T H E N OR T HWEST FILM CE N TER / P ORTL a n D A R T M US E U M P RESE N TS 3 3 r D p ortl a n d i n ter n a tio n a l film festi v a l S P O N SORED BY: THE OREGO N I a n / R E G A L C I N EM A S

F E BR U A R Y 1 1 – 2 7 , 2 0 1 0

WELCOME

Welcome to the Northwest Film Center’s 33rd annual showcase of new world cinema. Like our Northwest Film & Video Festival, which celebrates the unique visions of artists in our community, PIFF seeks to engage, educate, entertain and ­challenge. We invite you to explore and celebrate not only the art of film, but also the world around you. It is said that film is a universal language—able to transcend geographic, political and cultural boundaries in a singular ­fashion. In the spirit of Robert Louis Stevenson’s famous observation, “There are no foreign lands. It is the traveler who is foreign,” this year’s films allow us to discover what unites rather than what divides. The Festival also unites our community, bringing together culturally diverse audiences, a remarkable cross-section of ­cinematic voices, public and private funders of the arts, corporate sponsors and global film industry members. This fabulous ecology makes the event possible, and we wish our credits at the back of the program could better convey our deep appreci- ation of all who help make the Festival happen. Finally, all of us at the Northwest Film Center thank you, our audience, for your continued enthusiasm and adventurous spirit in peering through this special cinematic window on the world. We hope that more than a few of the 117 films in this year’s Festival inspire you. For 17 days the world will come to us in film. Go explore and tell us what you discover.

BILL FOSTER, Director Northwest Film Center festival sponsors 3 3 r D p ortl a n d i n ter n a tio n a l film festi v a l 3

DOCUMENTARY VIEWS program highlights Seventeen fresh perspectives on the world we live in and the fascinating people and stories that surround us. Our thanks to the Paul G. NEW DIRECTORS Allen Family Foundation for their support.

This year’s Festival has its share of new The Art of the Steal, U.S.; Cooking History, works by established masters—Alain Czech Republic; Garbage Dreams, Egypt; Resnais, Ken Loach, Peter Greenaway, The Inheritors, Mexico; Learning from Light: Marco Bellochio, Chen Kaige, Jan Hrebejk, The Vision of I.M. Pei, U.S.; October Country, Catherine Brelliat, and Hong Sang-soo to U.S.; Charlie Haden: Ramblin Boy, Switzerland; name but a few—and new films by up and Terribly Happy (Denmark) Rembrandt’s J’Accuse, Netherlands; Reporter, Strong Man (United States) coming talents like Sarah Watt, Lu Chan, U.S.; Sons of Cuba, Great Britain; The Shock Maren Ade, Corneliu Porumboiu and Doctrine, Great Britain; Strongman, U.S.; Andrea Arnold, whose first works make OSCAR SUBMISsIONS Sweetgrass, U.S.; The Topp Twins: Untouchable GLOBAL CLASSROOM us eager to see their next. But discovering This year’s Festival features the Portland Girls, New Zealand; Videocracy, Sweden; The Northwest Film Center hopes the brand new voices is part of the Festival’s premieres of 18 films submitted for the Best and Waking Sleeping Beauty, U.S. Festival’s diverse programs serve as a point mission too, and if you are looking toward Foreign Language Film Oscar, including: of introduction for the next generation the next generation, these intriguing new of cinema lovers. We invite teachers and works by 15 first-time feature filmmakers About Elly (Iran), Ajami (Israel), Bad Day to students throughout the community to attend reveal a wealth of new international talent. Go Fishing (Uruguay), Chameleon (Hungary), public screenings or arrange to attend Our thanks to Wieden+Kennedy for Dawson Isla 10 (Chile), Forever Enthralled PACIFIC RIM SHOWCASE ­special screenings of select films chosen to ­supporting this program. (China), Home (Switzerland), The Misfortunates enrich classroom experience and broaden This year’s Festival offers a wide spectrum (Belgium), Mother (South Korea), Nobody understanding of our world. In addition Among the filmmakers and films eligible of films from China, South Korea, Japan, to Watch Over Me ( Japan), Police, Adjective to the all-ages films in the Family series, for this year’s New Director Audience Hong Kong, Taiwan, Australia and New (Romania), A Prophet (France), Protector other films that student audiences might Award are: (Czech Republic), (Poland) Zealand—reflecting lively national cinemas The Reverse find enriching are: The Wind Journeys (Iceland), and diverse perspectives on history Ahmad Abdalla, Egypt—Heliopolis; Urzula Reykjavik-Rotterdam Terribly Happy (Colombia), Garbage Dreams (Egypt), Heiran (Denmark), (Russia), and and family. Antoniak, Netherlands—Nothing Personal; Ward No. 6 (Iran), The Inheritors (Mexico), Reporter (U.S.), The Wind Journeys (Colombia). Stéphane Aubier, Vincent Patar, Belgium— City of Life and Death (China); Forever Sons of Cuba (Great Britain), Sweetgrass (U.S.), A Town Called Panic; Ilisa Barbash, Lucien Enthralled (China); The Good, the Bad, the Learning from Light (U.S.), Waking Sleeping Castaing-Taylor, U.S—Sweetgrass; Alvaro SHORT CUTS Weird (South Korea); Like You Know It All Beauty (U.S.), and the Short Cuts programs. Brechner, Uruguay—Bad Day to Go Fishing; This year’s Festival includes five programs (South Korea); Mother (South Korea); My Teachers interested in bringing groups can Mariana Chenillo, Mexico—Nora’s Will featuring 39 memorable snapshots—animated, Year Without Sex (Australia); No One to Watch call the Film Center office, 503-221-1156. Alexandre Franchi, Canada—The Wild Hunt; live action, documentary, experimental and Over Me ( Japan); The Topp Twins: Untouchable Don Hahn, U.S.—Waking Sleeping Beauty; narrative—from near and far. Special thanks Girls (New Zealand); The Warlords (Hong Christo Georgiou, Cyprus—Small Crime; to Laika for supporting these programs. Kong); and Yang Yang (Taiwan). OREGONIAN AUDIENCE AWARDS Hernán A. Goldfrid, Argentina—Music on Hold; As always, you get to be the judge. Let us Andre Khrzhanovsky, Russia—Room and FILMS FOR FAMILiES know your opinions about the films in this a Half; Borys Lankosz, Poland—The Reverse; year’s Festival. Ballots will be available at Film lovers from nine to 90 will be Donal Mosher, Michael Palmieri, U.S.— the screenings for you to rate and comment charmed by the award-winning films in October Country; Gerald Peary, U.S.—For the on the films. At the conclusion of the our family matinee series—Letter for the Love of Movies; and Ben Wheatley, Great VISITING ARTISTS Festival, the results of the balloting will King (Netherlands), Moomin and Midsummer Britain—Down Terrace. be announced at the Closing Party, with Thanks to Alaska Airlines for helping to Madness (Finland), A Shine of Rainbows awards for Best Film, Best Director, Best bring our guests. (Canada/Ireland), A Town Called Panic Documentary, Best Short, Best New Director (Belgium) and Through a Glass, Darkly and other special ­recognitions. (Norway). 4 3 3 r D p ortl a n d i n ter n a tio n a l film festi v a l

Opening Night Film & Party FESTIVAL PASSES Tickets Tickets: $25 general; $20 Silver Screen Friend and PAM members. Northwest Film Center Silver Screen Club General: $10 Opening Night tickets are available at cards serve as a Portland International Film PAM Members : $9 the Festival Ticket Outlet (12–6 pm) or at Festival pass and are good for this year’s the schedule Group Rate (15 or more to a single the PCPA box office, 1111 SW Broadway, Festival as well as Film Center screenings ­screening, in advance only; Sunday–Thursday (10 am–5 pm Monday–Saturday). Also year-round. Descriptions of films are arranged by screenings only): $7 at all TicketMaster outlets, by phone ­country with showtimes and locations listed DIRECTOR: $250 (single admission) Children (12 and under): $7 800-745-3000, or online at ticketmaster.com at the end of each film description. The PRODUCER: $400 (single admission plus Silver Screen Club Friend (subject to additional service charges). master calendar on the back page lists each reserved seating) ($60 annually): $7 day’s films and their showtimes. Please BENEFACTOR: $1,200 (dual admission plus Director, Producer and Benefactor The 10-Minute Rule note that a few films have only one show- reserved seating) members receive free admission with their ing. Every effort has been made to ensure valid Silver Screen Club cards. Seats for advance ticket and all pass the accuracy of the schedule, but there may Director Opening Night Tickets: See below. ­holders are held until 10 minutes before be last minute changes beyond our control. showtime, when any unfilled seats are Silver Screen Club Director membership Closing Party: $15; $10 members Check the Film Center’s website at released to the public. Thus, advance admits the holder to all regular admission www.nwfilm.org, theater lobby schedules, Film Center scrip and comps, PAM passes, Regal, tickets or passes ensure that you will not Festival and Northwest Film Center programs or call 503-276-4310 for program updates. student and other regular passes or discount have to wait in the ticket purchase line, for one year. Silver Screen Club Director admission tickets are not valid during the Festival. but do not guarantee a seat in the case of arrival members may present their membership after the 10-minute window has begun. Your card at the theater entrance without waiting Passes and Advance Tickets early arrival also helps get screenings started in the ticket purchase line. Membership Theater Locations Please keep in mind that advance tickets promptly. We appreciate your understand- cards are non-transferable. Seats are guar- to many Festival screenings sell out, leaving ing. Advance ticket holders who arrive anteed until 10 minutes before showtime. a limited number of tickets available at the within the 10-minute window but are not BW Regal Broadway Cinemas This year Silver Screen Club Directors and door. Advance tickets and passes ensure seated may exchange their tickets for another 1000 SW Broadway at Main above are also invited to attend PIFF press that you get to see the films you want with- screening at the Festival Ticket Outlet, screenings beginning February 1. C21 Cinema 21 out waiting in theater ticket lines. Please note or obtain a cash refund at the theater. 616 NW 21st Ave at Hoyt Producer that advance tickets and passes only guarantee There are no refunds or exchanges for admission until 10 minutes before showtime. late ­arrivals or for missed screenings. NT Newmark Theatre Producer membership entitles the holder 1111 SW Broadway at Main to a reserved seat at all Festival and Film Festival Ticket Outlet Center year-round screenings as well as all WH Whitsell Auditorium Silver Screen Club passes and advance Separate Admission other benefits of Silver Screen membership. Portland Art Museum tickets for all programs are on sale daily, Each screening is a separate admission. More important, it represents the financial 1219 SW Park at Madison 12 to 6 pm, February 3–28 at the Festival Theaters will be cleared between screenings. support that helps guarantee the future Ticket Outlet, located in the lobby of the Advance ticket holders for a film immedi- of this annual event and the Center’s many The Portland Art Museum and Broadway Portland Art Museum’s Mark Building, ately following the one they are attending other programs and services. Producer/ Cinemas, as a security policy, requires a 1119 SW Park Avenue at Main. On the day will be guaranteed admission to the second Benefactor reserved seats are held until bag check. Food and drink are not allowed of the screening, tickets (if still available) film, but they may not save a particular 10 minutes before showtime. in the Whitsell Auditorium. We appreciate can be purchased at the advance ticket seat. You must take your belongings with your observance of this request and Benefactor ­outlet until three hours prior to showtime, you. We appreciate your cooperation and your assistance in keeping the Whitsell and then at the specific theater’s box office understanding. Auditorium as clean as possible. Concession Benefactor membership entitles the holder beginning 30 minutes prior to showtime. items are available for purchase at Broadway (individual or business) to two reserved The Fine Print seats, as well as all other Silver Screen Club Cinemas and Cinema 21. There is no Online and Phone Orders All orders are final. There are no refunds benefits. ­outside food or drink allowed in any of Beginning February 3, tickets and passes or exchanges except as noted. If a screening the theaters. Thank you. may be purchased online at www.nwfilm.org, is canceled, tickets must be returned to the or by calling 503-276-4310 from 12 to 6 pm Festival Ticket Outlet within a week of the daily. Online and phone orders have a canceled screening date for a refund or $1 per ticket service fee. exchange. Processing fees are non-refundable. 3 3 r D p ortl a n d i n ter n a tio n a l film festi v a l 5

OPENING NIGHT

I AM LOVE (Italy) Luca Guadagnino Opening Night Film & party

The polished rooms of a Milanese villa ignite with anxious activity as a wealthy industrial The Northwest Film Center, with support from The Paul G. Allen Family Foundation, family, the Recchis, prepare to celebrate the birthday of their patriarch. It is an occasion invites you to join us in the lobby of the Newmark Theatre following the screening designed to ensconce ­family traditions—the handsome grandson, Edoardo, introduces his to celebrate the opening of the Festival. Opening Night Film & Party Tickets: new girlfriend; his sister presents another piece of her artwork to her grandfather; and the grandfather, knowing this is his last birthday, names the successor to his empire. But in the $25; $20 Silver Screen Friend and PAM members. glow of all that is and has come before, change approaches the family dynasty with devas- tating certainty for all. As the refined familial machinations unfold, the woman of the house, Emma Recchi (Tilda Swinton), skates along the tight seams of the family, exuding elegance Closing party and uncertain turbulence. A story of passion breaking free of the constraints of class and privilege, Guadagnino’s sensual film recalls the grand sweep of Luchino Visconti’s classic family sagas. (120 mins.) Following encore screenings on Sunday, February 28, join us to ­celebrate PIFF33. Filmography: The Protagonists (99), Tilda Swinton: The Love Factory (02), Mundo Civilizado (02), Bring your dancing shoes, and throw it down with the eclectic and ­raucously fun Cuoco Contadino (04), Melissa P. (05). international party band Chervona! This year’s Audience Award winners will be Showtime: 2/11, 7:30pm NT. announced, too. 7 pm, Fields Ballroom, Portland Art Museum Mark Building. Closing Party Tickets: $15 (in advance or at the door); Cultural Partner: Italian Cultural Institute, San Francisco. $10 Silver Screen Friend and PAM members. 6 3 3 r D p ortl a n d i n ter n a tio n a l film festi v a l

A RGE N TI n a A USTR A LI A A USTRI A B E L G I U M

MUSIC ON HOLD MY YEAR WITHOUT SEX LOURDES THE MISFORTUNATES Hernán A. Goldfrid Sarah Watt Jessica Hausner Felix Van Groeningen

Ezequiel, a nearly broke film music Sarah Watt’s follow-up to her imaginative Christine (Sylvie Testud), confined to a Thirteen-year-old Gunther represents the ­composer, has 20 days to deliver a score. first film Look Both Ways (PIFF 30) examines wheelchair, is isolated and socially awkward. youngest generation of a line of proud, He’s just not hearing it. One day he calls both the comedy and drama of suburban Desperate to engage with the world around hard-drinking Strobbe men. Told in flash- his bank, and listening to muzak while on family life in Melbourne, and will resonate her, she joins a ­religious group journeying back from Gunther’s perspective as an hold for Paula, an executive he’s never met, with anyone who has endured life’s daily to Lourdes, the iconic Christian shrine in unsuccessful writer in his early thirties, he hears a song that inspires a break- little challenges only to get sideswiped by a the Pyrenees mountains. Skeptic though van Groeningen’s black comedy ruminates through. How to find that song again, massive one. Sacha Horler stars as Natalie, she is, Christine needs companionship, over Gunther’s ribald, chaotic adolescence among the hundreds of inane on-hold an average housewife dealing with everyday and, like the others, hopes for a miraculous under the “guidance” of three bawdy muzak tunes? Paula, meanwhile, has not realities and family chaos: never-ending cure from the ­grotto’s healing waters. When uncles, an ever-boozing dad, one put-upon told her very conservative mother that, mortgage payments, raucous kids, family she wakes up one morning seemingly cured grandmother, and unbounded collective though she is pregnant, she is no longer celebrations, and an absent-minded hus- by a ­miracle, surprising attention comes her dysfunction. Adapted from an acclaimed with her boyfriend. When mother and band (Matt Day). Suddenly, fate throws way. “Always treading a fine line between novel by Dimitri Verhulst and directed with composer both wind up in her office, she an unexpected curve ball, and Natalie and sorrow and satire, Hausner’s cool depiction deftness and verve by van Groeningen, impulsively introduces Ezequiel as the her family must pull together as one in wavers between a critique of religion and a The Misfortunates combines equal amounts father. They each have something the ways they could never have anticipated. story of redemption. Christine’s pilgrimage of heart, soul and pathos as it ponders other needs, and though they are not even Natalie’s year-long trial ensures that she is perplexing and wonderful in its misguided whether, in the absence of other virtues, acquaintances, Ezequiel and Paula soon has little choice but to laugh and cry, often search. She will discover that the most love is enough to raise a child. “Blackout enter into a strange partnership. A witty at the same time, as the riches and meaning important part of the journey is to believe in drinking, compulsive gambling, non-stop romantic comedy that has been a sensation of a life worth fighting for come into focus. something, whether basic human kindness whoring and chronic fighting. Not exactly in Argentina, Hernán Goldfrid’s breezy (92 mins.) or divine intervention.”—Cinematheque solid citizen types.”—Hollywood Reporter. film features a stellar cast, including Filmography: Look Both Ways (05). Ontario. In French with English subtitles. This year’s Belgian submission for the Best Norma Aleandro, Diego Peretti, and (99 mins.) Foreign Language Film Oscar. (108 min.) Showtimes: 2/13, 5:45pm WH Natalia Oreiro. (106 mins.) Filmography: Lovely Rita (01), Hotel (04). Filmography: Steve + Sky (04), With Friends Like and 2/16, 7pm B4. First Feature Film. These (07). Sponsored by KINK.FM. Showtimes: 2/12, 6:15pm B3; Showtimes: 2/13, 2:30pm B4; 2/13, 5:15pm B4; and 2/15, 7:30pm B1. Showtimes: 2/26, 9pm C21 and 2/27, 12pm B1. 2/13, 7:45pm B4; and 2/14, 12:30pm B3. Sponsored by Austrian Consulate General, Los Angeles. 3 3 r D p ortl a n d i n ter n a tio n a l film festi v a l 7

C a n a D A

A TOWN CALLED PANIC PASSENGER SIDE THE WILD HUNT A SHINE OF RAINBOWS Stéphane Aubier, Vincent Patar Matthew Bissonnette Alexandre Franchi Vic Sarin

This thoroughly delightful, surreal stop- The setting of this quirky, comic road In a dark forest, a battle is brewing Set on the beautiful Irish coast, Sarin’s motion animated fantasy tells of an eccen- movie is the greater county of Los Angeles, between the power-hungry Celts, the ram- warm, emotional film tells a story of accep- tric provincial village and its beguiling from the city to the surrounding desert. paging Vikings, the secretive wood elves tance, kindness and the healing power of inhabitants. The impetuous Cowboy and Along for the ride are two estranged sib- and a mysterious shaman who’s about to love. Eight-year-old Tomas’ gentleness Indian, eager to buy a birthday gift for lings: overbearing older brother Michael unleash his latest fiendish scheme. Clever, makes his life difficult. His helpful nature their more mature roommate, Horse, (Adam Scott), a failed novelist, and Tobey funny and intense, The Wild Hunt is set in is interpreted as weakness, and the other ­accidentally set off a chain of events that ( Joel Bissonnette), an actor, whom Michael the fantasy-reality of a large role-playing boys at the orphanage bully him. Then one destroys their residence and places their has reluctantly agreed to ferry to various game, and the plot mirrors the legend day, a kind woman named Maire sweeps innocent neighbor behind bars. Setting out destinations and errands. But it’s Michael’s behind the game. Erik goes looking for his in and infuses his once-cheerless existence to right their wrongs, Cowboy and Indian birthday, and this isn’t exactly how he’d girlfriend, Evelyn, who has left him for the with love, laughter and the belief in magic. are joined by Horse and taken on a journey planned to celebrate. As events unfold, it game. He will need the help of his brother After Maire whisks him away to her home to the center of the earth, across a frozen becomes clear that the agenda of the trip Bjorn, who happens to be the Viking on enchanted Corrie Island off the West tundra, and into a bizarre underwater isn’t what it seemed, and issues of trust leader and owner of Thor’s hammer, Coast, Tomas grows and comes into his ­parallel universe. Rendered in a completely resurface just when the brothers are Mjolnir. Erik’s entry into the game angers own—but Maire’s reserved husband can’t charming style, this feature film version ­forging a new bond. Various mysterious the dedicated players when he refuses to hide his lack of interest in the child. Just of a popular European television program encounters with off-the-radar oddballs role-play, setting fantasy and reality on a when Tomas begins to come out of his shell will thrill animation lovers of all ages. In prove, in the film’s final moments, to be collision course. Capturing the potentially and see the goodness in the world and the French with English subtitles. (75 mins.) tightly woven threads in the real, under­ dangerous intersection of actual and made- people around him, Maire’s delicate health First Feature Film. lying story. (85 mins.) up worlds, Franchi’s film is a timely, potent takes a turn for the worse. Will her husband, Filmography: Looking For Leonard (02), Who Loves comment on the modern yearning for who has not accepted Tomas as his son, Showtimes: 2/20, 3:45pm B3 the Sun (06). ­ritual and the consuming nature of adopting be able to step up to the responsibility of and 2/21, 7:45pm B1. another identity. Best Canadian First caring for Tomas as Maire has done? Showtimes: 2/19, 8:30pm B3 Sponsored by French American Feature Film, Toronto International (100 mins.) International School. and 2/24, 7pm B2. Film Festival. (96 mins.) Filmography: Cold Comfort (89), Deluxe Combo (04), Sponsored by Ace Hotel. First Feature Film. Partition (07). Showtimes: 2/21, 7:30pm B3 Showtimes: 2/13, 6pm B3 and 2/27, 2:30pm C21. and 2/14, 1:30pm B1. 8 3 3 r D p ortl a n d i n ter n a tio n a l film festi v a l

C H I L E C H I n a C O L O M B I A

DAWSON ISLA 10 CITY OF LIFE AND DEATH FOREVER ENTHRALLED THE WIND JOURNEYS Miguel Littin Lu Chuan Chen Kaige Ciro Guerra

After the military coup in 1973, deposed The atrocities committed by the Japanese Chen Kaige’s opulent period drama tells Ignacio Carrillo, old and retired, has spent President Salvador Allende’s closest collab- army during its occupation of Nanking in the story of Mei Lanfang (1894–1961), a his life traveling through the villages of orators and ministers were locked up in a December 1937—more than 300,000 were Peking opera singer of such virtuosity that Northern Colombia playing traditional concentration camp on Dawson Island, massacred, sexual assault was pandemic, his fame spread worldwide and his admirers songs on his accordion, a legendary instru- lying at the western entrance to the Strait and the city was virtually decimated— included Charlie Chaplin and Sergei ment that was said to be cursed because of Magellan. They are assigned numbers remain some of the most harrowing chap- Eisenstein, who filmed him. Descended it had supposedly been won in a musical instead of names. Their lives are spared ters of war in the 20th century. Lu Chuan’s from an acting family, Mei was so popular duel with the devil himself. When his wife thanks to pressure from the International vivid recreation of the “Rape of Nanking” he soon became a rival to veteran actor suddenly dies, he bitterly vows to never Red Cross, but they are not spared from tells the story of a small group of Westerners Swallow 13, and the two faced off in a play again, and decides to make one last torture and forced labor. Thirty years later, and Chinese engaged in anguished negoti- musical “duel” from which Mei emerged journey—to return the accordion to the some survivors return to the island and ations with the Japanese to limit the suffer- the victor. His fame spread, and in the late man who gave it to him, his teacher and rediscover the place where they learned to ing of the civilian population. A series of key 1920s he even performed on Broadway. mentor. Setting out on his donkey, he is set survive in such extreme conditions. Miguel vignettes—a young Chinese soldier leads a But when disaster struck with the Japanese upon by a young teenager with romantic Littin, who spent many years living in doomed resistance group; a confused and invasion of Manchuria, Mei’s refusal to dreams of becoming a nomadic minstrel exile and to whom writer Gabriel Garcia anguished Japanese private is overwhelmed sing in public under the occupation proved like Ignacio. Reluctant to take him along, Marquez dedicated his book “Clandestine by the insanity; John Rabe, a German career threatening. Neatly conveying the Ignacio relents, but in the course of their in Chile: The Adventures of Miguel businessman, establishes a safety zone in fragile social position of opera performers journey tries to convince him that the life Littin,” took inspiration for his drama from an attempt to protect the lives of countless of the early part of the last century, when of a minstrel can only lead to solitude the autobiography by Sergio Bitar, one of Chinese; and the harried secretary of a they were regarded as little better than and sadness. This touching odd-couple Allende’s ministers. This year’s Chilean Nazi official betrays his charges to try and prostitutes, Chen offers an engaging ­portrait story mixes the evocative landscapes of submission for the Best Foreign Language save his family—told with Lu’s burning, of Mei’s amazing talent. (147 mins.) Colombia with the magic of its music to Film Oscar. (117 mins.) black and white images, bespeak man’s Selected Filmography: King of the Children (87), tell a timeless tale. This year’s Colombian Filmography: The Promised Land (71), Letter amazing inhumanity to man. (135 mins.) Farewell My Concubine (93), Temptress Moon (96), submission for the Best Foreign Language From Marusia (76), Alsino and the Condor (82), Filmography: Missing Gun (01), Kekexili Mountain The Promise (05). Film Oscar. (117 mins.) The Shipwreck (94), The Last Man (05). Patrol (04). Showtimes: 2/23, 8:15pm B1 Filmography: The Wandering Shadows (02). Showtimes: 2/20, 8:15pm B4; Showtimes: 2/21, 7:30pm WH and 2/25, 7pm C21. SHOWTIMES: 2/18, 6pm WH 2/22, 6:45pm B2; and 2/24, 8:45pm B3. and 2/22, 8:15pm B1. Sponsored by Hotel deLuxe. and 2/20, 12pm B1. 3 3 r D p ortl a n d i n ter n a tio n a l film festi v a l 9

C Y P RUS/GREECE C Z E C H R E P UBLIC

SMALL CRIME COOKING HISTORY PROTECTOR SHAMELESS Christos Georgiou Péter Kerekes Marek Najbrt Jan Hrebejk

Leonidas, a young, ambitious police officer, This riveting film opens the door to the Set in Nazi-occupied Prague in the late Oskar ( Jirí Machácek) is a devoted father, is assigned to a remote Greek island in the secrets of little-known historians to show 1930s, Protector is a stylish drama focusing beloved husband and popular television Aegean. He dreams of solving important, a dimension of war not found in textbooks on the marriage of radio journalist Emil weatherman. He seems to have it all, but big-city crimes, but there are few to be or archives. Cooking History presents por- (Marek Daniel) and his Jewish wife Hana decides that he has fallen out of love with found in the sleepy community where he traits of various army military cooks from ( Jana Plodková), a famous film star forced wife Zuzana—mainly because her nose is is reduced to menial chores. Each day at all over Europe who have witnessed the to give up her career. While she must lay too big. Oskar cheats on her with the family’s the town café, Leonidas and the locals European wars of the 20th century. Their low, Emil seizes a chance for his own dim Hungarian nanny, his first step on a watch the beautiful Angeliki, the small recollections tap into a subjective view of advancement and becomes the official downward spiral that finds him out of a job island’s most famous daughter, as she hosts historical events, one that diverges in some mouthpiece of the Reich. While his posi- and in a series of loveless, problematic a popular talk show on national TV. These respects from conventional beliefs. They tion offers a measure of protection to Hana affairs. Whatever mid-life quest Oskar is dull rituals are shattered when the island take us on a journey through pivotal dates, in an increasingly dangerous anti-semitic on is not yielding any satisfaction. In the experiences what appears to be an actual facts, declarations of war, battles, and peace environment, there is a price to be paid. meantime, Zuzana has no problem finding crime: the island drunk, Zacharias, is agreements. The tales they tell convey a Their fraying relationship reaches a crisis a new partner in divorced single father found dead at the base of a cliff. Jumping sense of life and death in the “war appara- point after the famed assassination of SS Matej, aided in no small part by Oskar’s at the chance to do some sleuthing, tus,” as well as a sense of hope, longing, Reichsprotektor Reinhard Heydrich, for parents. Matej likes her nose just fine. Full Leonidas soon finds clues that tie the ­victim and survival in the midst of destruction which Emil becomes a suspect. In Protector, of fine details and subtle wit, Hrebejk’s to Angeliki, who returns to the island and and despair. Kerekes’ look behind “great writer/director Najbrt observes a couple “unromantic” ensemble comedy film skirts joins the investigation. As romance blooms moments in time” introduces a fresh per- suddenly divided along wartime lines to tragedy for farce as it explores the mysteries between Leonidas and Angeliki, they learn spective on European history. Special Jury pose the question, “Who would you betray of the male psyche, and the tensions that everyone on the island has their own Prize, Toronto Hot Docs. (88 mins.) to save the one you love?” This year’s between change and stability in a society Zacharias, and their stories play out hilari- Filmography: About Three Days in Monastary Jasov Czech submission for the Best Foreign that manifests both at the same time. ously in Leonidas’ imagination. (84 mins.) (94), The Mary-Valery Bridge (00), 66 Seasons (03). Language Film Oscar. (98 mins.) (88 mins.) First Feature Film. Showtimes: 2/14, 3pm B3; Filmography: Champions (84), Invention of Beauty (94). Selected Filmography: Divided We Fall (00), Pupendo (03), Up and Down (04), Beauty in Trouble Showtimes: 2/14, 5:30pm B2; 2/18, 9pm B3; and 2/21, 12:45pm B3. Showtimes: 2/14, 12:45pm B2; (06), Teddy Bear (07). 2/15, 5:30pm B2; and 2/16 9pm B2. Sponsored by KINK.FM. 2/15, 2pm B1; and 2/15, 7:45pm B4. Showtimes: 2/26, 8:45pm WH and 2/27, 5:30pm B1. 10 3 3 r D p ortl a n d i n ter n a tio n a l film festi v a l

D E N M A R K E G Y P T F I N L a n D

TERRIBLY HAPPY GARBAGE DREAMS HELIOPOLIS LETTERS TO FATHER JACOB Henrik Ruben Genz Mai Iskander Ahmad Abdalla Klaus Härö

A southern Danish village hides as many Garbage Dreams looks at the hopes and This ensemble drama’s sharp critique of A simple but transcendent story about faith secrets as the nearby bog in this blackly dreams of a group of teenage boys whose Egyptian society is matched by a nostalgia- and human frailty, Letters to Father Jacob comic thriller about the universal nature of livelihoods wholly depend on trash. drenched longing for life before the 1952 achieves a state of grace. Surprised when compromise and corruption. When tightly As members of the Zaballeen, a Coptic revolution. Using intertwining stories, she is pardoned 12 years into a life sentence, wound cop Robert is transferred to a small Christian community on the outskirts of Abdalla skillfully sheds light on the small hard-bitten killer Leila (Kaarina Hazard) border town where outsiders either adapt Cairo, they inhabit a small village con- struggles of everyday life in Cairo, and on takes the prison warden’s suggestion and or disappear, he finds that the clannish structed almost entirely of the garbage they the discontent that seems to pervade one winds up at the ramshackle rural parsonage locals scorn by-the-book law enforcement sort for a living. For generations, Cairo has particular district of the city. Criss-crossing of Father Jacob. The blind elderly man and rely instead on their own unique depended on “the garbage people” to col- Cairo’s historical Heliopolis neighborhood, needs an assistant to pursue his main joy brand of frontier justice. When another lect their trash. The Zaballeen survive by we share the minor travails of various players in life: answering the letters of those who outsider, the alluring Ingelise, tries to enlist recycling the city’s waste—80 percent of all over the course of a single day. Hany wants write to ask for his help. Although Leila Robert’s help in escaping from her abusive the garbage they collect—creating what is to procure a visa to travel abroad. Ali and regards the pastor’s correspondence as husband, the stage seems to be set for a arguably the world’s most efficient waste Maha want to buy Hany’s apartment but pointless, it ultimately plays a role in her predictable love triangle. Cleverly defying disposal system. In 2003, the city decided must first negotiate gridlock. Grad student own redemption and heart-rending self- expectations as it knowingly toys with to replace the Zabelleen with ­private, Ibrahim wants to interview an uncoopera- forgiveness. This year’s Finnish submission genre conventions, Terribly Happy sustains ­multinational garbage disposal companies. tive subject. Hotel clerk Engy simply wants for the Best Foreign Language Film Oscar. a unique tone that smoothly incorporates Their giant waste trucks now line the to be anywhere but Egypt. As they each (85 mins.) Western, noir, horror and psychological streets, but they are contractually obligated fail to achieve their meager goals, Abdalla Filmography: As If I Didn’t Exist (02), Mother of thriller with creative flair. Winner of to recycle only 20 percent of what they suggests that their individual frustrations Mine (05), The New Man (07). six Danish Bodil (Danish Oscars) and ­collect, leaving the rest to rot in giant land- stem from an underlying discontent Showtimes: 2/20, 8pm B1; this year’s Danish submission for the Best fills. The Zabelleen community is finding endemic in Egyptian society. (96 mins.) 2/22, 7pm B4; and 2/23, 6pm B1. Foreign Language Film Oscar. (95 mins.) their way of life disappearing before their First Feature Film. Filmography: Someone Like Hodder (03). eyes. (82 mins.) Showtimes: 2/12, 6pm B2; First Feature Film. Showtimes: 2/12, 6:45pm B1 2/14, 7:45pm B3; and 2/16, 6:45pm B2. and 2/14, 4:45pm B1. Showtimes: 2/16, 6pm WH Sponsored by West Cafe. and 2/21, 12:15pm B1. Sponsored by World Affairs Council of Oregon. 3 3 r D p ortl a n d i n ter n a tio n a l film festi v a l 11

F R a n CE

MOOMIN AND MIDSUMMER MADNESS A PROPHET BLUEBEARD The GIRL ON THE TRAIN Maria Lindberg Jacques Audiard Catherine Breillat André Téchiné

Based on Tove Jansson’s well-loved “Moomin” Frenchman Malik El Djebena, part Arab, Following the death of their father, Anne A young woman, Jeanne (Émilie Dequenne), books, this visually striking animated film part Corsican, is condemned to six years and Marie-Catherine are cast from boarding reports that skinheads attacked her, seem- will delight young children and big kids in prison. Arriving at the jail entirely alone, school and sent back to their mother. ingly for being a Jew. The incident becomes alike. A tranquil summer day is interrupted he appears younger and more fragile than With no money for dowry, younger sister a media sensation, and attorney Samuel by a volcanic eruption, causing a flood in the other convicts. He is 19 years old, and Marie-Catherine agrees to wed the wealthy Bleistein (Michel Blanc), an old friend the Moominvalley. The water rises higher cannot read or write. Cornered by the leader but notorious aristocrat Lord Bluebeard, of Jeanne’s mother Louise (Catherine and higher in Moominhouse, forcing the of the Corsican gang currently ruling the whose previous wives have all suspiciously Deneuve), takes the case. The incident and family to take refuge in a strange house prison, he is given a number of “missions” disappeared. Will Marie-Catherine be next? its aftermath, drawn from real events, that floats by. The unusual lifeboat turns to carry out, which toughen him up and Both surprisingly straightforward and formed the core of Jean-Marie Besset’s play out to be a theatre. Moominpappa begins gain the gang leader’s confidence in the slyly subversive, Breillat’s telling of Charles on which the film is based, but for Téchiné, to write a play for the others to perform… process. Malik is a fast learner and rises Perrault’s lurid 18th-century fable teases out the dramatic entanglements provide an Ages nine and up. (75 mins.) up the prison ranks, all the while secretly the class and gender conflicts present in opportunity to explore the complex family First Feature Film. devising his own plans. “Audiard’s rich the original, reminding us that the best and social relationships that surround and thriller is elegantly structured, arresting in fairy tales are tinged with perverse darkness. define his characters. Notions of class, Showtimes: 2/20, 12:45pm B4 its detailing of a little-known subculture, Using parallel storylines, Breillat intercuts ­ethnicity, and who’s in and who’s out in and 2/21, 12pm WH. filled with fascinating characters, and the fairy tale itself with childhood scenes contemporary France course through the Sponsored by Scandinavian Heritage Foundation. ­gripping from beginning to end.”—Film set in a safe, bourgeois home in the 1950s, film, offering a provocative reflection on Comment. Winner, Grand Jury Prize, Cannes where a young girl frightens her older ­sister, the creation of identity at a time of ever- Film Festival, and this year’s French sub- and herself, with repeated readings of the increasing social tension. (110 mins.) mission for the Best Foreign Language titillating Freudian tale. (80 mins.) Selected Filmography: The Bronte Sisters (79), Film Oscar. (150 mins.) Selected Filmography: 36 Fillette (87), Romance I Don’t Kiss (91), My Favorite Season (93), Alice and Selected Filmography: A Self-Made Hero (96), (99), Fat Girl (00), Sex Is Comedy (02), The Last Martin (98), Changing Times (04), The Witness (07). Mistress (06). The Beat That My Heart Skipped (04). Showtimes: 2/17, 8:15pm WH Showtimes: 2/13, 8pm WH Showtimes: 2/18, 6pm B1; and 2/18, 8:30pm B1. and 2/15, 7pm WH. 2/19, 6:15pm B3; and 2/21, 3pm B3. Sponsored by TV5Monde. Co-sponsored by Alliance Française de Portland Sponsored by TV5Monde. and TV5Monde. 12 3 3 r D p ortl a n d i n ter n a tio n a l film festi v a l

F R a n C E (cont.) G E R M a n Y

WELCOME WILD GRASS EVERYONE ELSE JOHN RABE Philippe Lioret Alain Resnais Maren Ade Florian Gallenberger

Managing to be political without being “Resnais delivers a career-crowning On the surface, architect Chris and his Ulrich Tukur (The Lives of Others) gives heavy-handed, Welcome focuses on illegal ­masterpiece with this delightful roundelay, girlfriend Gitti seem to enjoy perfect, a gripping performance as John Rabe, a immigrants trying to reach England from based on Christian Gailly’s novel ‘The ­amorous bliss during a getaway on their German industrialist in China who, in Calais, and the risk taken by the French Incident,’ about the fate-altering ripples Sardinia vacation. But their playful romps, 1937, intervened to save an estimated people who help them. Bilal, a 17-year-old triggered by a seemingly ordinary purse secret rituals and silly habits hide an 200,000 Chinese civilians from the rape Kurdish refugee, left his native Iraq shortly snatching. The purse belongs to Marguerite underlying tension. The two are actually and slaughter perpetrated by the invading after his girlfriend emigrated to England, (Sabine Azéma), a dentist who moonlights polar opposites. Full of verve, the idiosyn- Japanese army. Reluctantly drawn into the and wants to join her. His trek across Europe as an aviatrix. Its contents are retrieved by cratic Gitti is fearless in expressing her relief effort by a coalition of fellow interna- comes to an abrupt end on the northern Georges (André Dussollier), a married man love and devotion for Chris, while he is tionals, including an American doctor coast of France. How to get across the cold who soon finds himself infatuated with the more reserved in his outlook on life and (Steve Buscemi) and a French school head- English Channel? He decides to head for purse’s owner, even though he hasn’t actu- crippled by varying degrees of personal mistress (Anne Consigny), Rabe and com- the local swimming pool to begin training ally met her yet. Add in a couple of key- and professional insecurity. When this odd pany create a safety zone at Rabe’s Siemens for the swim of his life. There he meets stone cops, some dizzying aerial acrobatics, couple casually meets a happier and more plant where refugees fleeing the Nanking lifeguard Simon, to whom he eventually and the glorious camerawork of cinema- successful couple, everything starts to fall massacre can take shelter. But mounting confides his grand plan. Simon takes Bilal tographer Eric Gautier and you have the apart. Taking a leaf out of the other couple’s pressure from the aggressive Japanese under his wing and secretly teaches him recipe for a uniquely playful ­meditation book, Chris tries to show his willful girl- commanding officer (Teruyuki Kagawa) how to do the crawl, despite ongoing threats on coincidence and desire that suggests friend who’s boss (he thinks it’s him). Gitti pushes their resolve to the breaking point. from the police, who imprison those who Resnais, at age 87, is truly in his prime.” attempts to conform to his new ideal, but Based on Rabe’s diaries (published as “The aid a growing community nurturing an —New York Film Festival. (104 mins.) what begins as a playful experiment soon Good Man of Nanking: The Diaries of John inextinguishable hope of making a new Selected Filmography: Hiroshima mon amour (59), turns into a quiet struggle with her own Rabe”), Gallenberger’s film is the winner life in the West. (116 mins.) Last Year at Marienbad (61), Muriel (63), Mon oncle personality. Thanks to their newly devel- of four German Film Awards including Selected Filmography: Lost In Transit (93), Don’t d’Amérique (80), Mélo (86), Smoking/No Smoking oped personas, Chris and Gitti get a Best Film and Best Actor. (134 mins.) Make Trouble (01), The Light (04). (93), The Same Old Song (97), Cœurs (06). ­second chance to be as happy as everyone Filmography: Tango Berlin (97), Shadows of Time (04). else. Winner, Grand Jury Prize, Berlin Showtimes: 2/17, 8:45pm B1; Showtimes: 2/20, 8:30pm WH Film Festival. (119 mins.) Showtimes: 2/12, 7pm B4; 2/19, 8:15pm B2; and 2/20, 6:15pm B3. and 2/21, 5pm WH. 2/15, 6:45pm B3; and 2/21, 2pm WH. Filmography: Forest for the Trees (03). Sponsored by TV5Monde. Sponsored by TV5Monde. Showtime: 2/20, 5:45pm WH. 3 3 r D p ortl a n d i n ter n a tio n a l film festi v a l 13

G re a t B rit a i n

DOWN TERRACE FISH TANK LOOKING FOR ERIC THE SHOCK DOCTRINE Ben Wheatley Andrea Arnold Ken Loach M. Winterbottom, M. Whitecross

Ken Loach meets “The Sopranos” might Winner of the Cannes Jury Prize for her Loach and longtime screenwriter/collabo- “Based on the best-selling book by Naomi characterize this darkly comic and some- first film, Red Road (PIFF 31), Arnold has rator Paul Laverty shift from their more Klein, The Shock Doctrine seeks to explain times disturbing slice of social surrealism in won it again for her second, Fish Tank. Mia despondent social-realist meditations to the rise of disaster capitalism: the exploita- which a family of dysfunctional crooks tries (Kate Jarvis), a sullen and volatile 15-year- this fanciful romantic comedy, a whimsical, tion of moments of crisis in vulnerable to keep their criminal enterprise from falling old, lives with her single mother and little life-affirming nod to the possibility of countries by governments and big business. apart. As soon as Bill (Bob Hill) and his son sister in a dreary working-class housing ­second chances. Postman Eric Bishop has The film traces the doctrine’s beginnings Karl (Rob Hill) are released from jail, they project in Essex. Ostracized at school and hit a true low: his two lazy stepsons ignore in the radical theories of Milton Friedman try to figure out who ratted them out to the angry at the world, Mia’s only solace is her him, his second marriage is in ruins, a car at the University of Chicago, and its subse- police. Bill’s partner ( Julia Deakin) seems private passion for hip-hop dancing, which accident lands him in the hospital—and quent implementation over the past 40 years like your average housewife, but there’s she practices incessantly. When her mother that’s just the start of his troubles. The in countries as disparate as Augusto something about her that suggests she may (Kierston Wareing) brings home a mysteri- lovelorn Eric meanwhile pines for former Pinochet’s Chile, Boris Yeltsin’s Russia, have had a hand in it. It soon becomes ous, charming stranger named Connor wife Lily but lacks the confidence to recon- Margaret Thatcher’s Great Britain, and ­evident that this ordinary terraced house is (Michael Fassbender, Hunger), who just nect. While his friends contrive to help most recently through the invasions of packed to the rafters with gangsters. Among might be the calming father figure the him out, often to hilarious effect, the person Afghanistan and Iraq. Filmmakers Michael others, we meet a despised family “friend” family needs, an emotional, if not sexual, who finally comes through is another Eric: Winterbottom and Mat Whitecross use a (Tony Way), a hit man (Michael Smiley) chemistry between he and Mia soon adds Manchester United soccer icon Eric Cantona brand of artistic license to present a cine- who takes his toddler along on jobs, Karl’s a new dimension to a charged family atmo- (playing himself), who appears rather matic experience that takes this theory to pregnant girlfriend (Kali Peacock) and a sphere. One of Britain’s strongest new cine- unexpectedly in Bishop’s bedroom, offering a new audience. Warning: After viewing nasty piece of work named Eric (David matic voices, Arnold reaffirms her talent the sage advice on life and love that Eric this film, you may interpret our world Schaal). Paranoia reigns supreme in this for gripping, emotionally-charged realism, needs to turn his life around. (116 mins.) ­history in a new light.”—Sundance Film house, where everyone is suspicious of and for finding beautiful poetry in the Selected Filmography: Kes (69), Riff-Raff (80), Festival. (82 mins.) everyone else. Winner of the Best Feature bleakest of lives. (122 min.) Raining Stones (93), My Name Is Joe (98), The Wind Selected Filmography: Butterfly Kiss (95), Prize at Fantastic Fest. (89 mins.) Filmography: Red Road (06). That Shakes the Barley (06). Wonderland (99), 9 Songs (04), The Road To First Feature Film. Guantanamo (05), A Mighty Heart (07). Showtime: 2/19, 6pm WH. Showtimes: 2/26, 6pm WH Showtimes: 2/22, 6:15pm B3 and 2/27, 7:45pm B1. Showtimes: 2/20, 6:45pm B2; and 2/25, 6:15pm B1. 2/20, 9:15pm B2; and 2/21, 1pm B2. 14 3 3 r D p ortl a n d i n ter n a tio n a l film festi v a l

G r . B rit a i n (cont.) H O N G K O N G H U N G A RY I C E L a n D

SONS OF CUBA The Warlords CHAMELEON REYKJAVIK-ROTTERDAM Andrew Lang Peter Chan Ho-Sun Krisztina Goda Óskar Jónasson

Sons of Cuba is set in the legendary Havana “With a cast of thousands, spectacular battle Gábor cleans offices. Working nights, he Ex-con Kristófer, recently released from a Boxing Academy, no ordinary institution: scenes, Shakespearean-style rumination rarely has any contact with his employers, jail term for smuggling alcohol while work- this is a boarding school that handpicks on the corrupting influence of power and yet he learns everything about them by ing on a freighter, now works as a lowly-paid nine-year-old boys and turns them into the a story of love and loyalty played with thoroughly analyzing their garbage. Nobody security guard. Bored with his dreary exis- best boxers in the world. The results have ­dramatic intensity and martial arts fury, suspects that Gábor is in fact a con man tence and struggling to support his family, been stunning—Cuba has dominated The Warlords reigns as the Asian super- who carefully chooses his victims by the he is tempted when his friend Steingrímur Olympic boxing for the past quarter of a production for the new millennium. All trash they leave behind, and usually tar- offers to help him get back his old job on century. The boys’ duties extend far beyond revolves around the tragic fate of General gets disillusioned, lonely women. In a few the ship—which would provide the oppor- the ring: they are groomed not only as Pang ( Jet Li), whose noble intention to bring months he destroys all their romantic illu- tunity to do one last smuggling job on a world-class fighters, but also as international peace and stability to late 19th-century sions by taking all of their savings. When freighter between Reykjavik and Rotterdam. symbols of their country. Castro dubs them Qing Dynasty China turns into vaunted he gets a job at a psychologist’s office, Gábor Contending not only with the suspicious “the standard bearers of the Revolution.” ambition for personal power and glory. meets Hanna, an injured dancer from a local police but also with a captain who Lang follows three young hopefuls through Pang is joined by two bandits who become wealthy family. Insecure and vulnerable, mistrusts him and a psychopathic Dutch eight dramatic months of training and his sworn blood brothers. Zhao (Andy Hanna seems to be the perfect victim. criminal, Kristófer sets out on his mission schooling as they prepare for the biggest Lau) and Jiang (Takeshi Kaneshiro) help Gábor pretends to be a doctor who can to solve his financial woes. Reykjavik- event of their lives, Cuba’s National Boxing Pang rise to power, carrying out impossible cure her body and her soul. Everything Rotterdam’s gritty naturalism is evocatively Championship for Under-12’s. During the campaigns for the Qing court, defeating goes according to plan until Gábor falls in realized by the work of Jar City cinematog- season, crisis strikes: Fidel Castro, the Taiping rebels and conquering cities. Along love, and must choose between his beloved rapher Bergsteinn Björgúlfsson and hard- boys’ leader and inspiration, is taken ill, and the way, Pang becomes attracted to Zhao’s and her money. A suspenseful psychological ened performances from a fine cast. This all of Cuba’s Olympic boxing champions wife (Xu Jinglei), and massacres prisoners thriller, Chameleon is this year’s Hungarian year’s Icelandic submission for the Best defect to the USA, leaving the boys con- whom Zhao had promised to protect. submission for the Best Foreign Language Foreign Language Film Oscar. (88 mins.) Soon, the brotherhood collapses in a spiral templating a future which is altogether Film Oscar. (104 mins.) Filmography: SLC-25 (90), Remote Control (92), of betrayal and death.”—San Francisco ­different from the one they have been Filmography: Just Sex and Nothing Else (05), Pearls and Swine (97). Film Festival. (126 mins.) taught to believe in. (88 mins.) Children of Glory (06). Showtimes: 2/19, 7pm B4; First Feature Film. Filmography: He’s a Woman She’s a Man (94), Comrades: Almost a Love Story (96), Perhaps Love (06). Showtimes: 2/21, 6:45pm B4; 2/20, 5:30pm B4; and 2/21, 4:30pm B4. Showtimes: 2/20, 2:45pm B1 2/23, 6:15pm B3; and 2/24, 7:15pm B4. Showtimes: 2/17, 9:30pm B3; and 2/22, 6pm B1. 2/18, 6:45pm B2; and 2/18, 9:30pm B2. 3 3 r D p ortl a n d i n ter n a tio n a l film festi v a l 15

I N DI A I R a n I R E L a n D/ n E T H .

The WINDOW ABOUT ELLY HEIRAN Nothing Personal Buddhadeb Dasgupta Asghar Farhadi Shalizeh Arefpoor Urszula Antoniak

Bimal and Meera are a young Kolkata Ahmad, divorced from his German wife, During the post-Soviet period of Taliban Antoniak’s Nothing Personal is an intense, ­couple, very much in love and on the verge has recently returned to Tehran. Looking rule in Afghanistan, almost three million engrossing tale centering on a ferociously of getting married. But Bimal has an ideal- forward to joining a group of old university Afghans fled across the border into Iran, independent young Dutch woman’s rela- istic streak that jeopardizes their bliss. On friends for a weekend getaway on the triggering prejudice and strife among their tionship with a kindly widower in rural a visit to his old school, he sees how it has Caspian Sea, he reflects that perhaps it is hosts. Heiran is one such refugee. Mahi, a Ireland. A vagabond by choice, Anne fallen into disrepair and decides to donate time to find an Iranian wife. One of the successful 17-year-old student from a poor (Lotte Verbeek) walks the country enjoying a new, handcrafted window to replace the group, Sepided, has invited someone new, family herself, falls in love with Heiran. her solitude in the austerely beautiful now decrepit one from which he gazed as a an attractive teacher named Elly, who she Her father, however, flies into a violent rage ­landscape of Connemara. Martin (Stephen boy. It seems like a simple act of generosity, thinks just might be a match for Ahmad. when he learns of their relationship and Rea) is a man in his prime, living a solitary but in Dasgupta’s Bengal, generosity can But as the lighthearted gathering settles forbids Mahi to see Heiran. And that is only life in a remote house on a beautiful island. seed chaos. Soon, he is lost in a picaresque in, Elly mysteriously disappears from their the beginning of the couple’s problems. She is radical and uncompromising. He is netherworld of petty crime and mystical seaside bungalow. As lies and deception When they flee to Tehran together, their wise and ironic. What connects them is the visions. “Window showcases Dasgupta’s compound into catastrophe, About Elly hard-won bliss is soon threatened again. exile they both see as freedom. He proposes striking imagery and sense of place, but still focuses on the behavior and values of the Heiran is a timeless tale of star-crossed ­lovers she work for him in exchange for food. more impressive is his delightful, seamless Iranian middle class, illustrating how thrown into turmoil by family differences She agrees on one condition: that there mesh of the magical with the realistic, the ­convention, conformity and tradition can and cultural circumstances—a modern-day, will be no personal contact between them. slapstick with the ethereal, and romance be restrictive, even among those who fool Middle Eastern Romeo and Juliet. Who will be the first one to break the vow? with global economics.”—Telluride Film themselves into thinking they are not guided (88 mins.) Antoniak won the award for Best First Festival. (110 mins.) by them. Winner of the Best Narrative First Feature Film. Film, and Verbeek the Silver Leopard for Selected Filmography: Distance (78), Crossroads Feature award at the Tribeca Film Festival Best Actress, at the Locarno International Showtimes: 2/16, 6pm B1; (81), The Return (86), Their Story (92), The Shelter and this year’s Iranian submission for the Film Festival. (85 mins.) 2/19, 6pm B2; and 2/19, 9pm B4. of the Wings (93), A Tale of a Naughty Girl (02), Best Foreign Language Film Oscar. First Feature Film. Chased by Dreams (04), Memories in the Mist (05), (119 mins.) The Voyeurs (07). Showtimes: 2/26, 6:45pm C21 Filmography: Beautiful City (04), Fireworks and 2/27, 12pm C21. Showtimes: 2/12, 9pm B1; Wednesday (06). Sponsored by Higgins. 2/13, 3pm B2; and 2/14, 8pm B2. Showtimes: 2/13, 3:15pm B3; 2/14, 1:45pm B4; and 2/14, 7pm B4. 16 3 3 r D p ortl a n d i n ter n a tio n a l film festi v a l

I S R A EL I T A LY

AJAMI THE SICILIAN GIRL VINCERE MID-AUGUST LUNCH Scandar Copti, Yaron Shani Marco Amenta Marco Bellocchio Gianni Di Gregorio

Winner of the Best Film, Director, and Recounting a major turning point in Sicily’s Bellocchio delves into the hidden early life “One of Italy’s leading scriptwriters, Screenplay awards at this year’s Israeli war against organized crime, The Sicilian and rise to power of Italian dictator Benito 59-year-old Gianni Di Gregorio (screen- Film Academy ceremony, this powerful Girl is an eloquent, gripping crime drama, Mussolini, as seen through the eyes of his writer of Gomorrah), stars in his utterly collaboration between Shani (Israeli) and inspired by the true story of a young girl quietly erased first wife. Beginning as a charming directorial debut as the money- Copti (Palestinian) offers a unique perspec- who broke ranks to testify against the Mafia. theater actor, journalist, and socialist on troubled Giovanni, who spends his days tive on the myriad complexities of the On a November morning in 1991, 17-year- the rise, Mussolini meets Australian aristo- caring for his elderly mother in Rome. greater Israeli-Palestinian conflict. Ajami old Rita Atria (Veronica D’Agostino) crat and socialist Ida Dalser in 1914–and Giovanni discovers that some of his back is a tough Jaffa neighborhood, rife with approached the chief prosecutor of Palermo she falls hard for him. Their torrid affair rent will be forgotten if he also takes in his tension. In this multi-ethnic stew, a power- (Gerard Jugnot), intent on vindicating her compels her to sell everything to help him landlord’s elderly mother for a few days ful Bedouin clan wages a violent vendetta father and brother’s mafia-related deaths, fund “Il Popolo d’Italia,” the newspaper during the traditional mid-August holiday. against a poor family that has offended its and ready to tell all. It was the first time that would soon become the propaganda But when the landlord arrives, he has both honor. A teenage worker from the occu- that a daughter of a mafia family openly tool of the newly formed Fascist party. his mother and his aunt in tow. Then pied territories desperately tries to raise rebelled against the traditionally male- After Ida gives birth to their son, Mussolini Giovanni’s friend Luigi shows up with a money to help his ailing mother. A Jewish dominated organization. Repudiated and rejects them both. He eventually has them similar caretaking request for his own aged police detective struggles with the disap- threatened by her boyfriend, her home- arrested, marries another woman, and mother. Winner of the Venice Film pearance of his brother. An affluent town, and even her mother (Lucia Sardo), ­dispassionately watches as Ida slips into Festival’s Best First Film prize, Mid-August Palestinian and his Jewish girlfriend dream Rita is forced to leave Sicily and move to insanity. Juxtaposing Ida’s tragic story with Lunch has a wonderfully loose, almost about the future. As these gripping stories Rome—but she knows that her betrayal the phantasmic public one of the grand improvised feel in which Di Gregorio intersect, we witness the dramatic colli- must be avenged. (110 mins.) Il Duce, Bellocchio fashions a unique focuses on following the natural rhythms sions in a world of sustained, machismo- Filmography: One Girl Against the Mafia (04). glimpse into an extraordinary period in of his houseguests’ interactions with each fueled chaos. This year’s Israeli submission Italian history. (128 mins.) other rather than on a set storyline.”—Film Showtimes: 2/26, 6:15pm B1 for the Best Foreign Language Film Oscar. Selected Filmography: Fists in the Pocket (65), Society of Lincoln Center. (75 mins.) (120 mins.) and 2/27, 8pm WH. Leap Into the Void (80), The Butterfly’s Dream (94), First Feature Film. First Feature Film. Cultural Partner: Italian Cultural Institute, The Nanny (98), The Wedding Director (07). Showtimes: 2/13, 6:15pm B1 Showtimes: 2/13, 8:45pm B3; San Francisco. Showtimes: 2/19, 8:45pm WH and 2/14, 5:45pm B3. 2/16, 9:15pm B4; and 2/17, 6pm B1. and 2/21, 4:45pm B1. Cultural Partner: Italian Cultural Institute, Sponsored by the Consulate General of Israel Cultural Partner: Italian Cultural Institute, San Francisco. to the Pacific Northwest. San Francisco. 3 3 r D p ortl a n d i n ter n a tio n a l film festi v a l 17

J a p a n M E X i CO N ETHERL a n DS

NOBODY TO WATCH OVER ME THE INHERITORS Nora’s Will THE LETTER for THE KING Ryoichi Kimizuka Eugenio Polgovsky Mariana Chenillo Pieter Verhoeff

When two children are found murdered, an Polgovsky’s poetic The Inheritors, which he A divorcée plots to reunite family and Based on the story by Tonke Dragt, 18-year-old high school student becomes wrote, directed and edited, immerses us in friends on the eve of Passover in this The Letter for the King brings one of the the prime suspect, and the case quickly the daily lives of children who, along with affecting, understated comedy set in most popular young-adult books in Dutch becomes a media sensation. As both the their families, survive only by their unre- Mexico City’s close-knit Jewish community. history vividly to life in this knights-on- press and an angry public descend on the lenting labor. Polgovsky (Tropic of Cancer, José learns that Nora, the woman he was horseback adventure. Sixteen-year-old home of the accused, the family finds itself PIFF 29) documents reality in rural married to for 30 years and then divorced, Tiuri sets out on a dangerous journey at the mercy of strangers. A veteran police Northern Mexico in a way that captures has committed suicide. Forced to wait five marked by sword-clanging battles and detective is assigned to look after Saori, the people’s dignity and humanity as they days for the funeral to allow his son to be unexpected help from a beautiful princess. the 15-year-old sister of the accused. While work long hours, in often hazardous condi- present and the rabbi to officiate, José in On the eve of becoming a knight, he must he initially regards the assignment as frivo- tions, picking tomatoes, peppers, corn and the meantime discovers that Nora had pre- sacrifice his own dreams when he prom- lous, it isn’t long before he sees what kind beans. The film observes them in other pared all of the plans and food for a final ises a dying messenger that he will deliver of toll the attention has taken on the family. labor routines, such as producing earthen Passover Seder. But Nora also left some- an extremely important letter to the King. When the detective feels Saori is no longer bricks, cutting cane, gathering firewood, thing else: a curious photograph that may Join Tuiri on his perilous, life-changing safe in Tokyo, he takes her to the country ox-plowing fields and planting by hand, unlock the mystery of her life and death journey through mountain, forest and valley to escape, but they soon discover that no as well as in their artistic endeavors, such for the family she left behind. As curmud- where not only lives but also kingdoms place is safe from the prying eyes of the as carving wooden figures and weaving geonly José reluctantly prepares for the hang in the balance. Ages nine and up. tabloid press and the people who read it. baskets to sell. The indelible impression: funeral, a colorful collection of characters (108 mins.) assemble in Nora’s apartment, including This year’s Japanese submission for Best from the frailest elders to the smallest of Selected Filmography: Mark of the Beast (80), disapproving rabbis, a devoted house- Foreign Language Film Oscar. (118 mins.) toddlers, the cycle of poverty continues. The Dream (85), Nynke (01). Best Documentary, Mexican Academy keeper, a half-blind aunt and the couple’s Filmography: The Suspect: Muroi Shinji (05). Showtimes: 2/15, 1:45pm B3; of Film Arts and Sciences. (90 mins.) grown son. Winner of Audience Awards at Showtimes: 2/24, 8:30pm B1 festivals in Morelia, Miami and Moscow, 2/20, 3pm B4; and 2/21, 3:30pm B2. Filmography: Tropic of Cancer (04). and 2/27, 5pm C21. Chenillo’s warm and witty tale speaks to Sponsored by French American Showtimes: 2/25, 6pm B3 audiences everywhere. (92 mins.) International School. and 2/27, 2:45pm WH. First Feature Film. Sponsored by the Consulate of Mexico. Showtimes: 2/18, 6:15pm B4; 2/22, 8:30pm B3; and 2/23, 6:45pm B2. Sponsored by the Consulate of Mexico. 18 3 3 r D p ortl a n d i n ter n a tio n a l film festi v a l

N ETHERL a n D S (cont.) N E W Z E A L a n D N ORW A Y P OL a n D

REMBRANDT’S J’ACCUSE THE TOPP TWINS: THROUGH A GLASS, DARKLY The REVERSE Peter Greenaway UNTOUCHABLE GIRLS Jesper W. Nielsen Borys Lankosz Leanne Pooley In Rembrandt’s J’Accuse, Greenaway decon- Adapted from Jostein Gaarder’s acclaimed Lankosz’s darkly comic film tells the story structs The Night Watch, the greatest of One of New Zealand’s most cherished and novel, Through a Glass, Darkly is the sensi- of three generations of women living the Dutch master’s portraits of Holland’s charmingly irrepressible performing duos, tive, moving story of how an otherworldly together at the peak of Stalinist terror in 17th-century militias. Greenaway, who twin sisters Jools and Lynda Topp are presence helps a young girl come to terms 1950s Poland. In the middle of the capital, began his career as a painter, takes the immensely popular with rednecks and left- with her serious illness. Cecilie, home from the foundations of the Palace of Culture painting apart plane by plane and reads it wingers alike. Although they do not look the hospital, wants everyone to act normally, are being raised. Sabina has just turned 30 the way it was read in 1642 after Rembrandt identical, their voices virtually are, melding but it isn’t so easy for her family. It isn’t and her mother is trying to find her a hus- completed it: as an outrageous piece of into a yodelling, country-and-western easy for Cecilie, either, but she has found band. Her grandmother has rated the can- ­theater in which the painter bit the aristo- ­harmony all its own. Jools and Lynda intro- a way to cope–by thinking back to a family didates, yet Sabina isn’t interested in any cratic hand that fed him by embedding duce themselves during a performance full holiday in Spain where she fell in love with of them. One day, under dramatic circum- within the painting a sensational charge of of music and happy memories. Colleagues Sebastian. One night an odd man enters stances, she meets Bronislaw, a young man murder. “A scholarly yet broadly accessible and friends proceed to shine light on the Cecilie’s room, claiming to be an angel with the looks of a peasant movie star. illustrated lecture that examines the Dutch special success of the sisters’ cheerful, radi- named Ariel. At first Cecilie doesn’t Though Bronislaw is vulgar, Sabina can’t master’s most famous painting for proof cal lesbian love songs and anarchist vaude- believe him, but when he does things that help but fall for him, and thus sets in that it was responsible for his dramatic ville comedy. Pooley weaves performances no human can do, she accepts his claim motion a series of surprising events that fall from grace. A companion piece to and home movies from their carefree farm and asks him to reveal the secrets of will change the lives of all three women, Greenaway’s Nightwatching [PIFF 32], this childhood with footage of the sisters during heaven. Ariel agrees, but only if she first and reveal the darker side of their natures. film brims with juicy conspiracy theories demonstrations against nuclear weapons, tells him what it is like to live on Earth. Winner of the Best Film and Audience and forensic investigations worthy of top-tier apartheid, and for gay rights, to fashion an Best Live Action Feature Award, Chicago Awards at the Gdynia Polish Film Festival TV crime drama.”—Variety. “Just because affectionate, unforgettable portrait. (84 mins.) Children’s Film Festival. (85 mins.) and the FIPRESCI Critics Award at the you have eyes does not mean you can Warsaw Film Festival, The Reverse is this Filmography: Haunting Douglas (03), The Promise Filmography: The Last Viking (97), Little Big Sister see.”—Peter Greenaway. (86 mins.) (00), Okay and Big Plans (02), The Man Behind the year’s Polish submission for the Best (05), Try Revolution (06). Foreign Language Film Oscar. (101 mins.) Selected Filmography: The Cook, the Thief, His Wife Door (03). Showtimes: 2/13, 4pm B1; (89), Pillow Book (96), Nightwatching (07). First Feature Film. 2/14, 7:15pm B1; and 2/16, 6:15pm B3. Showtimes: 2/13, 1pm B3; Showtimes: 2/17, 6:45pm B2; Showtimes: 2/20, 3:30pm WH 2/14, 4:30pm B4; and 2/15, 5:15pm B4. Sponsored by Q Doc: Portland Queer 2/18, 8:15pm B4; and 2/24, 9:15pm B4. and 2/21, 5:15pm B3. Documentary Film Festival. Sponsored by Norwegian Consulate General, Sponsored by the Consulate General of the Sponsored by Southpark Seafood Grill. San Francisco. Republic of Poland, Los Angeles. 3 3 r D p ortl a n d i n ter n a tio n a l film festi v a l 19

R O M a n I A R U S S I A

POLICE, ADJECTIVE HIPSTERS ROOM AND A HALF WARD NO. 6 Corneliu Porumboiu Valery Todorovsky Andrey Khrzhanovsky A. Gornovsky, K. Shakhnazarov

Winner of the Jury Prize (Un Certain Regard) Moscow, 1955. In the midst of strict Cold Exiled to the United States in 1972, the A major box office and critical hit in Russia, and Critics Prize at the Cannes Film Festival, War Soviet conformity, nothing can stop famous Russian poet Joseph Brodsky and this year’s submission for the Best the latest film from Porumboiu (12:08 East a group of young “hipsters” from donning always wanted to return anonymously to Foreign Language Film Oscar, Ward No. 6 of Bucharest, PIFF 31) starts out with an outrageous threads, adopting American St. Petersburg, the city of his youth. is a bold, modern update of Chekhov’s tale absurdly comic police sting operation—one nicknames, puffing up their pompadours, Through a variety of imaginative tech- of a psych-ward doctor turned patient in designed to catch a lone high school student throwing back martinis, and reveling in niques, 69-year-old animator Andrey his own asylum. Filming in an actual mental in the act of selling drugs. Cristi, the cop forbidden jazz. Straight-laced 20-year-old Khrzhanovsky has made the Nobel Prize hospital, the directors interview real patients assigned to the case, realizes the futility of Communist Youth Party member Mels winner’s wish come true in Room and a with actors only incidentally wandering the mission, but his attempts to convince finds these ­brazen renegades shocking, until Half. A fictional Brodsky narrates this in and out of the frame. Used by Chekhov his bureaucratic superiors are met with he falls under the spell of a pretty one and ­nostalgic fantasy on board a cruise ship as a metaphor for a man’s disappointment contempt, derision, and the reminder that joins the new revolution. Soon he’s cavort- destined for Russia. Through a series of with the promises of science, the story now it is not his place to question the letter of ing in the latest flashy fashions, sporting flashbacks he recalls his childhood, in par- reconsiders that disappointment as a loss the law. But letters and laws are very much an enormous do, and wailing on the saxo- ticular the return of his father, laden with of faith in the nation’s future. (83 mins.) on Porumboiu’s mind, as the observational phone—all in an exuberant musical that gifts, from World War II, and his parents’ In May the Film Center will be presenting style of the film’s first part gives way to an delves into a chapter of Russian history affectionate reunion. It appears an idyllic “Celebrating Chekhov on the Russian exhilarating verbal joust between cop and ­little known to outsiders. Music and the time for the budding scribe who “live[s] in Screen.” common dream of America become a police chief about conscience, personal a city whose color [is] fossilized vodka.” Gornovsky Filmography: Son (04), 20 Cigarettes morality and the true meaning of the manifestation of freedom. The winner of Through the seamless fusion of documen- (07). Shakhnazarov Filmography: Jazzmen (83), things one sees and how one chooses to four Nika Awards (Russia’s Oscar) includ- tary footage, classical Russian music, still Dreams (93), The Rider Named Death (04). describe them. “The truth of my character ing Best Film, Hipsters is ­universal in its photography, recordings of Brodsky read- Showtimes: 2/24, 6pm WH lies in the small things, in his daily routine ­celebration of self-expression and spirited ing his work, and beautiful, dreamlike ani- and 2/25, 8:15pm B3. and in a certain time of being and reacting.” opposition to conformity. (125 mins.) mation, Khrzhanovsky has created a film —Corneliu Porumboiu. (115 mins.) Filmography: Love (92), The Land of the Deaf (98), as poetic as his subject matter. (130 mins.) The Lover (02), My Stepbrother Frankenstein (04). Filmography: 12:08 East of Bucharest (06). First Feature Film. Showtimes: 2/12, 8:45pm B3; Showtime: 2/12, 6:30pm WH. Showtimes: 2/21, 6:30pm B2 2/13, 5:30pm B2; 2/16, 8:15pm B1; Sponsored by Romanian American Society and 2/17, 7pm B3. and 2/22, 8:15pm WH. Portland Iasi Sister City Association. Sponsored by Hotel Modera. 20 3 3 r D p ortl a n d i n ter n a tio n a l film festi v a l

S O U T H K ORE A S p a I N

THE GOOD, THE BAD, THE WEIRD LIKE YOU KNOW IT ALL MOTHER WOMAN WITHOUT PIANO Kim Ji-woon Hong Sang-soo Bong Joon-ho Javier Rebollo

“One might call director Kim Ji-woon’s Celebrated art film director Ku Kyung-Nam, “Convinced that her son has been wrongly Plain, middle-aged Rosa is a married stunning homage to Clint Eastwood and invited to a small Korean film festival, runs accused of murder, a widow throws herself woman with no friends and no social life. Sergio Leone a kimchi Western. The film into old colleague Bu. Invited to ­dinner, body and soul into proving his innocence. She has devoted her life to her family and boasts masterful high-speed action like Ku gets drunk, carries on with Bu’s wife After his madcap allegorical monster movie doesn’t seem to think much of herself. you’ve never seen before: think Stagecoach and enrages his friend. A couple of weeks The Host, Bong Joon-ho returns with an But when night falls, she enters a fun, dark meets high-wire Jackie Chan meets The later, Ku meets one of his ex-students, now even more startling genre film. Mother and absurd new world. With her husband Road Warrior. Tongue firmly in cheek, a famous artist who is surprisingly married begins as a cartoonish, almost slapstick Francisco tucked in bed, Rosa (Spanish this action-comedy is set on the Japanese- to a woman Ku once dated and rejected— comedy about a village idiot and his insanely TV superstar Carmen Machi, recently seen occupied Manchurian steppe in the 1930s as a small fact unrevealed to his ­former student. doting, long-widowed parent. Midway in Almodóvar’s Broken Embraces) sneaks a bizarre trio of Korean exiles—The Good Ku’s two very different encounters with through, the movie takes a serious turn as out to meet a young Polish construction (a sharp-shooting bounty hunter in a duster), two very different married woman provide the 27-year-old child is railroaded into worker at the bus station, instigating a pro- The Bad (a wickedly handsome knife- a wry, wincing examination of ­sexual con- prison for the murder of a local school girl; vocative tour of nocturnal Madrid: neon-lit throwing gang leader) and The Weird fusion as the oblivious Ku propels himself then, in its last third, Mother unexpectedly hotels, all-night bars, and dingy launderettes. (a two-fisted gun-slinging thief)—get their from one embarrassing situation to another. spirals into a chilling psychological drama, Rebollo creates a fascinating, disquieting hands on a treasure map and then set off in In true Woody Allen fashion, Sang-soo’s as its unstoppable, devoted maternal work in which “anything might happen, hot pursuit of buried Qing dynasty loot. alter-ego offers a comedic take on the pre- protector­ appoints herself the case’s chief and the film—winner of the San Sebastian Kim’s exhilarating, escalating mayhem pits tensions of the world of indy film and film- investigator and mutates into a cosmic force Film Festival’s Best Director award—holds our three antiheroes against fast-moving makers while deconstructing the paradoxes, of nature, giving perhaps the performance the viewer in thrall by a chain of extra­ trains, horses, trucks, motorcycles, Jeeps, ironies and existential angst of male vanity of the year.”—New York Film Festival. ordinarily staged sequences fueled by a explosions, Japanese and Chinese soldiers and insecurity. (126 mins.) This year’s South Korean submission for visual command and wit that honors the and Russian bandits. And, after all that, Selected Filmography: The Day a Pig Fell into the the Best Foreign Language Film Oscar. cinema of Jacques Tati, Otar Iosseliani their final, existential showdown does not Well (96), Virgin Stripped Bare by Her Bachelors (129 mins.) and Fellini.”—AFI Fest. (95 mins.) disappoint.”—AFI Fest. (130 mins.) (00), Woman Is the Future of Man (04), Woman on Filmography: Barking Dogs Never Bite (01), Filmography: Lola (06). Selected Filmography: A Tale of Two Sisters (03), the Beach (06). Memories of Murder (03), The Host (06). Showtimes: 2/21, 2pm B4; Bittersweet Life (05). Showtimes: 2/24, 8:30pm WH Showtimes: 2/19, 9:15pm B1 2/22, 9:15pm B4; and 2/27, 8pm C21. Showtimes: 2/13, 9pm B1; and 2/27, 5pm WH. and 2/23, 6pm WH. Sponsored by Blue Heron Paper. 2/15, 4pm, WH; and 2/17, 9:15pm B2. Sponsored by Oregon Korea Foundation. Sponsored by Oregon Korea Foundation. 3 3 r D p ortl a n d i n ter n a tio n a l film festi v a l 21

S W E D E N S W I T Z E R L a n D

THE GIRL WITH THE VIDEOCRACY CHARLIE HADEN: RAMBLIN BOY HOME DRAGON TATTOO Erik Gandini Reto Caduff Ursula Meier Niels Arden Oplev A jolly, Mussolini-loving agent, an aspiring Music legends don’t come any more With just the right touches of farce and An international crime thriller involving martial artist/singer, a paparazzi wrangler- ­unassuming than Charlie Haden. Courtesy drama, Home is what Meier has termed corporate intrigue, serial murder and cum-outlaw, and Silvio Berlusconi, the of Reto Caduff’s charming documentary, “a road movie in reverse.” An ordinary ­powerful Old World dynasties, Oplev’s prime minister of Italy, are just a few of the we discover that the affable jazz bassist’s middle class family lives an ordinary life taut film is based on the international best- outlandish personalities in this documentary underlying honesty and decency inform in their ordinary house that sits next to an selling novel by Stieg Larsson and will that explores the mad world of Italian every note of his music. As Haden camps unused highway. With no neighbors or cars have you on the edge of your seat. Mikael ­television. In a country obsessed with game out in a studio to revisit the country music for miles, they live a typical day-to-day Blomkvist (Michael Nyqvist) is a disgraced shows and reality television, whose leader of his youth, he reflects on his rural roots existence. Michel (Olivier Gourmet) goes reporter about to go to prison. Lisbeth owns a controlling stake in much of its and his debut crooning twangy ballads on to work by getting into his car on the other Salander (Noomi Rapace) is the mysterious media, what sort of life is worth living and the radio at the age of two. Through won- side of the empty stretch of road that girl of the title with a checkered past and a what sort of example is worth following? drous archival footage and enlightening seems to lead nowhere. Marthe (Isabelle sideline in computer hacking. Together they Videocracy quietly asks these questions interviews, Caduff leads us through the Huppert) maintains a calm household are hired to investigate a 40-year-old while casually observing its subjects go to next six decades, detailing Haden’s seminal while her teenage daughter listens to music ­disappearance at the request of eccentric, auditions, attend lavish parties and get collaborations with legends like Ornette and suns herself next to the guardrails. 82-year-old industralist Henrik Vanger. thrown into jail, yielding jaw-dropping Coleman and John Coltrane, as well as his Life is good—or at least average. But when As they dig deep into the secrets of the answers. In English and Italian. (80 mins.) ongoing projects such as Quartet West and the highway is suddenly opened and cars whizzing by become the norm, the family’s Vanger family they begin to uncover a dark Filmography: Sacrifiico: Who Betrayed Che Liberation Music Orchestra. Just as Haden’s and bloody history that someone wants to Guevara? (01), Gitmo—The New Rules of War (05). simple playing style masks an innate dynamic changes: dad’s stressed, mom’s understanding of the complexities of freaking out, and things spiral out of control. keep hidden at any cost. (152 mins.) Showtimes: 2/24, 6:15pm B1 ­melody and composition, so too does his Ultimately, the family needs to redefine Filmography: Portland (96), Defense (03), We Shall and 2/27, 2:30pm B1. what “home” means. In French with Overcome (07). placid exterior disguise a deep-seated Sponsored by Nel Centro. ­passion that manifests itself in his art, English subtitles. (95 mins.) Showtimes: 2/12, 9pm WH ­relationships and politics. (84 mins.) Filmography: Sleepless (99), Table Manners (01), and 2/14, 7:30pm WH. Strong Shoulders (02). Filmography: Krokus (04), A Crude Awakening (06). Sponsored by Alaska Airlines. Showtimes: 2/13, 8:30pm B2; Showtime: 2/18, 8:30pm WH. 2/14, 3:15pm B2; and 2/15, 8pm B2. Sponsored by Consulate General of Switzerland, Sponsored by Consulate General of Switzerland, San Francisco. San Francisco. 22 3 3 r D p ortl a n d i n ter n a tio n a l film festi v a l

T A IW a n T U N ISI A U n ited S t a tes

YANG YANG THE WEDDING SONG THE ART OF THE STEAL LEARNING FROM LIGHT: Cheng Yu-Chieh Karin Albou Don Argott THE VISION OF I.M. PEI Bo Landin, Sterling Van Wagenen “Cheng Yu-Chieh has made a vibrantly Karin Albou returns to the themes of her “What is art’s relationship to the public at alive coming-of-age story, combining first film, La Petite Jerusalem (PIFF 30), large, and who decides who gets to see it? One of the most distinguished architects ­contemporary energy with a French New in The Wedding Song, mapping the inter­ Rarely has the City of Brotherly Love of our time, I.M. Pei has spent his storied Wave vibe. Young Eurasian high schooler section of Jewish and Arab cultures and seemed so rancorous as in Don Argott’s career creating designs for some of the Yang Yang is played by Taiwan’s most exploring female sexuality. Unfolding fascinating, thoroughly researched docu- world’s most treasured structures, including ­popular young indie movie muse Sandrine against the backdrop of the German occu- mentary on the Barnes Foundation in Paris’s Pyramide du Louvre and The Pinna, whose half-Taiwanese, half-French pation of Tunis in 1942, this sensual and Merion, Pennsylvania. The foundation, National Gallery in Washington D.C. looks are integrated into the film’s heart. sexually frank story centers around two established by Dr. Albert Barnes in 1922, Learning From Light chronicles Pei’s adven- Yang Yang’s best friend, her half sister teen friends, Jewish Myriam and Muslim boasts one of the world’s largest collections ture through a recent and historically Xiao-ru, is a rival both on the track and in Nour, who have long desired the other’s of impressionist, post-impressionist, and ­monumental challenge: his commission their love lives. When Xiao-ru’s boyfriend life. Although far more interested in love early modern paintings—works that Barnes to design the Museum of Islamic Art for falls for Yang Yang, jealousies explode in than war, both girls find historical circum- wished to make accessible to serious stu- Doha, Qatar. Traveling the Islamic world an act of shocking betrayal, changing Yang stances affecting their wedding plans. dents and everyday people. But since his from Spain to Cairo, the 90-year-old Yang’s life forever. A friendly manager The occupying Nazis demand “reparation death in 1951, lawyers, elected officials, ­modernist architect embarked on a journey Ming-ren takes her under his wing, and her payments” from the Tunisian Jews, which and businesspeople have sought to exploit of discovery to research the culture, history career as a model/actress takes off, thanks Myriam’s impoverished mother cannot the Foundation, ignoring the express and landscape that would inform the to her mixed ancestry and his ­tender care pay. Out of options, she promises Myriam’s wishes of Barnes never to turn his collec- ­project. Pei searched for inspiration in the and training. Visually and thematically, hand to wealthy, older doctor Raoul. tion into an enormous tourist attraction— ancient origins of desert architecture and Yang Yang precisely articulates, via sex, Meanwhile, Nour is happily betrothed and never to move it to Philadelphia, a city translated his findings into one of the most scandal and heartbreak, that shaky, to her handsome cousin Khaled, but her he despised. The Art of the Steal is filled complex building projects of his career. ­unstable, exhilarating moment between father postpones the wedding until Khaled with intrigue, conflicting reports, enor- (84 mins.) adolescence and adulthood.”—Vancouver gets a job. Unfortunately, Khaled finds mous egos, and provocative questions Filmography: Alan and Namoi (92), The Haunted Film Festival. (112 mins.) work with the Germans, helping to round about money, culture and art.”–New York Desert (01), The Work and the Glory (06). Filmography: Do Over (06). up Tunisian Jews. (85 mins.) Film Festival. (101 mins.) Showtimes: 2/14, 2:30pm WH Filmography: La Petite Jerusalem (06). Filmography: Rock School (05), Head Space (06), Showtimes: 2/20, 3:30pm B2; and 2/19, 6:30pm B1. Two Days in April (07). 2/23, 9pm B2; and 2/26, 8:45pm B1. Showtimes: 2/18, 7pm B3 Sponsored by The Nines. and 2/20, 9pm B3. Showtime: 2/13, 2:45pm WH. 3 3 r D p ortl a n d i n ter n a tio n a l film festi v a l 23

FOR THE LOVE OF MOVIES OCTOBER COUNTRY REPORTER STRONGMAN Gerald Peary Donal Mosher, Michael Palmieri Eric Daniel Metzgar Zachary Levy

Boston Phoenix film critic Peary has crafted Winner of the Grand Jury Prize for best Old-fashioned investigative journalists who South Brunswick, New Jersey, is home to an entertaining and informative history U.S. Documentary Feature at the American rely on a unique synthesis of persistence, Stanley “Stanless Steel” Pleskun, the self- of American film criticism from its raw Film Institute’s Silver Docs Festival, October guile, courage, curiosity and very thick proclaimed “Strongest Man in the World beginnings before The Birth of a Nation Country is a beautifully rendered portrait of skins to break the news are increasingly at Bending Steel and Metal.” He can leg- to Bowsley Crowther’s 27-year reign at an American family struggling for stability. in short supply. One such rare creature is press two-ton trucks, bend pennies with his The New York Times; from the incendiary Dottie, matriarch of the upstate New York New York Times journalist Nicholas Kristof. fingers, and perform many other homemade Pauline Kael-Andrew Sarris debates of the family, says it all in the opening sequence: Kristof’s columns have earned him two acts of extreme strength, concentration, 60s and 70s right up to the current battle “If you don’t have family, you don’t have Pulitzer Prizes, convinced Bill Gates to sig- and focus. But Stan, now middle-aged, for audiences between youthful website anything.” The phrase echoes as a story nificantly increase his charitable donations, needs a plan, for as Levy’s affectionate populists and the veteran print establish- rife with war trauma, teenage pregnancy, introduced the world to places like Darfur portrait reveals, success—in both his pro- ment. Providing a unique insider’s view of domestic and sexual abuse, and foster care and arguably changed the tide of history. fessional and personal life—takes another the film critic’s profession are comments achingly unfolds. Portland filmmakers Filmmaker Metzgar trailed after Kristof kind of strength and savvy. Filmed over by some of America’s most influential film Palmieri and Mosher examine intimately when he took off to pay a visit to rebel the course of several years as Stan struggles writers, including A.O. Scott (The New York the forces that unsettle the working poor warlord General Nkunda in the middle of to be taken more seriously than a kids’ Times), Lisa Schwarzbaum (Entertainment and the violence that lurks beneath the a Congolese jungle in 2007. What Reporter birthday party attraction, maintain his Weekly), Roger Ebert (The Chicago Sun-Times), surface of American life. With rich visual reveals is the dangerously high price of rocky relationship with his girlfriend, and as well as other legends like Sarris, Janet metaphors that float through multiple reporting on world events at a time when stay on the bright side, the one thing that Maslin and Jim Hoberman. (81 mins.) story­lines, they paint a portrait of a family the translation of complex facts half a can’t weaken is attitude. The winner of the Joining Gerald Peary after the Sunday that is unique, but also sadly representative world away into meaningful, impelling Grand Jury Award for Best Documentary screening will be Portland film critics of the struggles of many. (83 mins.) ­stories has never been as necessary nor as Feature at the Slamdance Film Festival, Shawn Levy, D.K. Holm, Aaron Mesh First Feature Film. urgent. (92 mins.) Strongman is a moving story of determina- and Erik Henriksen. Filmography: The Chances of the World Changing (07), tion and heart in the face of the hard facts Showtime: 2/17, 6pm WH. First Feature Film. Life. Support. Music (08). of life. (113 mins.) First Feature Film. Showtimes: 2/14, 4:45pm WH Showtimes: 2/15, 4:30pm B3 and 2/15, 4:15pm B1. and 2/21, 2:30pm B1. Showtimes: 2/20, 5pm B1 Sponsored by OregonLive.com. and 2/25, 8:45pm WH. Sponsored by Bingo Lewis. 24 3 3 r D p ortl a n d i n ter n a tio n a l film festi v a l

U n ited S t a tes (cont.) U R U G U A Y

SWEETGRASS WAKING SLEEPING BEAUTY BAD DAY TO GO FISHING GIGANTE Ilisa Barbash, Lucien Castaing-Taylor Don Hahn Alvaro Brechner Adrián Biniez

Lucien Castaing-Taylor, who teaches in By the mid-1980s, the once mighty Disney A combination of quirky dark drama and Jara (Horacio Camandule) spends his Harvard’s Visual Anthropology department, Animation Studios were in a slump. deadpan satire plays out in this stylish tale nights as a security guard on the graveyard and Ilisa Barbash, of Harvard’s Peabody Despite a flock of eager and talented of a washed-up wrestler and a smooth con- shift at a Montevideo supermarket in stoic Museum, describe themselves as “recordists” young animators, innovation at the studio man in a sleepy village in South America. silence—eating pastries, doing crossword rather than filmmakers, as they capture a was held at bay by an old guard of conser- “Prince” Orsini, an impresario, arrives in puzzles, and watching the confines of his family and their animals in their final season vative original-era executives. By the end a small town with his protégé, a one-time world go by on a bank of TV monitors. herding sheep in Montana’s spectacular of the 1990s, however, Disney had produced German wrestling champion named Jacob Something stirs in Jara, though, when he Absaroka-Beartooth mountain range. The a string of bona fide hits from Who Framed Van Oppen. Orsini’s scheme is to use Jacob’s catches sight of a cleaning woman (Leonor herders work like cowboys out of the old Roger Rabbit? to The Lion King. What can status to lure locals into duels with him, Svarcas) in the fluorescent glare of the West, but unlike cattle, stubborn sheep can account for this turnaround? Director promising a large cash sum to anybody who empty supermarket floor. Too shy to speak, be hilarious to watch. From the cockeyed Don Hahn is a 30-year Walt Disney Studios can pin him in three minutes. In reality, he begins following the woman after work, sight of a massive sheep drive down a veteran, and his juicy behind-the-scenes the matches are fixed to protect Jacob’s decoding her secrets while continuing to small town’s empty main drag, to a herder tell-all of this transitional period is an reputation—and Orsini’s income. The pair’s deny his own. Will the gentle giant ever pouring his heart out on a cell phone at the ­encyclopedia of first-hand footage, drawings, plan is threatened when an opponent is too summon the courage to approach her? top of a monumental vista, Castaing-Taylor and interviews detailing all the in-fights drunk to wrestle, and femme fatale Adriana, Set against the dreary background of and Barbash sharpen their sense of humor and ego trips, unequivocal failures and eying the non-existent $1,000 prize, offers up ­economic recession and distinguished by as well as their all-embracing lens to create soaring successes, tragic lows and elating her muscular husband as the replacement Camandule’s heart-wrenching performance, an unforgettable cinematic experience. highs of the Disney renaissance. (86 mins.) opponent. Jacob, nursing sore muscles, a this nearly silent one-way love story—which “A really intimate, beautifully shot exami- First Feature Film. nasty cough and an even nastier alcohol the director himself considers “a subver- nation of the connection between man and habit, is in trouble. “Brechner’s ambitious sion of the classic … romantic comedy”— beast.”—The New York Times. (105 mins.) Showtimes: 2/20, 1:30pm B3 debut is something like a retro The Wrestler by earned three awards at the 2009 Berlin and 2/22, 9:30pm B2. First Feature Film. way of the Coen brothers.”—Variety. This Film Festival, including the Silver Bear Sponsored by Bingo Lewis. year’s Uruguayan submission for the Best and the Best Debut Film Prizes. (84 mins.) Showtimes: 2/13, 1:15pm B1 Foreign Language Film Oscar. (110 mins.) First Feature Film. and 2/16, 8:30pm B3. First Feature Film. Sponsored by Alaska Airlines. Showtimes: 2/17, 6:15pm B4; Showtimes: 2/23, 7pm B4; 2/20, 1pm B2; and 2/23, 9:15pm B3. 2/24, 6pm B3; and 2/25, 6:45pm B2. Reel insight.

Shawn Levy’s reviews in The Oregonian and on OregonLive.com 26 3 3 r D p ortl a n d i n ter n a tio n a l film festi v a l

GRANNY O’GRIMM’S SHORT CUTS I: SLEePING BEAUTY INTERNATIONAL TIES Nicky Phelan, Ireland Granny O’Grimm, a seemingly sweet old lady, loses the plot as she tells her version Showtimes: 2/13, 12:30pm WH of Sleeping Beauty to her terrified grand- and 2/15, 1:45pm WH. daughter. (6 mins.)

STARS DON’T TWINKLE NEXT FLOOR Stars Don’t Twinkle in Outer Space Granny O’Grimm’s Sleeping Beauty IN OUTER SPACE Denis Villeneuve, Canada (Great Britain) (Ireland) Peter Thwaites, Great Britain During an opulent and luxurious banquet, complete with hordes of servers and valets, A young boy’s fantasy about a trip to eleven pampered guests participate in a strange planet in a rocket ship morphs what appears to be ritualistic gastronomic into a different kind of trip altogether carnage. (12 mins.) as reality sets in. (10 mins.) PLEASE SAY SOMETHING ALMA Rodrigo Blaas, Spain David O’Reilley, Ireland/Germany Alma, a little girl, skips through the A troubled relationship between a cat and snow-covered streets of a small town. Her mouse set in the distant future. (10 mins.) attention is caught by a strange doll in an Please Say Something Next FLoor antique toy shop window. Fascinated, RUNAWAY (Ireland/Germany) (Canada) Alma decides to enter… (5 mins.) Cordell Barker, Canada Happy passengers are having a great THE GROUND BENEATH time on a crowded train, oblivious to the Rene Hernandez, Australia fate that awaits them around the bend. Kaden’s troubles give way to self-discovery (9 mins.) through a young girl and boy who loiter POSTE RESTANTE on his street. (20 mins.) Marcel Lozinski, Poland Total program running time: 90 mins. What happens to letters addressed to Santa? To deceased relatives? To God? The birth, delivery and reincarnation of Runaway Alma undeliverable letters in Poland. (14 mins.) (Canada) (Spain)

Poste Restante The Ground Beneath (Poland) (Australia) 3 3 r D p ortl a n d i n ter n a tio n a l film festi v a l 27

CAGES SHORT CUTS II: Juan José Medina, Mexico INTERNATIONAL TIES As an old man collects his traps in the desert, an unearthly spirit is stalking his own prey. (10 mins.) Showtimes: 2/14, 12pm WH and 2/16, 8:15pm WH. SLAVES David Aronowitsch, Hanna Heilborn, Sweden SHE WHO MEASURES The harrowing stories of Abouk, 9, and She Who Measures Cages Veljko Popovic, Croatia Machiek, 15, who were abducted by a (Croatia) (Mexico) government-sponsored militia in Sudan Put on a happy face or the scary clown and used as slaves in their war effort. will keep you in line. (7 mins.) (15 mins.) GOOD ADVICE THE ARMOIRE Andreas Tibblin, Sweden Jamie Travis, Canada Tired of his parents never listening to In the third installment of his Saddest him, 10-year-old Rasmus decides to run Children in the World trilogy, following away from home. But before leaving, he Why the Anderson Children Didn’t Come to records a cassette tape for his yet-to-be- Dinner and The Saddest Boy in the World, born new brother with advice on how a young boy descends into an abyss of to handle life. (15 mins.) secrets, fantasies and memory when he Good Advice Slaves (Sweden) (Sweden) MADAGASCAR realizes that his best friend has gone ­missing. (21 mins.) Bastien Dubois, France A visual travel journal demonstrating the Total program running time: 95 mins. importance of dance, death, and custom in a vibrant Malagasy society. (12 mins.) NETHERLAND DWARF David Michôd, Australia Harry really wants a rabbit; Harry’s dad really wants his wife back. They’ve both forgotten that they already have each Madagascar The Armoire other. (15 mins.) (France) (Canada)

Netherland Dwarf (Australia) 28 3 3 r D p ortl a n d i n ter n a tio n a l film festi v a l

SEAGULLS AND WAVES SHORT CUTS III: Brian Libby MADE IN PORTLAND Music by Colleen playfully seasons ­contemplative footage of the title subjects. (6 mins.) Showtimes: 2/20, 1pm WH and 2/23, 8:45pm WH. AXIOMS OF A DISHWASHER Vance Malone HOUSE OF SOUND Philosophic musings on the most thankless House of Sound Axioms of a Dishwasher Vanessa Renwick job in the kitchen. (7 mins.) Homage to the House of Sound, a North FAMILY HISTORY Portland record store and community Shelley Jordon anchor razed in 2008. (9 mins.) New experience is filtered through LAST THROES ­perceptions of past experiences. (5 mins.) Sal Strom LAST YEAR Political undertones are the binding Jarratt Taylor agents in an aural and visual collage. (4 mins.) What feels like a loosely edited home movie evokes the moods, more than the (5 mins.) MISSED ACHES events, of a year in review. Missed Aches Ascending the Giants Joanna Priestley ASCENDING THE GIANTS An ode to the fallibility of spell-check. John Waller (4 mins.) Charming arborists tackle Oregon’s tallest SACK LUNCH trees. (12 mins.) Sean Whiteman DON’T WORRY, A shirtless man in a windowless bathroom IT’S A NEW CENTURY talks some sense into the world. (10 mins.) Jeff Guay 122 RANDOM SECONDS In this wry homage to a seminal Karl Lind Northwest short, a narrator explores the concept of “idea recycling.” (9 mins.) A real-time doc that encourages you to 122 Random Seconds Don’t Worry, It’s a new century “keep Portland weird” and always carry Total program running time: 90 mins. your camera. (2 mins.) THE MOUSE THAT SOARED Kyle Bell A famous flying mouse reflects on his humble beginnings in this high-altitude adventure in aerodynamics. (6 mins.)

The Mouse That Soared 3 3 r D p ortl a n d i n ter n a tio n a l film festi v a l 29

MIRACLE FISH SHORT CUTS IV: Luke Doolan, Australia INTERNATIONAL TIES Eight-year-old Joe has a birthday he will never forget. After friends tease him, he wishes everyone would just go away. Showtimes: 2/22, 6pm WH He wakes up to find his dream may have and 2/27, 12:30pm WH. become a reality. (18 mins.) SHORT TERM 12 WHATEVER TURNS YOU ON Whatever Turns You On This Way Up Destin Daniel Cretton, United States Declan Cassidy, Ireland (Ireland) (Great Britain) Denim, the supervisor for a residential The well-ordered running of an electronics facility housing 15 kids affected by child store is disrupted when a homeless man abuse, begins to realize that, in a lot of arrives to make a purchase. (4 mins.) ways, he is no different from the children TEN FOR GRANDPA he tries to help. (22 mins.) Doug Karr, Canada/United States THE DINNER Was Grandpa a manipulative antihero or Karchi Perlmann, Hungary simply a victim of the McCarthy-era A day in the life of a small rural Hungarian witch hunt? (7 mins.) family during the riots of September THIS IS HER 2006. “A stewed-up existential, cultural and political pot of goulash.” (23 mins.) Ten For Grandpa Miracle Fish Katie Wolfe, New Zealand (Canada/United States) (Australia) “This is me. This is my husband. And this Total program running time: 95 mins. is the bitch who will one day steal him and ruin my life.” (12 mins.) THIS WAY UP Adam Foulkes, Great Britain Laying the dead to rest has never been so much trouble. (9 mins.)

This Is Her Short Term 12 (New Zealand) (United States) 30 3 3 r D p ortl a n d i n ter n a tio n a l film festi v a l

BLOCK B SHORT CUTS V: Chris Chong Chan Fui, Malaysia RESILIENT STRUCTURES A stationary camera looks from one apart- ment block in a Kuala Lumpur neighbor- hood directly onto another. As a modernist A program of experimental films presented by interchange of private and public space, Cinema Project and the Northwest Film Center. Block B attempts to grasp the scope and Showtime: 2/25, 6pm WH. use of monolithic architecture. (20 mins.) TREES OF SYNTAX, Lumphini 2552 Trees of Syntax, Leaves of Axis LUMPHINI 2552 LEAvES OF AXIS (United States/Japan) (Canada/Japan) Tomonari Nishikawa, United States/Japan Daïchi Saïto, Canada/Japan Black-and-white images of plants and Accompanied by the contrapuntal violin trees taken with a 35mm still camera at of Malcolm Goldstein, Trees of Syntax, Bangkok’s Lumphini Park construct an Leaves of Axis examines the natural language emotional rhythm and illusion of move- of a familiar landscape: the formations of ment of beautiful defamiliarization. maple trees and the spaces they inhabit (3 mins.) as poetic expressions of visual and aural SHINONOME OMOGO ISHIZUCHI patterns. (10 mins.) Shiho Kano, Japan EMPIRE BORDERS A travelogue of images inspired by film- Chen Chieh Jen, Taiwan Block B Empire Borders maker Mansaku Itami, including visits to (Malaysia) (Taiwan) Chen Chieh Jen explores the various and Shinonome Shrine, Omogo Valley and sundry checks that Taiwanese citizens Ishizuchi Mountain in Ehime, Japan. must endure when applying for a U.S. visa (15 mins.) and how the “empire” employs every means to maintain an imperialist control. (27 mins.)

Total program running time: 80 mins. Alaska Airlines is proud to support the Job 10.ALA.720 Portland International Film Festival. Bleed N/A Trim 3.125 x 6.5 Live 0.00 x 00.00 Inks 4CP

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Looking for Eric Ken Loach, Great Britain..... 13 Terribly Happy Last Throes Sal Strom, US...... 28 Lourdes Jessica Hausner, Austria...... 6 Henrik Ruben Genz, Denmark...... 10 Last Year Jarratt Taylor, US...... 28 Film Index Mid-August Lunch Through a Glass, Darkly Lumphini 2552 Gianni Di Gregorio, Italy...... 16 Jesper W. Nielsen, Norway...... 18 Tomonari Nishikawa, US/Japan...... 30 features The Misfortunates The Topp Twins: Untouchable Girls Madagascar Bastien Dubois, France...... 27 Felix Van Groeningen, Belgium...... 6 Leanne Pooley, New Zealand...... 18 About Elly Asghar Farhadi, Iran...... 15 Miracle Fish Luke Doolan, Australia...... 29 Moomin and Midsummer Madness A Town Called Panic Ajami Scandar Copti, Yaron Shani, Israel...... 16 Missed Aches Joanna Priestley, US...... 28 Maria Lindberg, Finland...... 11 Stéphane Aubier, Vincent Patar, Belgium...... 7 The Art of the Steal Don Argott, US...... 22 The Mouse That Soared Kyle Bell, US...... 28 Mother Bong Joon-ho, South Korea...... 20 Videocracy Erik Gandini, Sweden...... 21 Bad Day to Go Fishing Netherland Dwarf Vincere Marco Bellocchio, Italy...... 16 Alvaro Brechner, Uruguay...... 24 Music on Hold David Michôd, Australia...... 27 Hernán A. Goldfrid, Argentina...... 6 Waking Sleeping Beauty Don Hahn, US..... 24 Bluebeard Catherine Breillat, France...... 11 Next Floor Denis Villeneuve, Canada...... 26 My Year Without Sex Ward No. 6 Aleksandr Gornovsky, Chameleon Krisztina Goda, Hungary...... 14 Please Say Something Sarah Watt, Australia...... 6 Karen Shakhnazarov, Russia...... 19 David O’Reilley, Ireland/Germany...... 26 City of Life and Death Lu Chuan, China...... 8 Nobody to Watch Over Me The Warlords Poste Restante Marcel Lozinski, Poland...... 26 Charlie Haden: Ramblin Boy Ryoichi Kimizuka, Japan...... 17 Peter Chan Ho-Sun, Hong Kong...... 14 Reto Caduff, Switzerland...... 21 Runaway Cordell Barker, Canada...... 26 Nothing Personal The Wedding Song Karin Albou, Tunisia...... 22 Cooking History Sack Lunch Sean Whiteman, US...... 28 Urszula Antoniak, Ireland/Netherlands...... 15 Welcome Philippe Lioret, France...... 12 Péter Kerekes, Czech Republic...... 9 Seagulls and Waves Brian Libby, US...... 28 Nora’s Will Mariana Chenillo, Mexico...... 17 Wild Grass Alain Resnais, France...... 12 Dawson Isla 10 Miguel Littin, Chile...... 8 She Who Measures October Country The Wild Hunt Alexandre Franchi, Canada.... 7 Veljko Popovic, Croatia...... 27 Down Terrace Ben Wheatley, Great Britain.....13 Donal Mosher, Michael Palmieri, US...... 23 The Wind Journeys Ciro Guerra, Colombia.... 8 Shinonome Omogo Ishizuchi Everyone Else Maren Ade, Germany...... 12 Passenger Side The Window Buddhadeb Dasgupta, India...... 15 Shiho Kano, Japan...... 30 Fish Tank Andrea Arnold, Great Britain...... 13 Matthew Bissonnette, Canada...... 7 Woman Without Piano Short Term 12 Destin Daniel Cretton, US...... 29 Forever Enthralled Chen Kaige, China...... 8 Police, Adjective Javier Rebollo, Spain...... 20 Slaves David Aronowitsch, Hanna Heilborn, For the Love of Movies Gerald Peary, US... 23 Corneliu Porumboiu, Romania...... 19 Yang Yang Cheng Yu-Chieh, Taiwan...... 22 Sweden...... 27 Garbage Dreams Mai Iskander, Egypt...... 10 A Prophet Jacques Audiard, France...... 11 Stars Don’t Twinkle in Outer Space Gigante Adrián Biniez, Uruguay...... 24 Protector Marek Najbrt, Czech Republic...... 9 Short Cuts Peter Thwaites, Great Britain...... 26 The Girl on the Train Rembrandt’s J’accuse 122 Random Seconds Karl Lind, US...... 28 Ten for Grandpa Doug Karr, Canada/US...... 29 André Téchiné, France...... 11 Peter Greenaway, Netherlands...... 18 Alma Rodrigo Blaas, Spain...... 26 This Is Her Katie Wolfe, New Zealand...... 29 The Girl With the Dragon Tattoo Reporter Eric Daniel Metzgar, US...... 23 The Armoire Jamie Travis, Canada...... 27 This Way Up Adam Foulkes, Great Britain... 29 Niels Arden Oplev, Sweden...... 21 The Reverse Borys Lankosz, Poland...... 18 Ascending the Giants John Waller, US ...... 28 Trees of Syntax, Leaves of Axis The Good, the Bad, the Weird Reykjavik-Rotterdam Axioms of a Dishwasher Daïchi Saïto, Canada/Japan ...... 30 Kim Ji-woon, South Korea...... 20 Óskar Jónasson, Iceland...... 14 Vance Malone, US ...... 28 Whatever Turns You On Heiran Shalizeh Arefpoor, Iran...... 15 Room and a Half Block B Chris Chong Chan Fui, Malaysia...... 30 Declan Cassidy, Ireland...... 29 Heliopolis Ahmad Abdalla, Egypt...... 10 Andrey Khrzhanovsky, Russia...... 19 Cages Juan José Medina, Mexico...... 27 Hipsters Valery Todorovsky, Russia...... 19 Shameless Jan Hrebejk, Czech Republic...... 9 The Dinner Karchi Perlmann, Hungary...... 29 Home Ursula Meier, Switzerland...... 21 A Shine of Rainbows Don’t Worry, It’s a New Century I Am Love Luca Guadagnino, Italy...... 5 Vic Sarin, Canada/Ireland...... 7 Jeff Guay, US...... 28 The Inheritors Eugenio Polgovsky, Mexico..... 17 The Shock Doctrine Michael Winterbottom, Identification Statement Mat Whitecross, Great Britain...... 13 Empire Borders Chen Chieh Jen, Taiwan..... 30 John Rabe Florian Gallenberger, Germany...... 12 Publication Title: Family History Shelley Jordon, US...... 28 Learning from Light: The Sicilian Girl Marco Amenta, Italy...... 16 Northwest Film Center Good Advice Andreas Tibblin, Sweden...... 27 Portland International Film Festival The Vision of I.M. Pei Small Crime Issue Date: February, 2010 Bo Landin, Sterling Van Wagenen, US...... 22 Christos Georgiou, Cyprus/Greece...... 9 Granny O’Grimm’s Sleeping Beauty Sons of Cuba Andrew Lang, Great Britain.....14 Nicky Phelan, Ireland...... 26 Statement of Frequency: The Letter for the King Published six times per year Pieter Verhoeff, Netherlands...... 17 Strongman Zachary Levy, US...... 23 The Ground Beneath Rene Hernandez, Australia...... 26 Authorized Organization Name and Address: Letters to Father Jacob Klaus Härö, Finland.10 Sweetgrass Portland Art Museum, Northwest Film Center House of Sound Vanessa Renwick, US...... 28 Like You Know It All Ilisa Barbash, Lucien Castaing-Taylor, US..... 24 1219 SW Park Avenue, Portland, Oregon 97205 Hong Sang-soo, South Korea...... 20 Issue Number: Volume 38; Issue 2 PORTLAND ART MUSEUM NWFilmCenter SCHOOL OF FILM

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Jaime Lee Christiana; Festival Exhibition Karen Devenenzi—Southpark Seafood Grill; Northwest Film Center Assistant—Morgen Ruff; Communications & Marsha Smith—Higgins; Juanita Lynn—Tazo; Film Sources and Friends Marketing Assistant—Yael Bridge; Education IMDB Film Finders; David Machado—Nel The Northwest Film Center is a regional media Program Assistants—Laurel Degutis, Jesse Centro; Aaron Babbie, Dina Nishioka—Hotel Avalon Productions—Lola Mayo; Bavaria- arts organization founded to encourage the Malmed, Martha Early, Quintin Rice; Theatre deLuxe; Federal Express; Kim Riggs—Ace Film—Lisa Wege, Claudia Rudolph; Cineclick study, appreciation and utilization of the moving Managers—Dan Frazier, Larisa Zimmerman; Hotel; Bill Davenport, Joani Wardwell, Dan Asia—Doe Kim; Cinema Guild—Ryan image arts, to foster their artistic and professional Ticket Managers—Sean Whiteman, Jeff Guay; Wieden—Wieden+Kennedy; Kelly Johnson— Krivoshey, Lindsay Dedo; Cinema Project— excellence, and to help create a climate in which Projectionists—Jared Arave, Melinda Kowalska, Oregon Live; Vince Porter—Governor’s Autumn Campbell; Cinema 21—Tom Ranieri; they may flourish. Founded in 1971, the Center Jason Longwell, Alec Dunn; Theatre Staff— Office of Film and Television; Diane Bullas— Cirrus Communications—Jeanette Garcia; CM operates as part of the Portland Art Museum. Ilana Sol, Helmy Membreno, Joe Von Appen, Journal Graphics; Laura van Daal, Fred Entertainment—Isabella Ho; Content Film— The Film Center provides a variety of activi- Veronica Vichit-Vadikan; Festival, Office & Kleisner—The Nines Hotel; Robin Hawley— Rebecca Berry; Czech TV—Jitka Prochazkova; ties and services primarily directed to the resi- Education Interns—Nick Graham, Miranda Maletis Beverage; Howard Rossbach, Cynthia Davidenkoda—Dimitry Davidenkoda; Diva dents of Oregon, Washington, Idaho, Montana Lehman, Lee Yang, David Zumini, Marshall Challacombe—Firesteed Vineyards; Mike Productions—Arani Cutbert; Eye Works— and Alaska. The Center presents a wide-ranging, Lenhart, Matt Nixon, Patrick Williams; Festival O’Bryant—Scandinavian Heritage Foundation; Melissa van Middelar; Film Movement— year-round film and video exhibition program Volunteers—John Acerbi, Julie Akers, Yasue Arai, Sean Concannon, Doug Smith—West Cafe; Rebecca Conget; Film Polski—Jolanta Galicka; and offers a number of outreach programs and Jean Bellinger, Pat Cavanaugh, Liz Cooper, Elizabeth Roberts—Columbia Gorge Organic; Films Transit—Diana Holtzberg; Filmunio— activities serving the region. These include Jeanne Devon, Lori Dodge, Khai East, Verone Joanne Bosworth—Hotel Modera; Karin Vajada Katalin; Finecut—Jiyoon Lim; Finnish ­circulation of outstanding work by regional Flood, Emily Ford, Gabrielle Foulkes, Pirkko Proidl—Austrian Consul General; Christopher Film Foundation—Jenni Domingo, Jaana ­artists; sponsorship of special festivals, including Haavisto, Donna Hortsch, Brian and Nathan Hermann—Hon. Consul of Austria for Oregon; Puskala; First Run/Icarus—Lori Fried; Garbage the Northwest Film & Video Festival (November), Jundt, Marty Kinsella, Pat Lent, Tony Le Tigre, Ursula Rojas Weiser—Consulate of Mexico, Dreams—Tina Leonard; Hungaricom—Lilla Reel Music ( January), Portland Jewish Film Jean Lew, Connor Murphy, Kay Olson, Caitlin Portland; Malgorzata Cup—Consulate General Kovács; IFC Films—Nat Baruch, Dan Goldberg; Festival (April), Young People’s Film & Video Porter, Colin Stryker, Sue Tennyson, Hannah of the Republic of Poland, Los Angeles; Icelandic Film Center—Christof Wehmeier; Festival ( June), and Portland International Film Van Loon, Marty Winch, and many more… James Rudd—Honorary Consul, Romania; International Film Circuit—Wendy Lidell; Festival (February); a School of Film offering Faculty: Peter Appleton, Sue Arbuthnot, Bushra Michou Jardini—Romanian American Kino—Gary Palmucchi, Kate Brokaw; Koch diverse education classes and workshops for Azzouz, Kelley Baker, Craig Baldwin, Jon Society, Portland Iasi Sister City Association; Lorber Films—Suzanne Fedak; M-Appeal— children and adults including a Certificate Beanlands, Andrew Blubaugh, Holly Brix, Amelia Antonucci, Director—Italian Cultural Arndt Roskens; Magnolia Films—Arianne Program in Film; the statewide Young Film­makers Carl Diehl, Trevor Fife, Daniel Johnson, Brian Institute, San Francisco; Martin Schwartz— Ayers, Eamon Bowles, Brad Westcott; Media outreach residency ­program; public access to Lindstrom, Ted Mahar, Roger Margolis, Chris Consulate General of Switzerland, San Asia—Fred Tsui; Menemsha Films—Neil film and video production facilities; and a variety Matheson, Pam Minty, Liz Randall, Chris Tenzis, Francisco; Bill Failing—Oregon Korea Friedman; Music Box Films—Ed Arentz; of ­information and publication programs. Will Vinton,Wayne Woods. Foundation; Andrea Bartoloni—Hon. Vice National Film Board of Canada—Dylan The Film Center is funded in part by grants Consul of Italy, Portland; Consul Geir McGinty; National Geographic Films—Laura Portland Art Museum: Chairman, Board from the National Endowment for the Arts, Tonnessen—Norwegian Consulate General, Kim; Negativ Film Productions—John Riley, of Trustees—Gordon D. Sondland; Executive Oregon Arts Commission, Regional Arts and San Francisco; Stumptown Coffee; Linda Uta Gildhuis; Neoclassic Films—Michael Director—Brian Ferriso. Culture Council, The Ted R. Gamble Film Witt—Alliance Française de Portland; Laura Kanack; New Zealand Film—Eloise Veber, Endowment, The Paul G. Allen Family Northwest Film Center Committee: Donald Strauss, Sanaz Alesafar—TV5Monde; Neta Kathleen Drum; Norwegian Film Institute— Foundation, Academy of Motion Picture Arts Van Wart, Chairman; Linda Andrews, Mary Shacham—Consulate General of Israel; Ellen Knut Skinnarmo, Stine Oppengaard; and Sciences, The Rose E. Tucker Charitable Hinckley, David Margulis, Dick Rubinstein, Theodorson, Slone Pearson—Oregon State Bar Oscilloscope—Jonathan Howell; Outsider Trust, Autzen Foundation and the support of Alice Wiewel, Bill Whitsell. International Law Group; Russ Gage, David Pictures—Paul Hudson; Palisades/Tartan— numerous corporate program sponsors, Silver Regal Broadway Metro 4: General Manager: Weissman—QDoc Festival; Jennifer Froistad, Debbi Berlin; Paulson Theater Services— Screen Club members and friends. Tonisha Falconer; Managers: Tim Whitmer, Shelby Kardas—World Affairs Council of Roger Paulson; Pony Canyon—Keiko Hirai; Aaron Mannion, Preston Backer, Kenney Oregon; Arezu Movahed—French American Regent Releasing—John Lambert; Reliance Goodman-Farley. International School. Media—Devashish Chainani; Seagull Films— Film Center Staff Festival Program & Poster Design—Sandstrom Alla Verlotsky; Sepia Films—Kate MacPhail, Partners; Print Production—Denise Brem; Sam Trounce; Sheherazad Media Director—Bill Foster; Education Director— Special Thanks to Proofreading/editing—Katy Roberts. International—Navid, Katayoon Shahabi; Sony Pictures Classics—Tom Prassis, Mike Ellen Thomas; Public Relations & Marketing Festival Trailer: Director—David Emmite; Piaker, Michael Barker, Leila Guenancia; Manager—Jessica Lyness; Regional Services Concept and Copy—Sandstrom Partners, Austin Judy Rooks, Shawn Sterling, Chuck Spittal— Strand Releasing—David Bowlds, Brandon Coordinator—Thomas Phillipson; Education Howe; Editor—Scott Jackson, MonstervsRobot; The Oregonian; Russ Nunley, Jon Douglas— Peters, Marcus Hu; Subarine—Yaniv Wolf; Outreach Coordinator—Kristin Konsterlie; Sound Design—Lance Limbocker; Original Regal Cinemas; Jim McDonald, Sue Colitin— Swedish Film Institute—Gunnar Almer, Continuing Education Manager—Pamela Minty; Music—Courtney Von Drehle; Announcer— Paul G. Allen Family Foundation; Kathy Petter Mattson; Taskovsky Films—Kate Feeny; Office & Membership Manager—Kristy Conrad; Connie Kirk; Stylists—Shelley Stout, Molly Radcliffe, Mark Shapiro, Travis Knight— Telewizja Polska—Aleksandra Biernacka; Walt Exhibition Program Assistant—Ted Hurliman; Anderson; Camera Crew—Jeremy Kelty, Jeff T. LAIKA; Steve Sandstrom, Sally Morrow, Disney Films—Laura Kim; Zeitgeist Films— Equipment & Facilities Coordinator—Brian Smith; Productions Assistant—Dan Levine; Grip Shanin Andrew, Mattie O’Neil—Sandstrom Clemence Tailiandier, Najda Tennstedt. Yazzie; Operations & Development Manager— Partners; Jon Melkerson—Blue Heron Paper; and Lighting—Clutch Camera, Gearhead Grip. Russ Gage; Festival Volunteer Coordinator— Greg Lattimer, Molly Brown—Alaska Airlines; 3 3 r D p ortl a n d i n ter n a tio n a l film festi v a l 35

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Portland, Oregon 97205 1219 sw park ave, portland, or 97205 97205 or portland, ave, park sw 1219 M U E S U M T R A D N A L T R O P for children. Free admission. special effects stations. Enjoy films created bychildren improvisational theater games and interact with digital Foundation, andTheLambBaldwin Foundation. and family, the Gordon D.SondlandandKatherine J. Durant Museum Familyby Days are Sharon supported L.Miller using zoetropes, thaumatropes, and flipbooks. of film forchildren and families. Animate drawings t Sund Free Advance tickets atportlandartmuseum.org. is tomorrow’s $5members; $12 garbage. nonmembers. today’sexplore that technology notion cutting-edge the will inLivingcinema, pierrehébert—and his partner madewith —an award-winning filmandperformance willdiscussBetweenBob Ostertag Science and Garbage S A lecture by BobOstertag Between weekend A for film lovers film for he A turd northwest Film Museum Family celebrating day: Film A y, M y, A y, M y, Science and Garbage Science andGarbage A rch 14, n 14, rch A rch 13, 2 p. 2 13, rch c enter presents an afternoon OO n–5 p. n–5 M .

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Ad Name: Film Festival Closing Date: 1.15.10 Trim: 3 x 6.4 Item #: PSA20099662 QC: RR Bleed: none Job/Order #:616604-213146 Pub: Porltand Int’l Film Festival Live: 2.75 x 6.15 3 3 r D p ortl a n d i n ter n a tio n a l film festi v a l 39

7:00 B4 About Elly (Iran) 8:30 WH Charlie Haden: Ramblin Boy 5:00 WH Wild Grass (France) Film Festival Schedule 7:15 B1 Topp Twins (New Zealand) (Switzerland) 5:15 B3 Rembrandt’s J’accuse (Netherlands) Friday the 26th 7:30 WH Girl With Dragon Tattoo (Sweden) 8:30 B1 Girl on the Train (France) 6:30 B2 Room and a Half (Russia) 6:00 WH Looking for Eric (Great Britain) 7:45 B3 Heliopolis (Egypt) 9:00 B3 Cooking History (Czech Republic) 6:45 B4 Chameleon (Hungary) 6:15 B1 The Sicilian Girl (Italy) 8:00 B2 Window (India) 9:30 B2 The Warlords (Hong Kong) 7:30 B3 The Wild Hunt (Canada) 6:45 C21 Nothing Personal (Ireland/Neth.) 7:30 WH City of Life and Death (China) Thursday the 11th 8:45 B1 Yang Yang (Taiwan) 7:45 B1 A Town Called Panic (Belgium)* 7:30 NT I Am Love (Italy) Monday the 15th Friday the 19th 8:45 WH Shameless (Czech) 9:00 C21 The Misfortunates (Belgium) 1:45 WH Short Cuts I: International Ties 6:00 B2 Heiran (Iran) Monday the 22nd Friday the 12th 1:45 B3 Letter for the King (Netherlands) 6:00 WH Fish Tank (Great Britain) 2:00 B1 Protector (Czech) 6:15 B3 Bluebeard (France) 6:00 WH Short Cuts IV: International Ties Saturday the 27th 6:00 B2 Heliopolis (Egypt) 4:00 WH The Good, the Bad, the Weird 6:30 B1 Learning from Light (US) 6:00 B1 Sons of Cuba (Great Britain) 12:00 B1 The Misfortunates (Belgium) 6:15 B3 Lourdes (Austria) (South Korea) 7:00 B4 Reykjavik-Rotterdam (Iceland) 6:15 B3 Down Terrace (Great Britain) 12:00 C21 Nothing Personal (Ireland/Neth.) 6:30 WH Police, Adjective (Romania) 4:15 B1 For the Love of Movies (US) 8:15 B2 Welcome (France) 6:45 B2 Dawson Isla 10 (Chile) 12:30 WH Short Cuts IV: International Ties 6:45 B1 Terribly Happy (Denmark) 4:30 B3 Reporter (US) 8:30 B3 Passenger Side (Canada) 7:00 B4 Letters to Father Jacob (Finland) 2:30 C21 The Wild Hunt (Canada) 7:00 B4 John Rabe (Germany) 5:15 B4 Through a Glass, Darkly (Norway)* 8:45 WH Vincere (Italy) 8:15 WH Room and a Half (Russia) 2:30 B1 Videocracy (Sweden) 8:45 B3 Hipsters (Russia) 5:30 B2 Small Crime (Cyprus/Greece) 9:00 B4 Heiran (Iran) 8:15 B1 City of Life and Death (China) 2:45 WH The Inheritors (Mexico) 9:00 WH Girl with Dragon Tattoo (Sweden) 6:45 B3 John Rabe (Germany) 9:15 B1 Mother (South Korea) 8:30 B3 Nora’s Will (Mexico) 5:00 C21 Nobody to Watch Over Me ( Japan) 9:00 B1 Window (India) 7:00 WH A Prophet (France) 9:15 B4 Woman Without Piano (Spain) 5:00 WH Like You Know It All (South Korea) 7:30 B1 Lourdes (Austria) 9:30 B2 Waking Sleeping Beauty (US) 5:30 B1 Shameless (Czech) 7:45 B4 Protector (Czech) Saturday the 20th Saturday the 13th 7:45 B1 Looking for Eric (Great Britain) 8:00 B2 Home (Switzerland) 12:00 B1 Wind Journeys (Colombia) Tuesday the 23rd 8:00 C21 Woman Without Piano (Spain) 12:30 WH Short Cuts I: Internationl Ties 12:45 B4 Moomin and Midsummer Madness 8:00 WH Sicilian Girl (Italy) 1:00 B3 Through a Glass, Darkly (Norway)* Tuesday the 16th (Finland)* 6:00 WH Mother (South Korea) 1:15 B1 Sweetgrass (US) 1:00 WH Short Cuts III: Made in Portland 6:00 B1 Letters to Father Jacob (Finland) 2:30 B4 Music on Hold (Argentina) 6:00 WH Garbage Dreams (Egypt) 1:00 B2 Gigante (Uruguay) 6:15 B3 Chameleon (Hungary) Sunday the 28th 2:45 WH Art of the Steal (US) 6:00 B1 Heiran (Iran) 1:30 B3 Waking Sleeping Beauty (US) 6:45 B2 Nora’s Will (Mexico) 12:00-6:00 Encore Screenings 3:00 B2 Window (India) 6:15 B3 Topp Twins (New Zealand) 2:45 B1 Sons of Cuba (Great Britain) 7:00 B4 Bad Day to Go Fishing (Uruguay) 7:00 Closing Party 3:15 B3 About Elly (Iran) 6:45 B2 Heliopolis (Egypt) 3:00 B4 Letter to the King (Netherlands)* 8:15 B1 Forever Enthralled (China) 4:00 B1 Topp Twins (New Zealand) 7:00 B4 My Year Without Sex (Australia) 3:30 WH Rembrandt’s J’accuse (Netherlands) 8:45 WH Short Cuts III: Made in Portland 5:15 B4 Lourdes (Austria) 8:15 WH Short Cuts II: International Ties 3:30 B2 Yang Yang (Taiwan) 9:00 B2 Yang Yang (Taiwan) 5:30 B2 Hipsters (Russia) 8:15 B1 Hipsters (Russia) 3:45 B3 A Town Called Panic (Belgium)* 9:15 B3 Gigante (Uruguay) * Family Friendly Films 5:45 WH My Year Without Sex (Australia) 8:30 B3 Sweetgrass (US) 5:00 B1 Strongman (US) suitable for age 9 and up. 6:00 B3 Shine of Rainbows (Canada/Ireland)* 9:00 B2 Small Crime (Cyprus/Greece) 5:30 B4 Reykjavik-Rotterdam (Iceland) 6:15 B1 Mid-August Lunch (Italy) 9:15 B4 Ajami (Israel) 5:45 WH Everyone Else (Germany) Wednesday the 24th 7:45 B4 Music on Hold (Argentina) 6:15 B3 Welcome (France) 6:00 WH Ward No. 6 (Russia) SCHEDULE CHANGES 8:00 WH A Prophet (France) 6:45 B2 The Shock Doctrine (Great Britain) 6:00 B3 Bad Day to Go Fishing (Uruguay) POSTED AT THE THEATERS 8:30 B2 Home (Switzerland) Wednesday the 17th 8:00 B1 Letters to Father Jacob (Finland) 6:15 B1 Videocracy (Sweden) 8:45 B3 Ajami (Israel) AND @ WWW.NWFILM.ORG 6:00 WH October Country (US) 8:15 B4 Dawson Isla 10 (Chile) 7:00 B2 Passenger Side (Canada) 9:00 B1 The Good, the Bad, the Weird 6:00 B1 Ajami (Israel) 8:30 WH Wild Grass (France) 7:15 B4 Chameleon (Hungary) (South Korea) 6:15 B4 Gigante (Uruguay) 9:00 B3 Wedding Song (Tunisia) 8:30 B1 Nobody to Watch Over Me ( Japan) 6:45 B2 Reverse (Poland) 9:15 B2 The Shock Doctrine (Great Britain) 8:30 WH Like You Know It All (South Korea) Sunday the 14th 7:00 B3 Hipsters (Russia) 8:45 B3 Dawson Isla 10 (Chile) Theater Locations 8:15 WH The Girl on the Train (France) Sunday the 21st 9:15 B4 Reverse (Poland) 12:00 WH Short Cuts II: International Ties 8:45 B1 Welcome (France) 12:30 B3 Music on Hold (Argentina) 9:15 B2 The Good, the Bad, the Weird 12:00 WH Moomin and Midsummer Madness BW Regal Broadway Cinemas 12:45 B2 Protector (Czech) (South Korea) (Finland)* Thursday the 25th 1000 SW Broadway at Main 1:30 B1 Shine of Rainbows (Canada/Ireland) 9:30 B3 The Warlords (Hong Kong) 12:15 B1 Garbage Dreams (Egypt) 6:00 B3 The Inheritors (Mexico) C21 Cinema 21 1:45 B4 About Elly (Iran) 12:45 B3 Cooking History (Czech) 6:00 WH Short Cuts V: Resilient Structures 616 NW 21st Ave at Hoyt 2:30 WH Learning from Light (US) 1:00 B2 Thursday the 18th The Shock Doctrine (Great Britain) 6:15 B1 Down Terrace (Great Britain) 3:00 B3 Cooking History (Czech) NT Newmark Theatre 2:00 WH John Rabe (Germany) 6:45 B2 Bad Day to Go Fishing (Uruguay) 3:15 B2 Home (Switzerland) 1111 SW Broadway at Main 6:00 WH Wind Journeys (Colombia) 2:00 B4 Woman Without Piano (Spain) 7:00 C21 Forever Enthralled (China) 4:30 B4 Through a Glass, Darkly (Norway)* 6:00 B1 Bluebeard (France) 2:30 B1 Reporter (US) 8:15 B3 Ward No. 6 (Russia) WH Whitsell Auditorium 4:45 WH For the Love of Movies (US) 3:00 B3 6:15 B4 Nora’s Will (Mexico) Bluebeard (France) 8:45 WH Strongman (US) Portland Art Museum 4:45 B1 Terribly Happy (Denmark) 6:45 B2 3:30 B2 Letter for the King (Netherlands)* The Warlords (Hong Kong) 1219 SW Park at Madison 5:30 B2 Small Crime (Cyprus/Greece) 7:00 B3 Wedding Song (Tunisia) 4:30 B4 Reykjavik-Rotterdam (Iceland) 5:45 B3 Mid-August Lunch (Italy) 8:15 B4 Reverse (Poland) 4:45 B1 Vincere (Italy) T H E N OR T HWEST FILM CE N TER / P ORTL a n D A R T M US E U M P RESE N TS 3 3 r D p ortl a n d i n ter n a tio n a l film festi v a l S P O N SORED BY: THE OREGO N I a n / R E G A L C I N EM A S

F E BR U A R Y 1 1 – 2 7 , 2 0 1 0

NON-PROFIT ORG NORTHWEST FILM CENTER Portland Art Museum U.S. POSTAGE 1219 SW Park Avenue P A I D Portland, OR 97205 PORTLAND OR PERMIT NO. 664

BW Regal Broadway Cinemas C21 Cinema 21 NT Newmark Theatre TC Ticket Office WH Whitsell Auditorium Streetcar MAX