke— Portland Art Museum: Chairman, Board of Mexican Grill; Nathalie Weinstein-Luby—PDX Honorary Consul of Germany in Oregon; Trustees—William Whitsell; Vice Chairs—Richard Pipeline; Don Bourassa—Yelp! Portland; Petra Brambrink, Yvonne Behrens—Zeitgeist FILM CENTER STAFF Brown; Secretary—Laura Meier; Treasurer—Jim Tamara Brown—Poster Child; Travis Rigby— Northwest; Oregon State University Language Winkler; Executive Director—Brian Ferriso. PosterGarden; Chel White—Bent Image Lab; Department; Michael Rasko, Marty Jones— Director—Bill Foster; Education Director—Ellen Northwest Film Center Committee: Misty Tompoles—Artslandia/Playbills NW; Oregon Episcopal School; Maria Perry- Thomas; Filmmaker Services Manager—Thomas Chairman—Don Van Wart; Linda Andrews, Ryan Gallagher—Criterion Cast; Steven Fort— Crawshaw—Delivered Dish; Shelley Washburn, Phillipson; Exhibition Program Assistant—Morgen Mark Frandsen, Mary Hinckley, Bob Warren, Mario’s; Tom Ranieri—Cinema 21; Jessica Colleen Sump—Pacific University MFA Ruff; Head Theatre Manager & Projectionist— Alice Wiewel. Leuenberger—Regal Fox Cinema; Chuck in Writing; Michael Clark—Portland State Melinda Kowalska; Public Relations & Marketing Nakvisil Sr., Chuck Nakvisil Jr., Dave Saunders, University English Department; Carol Tripp— Manager—Laura Bartroff; Public Relations & Hugh Christie, Ryan Oliver—Cinemagic; Bridget New Sweden Cultural Heritage Society; Greg Marketing Assistant—Nick Bruno; Membership & IDENTIFICATION STATEMENT Davidson—World Trade Center; Martin Jacob—Finlandia Foundation; Mark Schleck, Schwartz—Consulate General of Switzerland, Mary DeLorme—ScanDesign Foundation; Sponsorship Manager—Kristy Conrad; Membership Publication Title: Coordinator—Sophia Mackenzie; Education San Francisco; Mike O’Bryant—Scandinavian Matt Ransel, Rochelle Dobson—KIND Healthy Northwest Film Center Snacks; Ben Olberg, Sari Loveridge—Picture Programs Manager—Anna Crandall; Equipment & Portland International Film Festival Heritage Foundation; Grace Yu—Hong Kong Economic and Trade Office; Kristina Bünger— This Production Services; Terry Kirk, Mike Facilities Manager—Dave Hanagan; Administrative Issue Date: February 2014 Coordinator—Karen Wennstrom; Encore Senior Consulate General of Sweden in San Quinn—Mission Control; Lauren Carper— Statement of Frequency: Francisco; Britt-Marie Forslund—Embassy of Sammy’s Flowers. Fellow—Karen Spencer; Graphic Designers— Published six times per year Michael Smith, Tricia Chin; Online Communications Sweden; Enrico Tadeo, Dolly Specht—Council Festival Program and Poster Design—Sandstrom Authorized Organization Name and Address: of Filipino American Associations; Richard Specialist—Ian Gillingham; Festival Volunteer Portland Art Museum, Northwest Film Center Partners; Print Production—Denise Brem. Coordinator—Felisha Ledesma; Print Traffic Woodling—Philippine Consulate General in 1219 SW Park Avenue, Portland, Oregon 97205 Oregon; Andreas Lins—Austrian Consulate Coordinator— Erik McClanahan; Print Traffic Issue Number: Volume 42; Issue 2 Assistant—Matt Ellis; Theatre Staff—Katie Burkart, General, Los Angeles; Christopher Hermann— PROFESSIONAL CINEMA PRODUCTS CINEMA EOS C100

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46 37TH PORTLAND INTERNATIONAL FILM FESTIVAL

FESTIVAL VENUES

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NW 405 NW W BURNSIDE W BURNSIDE Burnside Bridge SE MARKET SE SW AL DER AY SW th MOR DW RK 18 th RI OA th SON 17 SW PA 6 Oregon Museum of Science and Industry YA SW 16 MHI BR th 6th (OMSI) SW SW LL SW SW 14 TAYL SW 1945 SEWater Ave OR SW omsi.edu SW SW SALMON Bus: 4, 6, 10, 14, 31, 32 ,33 SW 3 MAIN Morrison Streetcar: Exit SEWater/OMSI, Southbound CL Line SW Bridge 7 Cinemagic (CM) 2 SW 2021 SE Hawthorne Blvd JEF FER Bus: 10, 14, 15 Streetcar SW SO N 1 4 CO LU For parking suggestions, visit the Festival website at MBI 4th SW 3rd festivals.nwfilm.org/piff37. N CL A MAX AY SW 2nd 1st SW

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AN 1219 SW Park Ave (inside Portland Art Museum) 846 SW Park Ave 121 SW Salmon St (1st Street, Building 2) wt K ho rn SE MADISON Br id e JR nwfilm.org regmovies.com wtcpd.com ge D Bus: 6, 9, 10, 12, 14, 15, 17, 19, 38, 43, 45, 51, Bus: 1, 4, 8, 9, 10, 12, 14, 15, Bus: 4, 6, 10, 14, 15, 31, 32, 33, 35, 36, SE HAWTHORNE 55, 58, 66, 68, 92, 94, 96 17, 19, 31, 32, 33, 35, 36, 44, 38, 44, 45, 51, 54, 55, 56, 92, 96, 99 Streetcar: Exit Art Museum, NS & CL Line 51, 54, 56, 94, 99 MAX: red, blue lines (exitYamhill District, SE CLAY MAX: red, blue lines (exit SW 10th/Galleria); Streetcar: Exit Central Library, SW 3rd/Morrison, or SW 4th/Mall) SE MARKET green, yellow lines (exit SW 6th and Madison NS & CL Line 5 Cinema 21 (C21) MAX Station Northbound MAX: red, blue lines (exit 616 NW 21st Ave SE MILL 2 Pioneer Square or SW cinema21.com Advance Ticket Outlet (ATO) SE HARRISON 1119 SW Park Ave 9th/Library); green, yellow Bus: 15, 18, 20, 77 6 Daily, 12-6 p.m., Jan 30-Feb 24, 503-276-4310 lines (exit Pioneer Streetcar: Exit NW 21st & Lovejoy or Place/Pioneer Courthouse) Northrup, NS Line SE LINCOLN SE 37TH PORTLAND INTERNATIONAL FILM FESTIVAL 47

3:00 WH Finding Vivian Maier (US) Thursday the 6th 3:00 FT The Zigzag Kid (The Netherlands)* Thursday the 13th Sunday the 16th Wednesday the 19th 3:00 WTC Remote Area Medical (US) 6:30 C21L The Wind Rises ( Japan) 6:00 WH Short Cuts III: International Ties 12:30 WH Short Cuts I: International Ties 5:45 WH Circles (Serbia) 3:00 CM Tito on Ice (Sweden) 6:45 OMSI The Wind Rises ( Japan) 6:00 OMSI Transit (The Philippines) 1:00 C21S Tito on Ice (Sweden) 6:00 OMSI Code Black (US) 5:30 WH Bends (Hong Kong) 7:00 WH Belle (Great Britain) 6:00 C21L Juvenile Offender (South Korea) 1:00 CM Mommy/Buffalo Bill (France)* 6:00 C21S New Rijksmuseum (The Netherlands) 5:30 C21L Le Week-End (Great Britain) 6:00 CM Omar (Palestine) 1:00 WTC The Last of the Unjust (France) 6:00 CM The Days of the Crows (France)* 5:30 CM Before Snowfall (Norway) 6:00 FT Bends (Hong Kong) 2:45 WH New Rijksmuseum (The Netherlands) 6:00 FT The Don Juans (Czech Republic) Friday the 7th 5:30 FT Two Lives (Germany) 8:30 WH Antboy (Denmark)* 3:00 C21S The Snow on the Pines (Iran) 8:30 WH Eat Sleep Die (Sweden) 5:30 WTC The Last of the Unjust (France) 6:00 WH Ernest & Celestine (France) 8:30 OMSI Metro Manila (Great Britain) 3:00 CM Wajma (Afghanistan) 8:30 OMSI The Great Passage ( Japan) * 6:30 OMSI Mary Queen of Scots (Switzerland) 6:00 OMSI The Good Road (India) 8:30 C21L Just a Sigh (France) 3:00 FT The Tough Guys (Norway)* 8:30 CM Village at the End (Great Britain) 8:00 WH Omar (Palestine) 6:00 C21L The Strange Little Cat (Germany) 8:30 CM The Galapagos Affair (US) 5:30 C21S Disciple (Finland) 8:30 FT It’s All So Quiet (The Netherlands) 8:00 C21L Aftermath (Poland) 6:00 CM Cycling with Moliere (France) 8:30 FT Cycling with Moliere (France) 5:30 CM Cheatin’ (US) 8:30 C21S The Apostle (Spain) 8:00 CM Heli (Mexico) 6:00 FT Teenage (US) 5:30 FT Ida (Poland) 8:00 FT A Gun in Each Hand (Spain) 6:00 WTC The Missing Picture (Cambodia) Friday the 14th 5:30 WTC A World Not Ours (Lebanon) Thursday the 20th 8:30 WH Le Week-End (Great Britain) 6:30 OMSI Back to 1942 (China) 8:30 OMSI Those Happy Years (Italy) Monday the 10th 5:45 FT American Dreams (Hong Kong) 7:45 WH The Great Passage ( Japan) 5:45 C21S American Dreams (Hong Kong) 8:30 C21L The German Doctor (Argentina) 6:00 OMSI Coffee in Berlin (Germany) 7:45 C21S It’s All So Quiet (The Netherlands) 6:00 WH Short Cuts IV: International Ties 5:45 C21L The Butterfly’s Dream (Turkey) 8:30 CM Two Lives (Germany) 6:00 WH Tim’s Vermeer (US) 7:45 CM The Wishful Thinkers (Spain) 6:00 OMSI Village at the End (Great Britain) 6:00 WH Trap Street (China) 8:30 FT Wajma (Afghanistan) 6:00 C21S People in Places (Spain) 7:45 FT La Ultima Pelicula (Mexico) 6:00 CM The Snow on the Pines (Iran) 6:00 OMSI Particle Fever (US) 8:30 WTC Remote Area Medical (US) 6:00 CM Stranger by the Lake (France) 7:45 WTC Search for Emak Bakia (Spain) 6:00 FT I Am Yours (Norway) 6:00 CM Teenage (US) 12:00 C21L Borgman (The Netherlands) 6:00 WTC A World Not Ours (Lebanon) 8:30 WH Nobody’s Daughter (South Korea) 6:00 FT The Strange Little Cat (Germany) 8:30 WH The Lunchbox (India) 8:30 OMSI Walesa (Poland) 8:30 WH Disciple (Finland) Monday the 17th 8:30 OMSI The Priest’s Children (Croatia) 8:30 C21S Thy Womb (The Philippines) Saturday the 8th 8:30 OMSI Visitors (US) 8:30 C21S Salvo (Italy) 12:00 WH Short Cuts II: International Ties 8:30 CM The Don Juans (Czech Republic) 8:30 CM Michael Kohlhaas (France) 1:00 WH Short Cuts I: International Ties 8:30 CM Alan Partridge (Great Britain) 12:00 FT Aglaja (Hungary) 8:30 FT Boy Eating Bird’s Food (Greece) 8:30 FT Young and Beautiful (France) 1:00 C21L The Zigzag Kid (The Netherlands) 8:30 FT Heli (Mexico) 12:15 CM The Last Step (Iran) * 8:45 C21L Alan Partridge (Great Britain) 1:00 CM Gabrielle (Canada) 8:30 WTC What is Cinema? (US) 12:15 C21S Aya of Yop City (France)* Friday the 21st 1:00 FT The Apostle (Spain) 12:00 C21L The Congress (Israel) 2:30 WH Levitated Mass (US) 1:00 WTC What is Cinema? (US) Tuesday the 11th 2:30 C21S The Golden Dream (Mexico) 7:00 WH The Way We Dance (Hong Kong) 3:30 WH Ilo Ilo (Singapore) 2:30 CM Coffee in Berlin (Germany) 7:00 WTC Code Black (US) 5:45 CM Aglaja (Hungary) Saturday the 15th 3:30 C21L Michael Kohlhaas (France) 2:30 FT The Tough Guys (Norway)* 9:15 WTC Search for Emak Bakia (Spain) 6:00 WH Ida (Poland) 3:30 CM Trap Street (China) 12:30 FT Metro Manila (Great Britain) 5:00 WH People in Places (Spain) 9:30 WH Eat Sleep Die (Sweden) 6:00 OMSI The Lunchbox (India) 3:30 FT Of Horses and Men (Iceland) 12:30 C21S Mary Queen of Scots (Switzerland) 5:00 C21S Television (Bangladesh) 12:00 C21L Proxy (US) 6:00 C21L Ilo Ilo (Singapore) 3:30 WTC The Galapagos Affair (US) 12:45 WH Short Cuts IV: International Ties 5:00 CM The Priest’s Children (Croatia) 6:00 FT Ernest & Celestine (France) 6:00 WH Child’s Pose (Romania) * 1:00 CM Antboy (Denmark)* 5:00 FT In Bloom (Georgia) 8:30 WH Short Cuts V: Oregon Filmmakers Saturday the 22nd 6:00 C21L The Rocket (Australia) 1:00 WTC Google (Great Britain) 6:30 OMSI Circles (Serbia) 8:30 OMSI Before Snowfall (Norway) 6:00 CM Those Happy Years (Italy) 3:15 FT Stray Dogs (Taiwan) 7:30 WH Walesa (Poland) 12:00 WH The Days of the Crows (France) 8:30 C21L A Gun in Each Hand (Spain) * 6:00 FT The Good Road (India) 3:15 WTC Manakamana (Nepal) 7:30 C21S The Way We Dance (Hong Kong) 2:15 WH Horses of God (Morocco) 8:30 CM Finding Vivian Maier (US) 6:00 WTC Particle Fever (US) 3:30 WH Aya of Yop City (France)* 7:30 CM Stray Dogs (Taiwan) 5:00 WH The Golden Dream (Mexico) 8:30 FT Aftermath (Poland) 6:15 OMSI Maidentrip (The Netherlands)* 3:30 C21S Transit (The Philippines) 7:30 FT Nobody’s Daughter (South Korea) 7:30 WH 2 Autumns, 3 Winters (France) 8:30 WH Closed Curtain (Iran) 3:30 CM Juvenile Offender (South Korea) 9:30 WH Stranger by the Lake (France) 8:30 OMSI The Butterfly’s Dream (Turkey) Wednesday the 12th 6:00 WH Visitors (US) Tuesday the 18th 12:00 C21L Coherence (US) 8:30 CM Vic + Flo Saw a Bear (Canada) 6:00 C21S Just a Sigh (France) 6:00 WH 8:30 FT We Are the Best! (Sweden) 15 Years and 1 Day (Spain) 6:00 CM In Bloom (Georgia) 6:00 WH Short Cuts III: International Ties * Family-friendly films 8:30 WTC Manakamana (Nepal) 6:00 OMSI Google (Great Britain) 6:00 FT Child’s Pose (Romania) 6:00 OMSI 2 Autumns, 3 Winters (France) 8:30 C21L Young and Beautiful (France) 6:00 C21L We are the Best! (Sweden) 6:00 WTC The Missing Picture (Cambodia) 6:00 C21S The Last Step (Iran) Schedule changes posted at 12:00 C21L The Sacrament (US) 6:00 CM Closed Curtain (Iran) 6:15 OMSI Gabrielle (Canada) 6:00 CM The Last Call (Mexico) festivals.nwfilm.org/piff37 6:00 FT The Wishful Thinkers (Spain) 9:00 WH Television (Bangladesh) 6:00 FT Levitated Mass (US) 8:30 WH I Am Yours (Norway) 9:00 OMSI The Last Call (Mexico) 8:30 WH Maidentrip (The Netherlands)* THEATER CODES Sunday the 9th 8:30 OMSI The German Doctor (Argentina) 9:00 C21S Horses of God (Morocco) 8:30 OMSI Tim’s Vermeer (US) C21L Cinema 21 (large theater) 8:30 C21L Cheatin’ (US) 12:30 WH Short Cuts II: International Ties 9:00 CM La Ultima Pelicula (Mexico) 8:30 C21S Boy Eating Bird’s Food (Greece) C21S Cinema 21 (small theaters) 8:30 CM Of Horses and Men (Iceland) 1:00 CM Mommy/Buffalo Bill (France)* 9:00 FT Thy Womb (The Philippines) 8:30 CM Back to 1942 (China) CM Cinemagic 8:30 FT Vic + Flo Saw a Bear (Canada) 1:00 WTC Cairo Drive (Egypt) 9:00 WTC Cairo Drive (Egypt) 8:30 FT 15 Years and 1 Day (Spain) OMSI Oregon Museum of Science & Industry 2:45 C21L Salvo (Italy) 12:00 C21L Nothing Bad Can Happen (Germany) FT Regal Fox Tower WH Whitsell Auditorium 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 37TH PORTLAND INTERNATIONAL FILM FESTIVAL SPONSORED BY: THE OREGONIAN / THE PAUL G. ALLEN FAMILY FOUNDATION

F E BRU ARY 6–22, 2014