THE JEWISH FILM FOUNDATION OF AUSTRALIA INC. PROUDLY PRESENTS 22004004THETHE FESTIVALFESTIVAL OFOF JEWISHJEWISH CINEMACINEMA FIFTEENTH ANNIVERSARY MELBOURNE NOVEMBER 10-28 CLASSIC CINEMA, 9 GORDON STREET, ELSTERNWICK MELBOURNE TELEPHONE BOOKINGS (03) 9877 6811

SYDNEY NOVEMBER 11-28 GU BONDI JUNCTION CINEMAS Levels 6, 7 & 8, 500 OXFORD STREET, WESTFIELD BONDI JUNCTION SYDNEY TELEPHONE BOOKINGS 1300 306 776

LE GRAND RÔLE Opening Night Film A cknowledgements A ustralian Première The 15th Annual Festival of Jewish Cinema is presented by The Jewish Film Foundation of Australia Inc., a non-profit incorporated association (Reg. No. A0025942D), and an endorsed charity. A.B.N. 88 383 595 786. 2004 100 min In Spanish & Yiddish; English subtitles Postal address: P.O. Box 536 Carlton North Vic. 3054. Festivals & Prizes: Official Competition, Berlin (Jury Grand Prix; Silver Bear for Best ); Jerusalem; London Members Winner of two major prizes at this year’s Berlin Film Festival, including Best Actor, this new film from Leon Gorr, Peter Ivany, Les Rabinowicz, Michael Roseby & Michael Selwyn Argentinian director Daniel Burman (his opened our Festival in 2000) is the most eagerly awaited Jewish movie of the year and one of the hottest on the international festival circuit. Set in Honorary Consultants: Herbert, Geer & Rundle present-day, post-devaluation Argentina, Lost Embrace is a wonderful, bittersweet comedy which explores very large themes through the unlikeliest of situations. Ariel (), a broodingly handsome, intense Honorary Solicitors: Marshalls & Dent twentysomething, lives in Galeria Once, a run-down shopping centre in the Jewish inner-city area of Buenos Aires, where his mother Sonia runs a lingerie store, and his energetic, roguish brother Joseph, who was once an Honorary Accountants: Roseby, Rosner & Young aspiring rabbi, has an import-export business. The Galeria is an amusingly diverse affair, with Koreans, Italians and other dislocated immigrants, along with families like Ariel’s, whose grandparents came to Argentina from Poland to escape the Holocaust. Ariel wants to claim a Polish passport and identity so he can go to Europe and Honorary Auditors: Sothertons L.L.P. start a new life. What pre-occupies him most, though, is not his grandparents’ harrowing experiences, or his own uncertain future, but why his father went to shortly after Ariel was born, to join its army and fight in the Yom Kippur War. Why, Ariel ponders, did his father never return and why does his mother still stand up Festival Director: Les Rabinowicz for a man who left her in the lurch with two young children? All is resolved in the most perfect of endings, underplayed and tender. Festival Programmer: Diane Perelsztejn

Friends of the Festival A ustralian Première Jessica Goldstein, Mansook Irving, Phillip Zajac, Delyce Litchfield, Scott Murray, AMEN Annette Smith & Lina Raso France 2002 Costa-Gavras 132 min In English Festivals & Prizes: Official Competition, Berlin; César Best Screenplay, France We gratefully acknowledge the generous support of the following organizations and individuals: With hard-hitting films like The Music Box, Missing and Z, Greek director Costa-Gavras has never been afraid of inciting controversy Donors during his long and much-lauded international career. But he may Arkardy Shtrambrandt; The Pratt Foundation; Standard Universal Group; have tackled his most incendiary subject yet with Amen, a searing The Ivany Investment Group; Rosie & Solomon Lew historical thriller about Pope Pius XII’s silence during the Holocaust. Based loosely on Rolf Hochhuth’s groundbreaking 1963 play, The Deputy, this meticulously researched film follows two characters as With the assistance of: they attempt to alert the Church and the wider world to the Altshul Printers and AltCreative; extermination of Europe’s in Hitler’s death camps. The first is Mercure Grand Hotel on Swanston, Melbourne; the remarkable figure of Kurt Gerstein, the German SS officer who was pivotal in providing the Zyklon B gas Sofitel Wentworth Sydney used in the gas chambers, a gas he originally thought was being used for decontamination purposes. Appalled by what he witnessed, Gerstein tried to sabotage his own production line and expose what the Germans were doing. Gerstein’s Schindleresque mission parallels that of a fictional second character, an idealistic young Jesuit (played by the director and actor Mathieu Kassovitz – Amélie, Métisse, La Haine), who struggles to make the Pope speak out. Instead, he discovers pro-German and anti-Semitic pressures at the Vatican, along with the infamous Vatican escape route used to ferry fleeing Nazis out of Europe at war’s end. A ustralian Première A ustralian Première ATASH BIT BY BIT Israel 2004 Tawfik Abu Wael 110 min In Arabic; English Sweden 2002 Jonathan Metzger, Pontus Klänge 85 min subtitles In Swedish & Yiddish; English subtitles Festivals & Prizes: Critics’ Week, Cannes; Karlovy Vary; Festival: Jerusalem Jerusalem (Best Film); London A mischievous satire about Jewish familial relations from Winner of the Wolgin Award for Best Israeli Film at this Sweden, Bit By Bit will either infuriate audience members year’s Jerusalem Festival – which it shared with Or (which with its off-beat plot, or send them gasping for breath, as they laugh at this clever spoof of a family’s we are also screening) – Atash (Thirst) is a most unusual religious and cultural traditions. Likened to a Jewish Bend it Like Beckham, the film centres on a Israeli film. Financed and filmed within Israel, but shot lovable 25-year-old slacker-cum-video-game-addict who, to his own surprise and the highly vocal entirely in Arabic, the story unfolds like a Greek tragedy. disgust of his Jewish family and long-suffering non-Jewish girlfriend, finds out that his “life’s dream” Set in an isolated, barren valley, far from the Palestinian-Israeli conflict, it tells the story of an has come true: he has qualified out of thousands as a contestant for the Nintendo World Cup games Arab-Israeli family who for the past decade has eked out a solitary and precarious living in a in far-off Los Angeles! Though this might not sound like the stuff of family rebellion, or even a grand primitive settlement by making and selling charcoal. Against everyone’s protests, the father misadventure, there is a problem: the games take place on the same day as his family’s Passover Seder. decides to invest the family savings in a pipeline which will provide their home with running And that is only the start of it. Presented with ultimatums by both his family and girlfriend, what’s a water. But the pipe is forbidden by the Israelis, and resented by the local Palestinians. When the young slacker to do? With his irascible grandfather, strung-out girlfriend and ever-demanding father father goes ahead regardless, he ignites a muted rebellion in his long-suffering family which closing in around him, time is running out for this free-wheeling youngster. Laugh-aloud funny, Bit By threatens to bring down their whole world. Working with a striking cast of non- blessed Bit is as intoxicating as your first sip of champagne. with remarkable screen presence, director Tawfik Abu Wael has in this impressive feature début Please note: The Festival’s usual age restriction of 18 years and over does not apply to Bit By Bit. Children created an important and strikingly visual film. under 15 years of age may see this film if accompanied by a parent or adult guardian. Those 15 and over are welcome to see this film unaccompanied.

A ustralian Première A ustralian Première AVANIM BONJOUR MONSIEUR SHLOMI Israel 2004 Raphaël Nadjari 110 min In Hebrew; Israel 2003 Shemi Zarhin 94 min In Hebrew; English subtitles English subtitles Festivals: Panorama Special, Berlin; Karlovy Vary; This sweetly observed gem has won hearts at film Jerusalem festivals around the world, earning it a major cinema release and glowing reviews in the USA. Deftly An Israeli wife and mother balances an illicit composed of many gentle moments, amusing subplots affair, family pressure and a professional career in and witty dialogue, Bonjour Monsieur Shlomi goes against this powerful new Israeli drama from the French-born, American-based director Raphaël the grain of much recent Israeli filmmaking, skirting Nadjari. Set in the working-class “Hatikva” section of southern Tel Aviv, Avanim (literally politics and, mercifully, other ‘big’ issues to portray a “stones” in Hebrew) tells the story of thirtysomething Michale (splendidly played by Asi Levi) as family which is blessedly normal in its internal chaos. Sixteen-year-old Shlomi (Oshri Cohen) is she navigates these conflicting demands and her own desire for some kind of personal the quietly reliable youngest son in a harried household run by his mother Ruhama (Esti fulfilment. Working as a bookkeeper for her father’s accountancy firm – where she looks after Zakhaim). Overwhelmed as a nurse, recently betrayed as a wife, and a parent to three children, the ledgers of some ultra-orthodox religious organisations – her highly compartmentalised daily including a married daughter who periodically runs home because her frazzled husband can’t tell life has to work like clockwork. But one day en route to a clandestine rendezvous, the hotel their twins apart, Ruhama barely has time to notice her son’s hidden talents. Misjudged and where she is to meet her lover is blown-up by terrorists. Her life takes a dramatic turn as her much put-upon, Shlomi is peacekeeper to the various family combatants, including a lovable relationships with her father and Sephardic husband deteriorate alarmingly. Telling its big story grandfather whose habit of speaking French to Shlomi gives the film its title. A box-office hit in through the smallest of details, director Nadjari has fashioned an unusually complex portrait of Israel, where it ran for an astonishing 40 weeks, Bonjour Monsieur Shlomi is a timely reminder that Israeli society, where even harmless acts of personal freedom assume profound significance and a Jewish family comedy-drama does not have to be loud to make a life-affirming impact. forever reverberate through the lives of all its characters. Please note: The Festival’s usual age restriction of 18 years and over does not apply to Bonjour Monsieur Shlomi. Children under 15 years of age may see this film if accompanied by a parent or adult guardian. Those 15 and over are welcome to see this film unaccompanied. A ustralian Première A ustralian Première LE GRAND RÔLE LIFE IS LIFE France 2004 Steve Suissa 89 min In French & Yiddish; English subtitles Israel 2004 Michal Bat-Adam 90 min In Hebrew; English subtitles Festival: Karlovy Vary Festivals: Houston; Chicago

Mixing comedy and tragedy, this is a crowd-pleasing, A thoughtful and utterly satisfying Israeli comedy- contemporary story about love, friendship and Jewish drama from distinguished Israeli actress (I Love You, pride. So in love with his wife Perla (Bérénice Bejo) Rosa; House of Chelouche Street) and filmmaker, Michal that he photographs her when she’s not looking, Bat-Adam. Life is Life is the story of a self-centred struggling Parisian actor Maurice Kurtz (Stéphane Israeli novelist, Macky (played by the incomparable Freiss) earns a meagre income dubbing foreign films Moshe Ivgy), whose life is thrown into a creative and with his friends Simon, Elie, Edouard and Sami. emotional tailspin when his mistress, Ayala (Yael Though all of them are now pushing forty, they remain Abecassis from Kippur), ends their illicit affair. This undiscovered acting talents in their native France. gem of serio-comic melancholy is powered by a witty, When news hits that an A-list superstar American film urbane script that deftly intertwines flashbacks and director, Rudolph Grishenberg (Peter Coyote), has come to Paris to cast a Yiddish version of fantasy sequences, an ensemble of superb Shakespeare’s The Merchant of Venice, the boys gear up for the audition with an unrestrained performances and a jaunty musical score. Blending bedroom comedy with closely-observed enthusiasm for all things Jewish. To his astonishment, Maurice lands the coveted role of drama, Life is Life is remarkably insightful about the vagaries of conjugal love and the unlikely Shylock, but there are many delightful surprises in store. Funny, witty and humane, Le Grand compensations of art. This elegant film is gratifying to both the heart and the head – Israeli Rôle is an unabashedly cheerful film that benefits from its sprightly pace, a brilliant ensemble cinema at its most beguiling. cast and fine comic timing.

Special Presentation A ustralian Première SUZIE GOLD ONLY HUMAN

UK 2004 Ric Cantor 94 min In English 2004 Teresa de Peligrí, Dominic Harari 89 min In Spanish; English subtitles Festival: Jerusalem Festival: Locarno

Do Jewish women really have to marry out in order to This energetic family comedy from Spain, about a Jewish improve the Jewish gene pool? That is the question at the girl bringing her fiancé home for the first time, heart of this lively romantic comedy set in present-day combines a deftly-written screenplay, some fine London. Narrated in flashback, the film tells the story of performances and hilarious dialogue to delightful effect. Suzie Gold, an attractive 23-year-old played by the It’s like Meet the Parents, but in reverse! When young irrepressible Summer Phoenix (Esther Kahn, The Believer), in rebellion against the restrictions Spanish television presenter Leni Dalinsky turns up of her smug, nouveau-riche, middle-class Jewish family. Bored with this cushy world of unexpectedly for a traditional family meal with her glittery gold, fake tans and sterile sex, Suzie falls in love with, yes, a wonderful goy, and not university lecturer boyfriend Rafi, she is greeted by her the nice, wealthy Jewish boy her parents have picked for her to marry. If only it were that caring mother Gloria, her wayward sister Tania (and simple! For as Suzie complains, “How can I listen to my heart when there’s so much noise in daughter Paula), Leni’s ultra-religious younger brother my head?” Much of it, of course, comes from her garrulous mother and outraged family David, and her eccentric grandfather. The evening gets friends who scream, “My family didn’t go to the gas chambers so you could marry out!” Full off to a wonderful start, especially when Rafi – who is not quite sure about the family he of wonderful Yiddish witticisms, the film has been likened to a kosher My Big Fat Greek expects to marry into – agrees to help Leni’s mother with the chicken soup. But when the Wedding. And if you have had the odd run-in with your mishpokhe, this likeable tale will be frozen soup container falls from the apartment window and apparently kills a passerby below, as welcome as a Mars bar during Yom Kippur. anxiety levels skyrocket. And that is before Leni spills the beans that not only is Rafi not Please note: Suzie Gold is classified M, containing low-level course language and low-level sex scenes. Jewish, he’s a Palestinian! With everything now spiralling out of control, no one in this vibrant, The Festival’s usual age restriction of 18 years and over does not apply to this film. Persons 15 years neurotic family will ever be the same again. and over are welcome. A ustralian Première A ustralian Première OR (MY TREASURE) ROSEHILL Israel 2004 Keren Yedaya 100 min In Hebrew & English; Hungary-Germany 2004 Mari Cantu 94 min In Hungarian; English subtitles English subtitles Festivals & Prizes: Cannes (Camera d’Or; Grand Prix The 1956 Hungarian revolution against Stalinism unfolds Semaine de la Critique); Jerusalem (Best Film & Best through the eyes of a young brother and sister and their Jewish Actress); New York; London parents in this outstanding new film. Sequestered in a large rambling villa in the privileged Rosehill neighbourhood of Winner of two major prizes at this year’s Cannes Festival, as well as the Best Actress Prize and Budapest – a district popular among high ranking party Wolgin Award for Best Israeli Film (shared with Atash, which we are also screening) at this functionaries of the time – Panka and Miska are living out an year’s Jerusalem Festival, Or (My Treasure) has deservingly won more acclaim than any Israeli idyllic childhood and appear to be average, mischievous film before it. The story of the film is simplicity itself. Seventeen-year-old schoolgirl Or (Dana children, loved by their bourgeois mother Teresa (Erika Ivgy, daughter of Moshe Ivgy, and seen in last year’s The Barbecue People) is a lovely young Marozsán from Gloomy Sunday), and watched over by their woman with a real trouper’s spirit. Her still-striking single mother Ruthie (Ronit Elkabetz), superstitious nanny Róza. Yet the increasing stress and however, has been reduced to working as a prostitute and her health is deteriorating. Following distraction of their father, a prominent government official in the Rákosi government, is a stint in hospital, the enterprising Or makes her mother promise to go straight and even finds obvious, even before the arrival of a letter addressed to him from Israel that the children hide her a job, but, as events conspire, nothing goes according to their plans. Director Keren Yedaya, in the interest of family harmony. When events take their inevitable turn, the family is forced to in this her feature début (which won the Camera d’Or award for Best First Film at Cannes), has live in the servant’s quarters, walking out one day to find a Russian tank in their street. This created a gritty, deeply humanistic portrait of a mother and daughter’s struggle to overcome major social and political upheaval for their parents becomes a mysterious adventure for the their circumstances. Favouring moral doubt over pat judgments, it offers us glimpses of a children – but one from which their parents must succeed in sheltering them. substratum of Israeli society rarely seen on screen.

A ustralian Première

A ustralian Première THE SOUL KEEPER Italy 2003 Roberto Faenza 95 min In English PORNOGRAFIA Festival: Jerusalem Poland 2003 Jan Jakub Kolski 110 min In Polish; English subtitles The extraordinary life of Sabina Spielrein – the pioneer Russian- Jewish child psychiatrist who tragically lost her life during the Festival: Official Competition, Venice Holocaust – is powerfully recounted in this English-language Adapted from a novel by Witold Gombrowicz, this drama from Italian filmmaker Roberto Faenza. As a troubled brilliant, disquieting feature by Jan Jakub Kolski (whose young woman, Spielrein had been a patient of Carl Gustav Jung Keep Away from the Window we presented in 2002) is set in Zurich, where they became lovers. Spielrein then corresponded in the Polish countryside during the Nazi occupation. with Sigmund Freud, later moving to Vienna and becoming his This deceptively titled film focuses on two middle-aged men – Fryderyk, a theatre and film confidante. This has not only fascinated historians, scholars and director, and Witold, a writer – who travel to the country estate of a friend, Hippolyte, who artists, but inspired a play by Christopher Hampton, The Talking Cure, which opened last year is marginally involved in the resistance. There, they encounter German soldiers and Polish in London, and the Swedish documentary, My Name Was Sabina Spielrein, which we presented partisans, a family of Jews hiding in the cellar, young lovers, and even younger murderers, in 2003. Framed as a film within a film, The Soul Keeper follows a Scottish professor and his patriots and rabid Catholics. What begins as a short visit develops into an extended stay. French-Russian research assistant in present-day Moscow as they try and get to the bottom of From this explosive situation, director Kolski, who is one of Poland’s most accomplished what happened to Spielrein after the 1917 Revolution, when she returned to the Soviet Union cinematic stylists, has created a powerful drama. Visually breathtaking, the film reaches past and helped establish the White School, a progressive nursery for troubled children whose its teasing and erotic moments toward something far more elusive and complex. pupils even included one of Stalin’s sons. Juxtaposing their present-day research with historical drama (tracing Speilrein’s remarkable life through illness, intellectual achievement and romance to her murder in 1942), The Soul Keeper provides a startling glimpse of Russia as it was then – and what it has become today. As Spielrein, Emilia Fox (last seen in The Pianist) is a revelation, at once intense and restrained. A ustralian Première Special Presentation SUPERTEX TOMORROW WE MOVE Germany-The 2003 Jan Schütte 95 min In English Belgium-France 2004 Chantal Akerman 112 min In French; English subtitles Festivals: San Sebastian; Toronto; Jerusalem Festivals: Berlin; Toronto Set in present-day Amsterdam, this richly layered A deliciously playful French comedy from the esteemed Belgian filmmaker Chantal Akerman, generational drama has been a hit at film festivals during the past year. Imbued with whimsical whom New York Village Voice film critic Jim Hoberman (author of Bridge of Light: Yiddish Film grace, it tells the story of Max Breslauer, the thirtysomething heir to a Dutch textile empire, who Between Two Worlds) hailed as “arguably the most important European director of her quits his family’s business to strike out on his own. The eldest son of Simon Breslauer – who, as generation”. The film tells the story of Charlotte (Sylvie Testud), a young, chain-smoking, the only one of a poor family of East European Jews to survive the war, built his textile business would-be novelist, and her mother, and Holocaust survivor, Catherine (Aurore Clément). A in The Netherlands from scratch – Max is overshadowed by his omnipresent father, who has no music teacher, Catherine moves into her daughter’s already cramped studio apartment, patience for his son’s modern business ideas. But the crisis between the father, who is a never- following the death of her husband, with her grand piano in tow. Struggling to make space failing source of Yiddish sayings and wisdom, and his son takes a turn when Max discovers that for her mother in her life, let alone in her abode, Charlotte finds herself schlepping her his father has been having an affair with a young Polish woman. When Max’s brother loses laptop amid unpacked boxes, and off to cafés, trying to get a grip on the erotic novel she’s himself during a comically disastrous business trip to Casablanca, Max finds himself facing hard writing. When they eventually decide to relocate, a parade of prospective buyers traipses in choices about his heritage, family and future. This beautifully-made film from director Jan and the process of showing one’s home to strangers reaches a hilarious level of absurdity. Schütte (whose Bye-Bye America we screened in 1994) has been adapted from Leon de Winter’s Combining black comedy and satire from a “second-generation” point-of-view, Tomorrow We popular novel. Move features some wonderful acting from Jean-Pierre Marielle (Les Milles) as a Polish-Jewish Holocaust survivor who forms a budding romance with Catherine; Elsa Zylberstein (Man is a Special Presentation Woman; Mina Tannenbaum); and Testud and Clément, who give tour de force performances as A ustralian Première daughter and mother in search of happiness – or, at least, love and a finely tuned piano.

HEIR TO AN A ustralian Première EXECUTION WHEN GRANDPA USA 2003 Ivy Meeropol 99 min In English LOVED RITA Festival: Sundance

On 19 June 1953, the U.S. government HAYWORTH executed a young Jewish couple, Ethel and Julius Rosenberg, for “conspiracy to commit Germany 2001 Iva Svarcová 90 min In Czech & German; espionage”. Their names are seared into history as political icons of the Cold War era, hailed as English subtitles heroes or vilified as traitors. Yet there is much more to this extraordinary story than history Festivals & Prizes: Max Ophüls Award 2001; Sochi (Grand Prix & Prix de la Critique International); remembers. The Rosenbergs were executed on the testimony of Ethel’s brother, David Greenglass, Prix Iris Europa 2001 testimony he admitted many years later to be false. When the Rosenbergs died, they left two sons, Michael (10) and Robert (6), who, because no family member would take them in, were adopted This time capsule of a film – and a real charmer – transports us back to the glorious heyday of by complete strangers, the Meeropols. The Rosenberg sons grew up believing in their parents’ the Czech New Wave with its wonderful light tone and subtle narrative. It is 1969, the first innocence and as adults pursued the truth about their case. Now, fifty years later, a new winter after the Spring. As three astronauts are rocketing toward the moon, 13-year-old generation has its own questions. In this superb, heart-wrenching film, Ivy Meeropol, the Hannah and her Jewish family grab their chance to flee Czechoslovakia for a new life in the Rosenbergs’ eldest granddaughter, embarks on a quest to get to the bottom of what happened: capitalist wonderland of West Germany. As events transpire, it’s not quite the smooth Who were her grandparents and were they really innocent or guilty as charged? How was it touchdown these asylum seekers had expected. Hannah’s little sister loses her ability to speak, possible that an entire and extended Jewish family could turn away from Ethel and Julius in their while Hannah dreams of nothing more than returning to her doting grandfather Zikmund hour of greatest need and then abandon their two orphaned boys? And why, and for what, did the (played by the late, great Vlastimil Brodsky of Closely Watched Trains). But when Zikmund dies Rosenbergs sacrifice their lives when they could have easily saved themselves, particularly as it and Neil Armstrong sets foot on the moon, Hannah realizes that she too will have to make her meant orphaning two young sons they said they loved? own first great steps. Based on the autobiographical experiences of director and novelist Iva We are delighted to welcome Ivy Meeropol from New York. Svarcová, this is a humorous story of post-Communist Jewish family life and adolescence in the West, and one of the rare films about the fate of Czech asylum seekers in the 1960s. MELBOURNE AND SYDNEY TICKETING DETAILS

TICKETS Telephone credit-card bookings through The Ticket Place Internet bookings can be made at any time – i.e., 24 hours and four hours free parking applies if you arrive at the Single sessions $16.00 (incl. GST) – all will be accepted for all sessions up to one day in advance a day and seven days per week – but should be booked in cinema after 7.00 pm. Please check with the cinema tickets including Opening Night film – no of the first selected session. good time before the day of the first selected session. for more details. (The best car park for the cinema is concessions. All telephone credit-card ticket bookings will be A booking fee of $1.10 (incl. GST) per ticket, plus a off Hollywood Avenue; take the express ramp to upper parking levels, park your car, and walk across the Gold Pass $87.50 (incl. GST) valid for any forwarded to Festival-goers by post. If time does not handling and postage charge of $3.00 (incl. GST), or an footway to level 6.) seven different films. permit postage, arrangements will be made for patrons to express-post charge of $5.50 (incl. GST), per telephone Gold Pass patrons are required to select collect their tickets at the Classic Cinema. and/or internet transaction, will apply. PLEASE NOTE and acquire all of their session tickets at If patrons have any queries about their credit-card Visa, Mastercard and Bankcard credit cards only are valid All Festival tickets, once purchased, are not the time they purchase their Gold Pass. bookings, or have not received their tickets in good time for telephone and internet bookings. refundable, and cannot be exchanged. before their first selected session, please contact The It is strongly advised that, where possible, patrons All telephone and internet credit-card ticket bookings will Patrons who wish to purchase their Festival Ticket Place. should book their Festival tickets by phone, and be forwarded to Festival-goers by post. If time does not tickets at the cinemas must complete a preferably well in advance, to avoid possible At the Classic Cinema permit postage, arrangements will be made for patrons to Festival Booking Form for multiple ticket collect their tickets at the Festival ticket-desk on level 7 at disappointment. If past Festivals are a guide, many purchases, including Gold Passes.The forms sessions will be sold out before tickets go on sale at 9 Gordon Street Elsternwick GU Bondi Junction. will be available from the cinemas the cinemas. (03) 9524 7900 If patrons have any queries about their credit-card beforehand. Security: Advance ticket sales for Festival sessions will be available bookings, or have not received their tickets in good time Large bags, briefcases, laptops, backpacks, shopping at the Classic Cinema from 11.00 am on Monday 8 before their first selected session, please contact MCA Queries about Festival tickets should be bags, etc., will not be permitted inside cinemas. November, and will continue during Festival ticket-office Ticketing. directed to the cinema or the phone-booking hours between 11.00 am and 9.30 pm on each day Please do not bring such items with you as these At GU Bondi Junction Cinemas agency, as the case may be, through which cannot be stored at the cinemas. Please arrive early thereafter. the tickets were originally purchased. Queries for screenings as bags and purses may be subject Telephone bookings and/or credit-card purchases cannot Levels 6, 7 & 8, 500 Oxford Street, concerning credit-card transactions should be to inspection. be accepted at the Classic Cinema.Ticket sales will be by Westfield Bondi Junction (02) 9300 1555 directed to the agency through which the cash only at the Classic Cinema. Advance ticket sales for all Sydney Festival sessions will tickets were purchased. HOW TO BOOK - MELBOURNE Reserved seating will be available for all sessions held at commence at GU Bondi Junction at 12.30 pm on Monday Dates, times and programmes are correct at the Classic Cinema.All Festival sessions will be held in 8 November and will continue at the cinema between 1.00 Please note:The entire Festival this year will be the time of publication, but they may need to held at the Classic Cinema Elsternwick.We Cinema 1. pm and 9.00 pm each day of the week thereafter, until on be altered because of circumstances beyond regret to advise that we are not able to offer Friday 19 November when ticket-office hours will be 1.00 an additional venue closer to the city, as was HOW TO BOOK - SYDNEY pm to 5.00 pm on Fridays; 5.00 pm to 9.00 pm Monday to our control.We therefore reluctantly reserve the case last year. Thursday; and 1.00 pm to 9.00 pm on Saturdays and the right to withdraw, change and replace The Festival has relocated to GU’s new Bondi Sundays only. programmes without prior notice. By Phone : Junction location following the closure of GU The Festival ticket-office is located on level 7 at GU Bondi Please call The Ticket Place Double Bay. Patrons are advised to book early to FILM CLASSIFICATION avoid possible disappointment as GU Bondi Junction.All Festival sessions will be held in Cinema 2 on on (03) 9877 6811 Junction, though larger than other available level 8. All Festival films are restricted to persons Credit-card telephone bookings for all Melbourne cinemas, has a smaller seating capacity (more than Reserved seating will be available for all sessions held at 18 years and over, with the exception of: Festival sessions will commence at 9.00 am on 80 fewer seats) than GU Double Bay. GU Bondi Junction. • Bit By Bit and Bonjour Monsieur Shlomi, Monday 11 October, and will continue between 9.00 Telephone bookings and/or credit-card purchases cannot By Phone: which children under 15 years of age may am and 5.00 pm (Monday to Friday) on each be accepted by GU Bondi Junction.Ticket sales will be by Please call MCA Ticketing on attend if accompanied by a parent or adult weekday thereafter (excluding Melbourne Cup Day, 2 cash only at GU Bondi Junction. November). 1300 306 776 guardian.Those 15 years and over are Car Parking at GU Bondi Junction: welcome to see both films unaccompanied; A booking fee of $1.10 (incl. GST) per ticket, plus a By Internet: www.mca-tix.com Free parking at GU Bondi Junction is available subject to and handling and postage charge of $3.00 (incl. GST), or Credit-card telephone and internet bookings for all the validation of both your used Festival ticket and car an express-post charge of $5.50 (incl. GST), per Sydney Festival sessions will commence at 9.00 am on park voucher at one of three designated Concierge desks • Suzie Gold, which is classified M transaction, will apply. Monday 11 October, and in the case of telephone at the complex. (Please see the map at the cinema (containing low-level course language and Visa, Mastercard and Bankcard credit cards only are bookings will continue between 9.00 am and 4.00 pm complex for the precise locations.) Three hours free low-level sex scenes) and is restricted to valid for telephone bookings. (Monday to Friday) on each weekday thereafter. parking applies if you arrive at the cinema before 7.00 pm, persons 15 years and over. MELBOURNE SCREENING DETAILS SYDNEY SCREENING DETAILS

CLASSIC CINEMA THUR 18th NOVEMBER GU BONDI JUNCTION CINEMAS SAT 20th NOVEMBER 9 Gordon Street Elsternwick 6.45 pm Avanim Levels 6, 7 & 8, 500 Oxford Street 6.45 pm Heir to an Execution (03) 9524 7900 9.00 pm Tomorrow We Move Westfield Bondi Junction (02) 9300 1555 9.15 pm Suzie Gold SAT 20th SUN 21st OFFICIAL OPENING OFFICIAL OPENING 6.45 pm Only Human 3.00 pm Or (My Treasure) WED 10th NOVEMBER THUR 11th NOVEMBER 9.00 pm Suzie Gold 6.45 pm Lost Embrace 6.45 pm Lost Embrace MON 22nd 9.15 pm Or (My Treasure) SUN 21st 9.15 pm Avanim 7.00 pm Rosehill THUR 11th 3.00 pm Pornografia SAT 13th 9.00 pm Supertex 5.15 pm Tomorrow We Move 6.45 pm Heir to an Execution 7.00 pm Tomorrow We Move TUE 23rd 9.15 pm Atash MON 22nd 9.15 pm Lost Embrace 7.00 pm When Grandpa Loved 6.45 pm Life is Life Rita Hayworth SAT 13th SUN 14th 9.00 pm The Soul Keeper 9.00 pm Le Grand Rôle 6.45 pm Suzie Gold 3.00 pm Bonjour Monsieur Shlomi 9.00 pm Amen TUE 23rd 5.00 pm Avanim WED 24th 6.45 pm Bit By Bit 7.00 pm Heir to an Execution SUN 14th MON 15th 9.00 pm Only Human 9.00 pm Suzie Gold 2.30 pm Heir to an Execution 7.00 pm Life is Life 5.15 pm Or (My Treasure) WED 24th 9.00 pm Tomorrow We Move THUR 25th 7.15 pm Le Grand Rôle 6.45 pm The Soul Keeper 6.45 pm Pornografia TUE 16th 9.00 pm Life is Life 9.00 pm Only Human MON 15th 7.00 pm Bit By Bit 6.45 pm Atash THUR 25th 8.45 pm The Soul Keeper SAT 27th 9.00 pm Supertex 6.45 pm Rosehill 7.00 pm Only Human WED 17th 9.00 pm Supertex 9.00 pm Le Grand Rôle TUE 16th 6.45 pm Heir to an Execution 6.45 pm Pornografia SAT 27th 9.15 pm Or (My Treasure) SUN 28th 9.00 pm Avanim 7.00 pm Bonjour Monsieur Shlomi 3.00 pm Amen THUR 18th 9.00 pm Lost Embrace WED 17th 6.45 pm Atash 6.45 pm Bonjour Monsieur Shlomi SUN 28th 9.00 pm Lost Embrace 9.00 pm Le Grand Rôle 2.45 pm When Grandpa Loved Rita Hayworth 4.45 pm Lost Embrace 7.00 pm Heir to an Execution

LE GRAND RÔLE HEIR TO AN EXECUTION BONJOUR MONSIEUR SHLOMI AMEN WHEN GRANDPA LOVED RITA HAYWORTH AVANIM